Multiples: Various ephemera including letterpress card by Brian Yale of the artist collective "Group one four". c.1970
Clear plastic bag with stapled orange card label printed with the text “Multiples” in black, containing various ephemera including material published on the occasion of an exhibition “Multiples” organised by the Welsh Arts Council.
Contents:
Welsh Arts Council double-sided catalogue list on blue paper with the heading “Multiples” numbered 1-20. Artists: Mervyn Baldwin, John Berry, Peter Blake, Frederic Carver, Kenelm Cox, Bill Culbert, Roy Grayson, Group One Four, Gerald Hoffnung, Mauro Kunst, Nikolaus Lang, Eduardo Paolozzi, Arthur Quarmby, Keith Richardson-Jones, Terry Setch, Takis, Alan Wood, Bria Yale, Li Yuan-Chia.
Welsh Arts Council double-sided catalogue list on orange paper with the heading “Multiples” numbered 21-44. Artists: Julien Blaine, Jean Francois Bory, Thomas A Clark, Simon Cutts, Timothy Drever, Ken Friedman, Group One Four, David Hockney, Allen Jones, Kitasono Katue, Brian Lane, Cavan McCarthy, James Mckenzie, Peter Mayer, Arvind Krishna Mehrotra, Eduardo Paolozzi, Trevor Wells, Fujimoto Yasuo.
Welsh Arts Council single-sided “additional” catalogue list on white paper numbered 45-46a,b . Artists: Niki de Saint Phalle, John Lennon, Yoko Ono.
Letter addressed to John McEwan from the Welsh Arts Council dated 14 July 1970 responding to McEwan’s request for information regarding multiples. (Presumably the multiples associated with the Welsh Arts Councils community based multiples project initiated in 1967 which culminated in an exhibition probably in early 1970 curated by Hugh Shaw.) The Welsh Committee of the Arts Council decided to free art from museum and gallery walls and bring it more directly to the people. They commissioned some 250 multiples from artists who had a connection to Wales and displayed the works in Welsh urban, industrial and rural locations. The campaign lasted 6 months. The undated catalogue list enclosed here is probably from the presumed 1970 Welch Arts Council exhibition which included only 46 or 47 multiples.
Letterpress printed postcard measuring approx 6 x 4 inches by Group One Four (designed by member Brian Yale) depicting a stylised silhouetted figure within an angular frame printed in black ink on card. Assume that this one of the four works listed as item 30 on the catalogue list which gives the title as “Penny Black (4 designs) 6 x 4”.
Reproduced news clipping from The Times Tuesday February 27 1968 “Art may have to abandon the rarity standard” by Edward Lucie-Smith
Reproduced news clipping from The Times 26 March 1968 “The technical art of the future” by Edward Lucie-Smith
Group one four : Brian Yale, John Berry, Roy Grayson, and Mauro Kunst, formed the art collective "Group One Four" from 1964 to 1979, aiming to make art more accessible and representative of everyday culture. The group was dedicated to bringing art to the attention of the wider public and between 1964 and 1970 held more than 70 exhibitions in the UK and abroad. Yale was instrumental in developing new ways of working individually and in collaboration with the group, and in preparing compact travelling exhibitions. During this period his interests had come to focus on painting and sculpture. His aim, in his own words, was “to produce work which was abstract and impersonal in execution, platonically classical in form and capable of being read internationally”. – Monday November 30 2009, 5.20pm, The Times
Studio International December 1969: “Brian Yale appears obsessed with the image of a standardized human figure, a simplified, cut-out profile like the ones used as statistical ciphers in official diagrams. In this sense it is a symbol and it could be taken as an allegory on the dilemma of the individual. This feeling is emphasized when the mannikin becomes like an artist's lay-figure; again a simplified puppet, mute and pathetic and only articulated by another's will. The suggestion of human dignity ground small is heightened by the decorative, schematic environment that the creature inhabits, and also by the technique of painting in a precisely defined way in a hard, glossy paint that leaves no opportunity for ambiguous interpretation.”– Studio International December 1969
Studio International December 1969: “All four [members of Group One Four] have produced multiples. A typical project was the 'Penny—Black' series, mass-produced letterpress postcards that actually cost a penny, have sold by the thousand, and conform to the group belief that art should be available to everyone. It can also be expendable, ephemeral and even given away free. This happened at a show that was set up as a supermarket at the Arts Council's gallery in Cambridge during the summer of 1968, where simple objects were given away as an ideological gesture that also served as a promotion technique.” – Source: as above.
