Jill Randall – Tate Project

“…That the natural qualities of artists, such as the ability to find new solutions to problems, generate self-sufficent systems, indicate new ways of seeing, are urgently needed now. That these qualities are as important as similar qualities coming from the scientific disciplines and could well be applied to the real world of governments, organisations and Read more

Today before going to the Tate, I visited a number of shows in Islington, north London, an area I’m not familiar with. Getting off the Underground at Angel, I walked along the Regents Canal-an area reminiscent of the North (also reminded me of Oslo, which I visited recently), with converted warehouses and industrial units, as Read more

Before going to the Tate today, I visited the remarkable “Death-a Self-Portrait” at the Wellcome Collection. Check it out here at http://www.wellcomecollection.org/whats-on/exhibitions/death-a-self-portrait.aspx With my interest in Day of the Dead in Mexico, and relics and reliquaries in medieval Europe, this was very exciting – its all from the collection of one man, Richard Harris. I Read more

Today I looked at the direct experiences of artists working in industry.Its amazing how articulate these artists were-was it because a lot of them taught in art schools?-they were able to theorise their work and approach, and describe and quantify experiences really well.Did this validate them and APG? What about very good but very inarticulate Read more

More thoughts from the “UK Industry in Transition” event at Raven Row on Monday night. APG are talked about in radical terms, but the evidence for their achievements is elusive. Words like “suppressed” (Barbara Steveni’s own words), underground, overlooked, even invisible are used in reference to them.Why is there so little evidence? So little critical Read more

Started my 4th visit to the Tate Archive by chatting to one of archivers who was at the Raven Row event last night-was interesting to discuss it with him and formulate my questions for Barbara Steveni, especially exactly why it was that the industry bosses said yes to the artist placements, and yes to the Read more

Back in London again today.Visited the new display at Tate Modern, “Structure and Clarity”, with stunning works by one of my favourite sculptors Pedro Cabrita Reis and some remarkable constructions in galvanised steel air ducting by Charlotte Posenenske from the 60s. Click on images for full information. In the evening, I was back at Raven Read more

Today I went back to spend some time at the excellent APG Show at Raven Row with my friend artist and academic Michaela Ross, who works at the Tate. We bumped into Barbara Steveni at the gallery who invited me to an event on 19th Nov at Raven Row – a very relevant panel discussion Read more

I spent a lot of time studying an issue of “Aspects” magazine No 24, Autumn 1983 TGA 20042/5/2/6/2 APG., which included reports on student placements at 4 art schools – Newcastle, Bradford, Manchester and Dartington, and the new courses – like Art & Design in Social contexts, which were just springing up.  Being a student Read more

  Today, I finally got to meet APG Founder and driving force, artist Barbara Steveni, still glamorous and charismatic after all these years! I attended an event, “The Report” at the UAL (University of the Arts London-CCW- Chelsea, Camberwell, Wimbledon Graduate School at Chelsea College of Art and Design) at its campus a stone’s throw Read more