The reason for the sheer enjoyment I find in artists’ talks is that they take you away from your books and remind you about the reality of artwork in the context of the person who made it. Derek Boshier has delved into a huge variety of both ideas and working practises during his career and the presentation he gave to the Research Forum was a whirlwind whistle-stop tour of his life and work. He unfortunately had to begin by apologising for having to squeeze what was usually an hour and a half talk into a mere 45 minutes, certainly not long enough for me who thoroughly enjoyed all of his stories ‘From Doris to Chemical Cowboys’.
Speaking to the audience mainly using anecdotes, he highlighted some of the key themes of a career begun at a crucial point of transition for British art. Coming out of the Royal College in the 1960s (alongside Peter Blake and David Hockney), he insisted that impetus for their Pop Art was that they just wanted to paint the things they knew around them, the things that interested them. As he put it, not wine bottles and fruit, but films, music and sex. This freedom expanded into his subsequent multidisciplinary practise, which took as many forms imaginable, each with a very unique style.
It was his more atypical work that interested me the most. Of his image-based work, one of the projects Boshier discussed that particularly appealed to me is his 16 Situations (1971). This was an intervention into a series of photographs with a pair of repeated sculptural forms, playing with locations and scales from the micro to the macro (figs. 1 & 2). They appear as a departure from the immediacy of his brightly coloured Pop painting style, yet I think they still communicate the continually present playfulness of his work. This was reinforced for me by his lively delivery style, which excited a sense of immediacy on each topic, regardless of which era he was discussing.
His description of a 1968 collaborative happening with Joe Tilson The Smith/Novak Event (fig. 3) had a sort of timelessness, and certainly would not seem out of place if enacted again today. This took the form of a gesture of friendship between the two most common names in the London and Prague phonebooks, put into place through a workshop involving as many members of the public with those names who would take part. His comment on this work being that in the autumn of that year Soviets moved into Prague and as far as he knows most correspondence was halted.
Each slide is an artwork with a strong personal memory attached, meaning that each projected a strong personal perspective on social and cultural conditions, from what was showing at the cinema, to the state of feminism at the time. I would argue this was one of the most compelling artists’ talks I have attended and urge anyone to see him speak if you find an opportunity.
I would also like to encourage you to attend the series of artists’ talks and workshops organised by the East Wing X committee to compliment the Material Mattersexhibition, ‘Material Insights’. We are inviting artists to engage and discuss with us the materials in which they work. The first event is a talk delivered by Tom Hunter, whose Anchor and Hope is on display in Seminar Room 3. This will take place in SR3 on Monday 6th February at 6pm.