Table Of ContentLondon Art Worlds
LONDON ART WORLDS
LONDON ART WORLDS
LONDON ART WORLDS
LONDON ART WORLDS
LONDON ART WORLDS
LONDON ART WORLDS
LONDON ART WORLDS
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LONDON ART WORLDS
Mobile, Contingent, and
Ephemeral Networks, 1960–1980
Edited by Jo Applin, Catherine Spencer, and Amy Tobin
The Pennsylvania State University Press, University Park, Pennsylvania
Supported by a Publications Grant from Copyright © 2018
the Paul Mellon Centre for Studies in The Pennsylvania State University
British Art. All rights reserved
Printed in China
Library of Congress Cataloging-in- Published by The Pennsylvania
Publication Data State University Press,
University Park, PA 16802-1003
Names: Applin, Jo, editor. | Spencer,
Catherine, 1985– , editor. | Tobin, Amy, The Pennsylvania State University Press is
1989– , editor. a member of the Association of American
Title: London art worlds : mobile, con- University Presses.
tingent, and ephemeral networks,
1960–1980 / edited by Jo Applin, It is the policy of The Pennsylvania State
Catherine Spencer, and Amy Tobin. University Press to use acid-free paper.
Other titles: Refiguring modernism. Publications on uncoated stock satisfy
Description: University Park, Pennsylvania the minimum requirements of American
: The Pennsylvania State University National Standard for Information
Press, [2018] | Series: Refiguring Sciences—Permanence of Paper for
modernism | Includes bibliographical Printed Library Material, ansi z39.48–1992.
references and index.
Summary: “Examines the rich networks of
international artists and art practices Typeset by Regina Starace
that emerged in and around London Printed and bound by Asia Pacific Offset
during the 1960s and 1970s. Discusses Composed in Whitney and Futura
diverse practices, movements, and Printed on Chen Ming FSC matt
spaces, from painting, sculpture, and Bound in JHT
film to performance, conceptual, and
land art”—Provided by publisher.
Identifiers: LCCN 2017009261 | ISBN
9780271078533 (cloth : alk. paper)
Subjects: LCSH: Art—England—London.
| Art, Modern—20th century. |
Artists—England—London.
Classification: LCC N6770 .L6495 2018 |
DDC 709.421—dc23
LC record available at https://lccn.loc.
gov/2017009261
Contents
Contents
Contents
Contents
Contents
Contents
Contents
List of Illustrations vii
Contents
Acknowledgments xi
Contents
Contents
Introduction 6. Taking the Trouble to Sound It: Contents
Jo Applin, Catherine Spencer, Mediating Conflict in the Work of Rita Contents
and Amy Tobin 1 Donagh Contents
Catherine Spencer 115 Contents
Contents
1. Everything Was Connected: Kinetic 7. Circulations and Cooperations: Art,
Contents
Art and Internationalism at Signals Feminism, and Film in 1960s and 1970s
Contents
London, 1964–66 London
Contents
Isobel Whitelegg 21 Lucy Reynolds 133
Contents
2. A Porous Entity: The Centre for 8. Project sigma: An Interpersonal Contents
Behavioural Art at Gallery House, Logbook Contents
1972–73 Andrew Wilson 151 Contents
Antony Hudek 39 Contents
9. The Artist as a Speaker-Performer: Contents
3. Mapping the City: Felipe Ehrenberg in The London Art School in the Contents
London, 1968–71 1960s–70s
Contents
Carmen Juliá 55 Elena Crippa 169
Contents
4. Restoring Some Period Color to Roelof 10. File Under COUM: Art on Trial in Contents
Contents
Louw’s Pyramid of Oranges (1967) Genesis P-Orridge’s Mail Action
Contents
Joy Sleeman 77 Dominic Johnson 183
Contents
5. Collectivity, Temporality, and Contents
Festival Culture in John Dugger’s Bibliography 201 Contents
Quasi-Architecture, 1970–74 List of Contributors 213 Contents
Courtney J. Martin 95
Index 216 Contents
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Illustrations
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I.1 Front cover of the International Times, February 9–23, 1973. 1.2 Photograph taken during the installation of the exhibition
Cover design and photograph by George Snow. Photo A Quarter of a Century of the Beautiful Art of Alejandro
courtesy of the International Times Archive and George Otero: 1940–1965, Signals London, January 20–March
Snow. 2 19, 1966. Photo © Clay Perry, courtesy of England & Co.
