If you are reading this you are probably visiting the Barbican Library - so THANK YOU xx
In ‘Civilisation’, I’m questioning the bias of my early art education, which came mainly from Lord-Sir-Baron-Kenneth-Clark, born into a wealthy ‘textiles family’, and his popular television BBC programme/book, ‘Civilisation’. I’ve made stitched collages from said book (published by BBC/John Murray, this edition 1971), combined with discarded gallery (mainly Tate) magazines. Lord-Sir-Baron-Kenneth omitted female artists from his account, which is what started me off on these collages, but as the project progressed I have annoyingly fallen in love with the snobby bastard. I don’t agree with what he is saying a lot of the time, but his style of writing is superb and an utter joy to read.
Page i: the men who gave new energy
Piss Flowers by Helen Chadwick, 1991-2. Photo by Tate/ Seraphina Neville from the installation at Tate Modern, 2024. Cut from an article (Say it with Piss Flowers) in which Holly Connolly, Cosey Fanni Tutti, Anya Gallaccio, Sylvia Legris and Nicolas Deshayes share words of appreciation. Tate Etc, Winter 2024, Issue 64.
Page ii: A Personal View
Piss Flowers by Helen Chadwick, 1991-2. Photo by Tate/ Seraphina Neville from the installation at Tate Modern, 2024. Cut from an article (Say it with Piss Flowers) in which Holly Connolly, Cosey Fanni Tutti, Anya Gallaccio, Sylvia Legris and Nicolas Deshayes share words of appreciation. Tate Etc, Winter 2024, Issue 64.
Page 1: less agreeable
‘Prow of Viking ship. British Museum, London’.
Clint Eastwood in ‘For A Few Dollars More’. Sergio Leone, 1965. Cinematography by Massimo Dallamano. Great Movies, Mandarin Publishers (for Marks and Spencer), 1985. Edited by Nick Roddick.
Page 6: Skellig
‘Seventh-century monastery, Skellig Michael, off the Dingle Peninsula, Western Ireland’.
Piss Flowers by Helen Chadwick, 1991-2. Photo by Tate/ Seraphina Neville from the installation at Tate Modern, 2024. Cut from an article (Say it with Piss Flowers) in which Holly Connolly, Cosey Fanni Tutti, Anya Gallaccio, Sylvia Legris and Nicolas Deshayes share words of appreciation. Tate Etc, Winter 2024, Issue 64.
Page 9: copying of books
‘Neptune dish from Mildenhall treasure. British Museum, London’.
Sweet chilli chicken breasts, Lidl Weekly, 27.2.25.
Page 13: purely pagan people
‘Gokstad ship (mid ninth century). Ship Museum, Oslo’.
Maxine Laceby, Absolute Collagen advert, Grazia, Issue 834, 25.7.22.
Page 25: resist dyeing
‘Anglo-Saxon crucifixion from the Ramsey Psalter (c.980). British Museum, London’.
Kimono, crepe silk, resist dyeing and embroidery, Kyoto, 1710 - 40. Joshibi University of Art and Design Museum. From an interview/article with Anna Jackson (Keeper of the Asian department specialising in Japanese dress and cultural exchange between Japan and Europe) curator of ‘Kimono: Kyoto to Catwalk’, Feb - June 2020, V&A Museum, London. V&A Magazine, Winter 2019. 50p from a charity shop.
Page 26: Superstar
‘Cross of Gero (c.970). Cologne Cathedral’.
Celine advert. Tate Etc, Winter 2024, Issue 64.
Page 27: Charlemadge
‘Reliquary in the form of the head of the Emperor Charlemagne (c. 1350). Aachen Cathedral Treasury’.
Queen Elizabeth II. Photo by Mike Tindall?/ Getty?/ PA Images? Hello, Issue 1741, 13.6.22. Picture Editor: Becky Cox.
Page 32: orderly mountains of stone
‘Durham Cathedral’.
Farm at Watendlath by Dora Carrington, 1921. Photo: Tate. Tate Etc, Winter 2024, Issue 64. From an advert for ‘Dora Carrington: Beyond Bloomsbury’, Pallant House Gallery, Nov ‘24 - Apr ‘25.
Page 34: sitting like an empress
‘Ecclesia, manuscript illustration. Bayerische Bibliothek, Munich’.
