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Is= sue=20 3 =20

The British Avant Garde: A Joint Venture Between the New York = Cultural Center and Studio International Magazine

Essay=20 by Jo Melvin=20

Studio International, 181, no. 933 = (May=20 1971), pp. 220=E2=80=9321

Digital image courtesy of Gilbert & George

Credit

=20

Is= sue=20 3 - Summer 2016

1970s:=20 Out of Sculpture, by Elena Crippa=20

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Abstract

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This essay considers the relevance of The British Avant = Garde=20 exhibition at the New York Cultural Center in 1971 to the reputation and = discussion of British artists in the US, and its subsequent impact in = Britain.=20 It situates the exhibition with reference to Conceptual Art and = Conceptual=20 Aspects at the NYCC and Information at the Museum of Modern = Art,=20 both held in 1970, and within the background milieu of a lively = transatlantic=20 and multi-directional network of artists such as Terry Atkinson, Michael = Baldwin, Ian Burn, Barry Flanagan, Dan Graham, Joseph Kosuth, Christine = Kozlov,=20 Richard Long, Mel Ramsden, Sol LeWitt and Lawrence Weiner, who were = developing=20 alternative ways to make and to distribute work by using text, = photocopies, and=20 self-publication as forms of production as well as becoming the site of=20 exhibition. Devised by Charles Harrison, assistant editor of Studio = International magazine, the exhibition was a collaboration between = the=20 magazine and the NYCC, directed by Donald Karshan. Despite the mixed = press=20 reviews in New York, the exhibition paved the way for establishing = institutional=20 support for the artists in the UK.

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In May 1970, Charles Harrison, assistant editor of Studio=20 International magazine, was in New York on a research trip when = Joseph=20 Kosuth introduced him to Donald Karshan, founding director of the New = York=20 Cultural Center (NYCC). Karshan=E2=80=99s launching exhibition, = Conceptual Art and=20 Conceptual Aspects, had just opened with great = aplomb=E2=80=94during the private=20 view searchlights were beamed from the building into the night sky.¹ It created a stir; =E2=80=9CXeroxophilia = rages out of=20 control=E2=80=9D, was Hilton Kramer=E2=80=99s response in the New = York Times. Kramer=20 was bemused by the thought of text presented as art and failed to make=20 connections between synchronicity, duplication, and multiples. He = grudgingly=20 reported that Kosuth=E2=80=99s Information Room, where the = viewer was invited=20 to read a variety of books and magazines on philosophy and art = criticism, was=20 the =E2=80=9Cbest thing=E2=80=9D in the show.² The director=E2=80=99s statement was not = included in the=20 exhibition catalogue, which was devoid of explanatory text, but it was = on hand=20 at the venue to justify what Karshan termed =E2=80=9CPost-Object = Art=E2=80=9D. This term built=20 on some considerations of new art raised by David L. Shirey in a = two-part=20 feature with Thomas M. Messer (director of the Solomon R. Guggenheim = Museum)=20 called =E2=80=9CImpossible Art=E2=80=9D. Messer outlined its = characteristics as follows:=20 =E2=80=9Cextreme fragility . . . [it] moves towards invisibility, = disembodiment and=20 sheer non-existence . . . It is useless to all but those who would = accept it for=20 its own sake.=E2=80=9D³Shirey located the artists=E2=80=99 work in = categories of=20 practice as =E2=80=9Cearthworks, waterworks, skyworks, nihilworks and = thinkworks=E2=80=9D.4 The last two terms focused = Karshan=E2=80=99s assertion=20 that

[at] the end of the 20th century we now know that art does = indeed=20 exist as an idea . . . and we know that quality exists in the thinking = of the=20 artist, not in the object he employs=E2=80=94if he employs an object = at all. We begin=20 to understand that painting and sculpture are simply unreal in the = coming age=20 of computers and instant travel.⁵

The article reached a broader and more international audience when it = was=20 published later that year in Studio International. Harrison = considered=20 it to be something of a =E2=80=9Ccoup=E2=80=9D, and =E2=80=9Cthe first = time a serious discussion of=20 conceptual art=E2=80=9D was aired in the British art press.⁶ Karshan=E2=80=99s essay, =E2=80=9CThe = Seventies: Post-Object Art=E2=80=9D,=20 written for Conceptual Art and Conceptual Aspects but, as = noted, not=20 included in the catalogue, explained the shift from painting and = sculpture to=20 =E2=80=9Cidea art=E2=80=9D, =E2=80=9Canalytic art=E2=80=9D, or work = foregrounding a =E2=80=9Cconceptual aspect=E2=80=9D.⁷

