RON BAXTER

Michael Paraskos

Henry Moore Post-Doctoral Fellow

Michael Paraskos
BA , MA Leeds, PhD Nottingham

Michael Paraskos completed his doctorate on the aesthetic theories of Herbert Read in 2005, and is now in receipt of a Henry Moore Foundation Post-Doctoral Fellowship (2006-2007) to convert this into a book on Herbert Read's writings on sculpture. In June 2004 he organised the Herbert Read Conference at Tate Britain, involving speakers from Britain, Ireland, the United States and Canada, and has just completed editing the papers from this for publication under the title Re-Reading Read: New Critical Views on Herbert Read (London: Freedom Press, 2006). Other recent and forthcoming articles and publications include 'The Curse of King Bomba: Or How Marxism Stole Modern Art', in Hana Babyradova and Jiri Havlice (eds.), Spirituality, Art and Education (Brno, University of Brno, 2007); 'Introduction' to Herbert Read, Naked Warriors (London: Imperial War Museum, 2003); 'Herbert Read', in Chris Murray (ed.), Key Thinkers on Art (London: Routledge, 2002); 'Introduction' to Herbert Read, To Hell with Culture (London: Routledge, 2002); various entries in Antonia Bostrom (ed.), The Encyclopaedia of Sculpture (London: Routledge, 2003); and various entries in Ingrid Roscoe et al. (eds.), The Dictionary of British Sculptors 1660-1851 (London and New Haven: Yale University Press, 2007). He has also written many reviews and articles on art for various British and overseas journals, newspapers and magazines, and has spoken on art on television and radio in Britain and elsewhere

 To read Michael's articles please follow the links
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It would take a hard heart
indeed not to be moved by
Angela de la Cruz’s exhibition
at the Camden Arts
Centre. Even as you enter
the gallery the feeling of
melancholy overwhelms you
as you realise it displays the
best efforts of a woman who
has comprehensively wasted
the last 20 years of her life.
So alarmed was de la Cruz,
back in 1989 at Goldsmiths’
College, at the difficulty in
becoming an artist that she
deliberately and self consciously
gave up trying.
Who can blame her? Being a
real artist is difficult.

I suppose one should be
glad an artist like Mitch
Griffiths has received so
much positive coverage in
the media for his paintings
currently at London’s
Halcyon Galleries. They
are paintings after all, and
it is only a few years since
art critics were proclaiming
that painting is dead.
Perhaps we should also
be heartened that, unlike
Damien Hirst or Elizabeth
Peyton, Griffiths can
paint.

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