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LEFT SHIFT: RADICAL ART in 1970S BRITAIN

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LEFT SHIFT: RADICAL ART in 1970S BRITAIN 1st Revise 22/10/01 138 X 216mm LEFT SHIFT 1st Revise 22/10/01 138 X 216mm This book is dedicated to the memory of Jo Spence (1934–92), the bravest woman I knew during the 1970s 1st Revise 22/10/01 138 X 216mm LEFT SHIFT RADICAL ART IN 1970s BRITAIN JOHN A. WALKER I.B.Tauris Publishers LONDON . NEW YORK 1st Revise 22/10/01 138 X 216mm Published in 2002 by I.B.Tauris & Co Ltd 6 Salem Road, LondonW2 4BU 175 Fifth Avenue, NewYorkNY 10010 www.ibtauris.com In the United States of America and in Canada distributed by St Martin’s Press, 175 Fifth Avenue, NewYorkNY 10010 Copyright # John A.Walker, 2002 The right of John A.Walker to be identi¢ed as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN1 86064 hardback ISBN1 86064 paperback A full CIP record for this book is available from the British Library A full CIP record for this book is available from the Library of Congress Library of Congress catalog card: available Project Management by SteveTribe, London Printed and bound in Great Britain by MPG Books Ltd 1st Revise 22/10/01 138 X 216mm Contents List of illustrations vii Acknowledgements ix Introduction 1 Chapter 1: 1970 21 Chapter 2: 1971 44 Chapter 3: 1972 65 Chapter 4: 1973 91 Chapter 5: 1974 111 Chapter 6: 1975 137 Chapter 7: 1976 157 Chapter 8: 1977 182 Chapter 9:1978 208 Chapter 10: 1979 230 Conclusion: Aftermath 253 Notes 259 Bibliography 275 Index 279 v 1st Revise 22/10/01 138 X 216mm 1st Revise 22/10/01 138 X 216mm Illustrations 1. Trevor Sutton,The Savage ’70s, photomontage for the cover of the Illustrated London News,Vol 267, No 6977 (1979) 14 2. Peter Kennard, Kent State (1970) 27 3. Gustav Metzger, Mobbile (1970) 30 4. Jamie Reid, Supermarket Images and Sticker (1974) 42 5. Artist Placement Group,‘The Sculpture’ (1971) 56 6. RichWandel, Photo of Agit-Prop photomontage mural, designed by Mario Dubsky and John Button (1971) 61 7. Joseph Beuys, Information Action (February1972) 69 8. Stuart Brisley, ZL 656395 C (1972) 73 9. Cover of the Artists’ Union Newsletter, No 1 (1972) 84 10. John Dugger and David Medalla, People Weave a House, four photos showing events and wall newspapers at the ICA (1972) 88 11. Vaughan Grylls, An Indo-Chinese Punsculpture (1973) 95 12. StephenWillats,The Edinburgh Social Model Construction Project, State Change Structure (1973) 99 13. Monica Sj˛˛, God giving Birth (1968) 105 14. Victor Burgin, Lei Feng (1973/4) 121 15. John Dugger, ChileVencera (1974) 123 16. Rita Donagh, Evening Newspapers (1974) 129 17. Art & Language, DesWarren (1975) 141 18. PaulWombell, Immigrant Labour (1975) 142 19. Inter-Action, CommunityVideo Project, Lissom Green Adventure Playground (1974) 154 20. Poster/Film Collective, Grunwick Strike Poster (1976 or ’77) 161 21. TerryAtkinson, Privates Shrapnel-Face and Shrapnel-Face, 15th Durham Light Infantry, 64th Brigade, 21st Division, VII Corps. Near Heninel, 9th April 1917 (1976) 169 vii 1st Revise 22/10/01 138 X 216mm ILLUSTRATIONS 22. ‘Art & Social Purpose’ issue of Studio International,Vol191, No 980 (1976) 176 23. William Furlong, Bruce McLean and others, Academic Board (1976) 180 24. Jordan as Britannia in Derek Jarman’s Jubilee,(1978) 190 25. Conrad Atkinson, Silver Liberties. A Souvenir of a Wonderful AnniversaryYear (1978) 193 26. Rasheed Araeen, Paki Bastard (1977) 196 27. Art & Language, Ils donnent leur Sang: donnez votre Travail (1977) 202 28. Margaret Harrison, Rape (1978) 216 29. David Binnington, Public Mural at Royal Oak (1976^77) 222 30. Michael Sandle, ATwentieth Century Memorial (1971^78) 228 31. Dan Jones,Who Killed Blair Peach? (1979) 237 32. Denis Masi,YARD (Canes Lupi) (1978^79) 241 33.JoSpence&TerryDennett,Jo Spence in the Nude, Middle Aged, and as a Baby (1979) 246 viii 1st Revise 22/10/01 138 X 216mm Acknowledgements I am grateful to Philippa Brewster for her editorial skills and encour- agement; and to Paul Overy for his useful comments on early drafts of this text. Thanks are also due to all the artists, critics and others who granted interviews or provided information and photographs for the illustrations: Art & Language, Conrad and Terry Atkinson, Derek Boshier, Jenni Boswell-Jones of And Association, Guy Brett, Andrew Brighton of Tate Modern, Rosetta Brooks, Judy Clark, Brigit Collins of the TUC Library Collections at the University of North London, Emmanuel Cooper, Anneliese Davidsen of the Greenwich MuralWork- shop, Terry Dennett of the Jo Spence Memorial Archive, Gen Doy, John Dugger of Banner Arts, Elizabeth Ellett of the Elizabeth Garrett Anderson Hospital Appeal Trust, William Furlong, The Gay Archive at Cat Hill, Middlesex University Library, Andrew Glew of the Tate Gallery Archive, Pamela Gri⁄n of the