Show Notes
Lisa Tickner, a leading historian of British art, has just published a new book on the dynamic art world that emerged in 1960s London. In this podcast, she talks with Mark Hallett about the remarkable array of artists, curators, galleries, art-schools, films, publications and documentaries focused on in the course of her research, and about the highly original way she has written her book
More from British Art Talks
This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
This series, Experiments in Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
This series, Experiments In Art Writing, features a set of highly innovative UK-based art writers, asking them to describe the encounters, materials, voices and texts that have shaped the very form of their writing.
Ryan Gander’s inventive, shapeshifting and associative works materialise in many forms ranging from sculpture and writing to painting and performance. His engagement with histories is not without mischief, in his 2006 work A Future Lorum Ipsom, Gander invented a palindromic word, ‘Mitim’, designed to be inserted without comment into newspapers, magazines, crosswords or everyday speech, meaning ‘a mythical word newly introduced into history as if it had always been there’. In this episode of British Art Talks, an array of artists is enlisted in a quixotic project: a countdown from fifty in bingo calls. The funny, rhyming calls evoke a history of a game of pure chance, based on random numbers, dating from the early eighteenth century in Britain. They include visual puns and enigmatic idiom. They speak of clandestine activity, village halls and commercial leisure. First, a story, part of a beat poem, narrated by Ryan as author, to his daughter, Penny, in a disarming and semi-autobiographical form: a history of the artist navigating, inventing, transforming, ludic, in time.