This paper concentrates on the making and meaning of Kenneth Armitage Pandarus (version 8) 1963, which was recently presented to Tate in 2003 by the Patrons of British Art. Special attention is given to the humanist content of Armitage’s oeuvre and how this was interpreted by critics in the 1950s and 1960s. Pandarus (version 8) is considered in the context of the cultural and social changes of the early 1960s and the rise of the New Generation sculptors. The central proposition is that despite the critical hostility that this work and others like it met, it is in fact closely attuned to the wider social concerns of the period.
This is a metadata only record.