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London Art Worlds : Mobile, Contingent, and Ephemeral Networks, 1960-1980.

By: Contributor(s): Material type: TextTextSeries: Refiguring Modernism SeriesPublisher: University Park, PA : Pennsylvania State University Press, 2017Copyright date: ©2018Edition: 1st edDescription: 1 online resource (249 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780271081366
Subject(s): Genre/Form: Additional physical formats: Print version:: London Art WorldsDDC classification:
  • 709.421
LOC classification:
  • N6770 .L6495 2018
Online resources:
Contents:
COVER front -- Copyright Page -- Table of Contents -- List of Illustrations -- Introduction -- Notes to Introduction -- Chapter 1: Everything Was Connected: Kinetic Art and Internationalism at Signals London, 1964-66 -- Notes to Chapter 1 -- Chapter 2: A Porous Entity: The Centre for Behavioural Art at Gallery House, 1972-73 -- Notes to Chapter 2 -- Chapter 3: Mapping the City: Felipe Ehrenberg in London, 1968-71 -- Notes to Chapter 3 -- Chapter 4: Restoring Some Period Color to Roelof Louw's Pyramid of Oranges (1967) -- Notes to Chapter 4 -- Chapter 5: Collectivity, Temporality, and Festival Culture in John Dugger's Quasi-Architecture, 1970-74 -- Notes to Chapter 5 -- Chapter 6: Taking the Trouble to Sound It: Mediating Conflict in the Work of Rita Donagh -- Notes to Chapter 6 -- Chapter 7: Circulations and Cooperations: Art, Feminism, and Film in 1960s and 1970s London -- Notes to Chapter 7 -- Chapter 8: Project sigma: An Interpersonal Logbook -- Notes to Chapter 8 -- Chapter 9: The Artist as a Speaker-Performer: The London Art School in the 1960s-70s -- Notes to Chapter 9 -- Chapter 10: File Under COUM: Art on Trial in Genesis P-Orridge's Mail Action -- Notes to Chapter 10 -- Bibliography -- Contributors -- Index.
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COVER front -- Copyright Page -- Table of Contents -- List of Illustrations -- Introduction -- Notes to Introduction -- Chapter 1: Everything Was Connected: Kinetic Art and Internationalism at Signals London, 1964-66 -- Notes to Chapter 1 -- Chapter 2: A Porous Entity: The Centre for Behavioural Art at Gallery House, 1972-73 -- Notes to Chapter 2 -- Chapter 3: Mapping the City: Felipe Ehrenberg in London, 1968-71 -- Notes to Chapter 3 -- Chapter 4: Restoring Some Period Color to Roelof Louw's Pyramid of Oranges (1967) -- Notes to Chapter 4 -- Chapter 5: Collectivity, Temporality, and Festival Culture in John Dugger's Quasi-Architecture, 1970-74 -- Notes to Chapter 5 -- Chapter 6: Taking the Trouble to Sound It: Mediating Conflict in the Work of Rita Donagh -- Notes to Chapter 6 -- Chapter 7: Circulations and Cooperations: Art, Feminism, and Film in 1960s and 1970s London -- Notes to Chapter 7 -- Chapter 8: Project sigma: An Interpersonal Logbook -- Notes to Chapter 8 -- Chapter 9: The Artist as a Speaker-Performer: The London Art School in the 1960s-70s -- Notes to Chapter 9 -- Chapter 10: File Under COUM: Art on Trial in Genesis P-Orridge's Mail Action -- Notes to Chapter 10 -- Bibliography -- Contributors -- Index.

No detailed description available for "London Art Worlds".

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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