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‘Familiarity’ breeds content: Wendell Berry, T. J. Clark and arts pedagogy (2020)
Presentation / Conference
Franklin, L. (2020, June). ‘Familiarity’ breeds content: Wendell Berry, T. J. Clark and arts pedagogy. Paper presented at 2020 Convivium Conference: ‘Inhabiting Memories & Landscapes’: a cross-disciplinary engagement with Wendell Berry

This paper is about the difference between ‘knowledge’ and ‘familiarity’ and how repetitive exposure changes our relationship with things, people and places. As a conceptual framework, this paper first considers the approach of American poet, far... Read More about ‘Familiarity’ breeds content: Wendell Berry, T. J. Clark and arts pedagogy.

Untitled: Women’s clothing and ageing femininity in the portraits of Chaim Soutine (2018)
Journal Article
Franklin, L. (2018). Untitled: Women’s clothing and ageing femininity in the portraits of Chaim Soutine. Clothing Cultures, 5(3), 315-332. https://doi.org/10.1386/cc.5.3.315_1

Chaim Soutine’s (1893–1943) representation of clothes in his portraits has attracted very little scholarly or curatorial attention to date. For the first time in the near century of literature that has accumulated about the artist, this article discu... Read More about Untitled: Women’s clothing and ageing femininity in the portraits of Chaim Soutine.

Chaim Soutine’s (1893-1943) sources and influence (2017)
Presentation / Conference
Franklin, L. (2017, November). Chaim Soutine’s (1893-1943) sources and influence. Paper presented at "Very strange and crazy, but I like it": the Life and Art of Chaim Soutine (1893-1943), lecture series hosted by the Royal West of England Academy, Bristol

This lecture explores the range and complexity of Chaim Soutine’s (1893-1943) sources: who he was influenced by and what lessons he learned from the art of the past. Rembrandt (1606-1669) and Jean-Baptiste-Siméon Chardin (1699-1779) are two particula... Read More about Chaim Soutine’s (1893-1943) sources and influence.

Chaim Soutine’s (1893-1943) portraits (2017)
Presentation / Conference
Franklin, L. (2017, November). Chaim Soutine’s (1893-1943) portraits. Paper presented at "Very strange and crazy, but I like it": the Life and Art of Chaim Soutine (1893-1943), lecture series hosted by the Royal West of England Academy, Bristol

This lecture considers the nature and importance of Chaim Soutine’s (1893-1943) portraits. Unlike his work in landscape and still life, which was mostly confined to the 1910s and 1920s, Soutine returned to portrait painting throughout his life. His p... Read More about Chaim Soutine’s (1893-1943) portraits.

Chaim Soutine (1893-1943): Life and Work (2017)
Presentation / Conference
Franklin, L. (2017, November). Chaim Soutine (1893-1943): Life and Work. Paper presented at "Very strange and crazy, but I like it": the Life and Art of Chaim Soutine (1893-1943), lecture series hosted by the Royal West of England Academy, Bristol

This lecture provides an introduction to Parisian painter Chaim Soutine (1893-1943): when and where he lived, what he painted and how he sits within the context of interwar French art. Friends with Amedeo Modigliani (1884-1920), respected by Picasso,... Read More about Chaim Soutine (1893-1943): Life and Work.

Tate Summary: Tracey Moffatt, 'Telecam Guys, 1977', from 'Scarred for Life' (1994) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Telecam Guys, 1977', from 'Scarred for Life' (1994). [Gallery website]

Tate Summary: Tracey Moffatt, 'Job Hunt, 1976', from 'Scarred for Life' (1994 ) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Job Hunt, 1976', from 'Scarred for Life' (1994 ). [Gallery website]

Tate Summary: Tracey Moffatt, 'Mother's Day, 1975', from 'Scarred for Life' (1994 ) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Mother's Day, 1975', from 'Scarred for Life' (1994 ). [Gallery website]

Tate Summary: Tracey Moffatt, 'Useless, 1974', from 'Scarred for Life' (1994 ) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Useless, 1974', from 'Scarred for Life' (1994 ). [Gallery website]

Tate Summary: Tracey Moffatt, 'Doll Birth, 1972', From 'Scarred For Life' (1994) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Doll Birth, 1972', From 'Scarred For Life' (1994). [Gallery website]

Tate Summary: Tracey Moffatt, 'Heart Attack, 1970', from 'Scarred for Life' (1994) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Heart Attack, 1970', from 'Scarred for Life' (1994). [Gallery website]

Tate Summary: Tracey Moffatt, 'Charm Alone, 1965', from 'Scarred for Life' (1994) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Charm Alone, 1965', from 'Scarred for Life' (1994). [Gallery website]

Tate Summary: Tracey Moffatt, 'Birth Certificate, 1962', from 'Scarred for Life' (1994) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'Birth Certificate, 1962', from 'Scarred for Life' (1994). [Gallery website]

Tate Summary: Tracey Moffatt, 'The Wizard of Oz, 1956', from 'Scarred for Life' (1994 ) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Tracey Moffatt, 'The Wizard of Oz, 1956', from 'Scarred for Life' (1994 ). [Gallery website]

Tate Summary: Thomas Demand, 'Zeichensaal (Drafting Room)' (1996) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Thomas Demand, 'Zeichensaal (Drafting Room)' (1996). [Gallery website]

Tate Summary: Gillian Ayres OBE, 'The Colour That Was There' (1993) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Gillian Ayres OBE, 'The Colour That Was There' (1993). [Gallery website]

Tate Summary: Roy Lichtenstein, 'American Indian Theme IV' (1980) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Roy Lichtenstein, 'American Indian Theme IV' (1980). [Gallery website]

Tate Summary: Ellsworth Kelly, 'Saint Martin Landscape' (1979) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Ellsworth Kelly, 'Saint Martin Landscape' (1979). [Gallery website]

As seen: Modern British painting and visual experience (2015)
Journal Article
Pepperell, R., & Hughes, L. (2015). As seen: Modern British painting and visual experience. Tate Papers, Spring(23),

During the twentieth century several important British artists began to paint features of visual experience rarely ever painted before, including subjective curvature, double vision and the body seen from the first person viewpoint. In doing so they... Read More about As seen: Modern British painting and visual experience.

Tate Summary: Matthew Monahan, 'Untitled' (2005) (2015)
Digital Artefact
Hughes, L. (2015). Tate Summary: Matthew Monahan, 'Untitled' (2005). [Gallery website]