We’d like to say a huge thank you to all the speakers, chairs and delegates who came to York yesterday and shared their incredibly rich and exciting research for the London Art Worlds conference. Particular thanks to James Boaden, Elena Crippa, Hilary Floe, Antony Hudek, Dominic Johnson, Carmen Juliá, Courtney J. Martin, Lucy Reynolds, Lisa Tickner, Isobel Whitelegg, and Andrew Wilson. Thanks also to the Paul Mellon Centre for Studies in British Art, the British Art Research School and the Centre for Modern Studies at the University of York for making the day possible.
From the exhibition website:
“In the late 1960s, artists on both sides of the Atlantic turned away from the enclosed spaces of the studio and gallery and went out into the landscape to forge new forms of art. This art encompassed a wide range of practices and attitudes, including elements of sculpture, performance and photography, and went under several names: Land art, earth art, process art and ecologic art, among others. Of these terms, Land art has come to be most widely used internationally.
Artists working in Britain were part of this phenomenon, but here Land art took distinct forms: predominantly Conceptual and ephemeral, handmade and organic. The key strategies developed in the UK included the photographic documentation of actions, the positioning of walking and travelling as creative acts, an exploration of locality and a keen awareness of rural traditions and contexts.
Drawn largely from the Arts Council Collection, this exhibition explores how landscape and nature came to be key concerns of Conceptual art in Britain in the 1960s and 70s. Many of our most significant British artists used landscape and nature in radical new ways and reconfigured one of the oldest subjects of art into one of the most dynamic and vital forms of art today.
Uncommon Ground: Land Art in Britain 1966–1979 is a touring exhibition organised by the Arts Council Collection, Southbank Centre, London and curated by Nicholas Alfrey, Joy Sleeman and Ben Tufnell. The exhibition launched at Southampton City Art Gallery (10 May – 3 August 2013) and tours to The National Museum of Wales, Cardiff (28 September 2013 – 5 January 2014), Mead Gallery, University of Warwick (18 January – 8 March 2014) and Longside Gallery, Yorkshire Sculpture Park (5 April – 15 June 2014).”
Until 23rd February 2014, Whitechapel Gallery London.
“Leaving the protective environment of art school has always been a huge challenge. In 1972, a group of London graduates, led by Jonathan Harvey and David Panton, took matters into their own hands. The unpromising recession-gripped landscape of East London – of empty factories and riverside warehouses, and boarded-up houses destined for demolition – presented an unexpected route to survival: cheap, though temporary, space to work and live appeared to be in free supply. Acme Housing Association was formed as the legal mechanism to unlock this space, with short-life houses transferred by local government authorities to make use of an otherwise wasted resource.
Self-help was key, with artists finding ingenious solutions, given limited means, to create the spaces they needed from the semi-derelict properties at their disposal. From these modest beginnings, Acme offers affordable working and living spaces to thousands of artists, as well as residencies, advisory services and exhibitions.
This exhibition tells the story of their first decade. Using remarkable documents and photographs from their archives, the history of the Acme studios and the legendary Acme Gallery in Covent Garden (1976–1981) unfolds. Co-curated by Jonathan Harvey, CEO, Acme Studios, assisted by Research Consultant, Dr Arantxa Echarte.”
Text taken from Whitechapel Gallery website.
Roelof Louw’s Rolled Lead Piece, 1970 is being shown in London next week. The work has not been shown since the 1970 exhibition Between Man and Matter. The Richard Saltoun website writes:
‘The final show to be staged in Karsten Schubert Gallery’s, Soho, London, space the work will take over an entire room and consists of sheets of lead, rolled and then pushed towards the gallery walls. The lead sheets themselves are specified to a particular weight, in relation to the gallery surface area. Arising out of the Process Art movement of the 1960s, the work emphasizes the process of its own construction and tests the limits of the human body. It uses a traditional sculptural material – lead – in a non-traditional form and manner. The physical act of rolling out the lead becomes part of the work, with the work being interrupted at various stages and documented. The process is completed, when the exhibition has ended and the lead removed, ultimately destroying the gallery floor, and sold back to the supplier at the end of the exhibition for scrap.’
More information can be found on the Richard Saltoun website: http://www.richardsaltoun.com/exhibitions/31/overview/
Thank-you to Joy Sleeman, who will be speaking on the sculptor Roelof Louw at London Art Worlds, for highlighting this.
SLIDE/TAPE is taking place in Birmingham at Vivid Projects until this Saturday. The exhibition addresses the medium of slide-tape installation used by a diverse range of artists in the 1970s and 1980s. This format was often used to create immersive environments and is often considered in relation or as a precursor to expanded cinema.
The exhibition includes the work of Black Audio Film Collective, Ian Breakwell, Nina Danino, Bill Furlong, Sunil Gupta, Tina Keane and Cordelia Swann. It is curated by Yasmeen Baig-Clifford, Director of Vivid Projects and Mo White (School of Arts, Loughborough University).