Gallery, London. 27
I.2 Rose Finn-Kelcey, Here Is a Gale Warning, 1971. Black bun-
ting and silver tissue, 670 × 900 cm. Originally shown as 1.3 Photograph taken during the installation of the exhibition
part of Art Spectrum, survey exhibition of London Artists, A Quarter of a Century of the Beautiful Art of Alejandro
Alexandra Palace, London. Photo courtesy the Estate of Otero: 1940–1965, Signals London, January 20–March
Rose Finn-Kelcey. 6 19, 1966. Photo © Clay Perry, courtesy of England & Co.
Gallery, London. 28
I.3 Cecilia Vicuña, Libro Tul Rojo, from 12 Books for the Chilean
Resistance, 1973–74. Purchased in 2014 by the Tate 1.4 Invitation card for the exhibition Soundings Three, Signals
Americas Foundation courtesy of the Latin American London, August 25–September 24, 1966. Photo courtesy
Acquisition Committee. © Cecilia Vicuña. Photo courtesy of Isobel Whitelegg. 30
England & Co., London. 11
1.5 Catalogue for the exhibition Venezuela, Midland Group
I.4 John Dugger, Chile Vencera Banner in Trafalgar Square, Gallery, Nottingham, May 27–June 24, 1972. Photo cour-
1974. © John Dugger. Photo courtesy of Banner Arts tesy of Inspire—Nottinghamshire Archives. 35
Archive. 16
2.1 Stephen Willats, West London Super Girls outside the
I.5 John Dugger, The Great Martial Arts Banner (Wu Shu Centre for Behavioural Art, London, 1973. Photo courtesy
Kwan), 1976. Dyed-canvas, sewn strip banner with soft of Stephen Willats. 45
rigging (seen here installed at the Flaxman Sports Centre,
2.2 Stephen Willats, The Artist as an Instigator of Changes in
Lambeth, London). © John Dugger. Photo courtesy of
Social Cognition and Behaviour, Centre for Behavioural Art,
Banner Arts Archive. 17
London, 1973. Photo courtesy of Stephen Willats. 46
1.1 Front cover, Signalz: Newsbulletin of the Centre for
2.3a Stephen Willats, Survey of Distance Models of Art, Images
Advanced Creative Study, June 1964 (facsimile edition
sheet 1, Centre for Behavioural Art, London, 1973. Photo
published by Iniva, 1995). Photo courtesy of the Stuart
courtesy of Stephen Willats. 49
Hall Library, Iniva (Institute of International Visual Arts),
London. 23
2.3b Stephen Willats, Survey of Distance Models of Art, Images Conceptual Art in Britain, 1964–1979, 2016. © Roelof Louw.
sheet 2, Centre for Behavioural Art, London, 1973. Photo Photo © Tate, London, 2016. 78
courtesy of Stephen Willats. 49
4.2 Arts Lab, London, membership form and proposal by
3.1 Felipe Ehrenberg, A Stroll in July, or One Thursday Roelof Louw, 1967. Collection of Biddy Peppin. 79
Afternoon, or Half Day in London, or (The) Afternoon, or . . .
