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Room 34

Room 1 of 1

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This room shows examples of conceptual art works from the 1960s and ’70s. In the 1960s, Les Levine was one of the first artists to work with video and sculpture. In this work from the ’70s, he investigates the power of photography as a tool. Studying in the United States in the 1960s, Michael Craig-Martin was influenced by conceptual approaches to painting and to art in general. In the ’70s, Craig-Martin used ready-mades in his conceptual works An Oak Tree and On the Table. An Oak Tree explores the relationship between the artist, object and viewer. In Brennus and East Coast Light, Sean Scully wields his familiar motifs of grid, scale and stripe in a hard-edged context he used briefly during the 1970s. In the early ’80s, Scully moved towards a looser use of paint and brush-stroke, creating overlaps and broader renditions of the stripe. During the 1960s, Barry Flanagan – who was particularly interested in language, process and the intrinsic qualities of materials – made soft sculptures from humble materials such as cloth, sticks and sand. Tantric Figures (1973) is an example of Flanagan’s work from the early ’70s, when he began to make free- standing, permanent objects, often in stone or bronze.