This booklet tells the story of just one building in the vast metropolis of London – 60 Farringdon Road. Neither particularly distinguished nor particularly old, the building’s past – and that of the immediate neighbourhood of Clerkenwell – illustrates the ebb and flow of city life and commerce, the arriving technologies, fortunes and fashions.
Nought to Sixty was a six-month programme of exhibitions and events at the Institute of Contemporary Arts, London, held to celebrate the organisation’s sixtieth anniversary. It presented sixty projects from artists, artists’ groups and commentators from the emerging art scenes in Britain and Ireland, including a large number of week-long exhibitions, but also performances, gigs, screenings, talks, publications, off-site projects and social events. This book is a record of an extraordinary six months.
Primarily concerned with the feminist body as a site for making and exhibiting works, this book examines themes that look at the body as material, the body and performance, as well as the alternative creative platforms in 1970s feminist art. Drawing on original material – never-before-seen images from artists’ personal collections and commissioned interviews with prominent artists from the period – the book is an invaluable resource for artists, researchers, curators and students interested in recovering this period from the margins of art history.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
Through fact and fiction, questions and answers, writings from the heart and writing from the street, Common chronicles one day of a Self-Appointed-Artist-in-Residence in the City of London. Performances occur and reoccur as this book takes us to crashes in global markets, turbulence in the Euro-zone, riots on hot summer nights and the most extraordinary imaginings.
Pictures and details of 2012 Festival performances
An artists’ book documenting an intervention in a derelict house in North London. Due to the delapidated condition of the house, the public could not visit the house, so Terry Smith made a photographic record of individual impressions of each room.
Video documentation of the life of a project started in 2005. Part of East End Collaborations 2009.
Interview with Katerina Seda in The Believer Magazine about her practice. This article can be found in miscellaneous article folder number 3
Programme notes from Tate Tanks 18 July – 28 October.