Landscapes of Power

With its solid airiness, its engineered abstraction, and above all its incarnation of electrical insubstantiality within industrial substance, [the pylon] appealed to artists who … found themselves pulled between competing aesthetic theories: the representational and the abstract, the romantically organic and the classically austere.

In January’s Apollo Magazine, James Purdon writes about the aesthetics of electrification in British landscape art.

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2 Responses to Landscapes of Power

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