Clear plastic bag with stapled orange card label printed with the text “Multiples” in black, containing various ephemera including material published on the occasion of an exhibition “Multiples” organised by the Welsh Arts Council.
Contents:
Welsh Arts Council double-sided catalogue list on blue paper with the heading “Multiples” numbered 1-20. Artists: Mervyn Baldwin, John Berry, Peter Blake, Frederic Carver, Kenelm Cox, Bill Culbert, Roy Grayson, Group One Four, Gerald Hoffnung, Mauro Kunst, Nikolaus Lang, Eduardo Paolozzi, Arthur Quarmby, Keith Richardson-Jones, Terry Setch, Takis, Alan Wood, Bria Yale, Li Yuan-Chia.
Welsh Arts Council double-sided catalogue list on orange paper with the heading “Multiples” numbered 21-44. Artists: Julien Blaine, Jean Francois Bory, Thomas A Clark, Simon Cutts, Timothy Drever, Ken Friedman, Group One Four, David Hockney, Allen Jones, Kitasono Katue, Brian Lane, Cavan McCarthy, James Mckenzie, Peter Mayer, Arvind Krishna Mehrotra, Eduardo Paolozzi, Trevor Wells, Fujimoto Yasuo.
Welsh Arts Council single-sided “additional” catalogue list on white paper numbered 45-46a,b . Artists: Niki de Saint Phalle, John Lennon, Yoko Ono.
Letter addressed to John McEwan from the Welsh Arts Council dated 14 July 1970 responding to McEwan’s request for information regarding multiples. (Presumably the multiples associated with the Welsh Arts Councils community based multiples project initiated in 1967 which culminated in an exhibition probably in early 1970 curated by Hugh Shaw.) The Welsh Committee of the Arts Council decided to free art from museum and gallery walls and bring it more directly to the people. They commissioned some 250 multiples from artists who had a connection to Wales and displayed the works in Welsh urban, industrial and rural locations. The campaign lasted 6 months. The undated catalogue list enclosed here is probably from the presumed 1970 Welch Arts Council exhibition which included only 46 or 47 multiples.
Letterpress printed postcard measuring approx 6 x 4 inches by Group One Four (designed by member Brian Yale) depicting a stylised silhouetted figure within an angular frame printed in black ink on card. Assume that this one of the four works listed as item 30 on the catalogue list which gives the title as “Penny Black (4 designs) 6 x 4”.
Reproduced news clipping from The Times Tuesday February 27 1968 “Art may have to abandon the rarity standard” by Edward Lucie-Smith
Reproduced news clipping from The Times 26 March 1968 “The technical art of the future” by Edward Lucie-Smith
Group one four : Brian Yale, John Berry, Roy Grayson, and Mauro Kunst, formed the art collective "Group One Four" from 1964 to 1979, aiming to make art more accessible and representative of everyday culture. The group was dedicated to bringing art to the attention of the wider public and between 1964 and 1970 held more than 70 exhibitions in the UK and abroad. Yale was instrumental in developing new ways of working individually and in collaboration with the group, and in preparing compact travelling exhibitions. During this period his interests had come to focus on painting and sculpture. His aim, in his own words, was “to produce work which was abstract and impersonal in execution, platonically classical in form and capable of being read internationally”. – Monday November 30 2009, 5.20pm, The Times
Studio International December 1969: “Brian Yale appears obsessed with the image of a standardized human figure, a simplified, cut-out profile like the ones used as statistical ciphers in official diagrams. In this sense it is a symbol and it could be taken as an allegory on the dilemma of the individual. This feeling is emphasized when the mannikin becomes like an artist's lay-figure; again a simplified puppet, mute and pathetic and only articulated by another's will. The suggestion of human dignity ground small is heightened by the decorative, schematic environment that the creature inhabits, and also by the technique of painting in a precisely defined way in a hard, glossy paint that leaves no opportunity for ambiguous interpretation.”– Studio International December 1969
Studio International December 1969: “All four [members of Group One Four] have produced multiples. A typical project was the 'Penny—Black' series, mass-produced letterpress postcards that actually cost a penny, have sold by the thousand, and conform to the group belief that art should be available to everyone. It can also be expendable, ephemeral and even given away free. This happened at a show that was set up as a supermarket at the Arts Council's gallery in Cambridge during the summer of 1968, where simple objects were given away as an ideological gesture that also served as a promotion technique.” – Source: as above.
