SIGNALS MAGAZINE 1964-1966. All Published. (Facsimile Edition)
“Signals magazine remains an essential contribution to this important period in 20th century art and is still a crucial document of the mid-1960s international art scene.” – INIVA
A facsimile edition of the original magazine published by David Medalla/Signals Gallery. This special facsimile edition comprises volumes one and two and comes complete with a comprehensive index. There are 10 issues in total, as numbers 3 and 4 are combined into one twin issue (as in the original). Near Fine in original green slipcase as issued.
"From 1964-66 Signals London was a major showroom of the international avant-garde. The premises were bigger than the old ICA in Dover Street and its News bulletin was far more lavish than the ICA's small publication. Artists like Takis, Camargo, Soto, Kenneth and Mary Martin, Li Yuan-chia, Gerhard von Graevenitz and Lygia Clark had opportunities to exhibit on a large scale, and to experiment, which they did not yet have in London or Paris. An international and diverse public sought out the gallery. The first two small-scale 'pilot-Shows' held at Cornwall Garadens, even before the move to Wigmore Street, were attended by 6,854 people according to records kept by Medella, and these included besides artists and students, 'architects, engineers, writers, scientists, technologists, designers, industrialists, doctors, nurses and teachers'.In fact Signals encapsulated the character of the London-based avant garde for the period. Like the ICA. which had a far longer life than Signals, and venues of the early 1960's such as Victor Musgrave's Gallery One and Denis Bowen's and Kenneth Coutts-Smith's New Vision Centre, the character of Signals was cosmopolitan, experimental and interdisciplinary. These qualities have never been recognised by British art history. In fact the entire mainstream historical image of British art wedded to a traditionalist, beaux-arts view of practice, ignoring or excluding the work of those foreigners which cannot be assimilated within the national canon. By the cruel logic of chauvinism, official aspirations to make London an international art centre have only resulted in obliterating London's cosmopolitan reality and the actual ferment of its cultural life" Guy Brett, extract from "Exploding Galaxies, the Art of David Medalla" (1995)
Price: £175
Title: SIGNALS MAGAZINE 1964-1966. Facsimile Edition (All Published)
Authors: David Medalla/Signals Gallery, London
Publisher: Institute of International Visual Arts (INIVA), London
Publication date: 1995
Format: Soft cover
Condition: As New
Stock Number: RB03268
“Signals magazine remains an essential contribution to this important period in 20th century art and is still a crucial document of the mid-1960s international art scene.” – INIVA
A facsimile edition of the original magazine published by David Medalla/Signals Gallery. This special facsimile edition comprises volumes one and two and comes complete with a comprehensive index. There are 10 issues in total, as numbers 3 and 4 are combined into one twin issue (as in the original). Near Fine in original green slipcase as issued.
"From 1964-66 Signals London was a major showroom of the international avant-garde. The premises were bigger than the old ICA in Dover Street and its News bulletin was far more lavish than the ICA's small publication. Artists like Takis, Camargo, Soto, Kenneth and Mary Martin, Li Yuan-chia, Gerhard von Graevenitz and Lygia Clark had opportunities to exhibit on a large scale, and to experiment, which they did not yet have in London or Paris. An international and diverse public sought out the gallery. The first two small-scale 'pilot-Shows' held at Cornwall Garadens, even before the move to Wigmore Street, were attended by 6,854 people according to records kept by Medella, and these included besides artists and students, 'architects, engineers, writers, scientists, technologists, designers, industrialists, doctors, nurses and teachers'.In fact Signals encapsulated the character of the London-based avant garde for the period. Like the ICA. which had a far longer life than Signals, and venues of the early 1960's such as Victor Musgrave's Gallery One and Denis Bowen's and Kenneth Coutts-Smith's New Vision Centre, the character of Signals was cosmopolitan, experimental and interdisciplinary. These qualities have never been recognised by British art history. In fact the entire mainstream historical image of British art wedded to a traditionalist, beaux-arts view of practice, ignoring or excluding the work of those foreigners which cannot be assimilated within the national canon. By the cruel logic of chauvinism, official aspirations to make London an international art centre have only resulted in obliterating London's cosmopolitan reality and the actual ferment of its cultural life" Guy Brett, extract from "Exploding Galaxies, the Art of David Medalla" (1995)
Price: £175
Title: SIGNALS MAGAZINE 1964-1966. Facsimile Edition (All Published)
Authors: David Medalla/Signals Gallery, London
Publisher: Institute of International Visual Arts (INIVA), London
Publication date: 1995
Format: Soft cover
Condition: As New
Stock Number: RB03268
“Signals magazine remains an essential contribution to this important period in 20th century art and is still a crucial document of the mid-1960s international art scene.” – INIVA
A facsimile edition of the original magazine published by David Medalla/Signals Gallery. This special facsimile edition comprises volumes one and two and comes complete with a comprehensive index. There are 10 issues in total, as numbers 3 and 4 are combined into one twin issue (as in the original). Near Fine in original green slipcase as issued.
"From 1964-66 Signals London was a major showroom of the international avant-garde. The premises were bigger than the old ICA in Dover Street and its News bulletin was far more lavish than the ICA's small publication. Artists like Takis, Camargo, Soto, Kenneth and Mary Martin, Li Yuan-chia, Gerhard von Graevenitz and Lygia Clark had opportunities to exhibit on a large scale, and to experiment, which they did not yet have in London or Paris. An international and diverse public sought out the gallery. The first two small-scale 'pilot-Shows' held at Cornwall Garadens, even before the move to Wigmore Street, were attended by 6,854 people according to records kept by Medella, and these included besides artists and students, 'architects, engineers, writers, scientists, technologists, designers, industrialists, doctors, nurses and teachers'.In fact Signals encapsulated the character of the London-based avant garde for the period. Like the ICA. which had a far longer life than Signals, and venues of the early 1960's such as Victor Musgrave's Gallery One and Denis Bowen's and Kenneth Coutts-Smith's New Vision Centre, the character of Signals was cosmopolitan, experimental and interdisciplinary. These qualities have never been recognised by British art history. In fact the entire mainstream historical image of British art wedded to a traditionalist, beaux-arts view of practice, ignoring or excluding the work of those foreigners which cannot be assimilated within the national canon. By the cruel logic of chauvinism, official aspirations to make London an international art centre have only resulted in obliterating London's cosmopolitan reality and the actual ferment of its cultural life" Guy Brett, extract from "Exploding Galaxies, the Art of David Medalla" (1995)
Price: £175
Title: SIGNALS MAGAZINE 1964-1966. Facsimile Edition (All Published)
Authors: David Medalla/Signals Gallery, London
Publisher: Institute of International Visual Arts (INIVA), London
Publication date: 1995
Format: Soft cover
Condition: As New
Stock Number: RB03268
