About the Article
Mark of the Times: Charcoal and the Borough Group is a paper by independent historian, writer, and artist, Kate Aspinall. This paper places the drawings in The Elemental Force of Charcoal: Drawing at the Borough in a wider context, with reference to seismic shifts that occurred in arts education and drawing practices of the 20th century, as well as the historical use of charcoal as a medium. This text was written to be presented as a tour, for further details of the tour please click here.
Text © Kate Aspinall 2016
The Elemental Force of Charcoal: Drawing at the Borough, Borough Road Gallery, Exhibition View © Lisa Drew 2015
List of works discussed in the paper (in order of inclusion): David Bomberg Unknown (1914); Dennis Creffield Jerusalem Wedding (2009); Edna Mann Bent Figure (date unknown); Miles Richmond Mare, Mule and Plough (c.1965); Dennis Creffield Seated Figure (1950); Dennis Creffield Oxen Ploughing (1953); David Bomberg Rhonda Bridge and Tajo (1935); David Bomberg Bomb Store (1942); David Bomberg St. Paul’s Cathedral, London (1944); Dennis Creffield St. Paul’s Cathedral from Clifford Chance, Aldersgate (1998); Dennis Creffield Beauvais Cathedral (East End II) (1990), Rouen Cathedral (West Front I) (1990), Bourges Cathedral (West Front) (1990), Rouen Cathedral (West Front II) (1990).
About the Author
Kate Aspinall is an independent historian, writer, and artist. Based in London, she recently completed her doctoral studies at the University of East Anglia, sponsored by the School of Art History Studentship, and currently consults for the Roy Lichtenstein Foundation and serves as Chairwoman of the AAH Freelance and Independents. Her research looks to the role of drawing in early 20th century British visual culture with a particular emphasis on the intersections between institutional and personal discipline. Most recently, she wrote an article on the role of the drawn mark within Herbert Read’s critical agenda for a special issue ofVisual Resources (February 2016). She is currently working on a monograph, The Paradox of Medium Specificity: Drawing Practice and Twentieth Century Modernism in Britain.