Exhibition Studio Workshop | Work from the Collections #7 – Reading Room

Reading Room

As an extension of the main show The sun went in, the fire went out, the Reading Room at CHELSEA space aims to contextualise the three artists work and explore the themes around reinterpreting and responses to performance and land art.

Key items include: the first three issues of Readings magazine from 1977, coedited and published by Annabel Nicolson, archival documents of Carlyle Reedy’s performances: Living Human Sculpture at the Royal Court Theatre in 1972 and The Good Wind at Riverside studios in 1977, and Marie Yate’s e-book Drift 2004.

Curated by Nicola Benford, Phoebe Brown and Kinga Szlama

A bibliography and list of related events compiled for the Reading Room can be found below.


Bibliography for The sun went in, the fire went out

The following bibliography forms a significant body of research related to the artists in the exhibition, and was compiled by Nicola Benford, Phoebe Brown and Kinga Szlama in collaboration with the curators Karen Di Franco and Elisa Kay.

Greenham Common

Blackwood., (1984). On the Perimeter: Caroline Blackwood at Greenham Common. London: Fontana Paperbacks.

Cook, G. Kirk., (1983). Greenham Women Everywhere: Dreams, Ideas and Actions from the Women’s Peace Movement. London: Pluto Press Limited.

Harford, S. Hopkins (eds.)., (1984). Greenham Common: Women at the Wire. London: The Women’s Press Ltd.

Mary Butts

Butts., (1992). From Altar to Chimney-piece, Selected Stories. Kingston (New York): McPherson & Company.

Butts., (1998). Ashe of Rings and Other Writings. Kingston (New York): McPherson & Company.

Butts., (1974). Scenes From the Life of Cleopatra. New York: The Ecco Press.


Howe., (2014). Spontaneous Particulars, The Telepathy of Archives. New York: New Directions Publishing Corporation.

Eichhorn., (2014). The Archival Turn in Feminism, Outrage in Order. Oxfordshire: Marston Book Services Limited.

Sherwin., (2012). Film in Space. London: Xtraprint.

Riley (ed.)., (1992). Poets on Writing, Britian, 1970-1991. Hampshire (Basingstoke): Macmillian Academic and Professional LTD.

(1980). Issue, Social Strategies by Women Artists. London: Institute of Contemporary Art.

Jacquetta Hawkes

Hawkes., (1946). Early Britain. London: The Sun Engraving Co LTD.

Hawkes, C. Hawkes., (1943). Prehistoric Britain. Middlesex: Penguin Books.

Hawkes., (1972). Dawn of the Gods. Aylesbury: Hazell Watson & Viney Ltd.

Hawkes., (1951). A Land. London: The Cresset Press Ltd.

 Lucy Lippard

R. Lippard ., (1983). Overlay: Contemporary Art and the Art of Prehistory. New York: The New Press.

R. Lippard., (1976). From the Center: Feminist Essays on Women’s Art. New York: Plume.

Annabel Nicolson

L. Feuvre (ed.)., (2014). ‘Lucy Reynolds on Annabel Nicolson’s ‘Matches’’, NOIT – 2. London: Flat Time House and Camberwell Press.

Crone., (2012). The Sensible Stage: Staging and the Moving Image. Bristol: Picture This.

‘Annabel Nicolson & Rosie Leventon’, Performance Art Events, 9 May, 1988, p. 10­11.

Nicolson., ‘Annabel Nicolson’, Performance Magazine, no.22, Feburary/March 1983, p. 36­37.

Marie Yates

Robinson (ed.)., (1987). ‘Statement from Sense and Sensability Catalogue by Marie Yates’, Visibly Female: Feminism and Art: An Anthology. New York: St Martin’s Press. p. 22-26.

R. Lippard., (1984). Get the Message? A Decade of Art for Social Change. New York: E. P. Dutton. p.138-140.

Carlyle Reedy

Edwards (ed)., (1987). Reality Studios Vol 9: Prose. Chippenham: Anthony Rowe Ltd.

Brett. K. D. Franco (eds.)., (2014). Icons of a Process. London: Flat Time House.

Reedy., (1995). Obituaries and Celebrations. Ontario: Words Worth Books.

Horovitz., (1969). Children of Albion: Poetry of the Underground in Britain. London: Penguin Books Ltd.

