Page 88 - Studio International - July August 1975

sculpture ?" How adequate or reliable is the 8 For a comprehensive history of how Hilliard's 'Notes From 1982', published in
representation ? When a photograph Hilliard made Sixty Seconds of Light see the catalogue of the Critic's Choice
"stands for " a sculpture (or whatever), it The Tate Gallery 1972-4, London 1985, exhibition, Arthur Tooth and Sons, 1983,
does so as only one of a large number of pp.168-9. pp. unnumbered.
possible alternatives ...' 9 The original title of this work was 15 This man is not in fact Hilliard, who has
5 In his notes for the catalogue of the 1969 Thirty-Six Views (of Jack Chesworth's tended to avoid using images of himself in all
Camden Arts Centre exhibition, Hilliard Head), but Hilliard now prefers the work executed since the Ten Runs series.
asserted that 'the photograph has become abbreviated version used in the present text. 16 published by the Museum of Modern Art,
essential as a providing factor in an overall 10Seymour, 'John Hilliard', published in the Oxford, and containing Steam Rising/Fog
"sculpture" experience'. catalogue of 'The New Art' exhibition, Swirling/Cloud Descending/ Smoke Drifting;
Conversation with Hilliard, March 1975. Hayward Gallery 1982, p.99. Rotten Wood I Driftwood /Dead Wood/
At a New Arts Laboratory exhibition in 11 Conversation with Hilliard, January 1985. Firewood; and Cause of Death ?
1980, for example, he followed a polemical " Both of these were reproduced in 'Three 17he title of an exemplary study by Hall
performance entailing the destruction of Pieces by John Hilliard', STUDIO published in Working Papers in Cultural
three old sculptures he had made by INTERNATIONAL, April 1982, pp.169-9. Studies 3, University of Birmingham, 1982,
proposing, as an alternative, the erection of " Hilliard is the figure holding the camera PP.53- 87.
physical structures which took account of the and running across the lower series of frames 18 Conversation with Hilliard, January 1985.
gallery space at his disposal. (See Hilliard's in Ten Runs Past a Fixed Point (3). The photographs appeared in the
`Observations and Responses', part of the 14 For a succinct account of the motives Evening Standard in 1983.
article cited in footnote 1). governing this phase in his work see 20 Hall, op. cit., p.94.

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