Opulent Absurdities: The Aristocrat as Pataphysician Lord Ardenforde opens a jewellery box to reveal a platinum brooch, rhodium watch, immortal diamond choker; and on the quiltwork, a tiger-eye necklace pendant. Exclamations clamour as seven yellow balloons ascend to the Taj Mahal painting that hangs from the ceiling beams. Soap-skinned Valentine looks on astonished, an obsequious grin dripping from his amazing hollow face. Plush telephones purr politely.

A Brief Pataphysical Study of the Word ‘and’ in Poetic Titles When viewed under the lens of Alfred Jarry’s 'pataphysics — the so-called science of imaginary solutions that “symbolically attributes the properties of objects, described by their virtuality, to their lineaments” — the humble conjunction ‘and’ occupies a liminal space in poetic titles. Easily dismissed as a mere linguistic connector, ‘and’ here acts as a non-identical operator that defies conventional logic. Lon

Surfaces, Simulacra and Sight Simulacra peel Continually from the body’s Surface, each image Bearing the appearance of the Part it belongs to. A purposeful doubling, perhaps, but Afloat they hang Suspended as if unsure of Existence. Only for a Moment because then rapid they Migrate like birds frightened into flight. If no resistance is met, they enter the Stroma to strike the retina, Stirring sight. From there they Impact the mind, invoking inspiration. Not an engineer’s trav

Without division or interval, the body appears as pure form over content, surface without depth.

Vir Heroicus Sublimis (1950-51) by Barnett Newman 'It Is a Place, Makom, Where Each Man May Be Called up': Being and Time in Barnett Newman's Art 'Even if you don’t know Newman’s place in art history, walking into a space full of his paintings can inspire contemplation. They give you nothing and everything to look at, these huge canvases whose only subject is themselves, enveloping you in the moment, confronting you with seemingly pure fields of color and contrast.’ (Molly Gl

Adam (1951-52) by Barnett Newman Barnett Newman and the Art of Not Making Graven Images Barnett Newman was born in 1905 to Abraham and Anna Newman, Jewish immigrants from Poland who came to New York City in 1900. Although not religious, Barnett’s father was a passionate Zionist and a supporter of the National Hebrew School of the Bronx. As well as attending Hebrew school, Barnett and his brothers and sisters were educated at home by Jewish scholars from Europe. He went on to