Clear plastic bag with stapled orange card label printed with the text “Multiples” in black, containing various ephemera including material published on the occasion of an exhibition “Multiples” organised by the Welsh Arts Council.
Contents:
Welsh Arts Council double-sided catalogue list on blue paper with the heading “Multiples” numbered 1-20. Artists: Mervyn Baldwin, John Berry, Peter Blake, Frederic Carver, Kenelm Cox, Bill Culbert, Roy Grayson, Group One Four, Gerald Hoffnung, Mauro Kunst, Nikolaus Lang, Eduardo Paolozzi, Arthur Quarmby, Keith Richardson-Jones, Terry Setch, Takis, Alan Wood, Bria Yale, Li Yuan-Chia.
Welsh Arts Council double-sided catalogue list on orange paper with the heading “Multiples” numbered 21-44. Artists: Julien Blaine, Jean Francois Bory, Thomas A Clark, Simon Cutts, Timothy Drever, Ken Friedman, Group One Four, David Hockney, Allen Jones, Kitasono Katue, Brian Lane, Cavan McCarthy, James Mckenzie, Peter Mayer, Arvind Krishna Mehrotra, Eduardo Paolozzi, Trevor Wells, Fujimoto Yasuo.
Welsh Arts Council single-sided “additional” catalogue list on white paper numbered 45-46a,b . Artists: Niki de Saint Phalle, John Lennon, Yoko Ono.
Letter addressed to John McEwan from the Welsh Arts Council dated 14 July 1970 responding to McEwan’s request for information regarding multiples. (Presumably the multiples associated with the Welsh Arts Councils community based multiples project initiated in 1967 which culminated in an exhibition probably in early 1970 curated by Hugh Shaw.) The Welsh Committee of the Arts Council decided to free art from museum and gallery walls and bring it more directly to the people. They commissioned some 250 multiples from artists who had a connection to Wales and displayed the works in Welsh urban, industrial and rural locations. The campaign lasted 6 months. The undated catalogue list enclosed here is probably from the presumed 1970 Welch Arts Council exhibition which included only 46 or 47 multiples.
Letterpress printed postcard measuring approx 6 x 4 inches by Group One Four (designed by member Brian Yale) depicting a stylised silhouetted figure within an angular frame printed in black ink on card. Assume that this one of the four works listed as item 30 on the catalogue list which gives the title as “Penny Black (4 designs) 6 x 4”.
Reproduced news clipping from The Times Tuesday February 27 1968 “Art may have to abandon the rarity standard” by Edward Lucie-Smith
Reproduced news clipping from The Times 26 March 1968 “The technical art of the future” by Edward Lucie-Smith
Group one four : Brian Yale, John Berry, Roy Grayson, and Mauro Kunst, formed the art collective "Group One Four" from 1964 to 1979, aiming to make art more accessible and representative of everyday culture. The group was dedicated to bringing art to the attention of the wider public and between 1964 and 1970 held more than 70 exhibitions in the UK and abroad. Yale was instrumental in developing new ways of working individually and in collaboration with the group, and in preparing compact travelling exhibitions. During this period his interests had come to focus on painting and sculpture. His aim, in his own words, was “to produce work which was abstract and impersonal in execution, platonically classical in form and capable of being read internationally”. – Monday November 30 2009, 5.20pm, The Times
Studio International December 1969: “Brian Yale appears obsessed with the image of a standardized human figure, a simplified, cut-out profile like the ones used as statistical ciphers in official diagrams. In this sense it is a symbol and it could be taken as an allegory on the dilemma of the individual. This feeling is emphasized when the mannikin becomes like an artist's lay-figure; again a simplified puppet, mute and pathetic and only articulated by another's will. The suggestion of human dignity ground small is heightened by the decorative, schematic environment that the creature inhabits, and also by the technique of painting in a precisely defined way in a hard, glossy paint that leaves no opportunity for ambiguous interpretation.”– Studio International December 1969
Studio International December 1969: “All four [members of Group One Four] have produced multiples. A typical project was the 'Penny—Black' series, mass-produced letterpress postcards that actually cost a penny, have sold by the thousand, and conform to the group belief that art should be available to everyone. It can also be expendable, ephemeral and even given away free. This happened at a show that was set up as a supermarket at the Arts Council's gallery in Cambridge during the summer of 1968, where simple objects were given away as an ideological gesture that also served as a promotion technique.” – Source: as above.