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Writing in the New York Times, Peter Schjeldahl found the = exhibition=20 almost free of visual stimulation but vigorous in its =E2=80=9Cscholarly = austerity=E2=80=9D; for=20 him it presented a distinct contrast with the =E2=80=9Cflea = market=E2=80=9D organization of the=20 Information exhibition at the Museum of Modern Art. He remarked = that=20 =E2=80=9Cenough gifted young artists had taken to working in or around = [conceptual art]=20 to guarantee its influence for a long time.=E2=80=9D⁸ In contrast, Information was = broadly scoped=20 like Messer and Shirey=E2=80=99s =E2=80=9CImpossible Art=E2=80=9D to the = surveyed variety of practices=20 preoccupying artists. And unlike the NYCC exhibition, it was not = restricted to=20 Anglo-British artists but included artists seen in the US for the first = time=20 from South America and Eastern Europe. Nonetheless, Karshan was anxious = to get=20 attention for what he hoped would become NYCC=E2=80=99s radical = programme, and to get=20 the exhibition opening before the Museum of Modern Art=E2=80=99s much = longer planned=20 exhibition was important to him.

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The evolution of Conceptual Art and Conceptual Aspects bears = a=20 relation to the The British Avant Garde show devised by = Harrison which=20 was also held at the NYCC a year later. A series of exchanges = consolidated=20 relationships between British and US, particularly New York City-based,=20 conceptual art practices. Terry Atkinson and Michael Baldwin had stayed = in the=20 city and established contact with Sol LeWitt, Dan Graham, and Joseph = Kosuth,=20 amongst others. Baldwin and Atkinson devised a collaborative practice = from 1966.=20 Two years later, in association with David Bainbridge and Harold = Hurrell, they=20 adopted the term Art & Language. Ian Burn worked collaboratively = with Roger=20 Cutforth and Mel Ramsden, and in 1969 they formed The Society for = Theoretical=20 Art and Analyses, through which they published text-based art.⁹ The first issue of = Art-Language,=20 published in May 1969, had the subtitle, =E2=80=9Cthe journal of = conceptual art=E2=80=9D (fig.=20 1). Edited by Terry Atkinson, Michael Baldwin, David Bainbridge, and = Harold=20 Hurrell, the issue=E2=80=99s introduction situates the dialogic = investigation of their=20 practice with the rhetorical question: =E2=80=9CCan this editorial come = up for the count=20 as a work of art within a developed framework as a visual art = convention?=E2=80=9D10 Dan Graham, Sol LeWitt, and Lawrence = Weiner=20 contributed works to the issue. It was shown in Number 7, = the=20 exhibition curated by Lucy R. Lippard at Paula Cooper Gallery in New = York, which=20 presented text-based and ephemeral work by British and American artists=20 including The Society for Theoretical Art and Analyses, Richard Long, = Hanne=20 Darboven, Lee Lozano, Joseph Kosuth, Christine Kozlov, and others.¹¹ The latter two, along with Atkinson and = Baldwin,=20 Barry Flanagan and Richard Long were participants in Seth = Siegelaub=E2=80=99s One=20 Month calendar exhibition of March 1969, when thirty-one artists = were each=20 offered a page on which to make work for print distribution.

=20

Figure 1.
= Art-Language, 1, no. 1 (May 1969)

"=20 data-href=3D"http://www.britishartstudies.ac.uk/lightbox"> 3D"Art-Language"

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Figure 2.
= Art-Language, 1, no. 2 (Feb. 1970)

"=20 data-href=3D"http://www.britishartstudies.ac.uk/lightbox"> 3D"1,

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Karshan and Burn became friendly when the former needed frames for = his print=20 collection and called into Dain=E2=80=99s workshop where Burn made = frames. Karshan was=20 looking for ideas for the opening exhibition at the NYCC. Burn suggested = involving Kosuth, the recently appointed American editor of=20 Art-Language, knowing his extensive contacts would attract a = range of=20 artists. (The second issue of Art-Language dispensed with the = subtitle=20 =E2=80=9Cthe journal of conceptual art=E2=80=9D because it suggested = inclusivity of the diverse=20 practices loosely configured by the rubric of the term.) (fig.=20 2) Although Karshan would be described as the organizer of = Conceptual=20 Art and Conceptual Aspects, it was conceived and = =E2=80=9Cghost=E2=80=9D curated by Burn=20 and Kosuth, who proposed the artists and installed the exhibition.¹²