Yayoi Kusama. Photo by Yusuke Miyazaki/ Ota Fine Arts/ Victoria Miro/ David Swirner. From an advert for ‘Every Day I Pray For Love’, Sept - Nov ‘24, Victoria Miro Gallery, London.
Page 36: unashamedly extravagant
‘The abbey church of Cluny in 1879 (from a lithograph by Emile Sagot). Bibliothèque Nationale, Paris’.
Advert for Art Academy. Tate Etc, Autumn 2024, Issue 63.
Page 37: irrepressible, irresponsible energy
‘The Gloucester candlestick (early 12th century). Victoria and Albert Museum, London’.
Detail from More Love Hours Than Can Ever Be Repaid, by Mike Kelley, 1987. Photo: Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 45: for alan sugar
‘Egyptian porphyry jar transformed into an eagle (c. 1140) for Abbot Suger. Louvre, Paris’.
Leigh Bowery by Fergus Greer. Session 1/ Look 2 1998. Front cover of Tate Members’ Guide: Jan-Feb-Mar 2025
Page 54: pillar people
‘Kings and Queens, Chartres Cathedral’.
I’m sorry, but I currently can’t find where I cut these circles from. I will keep looking, and update.
Page 65: Castle of Love
‘Siege of the Castle of Love (ivory, c1360), Victoria and Albert Museum, London’.
Detail from More Love Hours Than Can Ever Be Repaid, by Mike Kelley, 1987. Photo: Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 67: how to treat women
‘Maries at the Sepulchre (ivory), Victoria and Albert Museum, London’.
Artwork by Mike Kelley, The David Geffen Company, 1992. Cut from ‘Dirty: A Love Letter’, an article by Susan Finlay about the influence of Mike Kelley. Tate Etc, Winter 2024, Issue 64.
Page 69: disobedient women
‘Virgin and Child (ivory, 14th century). Louvre, Paris’.
Artwork by Mike Kelley, The David Geffen Company, 1992. Cut from ‘Dirty: A Love Letter’, an article by Susan Finlay about the influence of Mike Kelley. Tate Etc, Winter 2024, Issue 64.
Page 72: Only artists and birds
‘Drawings of birds from sketchbook (c. 1400). Magdalene College, Cambridge’.
I’m sorry, but I currently can’t find where I cut these birds from. I will keep looking, and update.
Page 73: The Duke at dinner
‘De Limbourg, The Duke of Berry at dinner, from Les Très Riches Heures du Duc de Berry. Musée Condé, Chantilly’.
Leigh Bowery dressed as a Christmas pudding for one of a series of cards produced in 1987 (Get Started Cards, 23 Beak St, London). Photo by Johnny Rozza, styling by Clive Ross. Tate Etc, Winter 2024, Issue 64.
Page 75: marriage to poverty
‘Sassetta, St Francis’s Marriage to Poverty. Musée Condé, Chantilly’.
Painting by Yayoi Kusama. Photo by Yusuke Miyazaki/ Ota Fine Arts/ Victoria Miro/ David Swirner. From an advert for ‘Every Day I Pray For Love’, Sept - Nov ‘24, Victoria Miro Gallery, London.
Page 82: supreme dramatist of human life
‘Giotto, Kiss of Judas. Arena Chapel, Padua’.
The Prenatal Mutual Recognition of Betty and Barney Hill by Mike Kelley, 1995. Photo: Fredrik Nilsen/ Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 88: external bin area
‘Courtyard, Ducal Palace, Urbino’.
Unnamed royal corgi. Report by Thomas Whitaker about Queen Elizabeth II’s Platinum Jubilee. Photo: Alamy. Hello, Issue 1741, 13.6.22. Picture Editor: Becky Cox.
Page 92: love of opposites
‘St Augustine, Sandro Botticelli, 1480. Fresco. Ognissanti, Florence’.
Glove puppet of Judy, Fred Tickner c 1975. Given by the British Puppet and Model Theatre Guild. Cut from V&A Magazine, Winter 2020 (50p from a charity shop). Photo V&A.
Page 105: of nameless breed
‘Jan van Eyck, Arnolfini and his Wife. National Gallery, London’.
