{"title":"Darcy Lange","description":"\u003cp\u003eDarcy Lange (1946–2005) was a New Zealand artist who worked primarily in video from the early 1970s onwards, producing extended documentary recordings of labour, education and everyday life. His major works filmed workers in British factories and farms — steelworkers, miners, agricultural labourers — in long, unedited takes that refused the conventions of broadcast documentary in favour of duration, repetition and the physical reality of work. Lange was based in London for much of the 1970s and was closely connected to the British conceptual and video art scenes, exhibiting at the Tate and participating in international surveys of video practice. His work was largely overlooked for decades before being reassessed as a significant contribution to both video art history and the documentary tradition.\u003c\/p\u003e","products":[{"product_id":"andrew-wilson-conceptual-art-in-britain-1964-1979-tate-publishing-2016","title":"ANDREW WILSON, ED. — Conceptual Art in Britain 1964–1979, Tate Publishing, 2016","description":"\u003cp\u003eAndrew Wilson, ed., \u003cem\u003eConceptual Art in Britain 1964–1979\u003c\/em\u003e. Tate Publishing, London, 2016. Softcover; 160 pages, 19 × 25 cm; illustrated throughout in colour and black-and-white. Published to accompany the exhibition at Tate Britain, London.\u003c\/p\u003e\u003cp\u003eAn exhibition catalogue that deserves to be considered as more than an exhibition catalogue.\u003c\/p\u003e\u003cp\u003ePublished for Tate Britain’s 2016 survey, \u003cem\u003eConceptual Art in Britain 1964–1979\u003c\/em\u003e reconstructs a period in which the definition of an artwork was being systematically dismantled. Sculpture became action; language became material; an instruction could replace an object; photography could function as evidence; and books, postcards, filing systems and documents could carry a work beyond the exhibition itself.\u003c\/p\u003e\u003cp\u003eThe book brings together an unusually concentrated group of artists who established and complicated that territory: Sue Arrowsmith, Keith Arnatt, Art \u0026amp; Language, Conrad Atkinson, Terry Atkinson, Victor Burgin, Michael Craig-Martin, Jan Dibbets, Braco Dimitrijević, Barry Flanagan, Hamish Fulton, Margaret Harrison, Ed Herring, Susan Hiller, John Hilliard, Mary Kelly, Joseph Kosuth, David Lamelas, Darcy Lange, John Latham, Bob Law, Sol LeWitt, Richard Long, Roelof Louw, Bruce McLean, John Stezaker, David Tremlett and Stephen Willats.\u003c\/p\u003e\u003cp\u003eRead together, the list describes less a movement with a common appearance than a network of different answers to the same problem: if the artwork no longer has to look like an artwork, where does the work reside?\u003c\/p\u003e\u003cp\u003eBruce McLean turns the sculptural plinth into something to climb across, occupy and misuse in \u003cem\u003ePose Work for Plinths\u003c\/em\u003e. David Lamelas reduces an event to the simple action of pouring milk into a glass. Bob Law proposes a drawing potentially extending to one million marks. Ed Herring places hundreds of postcards inside a filing cabinet. John Latham collapses book, ingestion, residue, archive and object into the same work. Elsewhere, photography, walking, language, advertising, administration, ownership, instruction and social systems become equally legitimate artistic material.\u003c\/p\u003e\u003cp\u003eThat makes the catalogue itself particularly interesting. Much of conceptual art was produced and circulated through precisely the formats traditionally considered secondary to art: photographs, typed instructions, publications, diagrams, postcards, photocopies and documentary records. This book therefore documents conceptual art using many of the same systems through which conceptual art originally existed. The document describes the work, but the history it describes had already made the document part of the work.\u003c\/p\u003e\u003cp\u003eThere is a second reversal. Practices that questioned permanence, authorship and the conventional art object eventually return through the museum: selected, photographed, captioned, sequenced, historicised and bound into 160 pages. What had been dispersed becomes a canon. What had been temporary becomes an archive. What questioned the art object becomes an object again.\u003c\/p\u003e\u003cp\u003eIts relative ordinariness is part of its appeal. This remains an accessible Tate catalogue rather than a heavily fetishised piece of first-generation conceptual ephemera, yet contained within it is an unusually dense map of the conditions from which much contemporary practice still operates: instruction, appropriation, documentation, participation, distribution, language, administration, the body and the unstable boundary between artwork and information.\u003c\/p\u003e\u003cp\u003eA history of dematerialisation, returned to circulation as a book.\u003c\/p\u003e\u003cp\u003eCondition: Good to very good. Light rubbing, handling and edge wear to wrappers, with minor marks consistent with use. Interior clean from inspection.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Tate Publishing","offers":[{"title":"Default Title","offer_id":54229747368274,"sku":"WILSON-TATE-CAT-2016","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Wilson_-Andrew.-Conceptual-Art-in-Britain_-1964-1979-front-cover.jpg?v=1786433842"}],"url":"https:\/\/thenewrare.com\/collections\/darcy-lange.oembed","provider":"The New Rare","version":"1.0","type":"link"}