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The British Avant Garde emerged from conversations between = Karshan,=20 Harrison, and Kosuth during a weekend spent at Karshan=E2=80=99s country = house in=20 upstate New York, when Karshan asked Harrison to organize an exhibition = of=20 British artists.¹³ They discussed extending the project with = a special=20 issue of Studio International and the simultaneous publication = of the=20 exhibition catalogue, using the same material.¹⁴ Harrison was working on his section of = Siegelaub=E2=80=99s=20 Studio International magazine exhibition for July/August 1970, = which=20 included many artists showing in Conceptual Art and Conceptual=20 Aspects.¹⁵ Harrison=E2=80=99s connection with = Studio=20 International and its grass-roots editorial policy of commissioning = artist-generated projects appealed to Karshan, and both were alert to = the=20 possibilities of international networking. Harrison proposed focusing on = ten to=20 fifteen artists working in areas beyond conventional interpretations of = painting=20 and sculpture.¹⁶Karshan thought this =E2=80=9Ca little = thin=E2=80=9D; he wanted =E2=80=9Ca=20 broader sweep more like thirty artists including painters and = sculptors=E2=80=9D.17 In fact, Harrison restricted the selection = to=20 artists who, broadly speaking, were engaged in conceptual art, film, = sound,=20 light, text pieces, and sculpture using non-traditional = materials.

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The Magazine-catalogue and Catalogue

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In September 1970, Harrison informed the artists that as the project = was a=20 joint venture with Studio International=E2=80=99s May 1971 = issue he intended to=20 commission them to make work =E2=80=9Cdirect for the printed = page=E2=80=9D.¹⁸ These contributions would be treated by = the artists=20 as an extension of the exhibition, as well as a record of it.¹⁹ The results formed a dedicated issue of = Studio=20 International, acknowledging the NYCC=E2=80=99s involvement.(fig.=20 3)²⁰ An extra run, minus the masthead, was = printed as the=20 exhibition catalogue (fig.=20 4).²¹

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Harrison disliked the title The British Avant Garde, and was = dismayed when he heard from Konrad Fischer about Karshan=E2=80=99s = nationally themed=20 series: The Swiss Avant Garde, The French Avant Garde, = and=20 The Avant Garde from South America. On hearing this = =E2=80=9Cdisturbing=20 rumour=E2=80=9D, Harrison remarked that the title sounded like = =E2=80=9CSwinging London in a=20 Bowler Hat=E2=80=9D.²² He proposed the title New Art from = England=20 instead, as =E2=80=9Cthe concept of the avant garde seemed = dated.=E2=80=9D Karshan ignored the=20 suggestion but the title reappeared as The New Art in the = Hayward=20 Gallery survey in 1972, which was largely based on Harrison=E2=80=99s = exhibition and the=20 work of Studio International magazine in drawing attention to = new and=20 experimental art practices.

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The artists Harrison selected as they appeared in magazine-catalogue = order=20 were Bruce McLean, Keith Arnatt, David Dye, David Tremlett, Roelof Louw, = Barry=20 Flanagan, Gilbert & George, Gerald Newman, Richard Long, Terry = Atkinson and=20 Michael Baldwin, Sue Arrowsmith, Colin Crumplin, Andrew Dipper, and = Victor=20 Burgin. Ways of thinking about duration, movement, and the = processes of=20 documenting practice feature prominently in several contributions. I = will=20 outline a few examples. Dye utilized the action of page-turning as = intrinsic to=20 the viewing process and creates a mise-en-sc=C3=A8ne. To = realize the=20 project, and in keeping with the prevailing spirit of collaboration, he = asked=20 Harrison if he could have another artist=E2=80=99s page-pulls. Harrison = sent him those=20 of David Tremlett, though no one recalls if his permission was = sought.²³ Dye had himself photographed seated = with=20 Tremlett=E2=80=99s pages resting on his knees as he turned them. Dye = held the page=20 showing his name while his right hand turned the page to reveal = Tremlett=E2=80=99s=20 double-page contribution (fig.=20 5).²⁴ Dye=E2=80=99s work in the exhibition, = Distancing=20 Device, was a series of vertically mounted mirrors in hoods with = which the=20 viewer read the single letters of the words, = =E2=80=9Ck-e-e-p-g-o-i-n-g=E2=80=9D. The=20 constructions demonstrated how the viewer needed to read in the act of = viewing=20 the work while moving away from the vertical arrangement as they faced = it=20 whereby the letters under the hoods become = visible.

=20

= =20

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Figure=20 3.

Cover Image, Studio International, 181, no. 933 (May=20 1971)
=20

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Figure=20 4.

The British Avant Garde, exh. cat., New York Cultural = Center,=20 1971 (Studio International, W. & J. Mackay & Co. Ltd, Chatham, = Kent,=20 1971)
=20

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Figure=20 5.

