The bonfire of humanities

A view into British art education 1960-2020

Barbara Kruger “Untitled (We Don’t Need Another Hero)” (1987). Courtesy of the artist and Sprüth Magers

If I am not mistaken, I thinly retain some grasp a moment of an art that existed before global conceptualism, and an understanding of transatlantic Conceptual Art itself that challenged, amongst other things, the pre-eminence of capitalism, institutionalised culture and ‘approved’ visual aesthetics. I say this having spent more years than I care to remember immersed in the ‘art world’, as a maker, educator, influencer and curator. I am trying to communicate here a gradual dawning of an understanding on my part, regarding the evolution of British art education and the artists that have benefited from it since the 1960’s. My own understanding has taken decades to mature but perhaps has only recently reached a moment of resolution, embodied by the artist Sonia Boyce triumphantly lifting the Golden Lion at the recent 59th Venice Biennale. read here


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