Roelof Louw and British Sculpture since the 1960s

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Notes

1 The five key works which form the basis of each chapter are: Soul City (Pyramid of Oranges), 1967; Park Lane, 1968; ‘Sound Recorder’ Works, 1971; Caracole, 1979; Tower of Babel, 2007–15. These have previously been explored in Sleeman’s PhD thesis as well as books and articles including a chapter in the recent publication edited by Jo Applin, Catherine Spencer and Amy Tobin, London Art Worlds (2018); an accompanying catalogue for an exhibition of Louw’s work at Richard Saltoun gallery (2016); and the catalogue for a touring exhibition co-curated by Sleeman in 2013: Uncommon Ground, Land Art in Britain, 1966–1979.

2 Soul City (Pyramid of Oranges) is in the Tate collection and Park Lane has been reconstructed and exhibited in various exhibitions including When Attitudes Become Form: Bern 1969/Venice 2013. ‘Sound Recorder’ Works, 1971; Caracole, 1979; Tower of Babel, 2007–15 are not held in any collections and and Tower of Babel has never been exhibited.

3 In Benjamin D. Buchloh’s, ‘Conceptual Art 1962–1969: From the the Aesthetic of Administration to the Critique of Institutions’, October 55 (Winter 1990), Buchloh describes how conceptual art succeeded in purging itself entirely of imaginary and bodily experience, of physical substance and the space of memory (40).

4 Soul City (Pyramid of Oranges) was first billed as The Orange Pyramid Show in 1967.