All objects will serve equally well. Figure 4. The Hague show presaged a decade of extraordinary success for Boyle Family, culminating in representing Britain at the Venice Biennale. Far from challenging judgments of taste towards the object by the substitution of a single object, beyond the register of aesthetic prescription and indexical of all other objects, in privileging the plural and the democratic they suggested that not simply any thing can be that object, but every thing, and it does not matter what those objects are.
All objects in a culture are capable of challenging judgments that would privilege one object, one experience, over another. Are they artist or artists? Is the work reality or representation? London: Arts Council of Great Britain, , Edinburgh: National Galleries of Scotland, ; and chap. Journey to the Surface of the Earth. The first exhibition to properly acknowledge the collaborative nature of the project was Mark Boyle and Joan Hills Reise um die Welt at the Kunstmuseum Lucerne in November Three Poems.
Paris Review 8, no. London: Calder and Boyars, Elliott, Patrick. Edinburgh: National Galleries of Scotland, , 9— Hare, Bill. Kaprow Allan Jeff Kelley. Marowitz, Charles. Wilson, Andrew. The 14 earthprobes that comprise the series are an examination of the ever-changing physical relationship between sand and water. While Camber Sands was selected specifically to observe and present its unique topography, most of the locations for the earthprobes were chosen at random.
Sites were thus often selected through a randomized process in which darts were blindly thrown onto maps; these chance points became the locations where Boyle Family would make most of the earthprobes and related works. The earthprobes rouse reflection on the environment, the effects of human interaction with the natural world, and how the earth is imagined and perceived, both as a whole and in its component parts.
The influence of painters was enormous — a new influence every week until I got through the entire modern movement. Did you have worries about making a living, keeping body and soul together, paying the rent?
Not as far as making a living from art was concerned, it never occurred to anyone that we could. We never conceived of that as a possibility. We just would do any job that came up. It was a different era. You could actually live off fairly tiny wages. I was a head waiter at one pound a week for many years. All the artists we knew were terribly poor. Nobody was selling anything. The reason why we all made pictures was because it was the most thrilling thing to do.
Why I ask you that, is this perennial problem — when will I be able to survive so that I can be making work full-time? There was a completely different attitude. From the time we had an exhibition that was well received by the critics, it was 17 years before we made a profit in any one year.
It may sound severe, but if people fear they might drift away from what they ought to be doing, maybe they ought to be doing something else. Richard Hamilton once said to me that if someone, from the time they start, is still working 15 years later, they might stand a chance of making some kind of income from it. He said that 10 years ago. I believed him then. If you think of yourself as a potential survivor. Joan said this great thing once, about movements.
She was doing a lecture and somebody asked what it takes in people. Some movement had come up -I think it was kinetic art, which had just arrived on the scene, and I was a bit embarrassed because, like everybody at the time, I had thought how could anyone ever look at anything still, again, when there was this art that moves all over the place.
And Joan just said, well, the thing about movements is, they move. And made a gesture sideways. The whole thing is in a state of upheaval all the time. People are going to find, even if they are doing quite well, that their lives will fluctuate fairly wildly as each new set of dogmatists arrives, declaring that everyone else is completely irrelevant all of a sudden.
The trouble is the public tends to believe anybody that is dogmatic. But artists I know have problems about that.
Everybody raises this as a problem. There are literally hundreds of thousands of poets in this country who write poems on the back of envelopes that they know not only will never get published, but will never even be read by anyone. But no-one finds that extraordinary. So why should anyone find it extraordinary if someone should make pictures? I came across a Scottish artist and I asked him whether he had any problems with galleries. He said, no, not at all. I asked what he did. He said the Scottish coastline is full of wonderful stone, and I just go on beaches, climb up rocks, and make these sculptures there.
I asked what happened to them, did he take anyone to see them — no — did he photograph them — no — did he write about them — no — did he talk about them — well, sometimes. The National Gallery of Scotland, Edinburgh, hosted a major retrospective of the family's work in All Rights Reserved. Toggle navigation. Recent Articles.
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