Artwork by Mike Kelley, The David Geffen Company, 1992. Cut from ‘Dirty: A Love Letter’, an article by Susan Finlay about the influence of Mike Kelley. Tate Etc, Winter 2024, Issue 64.
Page 109: fought his way through security
‘Justus of Ghent, Federigo di Montefeltro. Ducal Palace, Urbino’.
(Right head) Extracurricular Activity Projective Reconstruction #4 (Vampire Boss) 2004-5, by Mike Kelley. Cut from Tate Etc, Autumn 2024, Issue 63. (Left head) Marilyn Diptych by Andy Warhol, 1962. Tate Members’ Guide, Apr-May-Jun 2025.
Page 116: once been a beauty
‘Giorgione, Col Tempo (detail). Accademia, Venice’.
Queen Elizabeth II, 1951, by Yousuf Karsh. Hello, Issue 1741, 13.6.22. Picture Editor: Becky Cox.
Page 117: the scene has changed
Bobby Baker, Displaying the Sunday Dinner, 1998. Photo by Andrew Whittuck. Tate Etc, Spring 2024. Issue 61.
Page 122: alarming young man
‘Michelangelo, David, Accademia, Florence’.
Leigh Bowery by Peter Paul Hartnett. Taboo, Maximus, Leicester Sq., London, 1985-86. Article by Princess Julia. Tate Etc, Winter 2024, Issue 64.
Page 125: God-like perfection
‘Dying Slave (Captive), Michelangelo, c1510-13. Louvre, France’.
Leigh Bowery by Fergus Greer, 1988. Session 1, Look 2. Michael Hoppen Gallery. Tate Members’ Guide, Jan-Feb-March 2025.
Page 132: Raphael loved the girls
‘Raphael, Parnassus (detail). Vatican, Rome’.
Unnamed woman in Dior jewellery advert. Tate Etc, Autumn 2022, Issue 56.
Page 133: the great lost paintings of antiquity
‘Raphael, Galatea. Villa Farnesina, Rome’.
Leigh Bowery by Fergus Greer, 1994. Session VII, Look 34. Tate Members’ Guide, Apr-May-Jun 2025.
Page 138: the character of the northern man
‘Riemenschneider, Adam. Castle Museum, Würzburg’.
I’m sorry, but I currently can’t find where I cut these eyes and lips from. I will keep looking, and update.
Page 148: inordinately vain
‘Dürer, Walrus (water-colour). British Museum, London’.
I’m sorry, but I currently can’t find where I cut this eye from. I will keep looking, and update.
Page 151: something is missing
‘Leonardo, Star of Bethlehem (drawing). Royal Library, Windsor’.
Piss Flowers by Helen Chadwick, 1991-2. Photo by Tate/ Seraphina Neville from the installation at Tate Modern, 2024. Cut from an article (Say it with Piss Flowers) in which Holly Connolly, Cosey Fanni Tutti, Anya Gallaccio, Sylvia Legris and Nicolas Deshayes share words of appreciation. Tate Etc, Winter 2024, Issue 64.
Page 156: old fashioned history books
‘Dürer, Oswald Krell. Alte Pinakothek, Munich’.
Ramon Novarro (can’t find the film. Anyone?). Great Movies, Mandarin Publishers (for Marks and Spencer), 1985. Edited by Nick Roddick.
Page 158: intelligent nun
‘Cranach, Luther’s Father. Albertina, Vienna’.
Queen Elizabeth II, 1951, by Yousuf Karsh. Hello, Issue 1741, 13.6.22. Picture Editor: Becky Cox.
Page 160: bad for art
‘Urs Graf, Swiss Mercenary (drawing). Kunstmuseum, Basel’.
Artwork by Yayoi Kusama. Photo by Yusuke Miyazaki/ Ota Fine Arts/ Victoria Miro/ David Swirner. From an advert for ‘Every Day I Pray For Love’, Sept - Nov ‘24, Victoria Miro Gallery, London.
Page 165: great pessimists
‘Little Moreton Hall, Cheshire’.
Four-Square (Walk Through), 1966. Barbara Hepworth. Tate Members’ Guide, Apr-May-Jun 2025.
Page 168: the most grandiose piece of town planning
‘Santa Maria Maggiore, Rome’.
