Jo Applin

  • Pauline Boty, A Big Hand, ca. 1961, gilt paint and collage on paper, 20 1/4 x 16 3/8".

    Pauline Boty

    When British Pop artist Pauline Boty died in 1966 at the age of twenty-eight, she left behind a considerable oeuvre. Yet this remarkable production was nearly lost to art history; much of it was rediscovered only in the 1990s, languishing at her family’s farm. Already as a student at the Royal College of Art in early-’60s London, Boty was a well-known face. A kind of poster girl for the swinging art scene, she was memorably captured twisting away at a party alongside Peter Blake, Derek Boshier, and David Hockney in Ken Russell’s famous 1962 BBC film Pop Goes the Easel. Like her peers, Boty was

  • Geraldo de Barros, Untitled, ca. 1996–98, gelatin silver print, 4 1/4 x 6 1/4". From the series “Sobras” (Remains), 1996–98.

    Geraldo de Barros

    Brazilian artist Geraldo de Barros’s first UK show, “What Remains,” is a beautiful and tightly focused exhibition curated by Isobel Whitelegg of Nottingham Contemporary and Karen McQuaid of the Photographers’ Gallery. One of Brazil’s pioneering avant-gardists, de Barros rose to prominence in the 1950s. He interrogated and tested various models of abstraction and figuration across a very diverse body of work, beginning his career as a painter before moving into photography in the late ’40s. The exhibition focuses on two discrete but interrelated series of photographs, the “Fotoformas” of 1949–51

  • David Hall, TV Interruptions—works originally made for Scottish Television, 1971, 16 mm transferred to digital video, color, sound, 22 minutes 15 seconds. Installation view. From “Artist Placement Group.”

    Artist Placement Group

    The Artist Placement Group (APG) was founded in London in 1966 by John Latham and Barbara Steveni. Until it was dissolved in the late-1980s, APG brokered some twenty placements of artists within various industrial companies and government departments, resulting in works such as Ian Breakwell’s innovative yet controversial films about Rampton and Broadmoor psychiatric hospitals in the late ’70s. Other participants included Barry Flanagan, Andrew Dipper, David Toop, and David Hall. In 1971, Hall made a series of ten TV Interruptions for Scottish Television, which appeared during ordinary commercial

  • Keith Coventry, Deontological Picture A + II, 2011, pigmented rainwater on jute, wood, gesso, glass, plastic, 741⁄4 x 533⁄8". From the series “Deontological Pictures,” 2011–.

    Keith Coventry

    With “Deontological Pictures,” his ongoing series of monochrome framed canvases begun in 2011, Keith Coventry queries the continued viability both of abstraction and of painting as such. At first glance, this show comprised a series of imposing pictures that recall the brooding painterly fields of Mark Rothko’s late work; upon closer inspection, they were revealed to be made not from paint and linen canvas, from the resolutely ordinary detritus of everyday life. The ten works on view in Peer’s two rooms are actually rectangular, framed sheets of brown jute sacking, each roughly two yards high

  • Lindsay Seers, Nowhere Less Now, 2012, still from a thirty-five minute two-channel HD color audio-video component of a mixed-media installation additionally comprising wood, cardboard, and paint.

    Lindsay Seers

    A rusting, corrugated iron chapel in North London hosted Lindsay Seers’s captivating installation Nowhere Less Now, the latest site-specific project to be commissioned by Artangel. Seers transformed the interior of this nineteenth-century church, known as the “tin tabernacle” and occupied for the past fifty years by a troop of Sea Cadets, recladding it with riveted faux-metal sheets to resemble a ship. Seers extended this resemblance by placing an overturned iron ship’s hull inside the nave. Viewers were led into this darkened space, handed a set of headphones, and seated on a gun deck facing

  • View of “The Bruce Lacey Experience,” 2012.
    picks August 07, 2012

    Bruce Lacey

    A gloriously ramshackle affair, “The Bruce Lacey Experience,” curated by David Alan Mellor and Jeremy Deller, celebrates one of Britain’s most eccentric artists. The show is organized around an explosion of objects, ephemera, and films from Lacey’s five-decade-long career as an outspoken provocateur, bricoleur, performer, sculptor, and key figure on the London countercultural art scene of the 1960s. Amid the muddle of automatons, costumes, paintings, and footage of Professor Lacey and his music-hall sidekicks the Alberts emerges an artist who is, by turns, visionary, angry, and very funny.


  • Hanne Darboven, 24 Gesänge opus 14, 15 a, b (detail), 1984, felt-tip pen on paper, postcards, greeting cards, sound, dimensions variable.

    Hanne Darboven

    German Conceptual artist Hanne Darboven offers an intriguing combination of cool Minimalism and curio-shop chic. Beginning in the mid-1960s, her “daily writing” took the form of journals, letters, and jotted numbers, dates, and doodles that she arranged into a series of grids and store-bought day planners, organized via basic systems of calculation: 9 x 11 = 99 is the title of one major work on view here, from 1972. The walls of three rooms at the Camden Arts Centre were covered with framed sheets of paper containing the handwritten dates, numerical systems, and serial inscriptions typical of