Record

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TGA 201716 - A collection of documents and editions produced at the time of Barry Flanagan's first solo exhibition at the Rowan Gallery 1966 and while a student at St Martin's School of Art in 1965 - 1964-1966

Collection Name	Flanagan, Barry
Reference Number (click the number to browse all records in this collection)	TGA 201716/8
Level	Item
Title	'Still and Chew' invitation (12 August 1966)
Date	12 August 1966
Extent	2 pieces
Access Status	OPEN
Location	Black Zone
Description	Includes an invitation to 'Still and Chew' (August 1966) consisting of two strips of light sensitive positive and negative Gevaert paper, originally rolled, stapled together and mailed in the post. Hunter's address written out in blue ink by Flanagan on the verso of the negative strip and with Flanagan's ink annotation on the party details on the recto of the positive half. This is the invitation sent out by Flanagan to the event at John Latham's house at which invitees each chewed a page from Clement Greenberg's book 'Art & Culture' borrowed from the college - the pulp then being mixed with yeast and chemicals and left to ferment. Several months later when the college library sent Latham a demand for the return of the book Latham delivered a small glass phial containing distilled essence of 'Art & Culture' in return. The college as a result did not renew his part time teaching contract.
Format	Document - miscellaneous
Physical Description	90 x 201 mm. Printed and ink on paper.
Notes	All the material from the action 'Still and Chew: Art and Culture' 1966-7, was later acquired by the Museum of Modern Art, New York.
Language	English
Administrative History	There are 162 works by Barry Flanagan in the Tate collection - made up of 18 sculptures, 1 film, 13 drawings and 130 prints. He was one of the most significant and consistently inventive British sculptors of his generation. First emerging in the mid-1960s in the context of the artistic experimentation typified by St Martin's School of Art, his sculpture attended to questions of material, process, form and idea and led to his work being critically received in the context of conceptual art and arte povera; an emphasis on the importance of making and craft subsequently led him to concentrate on casting from the early 1980s.
Acquisition Source	Purchased from Andrew Sclanders Beat Books, 2017
Custodial History	Gifted to Frederic Hunter by the artist; purchased by Andrew Sclanders Beat Books from Jill Hunter, the widow of Frederic Hunter, 2015

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