Programme

London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960-1980

Friday 29th November 2013
Bowland Auditorium, Berrick Saul Building, University of York

10.00 – 10.30am: Registration and Coffee
10.30 – 11.00am: Introduction

Panel One: London and Beyond – International Networks and Exchanges

11.00 – 11.20am: Cybernetic Determinism: Early Issues of ‘Control’ Magazine
Antony Hudek (Liverpool John Moores)

11.20 – 11.40am: Everything Was Connected: The Particular Internationalism of Signals London, Isobel Whitelegg (Nottingham Contemporary)

11.40 – 12.00noon: Mapping the City – Felipe Ehrenberg in London
Carmen Juliá (Tate)

12.00 – 12.30pm: Discussion

Chair: Jo Applin (University of York)

12.30 – 1.15pm: Lunch (provided)

Panel Two: New Art Worlds – Creating Alternative Times and Spaces

1.15 – 1.35pm: Oranges is not the only sculpture: Roelof Louw and International Sculptural Connections in London, Joy Sleeman (University College London)

1.35 – 1.55pm: Artists for Democracy: Collectivity, Temporality and Festival Culture in London 1971-1977, Courtney J. Martin (Brown University)

1.55 – 2.15pm: Circulations: Charting the Emergence of a Women Artist Filmmaking Network in 1960s and ’70s London, Lucy Reynolds (Central St Martins)

2.15 – 2.45pm: Discussion

Chair: Hilary Floe (University of Oxford)

2.45 – 3.00pm: Coffee and tea

Panel 3: Counter-Cultural Antagonisms: Negotiating Institutions

3.00 – 3.20pm: Project Sigma – an Interpersonal Log Book
Andrew Wilson (Tate)

3.20 – 3.40pm: The Artist as a Speaker-Performer: The London Art School in the 1960s-70s, Elena Crippa (Tate)

3.40 – 4.00pm: File Under COUM: Art on Trial in Genesis P-Orridge’s ‘Mail Action’ (1976)
Dominic Johnson (Queen Mary, University of London)

4.00 – 4.30pm: Discussion

Chair: James Boaden (University of York)

4.30 – 4.45pm: Comfort break

4.45 – 5.35pm: Ken Russell’s ‘Pop Goes the Easel’
Lisa Tickner (Courtauld Institute of Art)

5.35 – 6.00pm: Discussion and Round-up

6.00 – 6.45pm: Wine reception

London Art Worlds has been kindly sponsored by the Paul Mellon Centre for Studies in British Art, and the Centre for Modern Studies at the University of York.