4.3 Roelof Louw, sculpture for the Arts Laboratory, October
Topology of Sculpture, 1970. Photo: Fondo Felipe Ehrenberg,
1967, from Studio International 177, no. 907 (January 1969):
Centro de Documentación Arkheia, Museo Universitario
35. © Roelof Louw. 80
Arte Contemporáneo, UNAM. Courtesy of Felipe
Ehrenberg. 59 4.4 Roelof Louw, Holland Park, 1967. © Roelof Louw. Courtesy
of Richard Saltoun Gallery. 82
3.2 Felipe Ehrenberg, A Stroll in July, or One Thursday
Afternoon, or Half Day in London, or (The) Afternoon, or . . . 4.5 Roelof Louw, Square 4 (Red / Light Green), ca. 1969. ©
Topology of Sculpture, 1970. Photo: Fondo Felipe Ehrenberg, Roelof Louw. Photo © Tate, London, 2016. 84
Centro de Documentación Arkheia, Museo Universitario
5.1 John Dugger, Pavilion Dugger (a.k.a. People’s Participation
Arte Contemporáneo, UNAM. Courtesy of Felipe
Pavilion), 1972. Installation at the exhibition documenta
Ehrenberg. 60
5: Befragung der Realität—Bildwelten heute, Museum
3.3 Felipe Ehrenberg, A Stroll in July, or One Thursday Fridericianum, Kassel, Germany, 1972. © John Dugger.
Afternoon, or Half Day in London, or (The) Afternoon, or . . . Photo courtesy of Banner Arts Archive. 96
Topology of Sculpture, 1970. Photo: Fondo Felipe Ehrenberg,
5.2 John Dugger, Biomass Installation, 1971. Shown at the
Centro de Documentación Arkheia, Museo Universitario
exhibition Pioneers of Part-Art, Museum of Modern Art,
Arte Contemporáneo, UNAM. Courtesy of Felipe
Oxford. © John Dugger. Photo courtesy of Banner Arts
Ehrenberg. 60
Archive. 100
3.4 Felipe Ehrenberg, Tube-O-Nauts’ Travels, a Voyage Under
5.3 John Dugger and Lorenz Dombois, architectural plan for
London, 1970. Photo: Rodolfo “Laus” Alcaraz. Courtesy of
Pavilion Dugger (a.k.a. People’s Participation Pavilion), 1972.
Felipe Ehrenberg. 62
Installation at the exhibition documenta 5: Befragung der
3.5 Felipe Ehrenberg, Tube-O-Nauts’ Travels, a Voyage Under Realität—Bildwelten heute, Museum Fridericianum, Kassel,
London, 1970. Photo: Rodolfo “Laus” Alcaraz. Courtesy of Germany, 1972. © John Dugger. Photo courtesy of Banner
Felipe Ehrenberg. 63 Arts Archive. 105
3.6 A Date with Fate at the Tate, or Tate Bait, 1970 (from left 5.4 Graham Stevens, Inflatable, 1972, atop the People’s
to right, Stuart Brisley, Felipe Ehrenberg, Sigi Krauss, and Participation Pavilion. Installation at the exhibition docu-
John Plant). Photo: Philippe Mora. Courtesy of Felipe menta 5: Befragung der Realität—Bildwelten heute, Museum
Ehrenberg. 64 Fridericianum, Kassel, Germany, 1972. Photo courtesy of
Graham Stevens. 106
3.7 Polygonal Workshop, Garbage Walk, 1970. Photo: Fondo
Felipe Ehrenberg, Centro de Documentación Arkheia, 5.5 Arts Festival for Democracy in Chile, Royal College of Art,
Museo Universitario Arte Contemporáneo, UNAM. London, 1974. © John Dugger. Photo courtesy of Banner
Courtesy of Felipe Ehrenberg. 68 Arts Archive. 110
3.8 Polygonal Workshop, Garbage Walk, 1970. Photo: Fondo 6.1 Rita Donagh, Evening Papers (Ulster 1972–74), 1973–74.
Felipe Ehrenberg, Centro de Documentación Arkheia, Oil, pencil, and collage on canvas, 140 × 200 cm. British
Museo Universitario Arte Contemporáneo, UNAM. Council Collection. © Rita Donagh. 116
