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This essay explores the themes of memory and kinship in the art of Keith Vaughan after the Second World War. Vaughan’s paintings, which, in this period, focus on the male body, both alone and in groups, are examined in terms of their flexible and expansive attitudes to time, relationships and sociality. They are considered alongside his pre-war trips to Pagham, his own wartime service as a conscientious objector in the Non-Combatant Corps, and his post-war life in London: these experiences, often focused around fleeting moments of intimacy, recur in his art. Drawing on Vaughan’s extensive journals, now held in the Tate archive, this essay traces the way in which the experiences and memories of these social bonds were negotiated, restated, and renewed in his art. His paintings are considered alongside a flexible, embodied kinship to trace how Vaughan registers the joys and difficulties of living as a homosexual in Britain in the 1950s. [ABSTRACT FROM AUTHOR]

The article discusses the photograph exhibition "Aspects of Indian Art" by Stella Kramrisch which opened at the Imperial Institute in South Kensington, London, England. It mentions that the images featured in the exhibit was the historical Indian arts and architectures in 1940. The exhibit was questioned by Punjabi journalist Iqbal Singh. Moreover, Dora Gordine, a Latvian sculptor, was also criticized by Singh when she lectured the exhibit to the Royal Asiatic Society on December 17, 1940.

The article profiles the photographer F. Holland Day and his exhibitions. It mentions that Day was responsible for the new American School of Photography. He did not show a desire to win in photography shows. It mentions that Day wanted to encourage individuality in himself and in other photographers. Day is described as being meticulous in the preparation of his exhibitions. It mentions Alfred Stieglitz, who together with Day, led the American School of Photography. The article also provides an overview of Day's exhibitions which started in London in 1895.

The article offers information on the career of Olive Edis as an autochromist photographer in London, England. Edis started out as a portrait photographer in the early 1900s and began producing autochrome portraits in 1912. She continually exhibited autochrome photographs at the annual exhibitions of the Royal Photographic Society. She was commissioned by the Canadian Pacific Railway to photograph the Rocky Mountains using their professionally equipped photographic railway carriage from July to November in 1920. She continued to use autochromes until the 1930s when its sale was discontinued. Furthermore, her collection of autochromes were bequeathed to the National Portrait Gallery upon her death in 1955.

Presents details of the exhibition "Julia Margaret Cameron: 19th Century Photograph of Genius," showing from 6 February to 26 May, 2003 at the Wolfson Gallery, National Portrait Gallery, London, England.