Hayward Gallery, Janeen Haythanthwaite of the Whitechapel Art Gallery archive, Charles Harrison, Margaret Harrison, Michael Hazzledine, Susan Hiller, Breck Hostetter of Ronald Feldman Fine Arts, New York, Beth Houghton of the Tate Gallery’s Library, Kay Fido Hunt, Dan Jones, Peter Kennard, Derek Manley, Denis Masi, Vanessa Marshall of the BFI stills library, Gustav Metzger, Jonathan Miles, Neil Mulholland, Frances Murray of theWhitworth Art Gallery, Manchester, Clive Phill- pot, Richard Pitkin of the Illustrated London News, Nicholas Ross, Francis Routh, Maureen Scott, Barbara Steveni of O + I, John Steza- ker, Brandon Taylor, Nicholas Wegner of CV Publications, Stephen Willats, Paul Wombell, Paul Wood; and ¢nally, the sta¡ of Greenwich Public Libraries and their Local History Collection. While every e¡ort has been made to trace the copyright holders of the illustrations, the author and publisher would be glad to hear from any we have not been able to reach. ix 1st Revise 22/10/01 138 X 216mm 1st Revise 22/10/01 138 X 216mm Introduction Is the art of the 1970s to su¡er a fate similar to that of the 1930s, which has so often been presented as innovatively dull and empty, not worthy of much consideration? Ian Burn1 Visual culture in Britain during the 1960s has been celebrated and documented in numerous books, articles and exhibitions, but that of the following decade ^ especially its ¢ne arts ^ much less so. Did nothing happen in the 1970s aside from glam rock and punk, disco music and Saturday Night Fever, platform shoes and bell-bottomed pants, jogging, skateboarding, streaking, Star Wars and Charlie’s Angels? Arguably, the 1970s is still a neglected decade despite the fact that there have been a number of general histories, nostalgic stylistic revivals, books and exhibitions about conceptual art and two books and several essays on the art of the 1970s in Britain and the United States. Indeed, such is the decade’s invisibility that some writers have dubbed it: ‘the undecade’,‘the decade that style or taste forgot’, and the critic Peter Fuller once wrote an essay that asked: ‘Where was the art of the seventies?’2 According to Mel Gooding, many people regard the decade as an ‘interim’ period ‘without excitement’ or a ‘spirit’, while Jasia Reichardt remembers the 1970s as ‘perplexing and paradoxical . a period of contraction, diminution and lack of opulence’. Others consider that there was no ¢ne art of note produced during the 1970s, or that there was no major movement/dominant style, simply a condition of frag- mentation and pluralism. For example, Stuart Bradshaw, writing in 1981, discerned 1 1st Revise 22/10/01 138 X 216mm LEFT SHIFT: RADICAL ART IN 1970s BRITAIN . a loss of centre in contemporary art; a re£ection, I think, of a deeper loss of centre in society as a whole . In the seventies the optimism, faith in the future, and the belief in a mainstream largely disappeared. Art became fragmented into separate areas, none of which could hold the centre in the sense of supplying a dominant stylistic idiom or set of con- cerns or beliefs.3 It is certainly the case that there were various mini-movements and tendencies running in parallel. However, this book’s argument is that what was new and signi¢cant about art in Britain during the 1970s was its repoliticization and feminization, its attempt to reconnect to society at large (even though this was not exclusive to Britain because similar developments occurred in Germany and the United States). This shift to the Left provides a unitary theme; consequently, the book claims to be a history of 1970s visual art (excluding archi- tecture), not the history. Conrad Atkinson, the artist, observed in 1979: Contrary to the myth being spread by the media to the e¡ect that the visual arts £ourished magni¢cently in the 60s, and the 70s have produced little, the 70s and particularly the last four years have seen a strong and vital progressive movement which has begun to approach reality through a number of areas directly related to social and political questions.4 The critic Guy Brett concurred. In 1981, he wrote: It is often said that the 1960s saw a wonderful £owering of the visual arts in Britain, but that in the ’70s it all vanished. In fact, the ’70s produced a di¡erent kind of movement, a remarkable growth of political and social con- sciousness among artists.5 In addition, in 1988, the artistJohn Hilliard recalled: Squeezed between the carefree Swinging Sixties and the commodity-con- scious Eighties, it was also a decade of austerely radical art, severely 2 1st Revise 22/10/01 138 X 216mm INTRODUCTION ascetic in its uncompromising purity, the product of a cultural moment when a generation of young artists genuinely seized the time, exerting seminal in£uence in an international arena .
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