David Dye, Studio International, 181, no. 933 (May 1971), = pp.=20 210=E2=80=9311
=20

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Figure=20 6.

Gilbert & George, Studio International, 181, no. 933 = (May=20 1971), pp. 220=E2=80=9321

=20

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Gilbert & George were photographed on the Thames Embankment = opposite the=20 Houses of Parliament, with the text of There were two young men who = did=20 laugh printed across it (fig.=20 6). The image, although not acknowledged as such, restaged a tourist = postcard of the scene.²⁵ Newman presented documentation of both=20 Piece (1971), a sound work on a looped tape that was included = in the=20 NYCC exhibition, and Piece for Two Lights (1970),²⁶ which differed from the light piece he = included in=20 the exhibition. Art & Language=E2=80=99s De Legibus Naturae = accompanied the=20 text-work Theories of Ethics, which was shown in the NYCC=20 exhibition.²⁷ Harrison had supplied Karshan with a Xerox = copy of=20 Art & Language=E2=80=99s text-work, Theories of Ethics, for = reference. It=20 is a theory of the ethics of the production of artwork as an artwork in=20 itself.²⁸ The book was to be published in an edition = of two=20 hundred. Harrison was shocked when he discovered that Karshan had copied = it for=20 the art critic Jack Burnham without seeking permission. Harrison = discussed this=20 with the artists who proposed making five copies for interested parties, = and=20 keeping a record of who received them.²⁹

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There were several films on show, including Arrowsmith=E2=80=99s = Street Walk=20 (1971); Flanagan=E2=80=99s The Lesson (1971), The Phantom = Sculptor=20 (1971), Atlantic Flight (1970), and a hole in the sea = (1969);=20 Gilbert & George=E2=80=99s The Nature of our Looking; = Long=E2=80=99s Ten Mile=20 Walk (1969), McLean=E2=80=99s In the Shadow of your Smile = Bob (1971); and=20 Tremlett=E2=80=99s English Locations tapes = (1970=E2=80=9371).30

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Figure 7. =
Barry Flanagan, filming The Lesson, 1971. Charles = Harrison papers (1970s=E2=80=932000s), TGA 200868, = London

"=20 data-href=3D"http://www.britishartstudies.ac.uk/lightbox"> 3D"1971.

= DOI Installation instructions were the motivation behind Flanagan=E2=80=99s = making of=20 The Lesson. His work ringn 66 (1966) was selected for = the=20 exhibition and Harrison would need to construct it. In March 1971, = Harrison=20 contacted Karshan with a list of materials required, including sand = =E2=80=9Cas golden=20 yellow as possible; but must be fine and dry=E2=80=9D for ringn = 66, noting that=20 Fischbach Gallery might still have sand following Flanagan=E2=80=99s = exhibition there in=20 1969.³¹ Flanagan=E2=80=99s film served a dual = purpose, both to=20 document making the sand sculpture and for this to become a work in = itself.=20 Harrison assisted and photographed the process (fig.=20 7).³² In September of that year the film was = shown again=20 at Situation Gallery, London, in Film Show, part of = Prospect 71:=20 Projection, with films by Hamish Fulton, Bob Law, McLean and = Tremlett.33

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In the time between Karshan=E2=80=99s invitation and = Harrison=E2=80=99s arrival in New York=20 to install the exhibition, relations between them were strained. It was = at=20 Karshan=E2=80=99s insistence late in the process that Gilbert & = George were=20 included. Harrison managed to secure the Museum of Modern Art=E2=80=99s = agreement to=20 lend the recently acquired work by Gilbert & George, To Be with = Art is=20 All We Ask (1970), with the stipulation that the NYCC cover = the panels=20 with Plexiglas.³⁴ The NYCC did not, however, provide the = budget for=20 this, and to Harrison=E2=80=99s embarrassment he was unable to satisfy = this condition=20 and the work was returned immediately after the opening, leaving the = wall space=20 blank.³⁵ The exhibition opened on 19 May to mixed = reviews. It=20 closed on 29 August 1971.

