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Current exhibitions

Werkabbildung zu Exhibition

Lucy McKenzie – Prime Suspect

Current events

David Smith, „Forging” series of sculptures in progress, Bolton Landing Dock, Lake George, NY, ca. 1956, Estate of David Smith © 2020 Estate of David Smith / VG Bild-Kunst, Bonn 2020 Panel

Transformations in Postwar Sculpture

Alina Szapocznikow, Panel

Hybrid Figurations of the 1960s

Abb. Albert Renger-Patzsch, Marmor an der Lahn (Metamorphit), 1963, Tafel 55, in: „Gestein“, 1966, © Albert Renger-Patzsch / VG Bild-Kunst, Bonn 2020 Talk

Theories of Sculpture in Technological Change

Panel

Materializing Cyberbodies since the 1980s

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Jo Applin
Speaker | Jo Applin

Jann Haworth and the Poetics of Softness

In 1962, aged just 20, London-based American artist Jann Haworth made a decisive turn away from painting to produce a series of life-size patchwork and quilted sculptures. One of the earliest was “Old Lady 1” (1962), the first of a number of soft, stuffed old people Haworth would make. Seemingly upending everything we think we know about the Sixties as a decade of technological, sexual, and political revolution, this is a work rooted firmly, it would seem, in the past. And, in a decade defined by youthful promise, to embark upon a career at the heart of the Swinging Sixties London art world with fabric sculptures depicting elderly people seems almost willfully perverse. Haworth showed “Old Lady 1” at her first solo show in 1966 alongside her rather more youthful corset-and-stocking clad fabric “Lindner Doll” (1965), a soft, stitched figure which Haworth named in homage to the “hard” techno-futuristic women the artist Richard Lindner had been painting since the 1950s. Haworth’s interest in Lindner’s work is surprising,and revealing. I will use the comparison between the fetishistic, shiny surfaces of Linder’s figures and the soft, yielding surfaces of Haworth’s fabric works to reconsider “the poetics of softness”—critic Max Kozloff’s memorable 1967 term for the recent turn towards soft sculpture. This paper will restage softness in relation to questions of animacy and ageing, placing centerstage the new technologies of the body that Haworth’s strange figures both articulate and embrace.

About Jo Applin

Jo Applin is Professor of the History of Art at The Courtauld Institute of Art in London where she is also Head of the History of Art Department. Her books include “Eccentric Objects: Rethinking Sculpture in 1960s America” (2012), “Yayoi Kusama: Infinity Mirror Room—Phalli’s Field” (2012), “Alison Wilding” (with Briony Fer, 2018), “London Art Worlds: Mobile, Contingent, and Ephemeral Networks 1960–1980” (2018), and “Lee Lozano: Not Working” (with Catherine Spencer and Amy Tobin, 2018). Her current project is about art and ageing.

Speaks in the context of

Alina Szapocznikow, Panel

Hybrid Figurations of the 1960s