Participatory Art and the Politics of Spectatorship - autonomous ...

notes to pages 168– 70
14 Brisley, interview with Peter Byrom (1975), cited in Katherine Dodd,
Artists Placement Group 1966– 1976, MA thesis, Courtauld Institute of
Art, 1992, p. 24.
15 Brisley, cited in Robert Hewison, Too Much: Art and Society in the Sixties,
1960– 1975, New York: Oxford University Press, 1987, p. 234.
16 Dodd reports that ‘Inno70’ was a name coined by Latham as ‘a kind of
complementary otherness to the international exhibition called Expo’.
(Dodd, Artists Placement Group 1966– 1976, p. 17.)
17 Dodd reports an apocryphal story that on seeing these ‘For Sale’ posters,
a visiting American tycoon expressed interest in buying the Hayward
Gallery. (Ibid., p. 57.)
18 The show possibly included Brisley’s chair sculpture from Hille: Steveni
maintains that this was installed on one of the sculpture courts at the
Hayward; Brisley says that it was not, and that he cannot recall anything
of his on display in ‘Inno70’. (Steveni, email to the author, 20 August
2010; Brisley, email to the author, 20 August 2010.)
19 The initial proposal had been to have a live sound feed of numerous steel
mills played into the Hayward, but the proposal was rejected by British
Steel Corporation for fear that exhibition viewers would be able to overhear
the workers’ bad language. (Garth Evans, interview with the author,
New York, 22 September 2009.)
20 Latham: ‘This was one of the bones of contention – the public was not
part of the act and they were often very annoyed that they weren’t . . .
they were given a noticeboard where they could put up their comments.’
(Dodd, Artists Placement Group 1966– 1976, p. 58.)
21 These varied in tone – some were serious, some humorous, such as the
collage showing the Hayward Gallery’s distinctive brutalist roof as the
container for a mound of giant potatoes.
22 APG’s use of the magazine as a catalogue is comparable to Seth Siegelaub’s
use of the magazine as an exhibition space in the July/ August
1970 issue of Studio International. During this period, Studio International
was particularly pioneering in terms of its willingness to
experiment with exhibition formats and engage in socio- political debate
around art.
23 Caroline Tisdall, ‘Profi t Without Honour’, Guardian, December 1971,
undated press cutting, APG archive, Tate.
24 Guy Brett, ‘How Professional?’, The Times, undated press cutting, APG
archive, Tate.
25 Nigel Gosling, Observer, undated press cutting, APG archive, Tate.
26 Benjamin H. D. Buchloh, ‘Conceptual Art 1962– 1969: From the Aesthetics
of Administration to the Critique of Institutions’, October 55, 1990, pp.
105– 43.
27 Gustav Metzger, ‘A Critical Look at Artist Placement Group’, Studio
International, 183:940, January 1972, p. 4.
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