Do Ho Suh, Hub series at the Museum of Contemporary Art Astral, 2022. Tate Members’ Guide, Apr-May-Jun 2025. Walking The House, Tate Modern, May - Oct 2025.
Page 174: Painters were even worse
‘Daniele Crespi, St Carlo Borromeo. S. Maria della Passione, Milan’.
Frida Kahlo, Self-Portrait with Thorn Necklace and Hummingbird, 1940. Tate Members’ Guide, Apr-May-Jun 2025.
Page 178: dazzled enlightenment
‘Bernini, Longinus. St Peter’s, Rome’.
The Prenatal Mutual Recognition of Betty and Barney Hill by Mike Kelley, 1995. Photo: Fredrik Nilsen/ Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 179: ecstasies should be vividly recorded
‘Rubens, Crucifixion of St Peter. St Peter’s, Cologne’.
Simon Foxton by Jason Evans (No title). From the series Strictly 1991. Tate Members’ Guide, Jan-Feb-March 2025.
Page 193: I am in Holland
‘Frans Hals, Regents of the Old Men’s Home (detail). Frans Halsmuseum, Haarlem’.
I’m sorry, but I currently can’t find where I cut these eyes and lips from. I will keep looking, and update.
Page 198: they have some leisure
‘Pieter de Hooch, Interior. National Gallery, London’.
‘Fat Gill as Miss Fuckit at the seventh Alternative Miss World competition, 1986’. Photo (with Leigh Bowery) by Robyn Beeche. Article by Andrew Logan. Tate Etc, Winter 2024, Issue 64.
Page 200: superfluidity of wealth
‘Amsterdam, 17th Century houses’.
Princess Anne feeding penguins at Edinburgh Zoo. Photo: PA Images. Hello, Issue 1741, 13.6.22. Picture Editor: Becky Cox.
Page 201: uncanny realism of the sheep’s head
‘Paul Potter, The Bull (detail). Mauritshuis, The Hague’.
Orchard Bird by Ronald Moody, 1968. From the article ‘A Caribbean Emblem’ by Ego Ahaiwe Sowinski. Photo by Philip Connor/ The Ronald Moody Trust. Tate Etc, Summer 2024, Issue 62.
Page 207: I’ve never had a pedicure
‘Rembrandt, Bathsheba. Louvre, Paris’.
Advert for Art Academy. Tate Etc, Autumn 2024, Issue 63.
Page 208: study to be quiet
‘Vermeer, Girl Reading a Letter, Rijksmuseum, Amsterdam’.
Tate Members’ Guide, Jan-Feb-March 2025.
Page 219: waste of money
‘Wren, St Paul’s Cathedral, London’.
Do Ho Suh, Hub series at the Museum of Contemporary Art Astral, 2022. Tate Members’ Guide, Apr-May-Jun 2025. Walking The House, Tate Modern, May - Oct 2025.
Page 235: native good sense of a fox-hunting society
‘Tiepolo, America, from the Staircase Ceiling, Residenz, Würzburg’.
Leigh Bowery at Limelight, London 1987. Photo by Dave Swindells. Tate Etc, Winter 2024, Issue 64.
Page 237: it isn’t always easy to tell the difference between Haydn and Mozart
‘Die Wies. Pilgrimage church, Bavaria’.
Detail from More Love Hours Than Can Ever Be Repaid, by Mike Kelley, 1987. Photo: Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 244: the smile of reason
‘Houdon, Voltaire, Musée Farbre, Montpelier’.
Leigh Bowery in ‘Blitz’ denim jacket by Levi Strauss & Co. Photo by Mark Baker, 1986. Article by Caryn Franklin. Tate Etc, Winter 2024, Issue 64.
Page 251: gifted hostesses
‘Perronneau, Madame de Sorquainville. Louvre, Paris’.
Leigh Bowery at Taboo, London 1986. Photo and article by Alex Gerry. Tate Etc, Winter 2024, Issue 64.
Page 252: Gilles
‘Watteau, Gilles, Louvre, Paris’.
Renate Bertlmann. Tender Pantomimes. Pacifier-Dance, 1976. Advert for Sotheby’s. Frieze Magazine, No. 187, May 2017. Taken from the bin at work.
Page 254: happiest among the working classes
‘Chardin, The Scullery Maid. Hunterian collection, University of Glasgow’.
