Description
Book SynopsisAn investigation of the outsized influence of the Mod subculture on key figures of the 1960s London art scene Bonding over matters of taste and style, the ‘Mods’ of late 1950s London recognised in one another shared affinities for Italian-style suits, tidy haircuts, espresso bars, Vespa scooters and the latest American jazz. In this groundbreaking book, leading art historian Thomas Crow argues that the figure of the Mod exerted an influence beyond its assumed social boundaries by exemplifying the postwar metropolis in all of its excitement and complexity. Crow examines the works of key figures in the London art scene of the 1960s, including Robyn Denny, David Hockney, Pauline Boty, Bridget Riley and Bruce McLean, who shared and heightened aspects of this new and youthful urbanity. The triumphant arrival of the international counterculture forced both young Mods and established artists to reassess and regroup in novel, revealing formations. Understanding the London Mod brings with it a needed, up-to-date reckoning with the legacies of Situationism, Social Art History and Cultural Studies.
Distributed for the Paul Mellon Centre for Studies in British Art
Trade Review“[An] expert running commentary throughout...with many more references and pictures that explain and sequence their relevance in today’s modern culture”—Matt Mead,
Gigslutz [Online Music Site]
“In this groundbreaking book, leading art historian Thomas Crow argues that the figure of the Mod exerted an influence beyond its assumed social boundaries by exemplifying the postwar metropolis in all of its excitement and complexity.”—
paulineboty.org“[An] elegantly counterintuitive account”—J. J. Charlesworth,
ArtReview“A meticulous account of the imbrications between artmaking and stylemaking in postwar London...Crow recovers the figure of the mod...[and] forges a new canon, reimagining the art of the time in a fine-tuned, deeply aesthetic mise-en-scène...His prose is scrupulous, just so, and the many glossy full-color illustrations exalt his wide array of objects.”—Alex Kitnick,
Artforum“[Crow] is wary of any Cultural Studies-style attempt to elevate ‘the model over the agency of its objects (that is, the Mods/Stylists themselves)’. This book is a testament— itself aptly crisp and understated — to that agency.”—James Cahill, The London Journal
