Jill Randall – Tate Project

2 exciting things  today-

1. Finally got to see some archival photos of artist on industry residencies.VERY QUIET IN THE ARCHIVE THIS MORNING!!

2. I  will also be attending an apg discussion in conjunction with the exhibition at Raven Row, with the famous Barbara Steveni on the panel tonight, which I’m very excited about.This is the Event:-

http://www.ravenrow.org/current/

“APG and John Latham Tuesday 23 October, 6.30pm  This fourth public discussion based on APG’s discursive format The Sculpture looks at the complex and often problematic position of John Latham within APG. His ‘time-based’ theories according to which space and objects are displaced by time and events, played a significant role in how APG identified itself and defined his work on placement with the Scottish Office and the National Coal Board. His re-configuration of the artist as an ‘incidental person’ led to conflict amongst the Group’s members. This discussion – moderated by Claire Louise Staunton (Director of Flat Time House) with participants including Clive Phillpot, Gavin Wade, Antony Hudek and Barbara Steveni – will address to what extent Latham’s work and ideas have come to shape what we know as APG.”

Some interesting points from the event. I hadn’t realised how APG had strong early links with the art schools, especially St Martins and the Head Frank Martin. Also the origins of sculpture in steel and “new” materials, using industrial materials in a new context,  and the famous visit of Anthony Caro to David Smith (one of my favourite sculptors), and the beginnings of a steel sculpture tradition in the UK. It also had early associations with many important and influential artists and movements, including Fluxus, Joseph Beuys and Yoko Ono.

There was also discussion about the subversive nature of APG – That it didn’t set out to be subversive, but it WAS SUBVERSIVE by its very nature. APG artists were”feral”, according to John Latham, free and wild, working on an “Open Brief”, free of bureaucracy, rather than domesticated, “tamed” animals,  dancing to someone else’s tune. The subversive element is missing now, artists collude doing residencies and work with communities. Artists need to recapture this subversion. I have been reading the book “Artificial Hells-Participatory Art and the Politics of Spectatorship by Claire Bishop-and this talks about early community art being subversive and radical, a political act.

TGA 20042/2/1/1/1 4 of 4. Conclusion of Report…”

The need of industry-to make technology more interesting and more humanised as recommended in the Dainton report (Para 168).To find a method of conducting public relations that is not “prestige” and not merely “advertising”. The next period will probably see public education as the form of company P.R. in which the artist-innovator could be a key individual, especially in expert fields.

The need of the Public-to have artists as educators. To have them related to their own lives and on a scale compatible with function.

The need of Artists-To have the occupation validated as a profession. For a context which is more widely related to the public than the present gallery system…..” This is impressive pioneering stuff!!!

By providing the means for such artists to find a sympathetic industrial placement APG can look for benefit to those involved in some or all of the following ways:-

The artist may further his overall creative development and the ideas which made him a suitable choice for the placement.

the individuals within the host undertaking who are close enough to the artist to be aware of the thought processes involved in his work, may absorb stimulus for their own intellectual development.

the artist may similarly absorb mental disciplines and technological understanding helpful to his future development.

the host undertaking may be stimulated to experiment with materials or organisation in response to the artist’s unorthodox methods, or simply his presence.

the individual may be encouraged to re-appraise his attitude toward his work and the group within which it is performed.

Nice little quote TGA 20042/1/2/ 24/11 (on back) Simple manifesto

“ In 1966 a number of people who saw a much wider application for art than hitherto, got together to form an organisation which they called Artist Placement Group-A.P.G. They began to research and advise certain branches of industry on ways in which artists, currently working in the materials and processes of the day, could be associated with industrial concerns…..and on how industry would benefit deeply and positively from this association. Of course it does sound strange. New ideas and developments often do. This project needs serious thought and demonstration to be full understood and put to use.A.P.G. has to research, to explain, to demonstrate-person by person, industry by industry….

 TGA 20042/1/2/ 21 Correspondence with Industry. ‘Esso.Case History’

1972-74 Artist Andrew Dipper? Interesting report from artist on his Esso Residency (on a tanker) and observations and ideas for improvements.Developed social contacts and friendships and undertook same tasks as workers as one of crew. Studied communication and 24-hour cycle of work on ship.Took polaroid photos and sound recordings. Observed boredom among crew, anxiety, and offered solutions.,

TGA 20042/1/2/ 21/5 Report on Meeting with Esso Nov 19th 1970.

..”BL took up the story and gave the British Oxygen example-how the apprentices at Edmonton suddenly saw the beauty of the materials they were working with etc..” This sounds interesting-must follow it up.

TGA 20042/1/2/ 19/18/1 Aug 6th 1969 Report on Meeting with Dunlop: Barbara Latham said of Barry Flanagan’s work..

“His ideas had already been taken up by designers.What would come about from having this type of mind in at the beginning of the process, rather than at the end? – this was what apg was about.”

And this is the legacy you see today in the best public art commission briefs-to involve the artist with architects, landscape architects, planners from the outset rather than decorating a building afterwards-something more integral-again a legacy traceable back to apg.