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Responses to the project

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Overall, Schjeldahl in the New York Times was supportive, = although=20 he incorrectly made =E2=80=9CBritish=E2=80=9D synonymous with = =E2=80=9CEnglish=E2=80=9D, asserting that the=20 exhibition =E2=80=9Cbrought to Conceptualism the kind of discrimination = and stylishness=20 typical of English modern art=E2=80=9D (fig.=20 8). This, he felt, was a movement that had not =E2=80=9Cexactly = electrified=20 art-world discourses these past few seasons=E2=80=9D.³⁶ Bored by bandwagon repetitions of = =E2=80=9Cthe end of art as=20 we know it=E2=80=9D, he welcomed the opportunity to see this new British = art, mostly=20 unknown in New York (with the exceptions of Flanagan and = Long=E2=80=94whom, he remarked,=20 were not conceptualists). His favourites were

the vivid informal sculptures of Barry Flanagan . . . a = tepee of=20 sticks containing a square of green felt and the actually charming = work of=20 Richard Long, redolent of an Englishman=E2=80=99s fondness for walks = in the country,=20 on which he may pause to arrange some rocks . . . [which] rightly fall = outside=20 the canon.

Schjeldahl noted the removal of work by Gilbert & George, = describing them=20 as =E2=80=9Cthe most unheard of thing Harrison brought with = him=E2=80=94the life sculpture of=20 two gentle young artist-poets=E2=80=9D, and noting that = =E2=80=9CUnfortunately only one short=20 film represents them.=E2=80=9D The article was illustrated by a still = from The=20 Nature of Our Looking.³⁷ The Flanagan work Schjeldahl referred to, = no. 1,=20 =E2=80=9971, was reproduced in Shirey=E2=80=99s review in the = New York Times.=20 Shirey was scathing, picking up on the exhibition=E2=80=99s title = exactly as Harrison=20 had feared: =E2=80=9Cwhat looks avant garde to Mr Harrison in England = looks manifestly=20 derriere garde to some observers in the United States.=E2=80=9D38Conversely, John Perreault described the = exhibition=E2=80=99s=20 conceptualism as =E2=80=9Cglobal whether we like it or not=E2=80=9D.³⁹

=20

Figure 8. =
Installation View, The British Avant Garde, New = York Cultural Center, 1971, showing Barry Flanagan, no. 1 = =E2=80=9971, 1971, fpre su, 1965, and 4 casb 2 = =E2=80=9967, ringl 1 =E2=80=9967, rope (gr 2sp 60) 6 =E2=80=9967, = 1967, and Bruce McLean drawings. Charles Harrison papers = (1970s=E2=80=932000s), TGA 200868, London

"=20 data-href=3D"http://www.britishartstudies.ac.uk/lightbox"> 3D"New

no. 1 =E2=80=9971, = 1971, fpre su, 1965, and 4 casb 2 =E2=80=9967, ringl 1 = =E2=80=9967, rope (gr 2sp 60) 6 =E2=80=9967, 1967, and Bruce McLean = drawings. Charles Harrison papers (1970s=E2=80=932000s), TGA 200868, = London"=20 src=3D"http://www.britishartstudies.ac.uk/media/w1060h800/issue03/6.jpg">= =20

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Figure=20 8.
Installation View, The British Avant = Garde, New=20 York Cultural Center, 1971, showing Barry Flanagan, no. 1 = =E2=80=9971, 1971,=20 fpre su, 1965, and 4 casb 2 =E2=80=9967, ringl 1 =E2=80=9967, = rope (gr 2sp 60) 6=20 =E2=80=9967, 1967, and Bruce McLean drawings. Charles Harrison = papers (1970s=E2=80=932000s),=20 TGA 200868, London

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In Artforum in October 1971, Robert Pincus-Witten paralleled = The British Avant Garde with Projects Pier = 18,=20 organized by Willoughby Sharp, founder editor of Avalanche = magazine.=20 His droll assessment was that Studio International was = =E2=80=9Cas dogmatically=20 attached to conceptualism as is Willoughby Sharp=E2=80=99s = Avalanche=E2=80=9D.⁴⁰

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The influence of the magazine-catalogue and exhibition

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Despite Harrison=E2=80=99s reservations about The = British Avant Garde=20 exhibition, the May 1971 issue of Studio International was = immediately regarded as a reference point for new practices in British = art. The=20 international attention affected the reputation of these younger British = artists: Michael Compton, the Tate Gallery=E2=80=99s assistant keeper, = organized=20 Seven Exhibitions in February 1972 in space made available by = the=20 cancellation of Robyn Denny=E2=80=99s show. Files kept by younger Tate = keepers,=20 including Compton and Richard Morphet, formed the basis of this project = and=20 enabled Compton to persuade the director, Norman Reid, of its = relevance.⁴¹ Joseph Beuys was the only non-British = artist of the=20 seven, and each received a solo show.

