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107:(1987-8) make directly realist evidential references in their uses of settings. Here, where Arnatt was using the camera in a first-order way and there has been some theorising over the extent of his influence on contemporary photographic practice, there still remains an overriding continuity in the form of analytic and self-disclosing interests in his work. In late series like
68:(1970). The Henry Moore Institute in Yorkshire holds examples of early materials and the V&A Museum has examples of proposals. Some materials that Arnatt gave to Robert Smithson in the form of documentation of proposals were donated to LACMA, Los Angeles by Nancy Holt. Tate Archive has material relating to proposals by the artist including correspondence with the writer
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Andrew Wilson’s essay in the catalogue to the exhibition ‘Conceptual Art in
Britain 1964-1979’, Tate, London, 2016, discusses Arnatt. Arnatt exhibited in the 2012 MOCA exhibition ‘Ends of the Earth, Land Art to 1974’. The curators Philipp Kaiser and Miwon Kwon relate Minimalism and Land Art in their
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Arnatt took part in a number of influential exhibitions of conceptual art including 'Konzeption-Conception, Städtichen Museum, Leverkusen', 1969; 'Information', MoMA, New York, 1970; 'Umwelt-Akzente / Die
Expansion der Kunst', Kunstkreis Monschau, 1970 and 'Art as Idea in England', CAYC (Centro de
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He had studied painting at Oxford School of Art in the early 1950s and later at the Royal
Academy Schools in London. From 1962 he taught at Liverpool and then, until 1969, Manchester. At this time he was living in and working from a farmhouse on the Yorkshire/Lancashire border. In 1969 he moved to
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By the end of the 1960s Arnatt's work was associated with the new conceptual art movement. A number of writers connected conceptual art with a general reductionist tendency in contemporary art of the time using phrases like ‘dematerialization’ and referring to the influence of minimalism and in
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introductory essay for the catalogue. See also Anne
Seymour’s essay in ‘The New Art’, 1972 (further details note 7). Ian Walker’s essay from the catalogue to Arnatt’s retrospective ‘Rubbish and Recollections’, The Photographers’ Gallery, London, 1989, discusses his use of the camera.
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The archive of the Henry Moore
Institute has slides of early works. Leeds City Art Gallery holds drawings from the early 1960s. Jon Wood’s catalogue to ‘Box, Body, Burial’, the Henry Moore Institute, Leeds, 2009, refers to and illustrates
29:(1930–2008) was a British conceptual artist. As well as conceptual art his work is sometimes discussed in relation to land art, minimalism, and photography. He lived and worked in London, Liverpool, Yorkshire and Monmouthshire.
337:(1974-6) shown in ‘Time, Words and the Camera: Photoworks by British Artists’, Kunstlerhaus, Graz, Oct 10–Nov 07 1976, and ‘Arte inglese oggi 1960–1976 / English Art Today 1960–1976’, Pilazzo Reale, Milan, Feb 26–May 16, 1976.
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Monmouthshire. Liverpool (the beach at Formby); the moors around his farmhouse in Todmorden, Yorkshire; and his garden surrounded by woodland in Tintern, are settings for works.
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particular the influence of Robert Morris in relating the presentation of art objects to the contexts of their viewing in a way that sought to activate those contexts.
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See Anne
Seymour’s reference to Robert Morris’s use of mirrors in connection with Arnatt’s work in ‘The New Art’ catalogue, Hayward Gallery, London, 1972, p66.
119:(1993–95) Arnatt continued to investigate objects with something very close to the type of manipulative detachment originally shown in early works.
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Notes from Jo (1991-95), and Labels
Borrowed/Stolen (1993-95) recently shown at Sprüth Magers, ‘Notes’, September 14 to November 02 2013.
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For instance in Lucy
Lippard’s, ‘Six years: the dematerialization of the art object from 1966 to 1972’. Praeger, New York. 1973.
64:(1972-89 version) are held in the Tate collection. MoMA, New York has an Art + Project authorised time slice of the work
357:(1987-8) at Keith Arnatt ‘Rubbish and Recollections’, The Photographers’ Gallery, London, Jun 02–Jul 15 1989
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Arnatt was consistently ironic in references to photography
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I have decided to go to the Tate
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