Cobbing, M. Scully and C. Reedy., (1999). Bob Cobbing, Maurice Scully, Carlyle Reedy. Buckfastleigh (South Devonshire): Etruscan Books.

Reedy., (2012). Epos: Selected Poems. Exbourne (West Devonshire): Etruscan Books.

MacRitchie, S. Potter and C. Tisdall., (1980). About Time: video, Performance and Installation by Women Artists, exhibition catalogue, Institute of Contemporary Arts, London. London: Expression Printers Ltd.

L. Frenais., ‘ANY/NOW, Text of the recent presentation by Carlyle Reedy, Performance Art Platform, Midland, Group Nottingham, Oct.18, made available to Performance Magazine’, Performance Magazine, no. 14, 1981, p. 4­5.

Hustwick., ‘Carlyle Reedy, Bobby Baker, Sonia Knox, About Time ­ ICA, Arnolfini, touring’, Performance Magazine, no.9, 1981, p. 22­23.

Holman.,‘Carlyle Reedy: Icons of a Process, Flat Time House London 4­28 September’, Art Monthly, no. 380, October 2014, p. 27­28.

Sumner., (2000). Carlyle Reedy- Straddling Language and Performance, Performance Research, 5:1, p. 70-73 [Online] Available at: <http://www.tandfonline.com/doi/abs/10.1080/13528165.2000.10871713> [Accessed 21 January 2016]

Reedy, A. Sumner., (2000). Monkey Theatre (1972), Performance Research, 5:1, p. 74-82 [Online] Available at: <http://www.tandfonline.com/doi/abs/10.1080/13528165.2000.10871714> [Accessed 21 January 2016]

Reedy, A. Sumner., (1998). Sub Voicive Poetry 1998 #11.

Reedy, A. Sumner., ‘Language Image Sound Object: Carlyle Reedy, Interviewed by Alaric Sumner’, PAJ: A Journal of Performance and Art, vol. 21, no. 1, January 1999, p. 93-98. Cambridge (Massachusettes): MIT Press.

Other Related Books

Edwards (ed)., (1984). Reality Studios Vol 6: Interface. London: J&P Weldon Ltd.

Jung., (1978). Man and his Symbols. London: Pan Books Ltd.

Bord, C. Bord., (1995). Mysterious Britain. London: Thorsons.

Elwes, E. J. Chua and S. Ball (eds.)., (2008). Figuring Landscapes: Artists’ Moving Image from Australia and the UK. London: Catherine Elwes, the Internationl Centre for Fine Art Research and Camberwell College of Arts, University of the Arts London.

Harbison., (2000). Eccentric Spaces. Cambridge (Massachusettes): The MIT Press.

Bachelard., (1992). The Poetics of Space. Boston (Massachusettes): Beacon Press.

Blanchot., (1982). The Space of Literature. Lincoln: University of Nebraska Press.

Leach., (2006). Camouflage. Cambridge (Massachusettes): The MIT Press.

Fote-Wassilak (ed.)., (2016).Tate Etc, Issue 36, Spring 2016.



‘The sun went in, the fire went out: landscapes in film, performance and text’, film screening curated by Lucy Reynolds – ICA Friday 4 March (6-8pm)

 ‘Julian Charrière: For They That Sow the Wind’ exhibition – Parasol Unit 15 Jan – 23 March

‘Accidental Encounters’ exhibition – Wimbledon Space (UAL) in association with LUX
18 Jan – 12 Feb

‘And Under That / Land Makar’ LUX online exhibition

‘LFMC 50: Peter Gidal’s Experimental Film Programmes at the London Film Co-op Cinema 1971-1974: 23 Filmmakers’ – BFI Southbank 3 Feb (6.10pm & 8.20pm)

‘Performing for the Camera’ exhibition – Tate Modern 18 Feb – 12 June

‘Performance Management: Masterclass’ workshop – ICA 19 Feb (11.15am)

‘Performance Management: Panel Discussion’ – ICA 19 Feb (5.30pm)

‘Acts ReActs 3’ exhibition – Wimbledon Space (UAL) 22 Feb – 18 March

‘Hilma af Klint: Painting the Unseen’ – Serpentine Gallery 3 Mar – 22 May

‘Co-op Dialogues 1966 – 2016: John Smith and Laure Prouvost’ lecture – Tate Britain
7 March (7-9pm)

Selection of Barbara Hepworth works – Tate Britain (permanent collection)