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When the Arts Council of Great Britain began planning what would be = the first=20 museum survey of new art practices by British artists in the UK, The = New=20 Art, Nicholas Serota (assistant to the exhibition officer, Ann = Seymour),=20 contacted Townsend to ask for twenty-five copies of the issue.⁴² The Hayward exhibition included many of = the same=20 artists as The British Avant Garde, and several films = were=20 screened again.⁴³

About the author

=20

Jo Melvin is a curator and writer, Reader in Archives and Special=20 Collections at Chelsea College of Arts, UAL, London and during = 2015=E2=80=9316 senior=20 research fellow at the Henry Moore Institute Leeds. Recent projects = include=20 Barry Flanagan: Animal, Vegetable, Mineral at Waddington = Custot=20 Gallery (March=E2=80=93May 2016), Christine Kozlov: Information = at the Henry=20 Moore Institute, Leeds (Dec. 2015=E2=80=93Feb. 2016), Five Issues = of Studio=20 International at Raven Row, London (2015), Palindromes: Barry = Flanagan and John Latham at Flat Time House, London (2015), and = The=20 Xerox Book at Paula Cooper Gallery, New York (2015). Recent = catalogue=20 essays include =E2=80=9CSeth Siegelaub: Beyond Conceptualism=E2=80=9D = (Stedijk Museum,=20 Amsterdam), and =E2=80=9CBritish Art and Conceptualism = 1966=E2=80=931979=E2=80=9D (Tate Britain). She=20 is currently working on a monograph on Noel Forster, =E2=80=9CThe Seth = Siegelaub=20 Source Book=E2=80=9D (K=C3=B6nig, 2016), and the catalogue = raisonn=C3=A9 of the sculptor Barry=20 Flanagan (Modern Art Press, 2018).