Courtesy of Felipe Ehrenberg. 69
6.2 Rita Donagh, Reflection on Three Weeks in May 1970, 1971.
4.1 Roelof Louw, Soul City (Pyramid of Oranges), 1967. Oil and graphite on canvas, 152.4 × 152.4 cm. © Rita
Tate Gallery, London, presented by Tate Patrons 2013, Donagh. Photo © Tate, London, 2016. 118
T13881. Installation shot from the Tate Britain exhibition
vIII Illustrations
6.3 Rita Donagh, “taking the trouble to sound it,” 1970. Oil, 8.4 Project sigma—Public Relations—List of People Interested,
pencil, and colored pencil on hardboard, 91 × 122 cm. Arts sigma portfolio 17 (London: project sigma, December
Council Collection, Southbank Centre, London. © Rita 1964). Photo: Andrew Wilson. Reproduced courtesy of
Donagh. 121 the Estate of Alexander Trocchi. 159
6.4 Rita Donagh, Bloodstains, 1971. Pencil, gouache, and col- 8.5 Jeff Nuttall, ed., My Own Mag 15 (April 1966), showing
lage on paper, 51 × 76.5 cm. Private collection. 123 list of addresses. Photo: Andrew Wilson. Reproduced
courtesy of Jill Richards. 160
7.1 Cinema Rising, “Directory of U.K. Independent
Film-makers,” 1972. Courtesy of British Artists Film & 8.6 Jeff Nuttall, ed., My Own Mag 15 (April 1966), showing
Video Study Collection at Central Saint Martins. 135 list of addresses. Photo: Andrew Wilson. Reproduced
courtesy of Jill Richards. 160
7.2 Sally Potter, The Building, New Arts Lab, 1969. Photo: Sally
Potter © Adventure Pictures Ltd. 138 10.1 COUM Transmissions, Omissions (Kleiinie Spielinie),
Kiel, West Germany, June 1975. © BREYER P-ORRIDGE.
7.3 Sally Potter, Annabel Nicolson, and Barbara Schwartz
Courtesy the artist and Invisible Exports, New York. 186
(now Ess) at the London Filmmakers’ Co-operative ca.
1970. Photo courtesy of LUX, London. 141 10.2 Genesis P-Orridge, untitled postcard (front), 1975.
Mimeograph of collage on postcard as reproduced in the
7.4 Reel Time film performance by Annabel Nicolson, North
publication G.P.O. v. G.P-O.: A Chronicle of Mail Art on Trial.
East London Polytechnic, 1973. Photo courtesy of Annabel
© BREYER P-ORRIDGE. Courtesy the artist and Invisible
Nicolson and LUX, London. 143
Exports, New York. 189
8.1 “Hands Off Alexander Trocchi,” declaration signed by Guy
10.3 Genesis P-Orridge, untitled postcard (back), 1975.
Debord, Jacqueline de Jong, and Asger Jorn, October 7,
Mimeograph of collage on postcard as reproduced in the
1960. Photo: Andrew Wilson. Reproduced courtesy of the
publication G.P.O. v. G.P-O.: A Chronicle of Mail Art on Trial.
Debord Estate / Alice Becker-Ho. Rights reserved. 154
© BREYER P-ORRIDGE. Courtesy the artist and Invisible
8.2 “Resolution Concerning the Imprisonment of Alexander Exports, New York. 189
Trocchi,” published in Internationale situationniste 5
10.4 Photo taken in foyer of the Highbury Corner Magistrates’
(December 1960). Photo: Andrew Wilson. Reproduced
Court, London, April 5, 1976. Left to right: Richard Cork,
courtesy of the Debord Estate / Alice Becker-Ho. Rights
Colin Naylor, Genesis P-Orridge, David Offenbach,
reserved. 154
Pauline Smith, Peter (Sleazy) Christopherson.
8.3 Project sigma—Public Relations—List of People Interested, Mimeograph of photograph as reproduced in the publi-
sigma portfolio 17 (London: project sigma, December cation G.P.O. v. G.P-O.: A Chronicle of Mail Art on Trial. ©
1964). Photo: Andrew Wilson. Reproduced courtesy of BREYER P-ORRIDGE. Courtesy the artist and Invisible
the Estate of Alexander Trocchi. 158 Exports, New York. Photo: Barbara Reise. 193
Ix Illustrations
