London Art Worlds

Mobile, Contingent, and Ephemeral Networks, 1960–1980

Jo Applin, Catherine Spencer, Amy Tobin (Herausgeber)

Buch | Hardcover

248 Seiten

2017
Pennsylvania State University Press (Verlag)
978-0-271-07853-3 (ISBN)

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Examines the rich networks of international artists and art practices that emerged in and around London during the 1960s and 1970s. Discusses diverse practices, movements, and spaces, from painting, sculpture, and film to performance, conceptual, and land art.

The essays in this collection explore the extraordinarily rich networks of international artists and art practices that emerged in and around London during the 1960s and ’70s, a period that saw an explosion of new media and fresh attitudes and approaches to making and thinking about art.

The contributors to London Art Worlds examine the many activities and movements that existed alongside more established institutions in this period, from the rise of cybernetics and the founding of alternative publications to the public protests and new pedagogical models in London’s art schools. The essays explore how international artists and the rise of alternative venues, publications, and exhibitions, along with a growing mobilization of artists around political and cultural issues ranging from feminism to democracy, pushed the boundaries of the London art scene beyond the West End’s familiar galleries and posed a radical challenge to established modes of making and understanding art.

Engaging, wide-ranging, and original, London Art Worlds provides a necessary perspective on the visual culture of the London art scene in the 1960s and ’70s. Art historians and scholars of the era will find these essays especially valuable and thought provoking.

In addition to the editors, contributors to this volume are Elena Crippa, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Joy Sleeman, Isobel Whitelegg, and Andrew Wilson.

Jo Applin is Lecturer at the Courtauld Institute of Art, London. Her recent books include Eccentric Objects: Rethinking Sculpture in 1960s America and Yayoi Kusama: Infinity Mirror Room—Phalli’s Field. Catherine Spencer is Lecturer in Art History at the University of St. Andrews. She has published articles and essays in Tate Papers, Oxford Art Journal, and the book British Art in the Nuclear Age. Amy Tobin lectures in the History of Art at the University of Cambridge. She has published essays in Tate Papers, British Art Studies, and MIRAJ.

Contents

List of Illustrations

Acknowledgments

Introduction (Jo Applin, Catherine Spencer, and Amy Tobin)

1. Everything Was Connected: Kinetic Art and Internationalism at Signals London, 1964–66 (Isobel Whitelegg)

2. A Porous Entity: The Centre for Behavioural Art at Gallery House,

1972–73 (Antony Hudek)

3. Mapping the City: Felipe Ehrenberg in London, 1968–71 (Carmen Juli)

4. Restoring Some Period Color to Roelof Louw’s Pyramid of Oranges (1967) (Joy Sleeman)

5. Collectivity, Temporality, and Festival Culture in John Dugger’s Quasi-Architecture, 1970–74 (Courtney J. Martin)

6. Taking the Trouble to Sound It: Mediating Conflict in the Work of Rita Donagh (Catherine Spencer)

7. Circulations and Cooperations: Art, Feminism, and Film in 1960s and 1970s London

(Lucy Reynolds)

8. Project sigma: An Interpersonal Logbook (Andrew Wilson)

9. The Artist as a Speaker-Performer: The London Art School in the 1960s–70s (Elena Crippa)

10. File Under COUM: Art on Trial in Genesis P-Orridge’s Mail Action (Dominic Johnson)

Erscheinungsdatum	26.03.2018
Reihe/Serie	Refiguring Modernism
Zusatzinfo	18 Halftones, color; 32 Halftones, black and white
Verlagsort	University Park
Sprache	englisch
Maße	203 x 241 mm
Gewicht	1134 g
Themenwelt	Kunst / Musik / Theater ► Kunstgeschichte / Kunststile
ISBN-10	0-271-07853-7 / 0271078537
ISBN-13	978-0-271-07853-3 / 9780271078533
Zustand	Neuware