=20

Footnotes

Mel Ramsden in conversation with the author, 1 June 2015.
1
Hilton Kramer, =E2=80=9CArt: Xeroxophilia Rages Out of = Control=E2=80=9D, New York=20 Times, 11 April 1970.
2
Thomas M. Messer, =E2=80=9CImpossible Art=E2=80=94Why It = Is=E2=80=9D, Art in America 57,=20 no. 3 (May/June 1969): 31.
3
David L. Shirey outlines the practices, without consideration of = the=20 international element of exchange, in =E2=80=9CImpossible = Art=E2=80=94What It Is=E2=80=9D, Art in=20 America 57, no. 3 (May/June 1969): 39=E2=80=9341 (40)
4
Donald Karshan, =E2=80=9CThe Seventies: Post-Object Art=E2=80=9D, = Studio=20 International 180, no. 925 (Sept. 1970): 69=E2=80=9370.
5
Charles Harrison, unpublished interview transcript, 31 Oct. 2007, = Melvin=20 papers, London.
6
Harrison, unpublished interview transcript, 31 Oct. 2007, Melvin = papers;=20 Karshan, =E2=80=9CThe Seventies=E2=80=9D, 69=E2=80=9370.
7
Peter Schjeldahl, =E2=80=9CDon=E2=80=99t Just Stand = There=E2=80=93Read!=E2=80=9D, New York Times,=20 19 Aug. 1970.
8
The Society for Theoretical Art and Analyses merged with Art & = Language=20 in 1970. Charles Harrison became editor of Art-Language in = 1971. By=20 the mid-1970s some twenty people were associated with the name, = divided=20 between England and New York. From 1976, however, the genealogical = thread of=20 Art & Language=E2=80=99s artistic work was taken solely into the = hands of Baldwin=20 and Ramsden, with the theoretical and critical collaboration of these = two with=20 Charles Harrison who died in 2009.
9
Art-Language 1, no. 1 (May 1969): 3. Joseph Kosuth = was=20 invited to become the American editor for the second issue of=20 Art-Language.
10
Number 7 (exhibition), Paula Cooper Gallery, New York, 18 = May=E2=80=9315=20 June 1969.
11
Ann Stephen, =E2=80=9CNew York Art Strike=E2=80=9D, in On = Looking at Looking: The Art=20 and Politics of Ian Burn (Melbourne: Miegunyah Press, 2006),=20 132=E2=80=9355.
12
Harrison, unpublished interview transcript, 31 Oct. 2007, Melvin=20 papers.
13
Harrison letter to Karshan, 12 June 1970; NYCC file, Charles = Harrison=20 papers (1950s=E2=80=931979), Tate Gallery Archive (hereafter TGA) = 839/1/3/3.
14
Artists exhibiting in both projects (order as it appears in NYCC=20 catalogue): Joseph Kosuth, Frederick Barthelme, On Kawara, Terry = Atkinson,=20 Michael Baldwin, David Bainbridge, Harold Hurrell, Stephen Kaltenbach, = Jan=20 Dibbets, Douglas Huebler, Iain Baxter, Robert Barry, Daniel Buren, and = Lawrence Weiner.
15
Harrison letter to Karshan, 12 June 1970, Harrison papers = (1950s=E2=80=931979) TGA=20 839/1/3/3.
16
Karshan letter to Harrison, 23 June 1970, NYCC file, Harrison = papers=20 (1950s=E2=80=931979) TGA 839/1/3/3.
17
Harrison letters to Arnatt and Arrowsmith, 17 Sept. 1970, NYCC = planning=20 file, Harrison papers (1950s=E2=80=931979) TGA 839/1/3/3.
18
Harrison letter to Karshan, 8 Aug. 1971; Harrison papers = (1950s=E2=80=931979) TGA=20 839/1/5/1/7.
19
Editorial announcement, Studio International 181, no. 933 = (May=20 1971): 200.
20
The British Avant Garde (exhibition catalogue), New York = Cultural=20 Center (London: W. & J. MacKay and Co., 1971). Barry Flanagan = archive,=20 London. CG JBF 1971 AVA.
21
Harrison letter to Karshan, 8 Jan. 1971; Harrison papers = (1950s=E2=80=931979) TGA=20 839/1/5/1/7.
22
David Tremlett discussion with author, 3 Feb. 2012; David Dye email = to=20 author, 2 April 2012, Melvin papers, London.
23
David Dye, Studio International 181, no. 933 (May 1971):=20 210=E2=80=9311.
24
Gilbert & George, Studio International 181, no. 933 = (May=20 1971): 220=E2=80=9321.
25
Gerald Newman, Studio International 181, no. 933 (May = 1971):=20 222=E2=80=9323.
26
Terry Atkinson and Michael Baldwin, Studio International = 181, no.=20 933 (May 1971): 226=E2=80=9332.
27
Terry Atkinson and Michael Baldwin, Theories of Ethics, = 1970, Tate=20 library collection, 1971, transferred to Tate artwork catalogue in = 2011. http://library.tate.org.uk/uhtbin/cgisirsi/?ps=3DfvooiU= pv6K/LIBRARY/144790004/9
28
Harrison letter to Karshan, 20 April 1971; Harrison papers = (1950s=E2=80=931979),=20 TGA 839/1/5/1/13.
29
The British Avant Garde (exhibition catalogue).
30
Harrison, 15 March 1971; Harrison papers (1950s=E2=80=931979), TGA=20 839/1/5/1/9.
31
Harrison papers (1950s=E2=80=931979), TGA 839/1/5/1.
32
Prospect 71: Projection organized by Konrad Fischer, = J=C3=BCrgen=20 Harten, and Hans Strelow, showed artists=E2=80=99 films in various = European=20 locations.. Prospect 71: Projection (exhibition catalogue) = (West=20 Germany, D=C3=BCsseldorf: Art-Press Verlag, 1971). CG JBF 1971 PRO, = Barry Flanagan=20 Archive, London.
33
MoMA catalogue entry, Gilbert & George, To Be with Art is = All We=20 Ask http://www.moma.org/collection/object.php?object_id=3D3= 6585,=20 last accessed online 31 June 2015.
34
Harrison, 27 March 2007; Melvin papers.
35
Schjeldahl, =E2=80=9CNew Art from Britain=E2=80=9D, New York = Times, Sunday, 27=20 June 1971; Harrison papers (1950s=E2=80=931979), TGA = 839/1/5/1/19.
36
Peter Schjeldahl, =E2=80=9CNew Art from Britain=E2=80=9D, New = York Times, Sunday,=20 27 June 1971; Harrison papers (1950s=E2=80=931979), TGA = 839/1/5/1/19.
37
David Shirey, =E2=80=9CBritish Avant Garde=E2=80=9D, New York = Times, date cut off;=20 Harrison papers (1950s=E2=80=931979), TGA 839/1/5/1/19, London.
38
John Perreault, =E2=80=9C=E2=80=9CBritish Conceptual Art at the = Cultural Center=E2=80=9D,=20 Village Voice, 3 June 1971, 16.
39
Robert Pincus-Witten, =E2=80=9CAnglo-American Standard Reference = Works: Acute=20 Conceptualism of Two Survey Shows: Projects Pier 18 with documentation = at the=20 Museum of Modern Art and the British Avant Garde at the New York = Cultural=20 Centre=E2=80=9D, ArtForum (Oct. 1971); Richard Long, = Untitled=20 Sculpture and Sue Arrowsmith, Streetwalk (1970) were=20 illustrated, pp. 82=E2=80=9383.
40
The artists were Bob Law, Michael Craig-Martin, Hamish Fulton, = David=20 Tremlett, Keith Arnatt, Bruce Mclean, and Joseph Beuys, 23 = Feb.=E2=80=9323 March 1972,=20 TG, Seven Exhibitions LON-TAT (Tate Public Records), = London.
41
Serota letter to Townsend, 27 June 1972, Arts Council file, A=20 correspondence to 1972, Studio International, Peter Townsend=20 editorial papers, TGA 20028.
42
In addition to the artists in The British Avant Garde were = Keith=20 Milow, Michael Craig-Martin, John Stezaker, and John Hilliard.
43