‘Work in progress ahead of Hew Locke’s Tate Britain Commission, photographed (by Matt Greenwood/ Tate) at the artist’s studio in London, Nov 2021. From the article ‘Moment Is Everything’ by Elena Crippa. Tate Etc, Spring 2022, Issue 54.
Page 260: the gentle bourgeoisie
‘Chardin, La Toilette de Matin, National Museum, Stockholm’.
Leigh Bowery at the seventh Alternative Miss World competition, 1986. Photo (with ‘Fat Gill as Miss Fuckit’) by Robyn Beeche. Article by Andrew Logan. Tate Etc, Winter 2024, Issue 64.
Page 261: Naturally, it killed him
‘Huber, Voltaire (water-colour). British Museum, London’.
Mike Kelley, Extracurricular Activity Projective Reconstruction #25 (Devil: Master of Ceremonies) 2004-5. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 263: Thomas Jefferson
‘Houdon, Thomas Jefferson. New York Historical Society’.
Mike Kelley Ahh… Youth! 1991/2008 (detail) Tate. Tate Members’ Guide Jan-Feb-Mar 2025.
Page 267: no more smiles
‘Houdon, George Washington. The Capitol, Richmond, Virginia’.
Illustration by Anna Vickery. Article by I. Kurator (really?). Art Review, March 2017. Taken from the bin at work.
Page 269: The Compleat Angler
‘Constable, The Haywain (detail). National Gallery, London’.
Bob Mortimer and Paul Whitehouse by John Bailey. Gone Fishing, Blink Publishing, 2019.
Page 270: fifty-two different meanings
Piss Flowers by Helen Chadwick, 1991-2. Photo by Tate/ Seraphina Neville from the installation at Tate Modern, 2024. Cut from an article (Say it with Piss Flowers) in which Holly Connolly, Cosey Fanni Tutti, Anya Gallaccio, Sylvia Legris and Nicolas Deshayes share words of appreciation. Tate Etc, Winter 2024, Issue 64.
Page 272: it never occurred to him to admire the scenery
‘Wolf, Lauteraargletscher. Kunstsammlung, Basel’.
Detail from More Love Hours Than Can Ever Be Repaid, by Mike Kelley, 1987. Photo: Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 273: Whatever his defects as a human being
‘Rousseau at Bienne (engraving)’.
Leigh Bowery by Fergus Greer, 1988. Session 1, Look 2. Michael Hoppen Gallery. Tate Members’ Guide, Jan-Feb-March 2025.
Page 276: Man (and Woman) Looking at Mountains
‘Casper David Friedrich, Man Looking at Mountains, with Rainbow. Museum Folkwang, Essen’.
Marianne Werefkin, The Red Tree, 1910. Article ‘Art Breaking Free’ by Natalia Sidlina. Tate Etc, Spring 2024, Issue 61.
Page 277: The evolutionary development of plants
‘The evolutionary development of plants (engraving after Goethe)’
Piss Flowers by Helen Chadwick, 1991-2. Photo by Tate/ Seraphina Neville from the installation at Tate Modern, 2024. Cut from an article (Say it with Piss Flowers) in which Holly Connolly, Cosey Fanni Tutti, Anya Gallaccio, Sylvia Legris and Nicolas Deshayes share words of appreciation. Tate Etc, Winter 2024, Issue 64.
Page 279: When Doves Cry
‘Dove Cottage, Grasmere’.
Tracey Emin, My Bed, 1998. Tate. Tate Members’ Guide, Apr-May-Jun 2025.
Page 282: it was rejected from the Academy
‘Constable, Willows by a Stream, V&A Museum, London’.
Julio Le Parc, Double Mirrors, 1966. Atelier Le Parc. Article ‘Are We Dreaming?’ by Lucy Ives. Tate Etc, Autumn 2024, Issue 63.
Page 284: But all the time Turner was perfecting
‘Turner, Waves Breaking on a Lee Shore. Tate Gallery, London’.
Blanc de Chine porcelain, c1680. Figure group of European huntsmen. Imported from China, decorated in the Netherlands. V&A Magazine, Summer 2019. 50p from a charity shop.
Page 288: another of Mr Turner’s little jokes
‘Turner; Rain, Steam, Speed. National Gallery, London’.
