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2.
A group of four documents concerning support for the arts and the relations between contemporary artists and industry:
i) Carbon copy of a 2pp. typed letter written in February 1966 to Jennie Lee, Minister for the Arts in Harold Wilson’s government, with additional holograph note, together with ii) 2pp. ink holograph notes written c. 1967 in which Boyle references the letter; iii) Boyle’s copy of “Art Placement Group”, a report co-authored and published in 1966 by Barbara Latham (née Steveni) and Joan Hills outlining the APG’s proposals for industrial placements for artists; and iv) Boyle’s copy of the first issue of E.A.T. News, the bulletin produced by Experiments in Art and Technology, Inc., NYC.
Boyle’s typed letter to Jennie Lee, headed with the address of his flat in Ladbroke Grove, relates to “general policy on support for the arts and the way support is handed out in particular” (accommodation, legal service, information service, materials and facilities), and concludes with a reference to the research done by “my wife Joan Hills and Barbara Latham” (for the APG). In his holograph note at the end, added later, he writes: “I was asked to go and talk to Jennie Lee about these proposals. She was very interested but obviously knew even better than I did the difficulties of making the major adjustment in policy this would involve. I’m sure it will all happen some day.” Years later, Boyle told Jonathon Green that the original idea to contact Jennie Lee came from Jim Haynes, who “said to us, ‘You must go to Jennie. She wants to know artists to whom she can give money, not just artists who are already making a lot of money out of commercial galleries.’ We wrote to her immediately, with a long list of proposals of what she should spend the money on rather than just frittering it away on £50 to this guy, £50 to that woman. Encouraging artists to work together, to get equipment, setting up a fund which would guarantee the mortgages of groups of artists who could get industrial premises, stuff like that…” (Days in the Life, pp.45-46).
The purpose of Boyle’s holograph notes, written out over two sides of a foolscap sheet, are unclear, but it seems likely that they were made for a projected article on the relationship between art and industry. He begins with mentions of the “1964 Prospectus of Centre for Advanced Creative Study (later became Signals)”, the “International Sculpture Symposium California State College” in 1965 (“Paolozzi unimpressed… wandered off to play in the local aircraft factory”), and “Feb 66 Mark Boyle developer of U.F.O. lights wrote a personal letter to Jennie Lee proposing ways of helping the artist”. Further comments reference E.A.T., Prospex 67 at the RCA, and Projects in Plastics at Foyles Art Gallery, and the jottings conclude with some ideas for “what industry could do for the artist”.
The Art Placement Group booklet (London: APG, 1966), Boyle’s copy of which is included here, is referred to in his notes, in which he claims some credit for himself: “Art Placement Group, growing from Mark Boyle’s suggestions, brought out its report.” Later known as the Artist Placement Group, the APG was conceived by Barbara Steveni in 1965 and established as an artist-run organisation in 1966 with the intention of placing artists within industry, commerce and other non-art environments. Among those who participated were John Latham, Stuart Brisley, Barry Flanagan, Yoko Ono, David Toop, and Hugh Davies (also later involved with the Arts Lab).
Minor pencil marginalia to Boyle’s copy of E.A.T. News #1 (NY: January 15, 1967). Top right corner clipped; cigarette burn to spine fold; o/w Good. Lower cover of APG booklet detached from lower staple; small paint (?) stain to upper wrapper; o/w Very Good, with minor pencil marginalia. Carbon typed letter and holograph notes in Very Good state, unfolded.
(4 items).