=20

Bibliography

The British Avant Garde. Exh. cat. New York Cultural Center. = London:=20 W. & J. MacKay and Co., 1971.

Karshan, Donald. =E2=80=9CThe Seventies: Post-Object Art.=E2=80=9D = Studio=20 International 180, no. 925 (Sept. 1970).

Kramer, Hilton. =E2=80=9CArt: Xeroxophilia Rages Out of = Control.=E2=80=9D New York=20 Times, 11 April 1970.

Messer, Thomas M. =E2=80=9CImpossible Art=E2=80=94Why It Is.=E2=80=9D = Art in America 57, no.=20 3 (May/June 1969).

Perreault, John. =E2=80=9CBritish Conceptual Art at the Cultural = Center=E2=80=9D, Village=20 Voice, 3 June 1971.

Pincus-Witten, Robert. =E2=80=9CAnglo-American Standard Reference = Works: Acute=20 Conceptualism of Two Survey Shows: Projects Pier 18 with documentation = at the=20 Museum of Modern Art and the British Avant Garde at the New York = Cultural=20 Centre.=E2=80=9D ArtForum (Oct. 1971).

Schjeldahl, Peter. =E2=80=9CDon=E2=80=99t Just Stand = There=E2=80=93Read!=E2=80=9D New York Times, 19=20 Aug. 1970.

=E2=80=93 =E2=80=93 =E2=80=93. =E2=80=9CNew Art from = Britain=E2=80=9D, New York Times, Sunday, 27 June=20 1971

Shirey, David L. =E2=80=9CImpossible Art=E2=80=94What It Is.=E2=80=9D = Art in America 57, no.=20 3 (May/June 1969): 39=E2=80=9341.

Stephen, Ann. =E2=80=9CNew York Art Strike.=E2=80=9D In On = Looking at Looking: The Art=20 and Politics of Ian Burn. Melbourne: Miegunyah Press, 2006, = 132=E2=80=9355.

Studio International 181, no. 933 (May=20 1971).

=20

Imprint

Author: J= o=20 Melvin

Date: 18.07.2016

Category: Essay

Review status: Peer Reviewed (Editorial Group)

Licence: CC BY-NC

Article DOI: http:= //dx.doi.org/10.17658/issn.2058-5462/issue-03/jmelvin

Cite as: Jo Melvin, "The British Avant Garde: A Joint Venture = Between the=20 New York Cultural Center and Studio International Magazine", = British=20 Art Studies, Issue 3,=20 = http://dx.doi.org/10.17658/issn.2058-5462/issue-03/jmelvin

= =20

Previous Mark Boyle and Joan Hills at = the=20 Gemeentemuseum, The Hague
Arte Inglese Oggi, Milan, 1976: Between Formalism and = Conceptual Art , British Sculpture Abroad, 1945 =E2=80=93 2000"=20 = href=3D"http://www.britishartstudies.ac.uk/issues/issue-index/issue-3/art= e-inglese-oggi">
Next Arte Inglese Oggi, Milan, = 1976:=20 Between Formalism and Conceptual Art
=

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Is= sue=20 3 - Summer 2016

1970s:=20 Out of Sculpture, by Elena Crippa=20

Abstract

Figure 1. = Art-Language, 1, no. 1 (May 1969)

Figure 2. = Art-Language, 1, no. 2 (Feb. 1970)

The Magazine-catalogue and Catalogue

Figure=20 3.

Figure=20 4.

Figure=20 5.

Figure=20 6.

Figure 7. = Barry Flanagan, filming The Lesson, 1971. Charles = Harrison papers (1970s=E2=80=932000s), TGA 200868, = London

Responses to the project

The influence of the magazine-catalogue and exhibition

About the author

Footnotes

Bibliography

Imprint

Figure 1.
= Art-Language, 1, no. 1 (May 1969)

Figure 2.
= Art-Language, 1, no. 2 (Feb. 1970)

Figure 7. =
Barry Flanagan, filming The Lesson, 1971. Charles = Harrison papers (1970s=E2=80=932000s), TGA 200868, = London