Description
Book SynopsisExamines 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.
Trade Review“The essays examine diverse practices, including interactive installation and environmental art, offering instructive discussion of intersections between art, feminism, and film and of the evolution of the London art scene in the 1960s–70s. Recommended.”
—C. J. Jolivette Choice
“The volume is bound to become an essential resource for anyone working in the field of twentieth-century British art, including those with a special interest in the continued development of sculpture in the context of the dematerialization of the art object. What is more, the book will undoubtedly prompt further research into the rich artistic worlds it maps out. I, for one, am thrilled by this prospect.”
—Giulia Smith The Sculpture Journal
“The sixties—less so the seventies—is a crowded field, but this original and provocative collection challenges received wisdom on the period. It casts new light on work by women artists and filmmakers; on conceptual, performance, feminist, and other kinds of politicized and often collaborative activity; on the increasingly international traffic in artists and ideas; and on a counterculture unfolding across two decades from the Britain of Harold Wilson to the emergence of Margaret Thatcher.”
—Lisa Tickner,author of Modern Life and Modern Subjects: British Art in the Early Twentieth Century
“The fascinating episodes recounted in London Art Worlds expand, deepen, and complicate what we mean by the art history of the 1960s and 1970s—whether in the capital, across Britain, or on an international stage.”
—Thomas E. Crow,author of The Long March of Pop: Art, Music, and Design, 1930 to 1995
“London Art Worlds is a fresh and original rethinking of experimental art practices of the 1960s and 1970s produced in Britain that provides an important supplement to critical postcolonial studies of the period. The London that emerges is not the complacently assumed center of the former empire, but a contingent site for a new set of global networks and a sometimes temporary home for a diverse range of artists who may or may not claim Britishness.”
—Siona Wilson,author of Art Labor, Sex Politics: Feminist Effects in 1970s British Art and Performance
Table of ContentsContents
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)
