Reading back from Experimental Painting

Abstract

My book, Experimental Painting (1970), was the product of a decade of coming to terms with the history of modern art and with contemporary manifestations of the avantgarde. While at Cambridge from 1960 to 1967, I published art criticism, initially in locally published magazines, and then went on to review art exhibitions both nationally and internationally. This led to being co-editor of Form, which produced further opportunities. The term ‘experimental’ that I adopted in 1970 was intended to suggest the paradigm of scientific discovery which suited some, if not all, of the artists I studied. This article considers concepts directly imported from contemporary scientific enquiry that seemed relevant to me at the time, notably those from experimental psychology, psychoanalysis and structural linguistics. I relate them to the character of intellectual life at Cambridge in a period which saw much debate about the relationship between Sciences and Humanities as ‘Two Cultures’.