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A critical study of the life of art criticism in the 1970s, this volume traces the evolution of art and art criticism in a pivotal period in post-war British history. JJ Charlesworth explores how art critics and the art press attempted to negotiate new developments in art, faced with the challenges of conceptualism, alternative media, new social movements and radical innovations in philosophy and theory. This is the first comprehensive study of the art press and art criticism in Britain during this pivotal period, seen through the lens of its art press, charting the arguments and ideas that would come to shape contemporary art as we know it today. This book will be of interest to scholars working in art history, British cultural history and history of journalism.
"A critical study of the life of art criticism in the 1970s, this volume traces the evolution of art and art criticism in a pivotal period in post-war British history. JJ Charlesworth explores how art critics and the art press attempted to negotiate new developments in art, faced with the challenges of conceptualism, alternative media, new social movements and radical innovations in philosophy and theory. This is the first comprehensive study of the art press and art criticism in Britain during this pivotal period, seen through the lens of its art press, charting the arguments and ideas that would come to shape contemporary art as we know it today. This book would be of interest to scholars working in art history, British cultural history, and history of journalism"--
John Walker brings to vivid life a neglected period in twentieth-century art history. He re-creates a time when visual fine artists, under the impact of left-wing politics, women's liberation and the gay movement, were seeking to re-establish a social purpose. His story is one of a struggle for art by contending factions in the art world, in which artists, curators, critics and organisations - both establishment and alternative - key exhibitions, galleries and magazines, all play a part. He offers welcome insight into the work of the key players and the many forms they used to express radical engagement in the events of the decade.
This collection of essays highlights the variety of 1970s culture, and shows how it responded to the transformations that were taking place in that most elusive of decades. The 1970s was a period of extraordinary change on the social, sexual and political fronts. Moreover, the culture of the period was revolutionary in a number of ways; it was sometimes florid, innovatory, risk-taking and occasionally awkward and inconsistent. The essays collected here reflect this diversity and analyse many cultural forms of the 1970s. The book includes articles on literature, politics, drama, architecture, film, television, youth cultures, interior design, journalism, and contercultural “happenings”. Its coverage ranges across phenomena as diverse as the Wombles and Woman’s Own. The volume offers an interdisciplinary account of a fascinating period in British cultural history. This book makes an important intervention in the field of 1970s history. It is edited and introduced by Laurel Forster and Sue Harper, both experienced writers, and the book comprises work by both established and emerging scholars. Overall it makes an exciting interpretation of a momentous and colourful period in recent culture.
What makes art 'feminist art'? There can be no essential feminist aesthetic, argues Kathy Battista in this exciting new art history, although feminist artists do have a unique aesthetic. Domesticity, the body, its traces, and sexuality have become prominent strands in contemporary feminist practice but where did these preoccupations begin and how did they come to signify a particular type of art? Kathy Battista's (re- ) engagement with the founding generation of female practitioners centres on 1970s London as the cultural hub from which a new art practice arose. Emphasizing the importance of artists including Bobby Baker, Anne Bean, Catherine Elwes, Rose English, Alexis Hunter, Hannah O'Shea and Kate Walker, and examining works such as Mary Kelly's "Post-Partum Document", Judy Clark's 1973 exhibition Issues and Cosey Fanni Tutti's "Prostitution", shown in 1976, Kathy Battista investigates some of the most controversial and provocative art from the era.
Art theory', understood as those forms of aesthetics, art history and criticism which began in the Enlightenment and culminated in 'high modernism', is now at an end. These essays, examining the interdependencies of advertising, film, painting and photography, constitute a call for a 'new art theory' - a practice of writing whose end is to contribute to a general 'theory of representations': an understanding of the modes and means of symbolic articulation of our forms of sociality and subjectivity.
Women’s Experimental Poetry in Britain 1970–2010 presents the history and current state of a critically neglected, significant body of contemporary writing and places it within the wider social and political contexts of the period.
Although the integration of sculpture in gardens is part of a long tradition dating back at least to antiquity, the sculptures themselves are often overlooked, both in the history of art and in the history of the garden. This collection of essays considers the changing relationship between sculpture and gardens over the last three centuries, focusing on four British archetypes: the Georgian landscape garden, the Victorian urban park, the outdoor spaces of twentieth-century modernism and the late-twentieth-century sculpture park. Through a series of case studies exploring the contemporaneous audiences of gardens, the book uncovers the social, political and gendered messages revealed by sculpture's placement and suggests that the garden can itself be read as a sculptural landscape.
In this three-volume series, editor Jessica Wyman assembles essays that consider the developments and directions of the use of text in visual art, exploring what personal, social or political motivations inspire artists to use text and how text-based art is understood. Volume 1 examines the use of text in concept-based art.
Contrary to critics who have called it the “undecade,” the 1970s were a time of risky, innovative art—and nowhere more so than in Britain, where the forces of feminism and labor politics merged in a radical new aesthetic. In Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s Britain. Her sustained exploration of works of experimental film, installation, performance, and photography maps the intersection of feminist and leftist projects in the artistic practices of this heady period. Collective practice, grassroots activism, and iconoclastic challenges to society’s sexual norms are all fundamental elements of this theoretically informed history. The book provides fresh assessments of key feminist figures and introduces readers to less widely known artists such as Jo Spence and controversial groups like COUM Transmissions. Wilson’s interpretations of two of the best-known (and infamous) exhibitions of feminist art—Mary Kelly’s Post-Partum Document and COUM Transmissions’ Prostitution—supply a historical context that reveals these works anew. Together these analyses demonstrate that feminist attention to sexual difference, sex, and psychic formation reconfigures received categories of labor and politics. How—and how much—do sexual politics transform our approach to aesthetic debates? What effect do the tropes of sexual difference and labor have on the very conception of the political within cultural practice? These are the questions that animate Art Labor, Sex Politics as it illuminates an intense and influential decade of intellectual and artistic experimentation.