On 20 February artist Grace Adam will lead a gallery tour of the
Jane Morris centenary display in Room 28 at the NPG. I’ve no idea what to expect, but here is an
extract from Grace’s artistic statement, which says her own work explores
“notions of what can be beautiful and where. How do we negotiate
and influence our domestic and wider environments? How we interpret
contemporary and historical ideas of beauty is being tested through a series of
pieces whose surfaces crawl, bulge or sit awkwardly.”
And here are a couple of examples of her artwork.
With her image and lifestory inspiring those beyond the immediate Pre-Raphaelite fanbase, suddenly, it seems to me, Janey is acquiring the kind of cultural
afterlife that Lizzie has so long enjoyed [or endured, in some cases].
I’ve also just received proofs for ROSSETTI’S OBSESSION, the forthcoming
exhibition at Cartwright Hall in Bradford, itself another manifestation of romantic
afterlives, opening in March.
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