{"title":"John Latham","description":"\u003cp\u003eJohn Latham (1921–2006) was a British artist whose work consistently challenged the dominance of vision and object in art, proposing instead a practice grounded in time, event and what he called the ‘least event’ — the smallest unit of occurrence from which all experience is constructed. His spray-painted book reliefs from the 1950s and 1960s treated the book as a physical and cultural object to be destroyed, defaced and reassembled. His 1966 work \u003cem\u003eArt and Culture\u003c\/em\u003e — in which he borrowed Clement Greenberg’s \u003cem\u003eArt and Culture\u003c\/em\u003e from the library at St Martin’s School of Art, chewed pages from it with students and guests, fermented the pulp, and returned the residue in a labelled jar — resulted in his dismissal and became one of the defining gestures of British conceptual art. Latham was also a founder of the Artist Placement Group, which sought to place artists within government departments and industrial organisations.\u003c\/p\u003e","products":[{"product_id":"jeffrey-spalding-abcs-of-pop-art-america-britain-canada-fsu-2000","title":"JEFFREY SPALDING — ABCs of Pop Art: America, Britain, Canada, Museum of Fine Arts FSU, 2000","description":"\u003cp\u003eJeffrey Spalding, \u003cem\u003eABCs of Pop Art: America, Britain, Canada — Major Artists and Their Legacy\u003c\/em\u003e. Museum of Fine Arts, Florida State University, Tallahassee, 2000. Square paperback; 64 pages, 21 × 21 cm; colour and black-and-white offset printing; metallic silver wrappers. ISBN 1-889282-07-3.\u003c\/p\u003e\u003cp\u003eA compact institutional survey of Pop Art organised alphabetically across artists from America, Britain and Canada. Reproductions are paired with short biographical and collection records, turning a sprawling movement into a sequence of discrete, easily circulated entries.\u003c\/p\u003e\u003cp\u003eFrom America: Andy Warhol, Roy Lichtenstein and Robert Rauschenberg anchor the canonical history, alongside Tom Wesselmann, Arman, George Segal, Robert Indiana, Chuck Close, Richard Estes, Claes Oldenburg, Jim Dine, Jenny Holzer, Alex Katz, David Salle, Wayne Thiebaud and David Gilhooly. From Britain: Richard Hamilton, Peter Blake and Eduardo Paolozzi as founding figures, with Patrick Caulfield, Allen Jones, R. B. Kitaj, Joe Tilson, Peter Phillips, John Latham, Bruce McLean, Tony Cragg and Michael Craig-Martin. From Canada: Iain Baxter, Michael Snow and Joyce Wieland as central figures, alongside David Buchan, Greg Curnoe, Gathie Falk, Dennis Burton, Attila Richard Lukacs, Tony Urquhart, John Will, David Gilhooly, Chris Cran and Russell Yuristy.\u003c\/p\u003e\u003cp\u003eThe design is particularly of its moment: metallic silver covers, red-and-blue consumer imagery, outlined typography and an interior somewhere between exhibition catalogue, directory and reference manual.\u003c\/p\u003e\u003cp\u003ePop Art reorganised as an alphabet. Artist, image, nationality, biography, collection: a movement broken down into portable units of information. The familiar American\/British history is expanded to include Canada, with figures including Iain Baxter, Michael Snow and David Buchan entering the same classificatory system as Warhol and Hamilton.\u003c\/p\u003e\u003cp\u003eThe publication does more than document a canon. Through selection, naming and adjacency, it participates in constructing one. Pop’s own mechanisms — reproduction, repetition, graphic shorthand and mass circulation — are used to package Pop itself. The artwork becomes reproduction. The artist becomes entry. The movement becomes index.\u003c\/p\u003e\u003cp\u003eCondition: Good to very good. Light rubbing and handling wear to the metallic wrappers, minor edge and corner wear and a few faint surface marks. Interior clean from inspection.\u003c\/p\u003e\u003cp\u003eSecurely packed; tracked UK and international shipping available.\u003c\/p\u003e","brand":"Museum of Fine Arts, Florida State University","offers":[{"title":"Default Title","offer_id":54216388477266,"sku":"SPALDING-MOAFAFSU-CAT-2000","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Spalding_Jeffrey.ABC_sofPopArt_America_Britain_Canada_MajorArtistsandTheirLegacy_Paperback_January1_2000.jpg?v=1786289051"},{"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\/john-latham.oembed","provider":"The New Rare","version":"1.0","type":"link"}