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Extra resources for Art and Science of Magnet Design Vol 1
As explained in the introduction, in the decades after the Second World War the British art scene was enriched by an in£ux of artists from abroad. 1 He came to Britain in 1960 and, during the early 1970s, he developed revolutionary ambitions. Medalla, an ‘impractical visionary’ according to the American critic Dore Ashton, came from a wealthy, aristocratic background and was well educated. He was such a child prodigy that in 1954 he was awarded a scholarship to study in the United States. At the age of 14, he was in New York attending Columbia University.
15 Caroline Tisdall, who was then art critic of the Guardian, met Beuys at this time and became his collaborator and companion. She helped to select an exhibition of 400 drawings entitled ‘The Secret Block for a Secret Person in Ireland’ that toured Britain and Ireland during 1974. In the same year, she accompanied Beuys when he made his ¢rst trip to New York to perform, with the help of a live coyote, I like America and America likes Me. Beuys was to appear in galleries in such cities as Belfast, Edinburgh and London several times during the 1970s.
One suggested solution was that artists should con¢ne themselves to producing miniatures. The increasing commercialization of art was another reason for the protest. Metzger has been called ‘the conscience of the art world’. 7 In 1970, Charles Harrison, a critic, curator and art historian, was employed as assistant editor of Studio International. Besides contributing a number of substantial articles about new conceptual art, Harrison made the pages of the periodical available to the British members of Art & Language ^ a group that had been formally constituted in 1968 ^ and to the American conceptualist Joseph Kosuth.