“The Hidden Mod in Modern Art: London, 1957-1969” by Thomas Crow looks into the considerable influence of the Mod subculture on key figures of the 1960s British art scene. One of its six chapters is devoted in its entirety to Pauline Boty and Bridget Riley, including a fascinating account of the former’s association with John Schlesinger and his films Billy Liar and Darling. The book is published by the Paul Mellon Centre.
From the Yale University Press website: “Bonding over matters of taste and style, the ‘Mods’ of late 1950s London recognised in one another shared affinities for Italian-style suits, tidy haircuts, espresso bars, Vespa scooters and the latest American jazz.
In this groundbreaking book, leading art historian Thomas Crow argues that the figure of the Mod exerted an influence beyond its assumed social boundaries by exemplifying the postwar metropolis in all of its excitement and complexity. Crow examines the works of key figures in the London art scene of the 1960s, including Robyn Denny, David Hockney, Pauline Boty, Bridget Riley and Bruce McLean, who shared and heightened aspects of this new and youthful urbanity.
The triumphant arrival of the international counterculture forced both young Mods and established artists to reassess and regroup in novel, revealing formations. Understanding the London Mod brings with it a needed, up-to-date reckoning with the legacies of Situationism, Social Art History and Cultural Studies.”
Imprint: Paul Mellon Centre
Distribution: Yale University Press
Dimensions: 241 x 165mm
Illustrations: 140 colour + b-w illustrations