Tate Britain / APG


Jill Randall has recently undertaken a research project at Tate Britain, studying the APG (Artist Placement Group) Archive .The APG is currently the focus of a huge reappraisal and resurgence of interest in the era from which they emerged, their uncompromising ideals, and their influence on the course of contemporary art.
The maxim of the APG  was “Context is half the work”, one of the driving forces in the last 50 years in fine art practice, is also a concept which underpins Randall’s practice. The research has enabled her to reflect on and contextualise her own industry residencies within their art-historical and sociological frameworks.Please click on the link below to visit Jill’s blog devoted to her ongoing research into the APG.


Jill Randall in Residence at Magnesium Elektron.Tate Britain.

The research project at Tate Britain was a highly-productive  experience, resulting in a substantial body of written material from which Randall is submitting an article for ‘Tate Papers’, the Tate’s flagship on-line journal. .Other outcomes include a new body of artworks, sculpture and prints ,  an on-line ongoing blog, documenting the progress of the project, and 2 short Residencies in conjunction with B.A. Visual Arts students at the University of Salford,  at Flat Time House, London (home to the John Latham Archive.)  in  2013 and 2014, testing APG ideas in the 21st century.
Jill Randall has established a continuing relationship with the APG Archive and Tate Britain, and prominent artists and curators associated with the movement. As part of her research, Randall has met APG founder Barbara Steveni, and hopes to do a taped interview with her, the transcript informing a proposed “Tate Papers” article and subsequent artwork created as a direct result of original research into the APG Archive and associated contexts.
Jill Randall is interested in working with the APG Archive from the perspective of a practising artist, unleasing its potential to influence and originate new creative work in response to it as a ‘living’ rather than ‘dead’ body of  material.