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Pauline Boty Book PRESS RELEASE – FOR IMMEDIATE USE ISSUE DATE – 11 SEPTEMBER 2013 PAULINE BOTY: POP ARTIST AND WOMAN WOLVERHAMPTON ART GALLERY PUBLICATION DATE: 5 SEPTEMBER 2013 NEW BOOK REVEALS THE STORY OF POP ART’S PAULINE BOTY In September 2013, WAVE - the museums, galleries and archives of Wolverhampton – publishes Pauline Boty: Pop Artist and Woman by Dr Sue Tate. Long overdue, this is the first comprehensive study of the artist’s life and work, and fully restores Pauline Boty to her rightful place in Pop. The publication coincides with a major retrospective at Wolverhampton Art Gallery (1 June - 16 November 2013). Pauline Boty (1938-66) was a key member of the British Pop Art movement and one of the few women who made names for themselves in the genre. An ambitious and talented artist, she was also a beautiful and sensuous player on the 60s ‘swinging London’ scene. Studying at the Royal College of Art she was a friend and colleague of Peter Blake, David Hockney, Derek Boshier and Peter Phillips, with all of whom she exhibited. Her vibrant body of collages and paintings explore sexuality, mass cultural pleasures, politics and gender from a rarely seen woman’s perspective, enriching the male-dominated Pop movement. Yet when she died in 1966 from cancer, aged only 28, she disappeared from cultural view for nearly 30 years. This richly illustrated book follows Boty from unusual family and then highly fortuitous educational circumstances at Wimbledon School of Art (where she acquired the nickname The Wimbledon Bardot), to the Royal College of Art. The book provides insight into the College at a specific moment in history with statistical evidence demonstrating the difficulties women had to face. Author Sue Tate also argues that the attitude towards women at the College at the time dented Boty’s confidence, however it returned when she began to exhibit, and was featured in Ken Russell’s Pop Goes the Easel - an innovative film for the BBC’s Monitor series, produced in 1962. Charismatic, innovative, politically radical, beautiful, much adored, Boty made an impact at the time. She acted on screen and stage, danced on Ready Steady Go, delivered witty and sometimes vitriolic monologues on a trendy radio magazine programme The Public Ear. Yet she also encountered difficulties in gaining and maintaining cultural visibility as an artist. Pauline Boty: Pop Artist and Woman challenges the reader to re-think the story of the 60s from a woman’s point of view and, through the examination of this particular life, addresses key questions - why were there so few women Pop Artists, and why did those few become marginalized in or excluded from Pop histories? Supported by full colour reproductions, the iconography, style and meaning of her clever and well received collages are explored fully as are the celebratory, mature Pop paintings. Marilyn Monroe, with whom Boty closely identified, features several times and, using her distinctive style of ‘painted collage’, she expressed the emotive experience of the Pop culture fan. Also finding form for an autonomous female sexuality, she turned her lustful gaze on male, heterosexual objects of desire, like the New Wave film star Jean-Paul Belmondo and declared “Oh For A Fu…” on a banner in the painting 5-4-3-2-1 (1963). The Cuban Revolution, Kennedy’s assassination, the Alabama race riots are all grist to her artistic mill and important late paintings entitled It’s a Man’s World I (1964) and II (1964/5) are seen as the culmination of a strand of feminist critique that runs throughout her oeuvre. Dr Sue Tate (Research Fellow at the University of the West of England) is the leading art historical expert on Boty. She draws on extensive research including unpublished material gleaned from family, friends and institutional archives to reveal the woman behind the artist. The significance of Boty’s important contribution to Pop Art is demonstrated fully and she is also placed in the trajectory of women artists’ engagement with mass culture that runs from Hannah Hoch in the early 20th century through to Tracey Emin today. Offering both a celebration and a critique of mass cultural experience, it is a body of work that has very real resonance for a current audience. Since 1998, when the Tate Gallery bought The Only Blonde in the World (1963) from an exhibition at the Whitford Fine Art and Mayor Galleries (co-curated by the author), Boty has been included in all histories and exhibitions of Pop and 60s art. Currently the exhibition at Wolverhampton Art Gallery has brought national attention to her work. Interest is running high – the time is ripe for this full exploration of Pauline Boty: Pop Artist and Woman. ENDS NOTES TO EDITORS For more information and images, or to request a review copy of the publication, please contact Rebecca Morris (Promotions & Operations Manager) [email protected] or Charli Hill (Cultural Promotions Officer) [email protected] 01902 552040 Pauline Boty: Pop Artist and Woman Author: Sue Tate Publisher: Wolverhampton Art Gallery, supported by the Paul Mellon Foundation & the Friends of Wolverhampton Art Gallery & Museums. 144 Pages, 265mm x 210mm. 83 colour illustrations, 32 in black and white. Paperback. Price £15. ISBN: 978-0-947642-30-3. Publication date: 5 September 2013 This publication is available to order by telephoning 01902 552055 and online through Amazon.co.uk. Review copies are available free of charge to journalists; please contact the press team to request your copy. Dr Sue Tate is a freelance art historian and Research Fellow at the University of the West of England and for over 20 years was a Senior Lecturer in Visual Culture. She is the leading art historical expert on Pauline Boty who was the central case study in her PhD (2004). Supported by an Arts Council Grant, she has rediscovered lost works and has brought wider attention to Boty’s life and works in a number of publications, an exhibition she co-curated in 1998 and public lectures (some under her former name Sue Watling). She is the co-curator of the monographic exhibition Pauline Boty: Pop Artist and Woman at Wolverhampton Art Gallery, 2013. The exhibition Pauline Boty: Pop Artist and Woman (Wolverhampton Art Gallery, 1 June - 16 November 2013) is the first public exhibition to explore the work and career of Pauline Boty (1938-1966), a key member of the British Pop Art movement. It reinstates her at the forefront of British Pop Art. This exhibition features over 40 works from private and public collections and it includes works which have not been seen for over 40 years. Largely overshadowed by her male Pop Art counterparts until recently, Boty was one of the few women associated with the Pop Art movement and she produced a vibrant body of work. She is now acknowledged as one of the leading exponents of the Pop Art genre. Wolverhampton Art Gallery is holding a Women and Pop Art Symposium on Friday 27 September 2013, which will explore themes around women and Pop Art, establishing and reassessing their role and contribution to the movement. This will include a keynote lecture by the exhibition’s Co-curator, Dr Sue Tate. Images available on request Wolverhampton Art Gallery, Lichfield Road, Wolverhampton, West Midlands, WV1 1DU is open Monday to Saturday 10am-5pm, free entry. Tel: 01902 552055 Wolverhampton Art Gallery is part of WAVE, the Museums, Galleries and Archives of Wolverhampton, and is run by Wolverhampton City Council. www.wolverhamptonart.org.uk WAVE is a National Portfolio Organisation of Arts Council England .
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