Keith Vaughan (1912-1977) was one of the most celebrated British artists of his generation. A friend of Graham Sutherland in the 1940s he was associated during the war with the rising Neo-Romantic movement along with artists such as John Minton and John Craxton. A contemporary of Francis Bacon and Lucian Freud, Vaughan became, alongside them, representative of powerful figure-based painting in the Britain of the 1950s and 60s.Figure and Ground, both as exhibition and book, brings together two themes that preoccupied Vaughan - the human figure and the landscape. It contains three essays based on new research on Vaughan and his times: on drawing and illustration by Colin Cruise, on photography by Simon Pierse and on prints by Robert Meyrick and Harry Heuser. The exhibition has been selected by Colin Cruise from the Vaughan archive in the School of Art Museum and Gallery at Aberystwyth University.The Aberystwyth collection contains nearly 500 separate items relating to Keith Vaughan including significant holdings of his early photographs, some of which formed his own selection collected in Dick's Book of Photographs assembled around 1940-41, as well as drawings for illustrations and original lithographs. The Vaughan collection has not been the focus of critical attention before and many of the items have never been shown in public.

Figure and Ground: Keith Vaughan: Drawings, Prints and Photographs

Arts & Photography

Meyrick, Robert

Heuser, Harry

Cruise, Colin

Pierse, Simon

Individual Artists

Sansom (Acc)

Immaterial Culture engages with texts that are now largely unread and dismissed as trivial or dubious: the vast body of plays – thrillers, narrative poetry, comedy sketches, documentaries and adaptations of literature and drama – that aired on American network radio during the medium’s so-called golden age.  For a quarter century, from the stock market crash of 1929 to the introduction of the TV dinner in 1954, radio plays enjoyed an exposure unrivalled by stage, film, television and print media. As well as entertaining audiences numbering in the tens of millions for a single broadcast, these scripted performances – many of which were penned by noted novelists, poets and dramatists – played important and often conflicting roles in advertising, government propaganda and education.  Reading these fugitive and often self-conscious texts in the context in which they were created and presented, the author considers what their neglect might tell us about ourselves, our visual bias and our attitudes toward commercial art and propaganda. The study’s ample scope, its interdisciplinary approach and its insistence on the primacy of the texts under discussion serve to regenerate the discourse about cultural products that challenge the way we classify art and marginalise the unclassifiable.

Immaterial Culture: Literature, Drama and the American Radio Play, 1929–1954 (Cultural Interactions: Studies in the Relationship between the Arts)

Business of Art

Peter Lang AG, Internationaler Verlag der Wissenschaften

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