Bruce Lacey, Boy oh boy. Am I living?, 1964
The Bruce Lacey Experience at Camden Arts Centre is by turns funny, moving, charming and even a little bit irritating. The exhibition, co-curated by art historian Professor David Alan Mellor and artist Jeremy Deller, offers a comprehensive view of Lacey’s inextricably linked life and work. Bruce Lacey, a performance artist before the term was in use, has hung on to his inner child – and exhorts us to do the same – and used it to make work that is, well, more bonkers than most art. But in a good way.
John Chamberlain, Hatband, 1960
The automobile has a very particular place in American culture. It’s central to countless films and novels, helping to drive (sorry) the narrative. Though cars do appear in art – in photography, painting and sculpture – they are less prevalent here though from the minimalist sculpture of the mid-twentieth century onwards there was certainly a clear interest in using industrial processes and making work that defied expectations about the nature of sculpture in particular. Expectations about painting had already been shattered by minimalism and abstract expressionism.