The production of space at Ikon Gallery, Birmingham: from art object to art institution, 1963

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/15483 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/15483 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/15483 archive 4031 disk0/00/00/28/71 2011-11-09 14:17:43 2019-01-23 09:55:00 2011-11-09 14:17:43 thesis show 0 Grousdanidou Antonia Vinzent Jutta University of Birmingham The production of space at Ikon Gallery, Birmingham: from art object to art institution, 1963 - 1978. unpub NC ND 10col_artl The objective of this thesis is to reconstruct and analyse the space(s) that Ikon Gallery, Birmingham, UK, occupied and produced in its first two decades of existence, from its artist-led inception in 1963 until ca.1978. With the writings of philosopher and sociologist Henri Lefebvre on space, contradiction, the creative act and everyday life constituting the critical underpinning, Ikon's locations in the city, its interiors and other spatial aspects, which may be less easily identifiable as such, are examined and compared in relation to the spatio-cultural context of Birmingham during postwar redevelopment. By mapping the complex interrelations between the local and wider art establishments, art-historical discourse and urban planning, the aim is to explore their implications for the past and present of Ikon as a contemporary art institution. Ikon is posited as a gesture, a creative act concretely executed in space upon its inception, shifting to a gallery ideologically closer to the establishment it was originally opposing. 2011-12 2011-08 graduation eng This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 111 University of Birmingham School of Languages, Cultures, Art History and Music, Department of Art History, Curating and Visual Studies m_ph na 2011-12 graduation