Barbara Hepworth’s hands, photographed by Norman Capener, c1949. Tate Etc, Autumn 2022, Issue 56.
Page 292: Rude
‘Rude, Group from Arc de Triomphe, Paris’.
Leigh Bowery by Fergus Greer. Session VII, Look 38 June 1994. Tate Members’ Guide: Jan-Feb-Mar 2025
Page 297: Woltz
‘David, Madame Verninac. Louvre, Paris’.
Mike Kelley, Timeless Painting #9 1995. Photo: Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 299: Platty Joobs
‘David, The Death of Marat. Musée Royal des Beaux-Arts, Brussels’.
Prince Louis. Photo by Mike Tindall/ Getty?/ PA Images? Hello, Issue 1741, 13.6.22. Picture Editor: Becky Cox.
Page 300: we cannot have one thing without another
‘Géricault, Madman. Ghent’.
‘An African mask that belonged to Roger Fry (Sang Tribe, Gabon, West Africa). Courtauld Institute Galleries, London’.
Page 303: The history book on the shelf
‘Ingres, Napoleon as Emperor. Musée de l'Armée, Paris’.
Mike Kelley, Ahh… Youth! 1991 (detail). Photo: Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 308: Nature is indifferent
‘Casper David Friedrich, The Wreck of the ‘Hope’. Kunsthalle, Hamburg’.
Mariá Bartuszová cleaning snow off the slide at the kindergarten on Sládkovičova Street in Revúca, Slovakia, 1970. From the article ‘A Futurist Form’ by Anke Kempkes. Photo: Estate of Maria Bartuszova/ Alison Jaques. Tate Etc, Autumn 2022, Issue 56.
Page 311: He died at the age of thirty-three
‘Géricault, English Scene (lithograph)’.
Detail from More Love Hours Than Can Ever Be Repaid, by Mike Kelley, 1987. Photo: Mike Kelley Foundation for the Arts. ‘Mutant Mike’, article by Charlie Fox. Tate Etc, Autumn 2024, Issue 63.
Page 316: the noon gun
‘Doré, Men setting their watches by the noon gun (lithograph)’.
Yoko Ono with Glass Hammer, 1967, from HALF-A-WIND SHOW, Lisson Gallery, London, 1967. Photo by Clay Perry. Cut from Tate ‘Exhibition Highlights 2023-24’.
Page 318: middle-class morality?
‘Rodin, Balzac (plaster). Musée Rodin, Meudon’.
Leigh Bowery, Skull, 1992. Photo and article by Nick Knight. Tate Etc, Winter 2024, Issue 64.
Page 321: with Mills and Ovens and Cauldrons
‘De Loutherbourg, Coalbrookdale by Night. Science Museum, London’.
Sean Connery as Daniel Dravot in ‘The Man Who Would be King’, John Huston, 1975. Cinematography by Oswald Morris. Adapted from Rudyard Kipling’s 1888 novella.
Page 322: the State of the Poor
‘Rustic Charity (mezzotint after Beechy)’
Unnamed royal corgi. Report by Thomas Whitaker about Queen Elizabeth II’s Platinum Jubilee. Photo: Alamy. Hello, Issue 1741, 13.6.22. Picture Editor: Becky Cox.
Page 336: somewhat joyless style
‘Brunel in 1857 (photograph)’.
Artwork by Mike Kelley, The David Geffen Company, 1992. Cut from ‘Dirty: A Love Letter’, an article by Susan Finlay about the influence of Mike Kelley. Tate Etc, Winter 2024, Issue 64.
Page 337: factory chimneys in the background
‘Seurat, La Baignade. National Gallery, London’.
Brunette #4 Ponytail with factory bun in original outfit, 1960. Courtesy of Linda Oliva. Barbie, Mattel Inc. Barbie Identifier by Janine Fennick, Apple Press, 1998. Photo by Garry Stuart.
Page 340: influence on Van Gogh
‘Millet, Peasant (drawing). Ashmolean Museum, Oxford’.
I’m sorry, but I currently can’t find where I cut this flower from. I will keep looking, and update.
Page 345: the chaos of modern art
‘Karsh, Einstein (photograph)’.
Unnamed woman in Dior jewellery advert. Tate Etc, Autumn 2022, Issue 56.