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Barbara Steveni (1928-2020) was a pioneering artist who broke boundaries with new concepts such as “the artist as a living archive” and “art as social strategy”. The legacy of her 70-year career is explored in a new exhibition, Barbara Steveni: I Find Myself, at Modern Art Oxford.
Steveni was an activist whose art had real-world impacts. One of her pioneering works was the foundation of the Artists Placement Group (APG), which placed artists in various industries and public institutions, ranging from zoos to corporations. The group arose from the idea that artists could provide unique insights and assist with the decision-making processes of these institutions.
In 1972, she successfully negotiated with the civil service to place artists in government departments – which led, for example, to the placement of artist John Latham at the Scottish Office in Edinburgh (1975-76). This resulted in radical proposals for the future of the huge industrial spoil tips, known as “bings”, found in the region. Latham proposed retaining them as works of art and marking them with beacons.
Today, the Policy Lab, a new civil service department, continues the spirit of APG by placing artists in government departments.
The exhibition includes work associated with the APG such as The Sculpture (1971) – the board table around which APG artists. This table is not only a functional object but has twice previously been exhibited as a conceptual sculpture, inviting live discussions.
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Modern Art Oxford activates The Sculpture every Friday, inviting people including Policy Lab to engage with artists in discussions. Various APG archive materials – such as contracts and video footage of Steveni advocating for the inclusion of artist-advisors in business and policy decision-making – surround this table.
But the exhibition is much more than a history of APG. It’s a reassessment of Steveni’s importance and influence as an artist. After spending much of her earlier career denying she was an artist at all (in one APG video, she declares: “I am not and have never called myself an artist”), in the late 2000s she had the revelation that she was the vessel which contained her archive and practice. That Steveni was herself an archive, and that her art was her life, is the central theme of this exhibition.
Steveni’s assemblages – three-dimensional works composed of found objects – reflect a modernist heritage that dates back to Picasso and was developed by the Dadaists and Surrealists. However, the exhibition primarily focuses on her “dematerialised” practice, which includes non-traditional art objects and processes such as meetings, conversations and collections. These are considered precursors to today’s contemporary art where human interaction is central, and in some cases the art itself.
In the spirit of Steveni’s collaborative and discursive ethos, Modern Art Oxford commissioned artists to realise some of her unfinished works and reinterpret existing ones. For example, Laure Prouvost, a long-time collaborator, created Dancing Thought Leftovers with Steveni.
This immersive installation fills an entire room with music reminiscent of a child’s toy, alongside Steveni’s found objects hanging from the ceiling in front of projected films. The objects cast shadows on the walls, creating a nursery-like atmosphere.
Both these objects and those in the films look like the kind of things you might dredge from a river: a knackered car tyre, a crumpled sheet of metal, a horseshoe, and part of an old speaker. Two car wing mirrors protrude from a wall.
Mundane fillers around good art
Steveni was at the forefront of developing the notion of the artist as a living archive, as well as “dematerialised art practice”, where ideas replace physical art, and artists’ involvement in decision-making. All this comes across strongly in the exhibition, but its curatorial approach gives the impression that filler material was also needed.
At times, it feels as if you are looking at an exhibition of the artist’s admin rather than her art. Meeting notes, contacts and the contents of a paper shredder are displayed, blurring the line between art and life.
In 1971, Linda Nochlin, a contemporary of Steveni, published the influential article Why Have There Been No Great Women Artists?. This essay is often seen as the beginning of feminist art history.
Nochlin acknowledged that while many interesting and good women artists remained insufficiently investigated or appreciated, there had been no great women artists due to systemic barriers. She warned: “No amount of manipulating the historical or critical evidence will alter the situation; nor will accusations of male-chauvinist distortion of history.”
Nochlin’s point was that presenting mediocre art as great ignores these systemic barriers and hinders work to lift them. I am not suggesting Steveni’s work is mediocre, but it feels like the exhibition’s curators overreached regarding the classification of her personal effects as art, which distracts from the important work she did.
The curators, no doubt, intended to highlight the balance women artists must strike between domestic chores and their practice. However, Nochlin’s treatise explicitly warns against having different standards for women’s art compared with men’s.
While presenting Steveni’s personal effects as part of her living archive is appropriate, the inclusion of mundane items like clothes and biscuit recipes raises questions about their relevance. Do we really need to see Steveni’s old newspapers? Would we expect this in a retrospective of a male artist?
In my view, these examples distract from her important artistic work. Nonetheless, the exhibition successfully highlights Steveni’s pioneering contributions, and her lasting impact on the art world.
Barbara Steveni: I Find Myself is on at Modern Art Oxford till June 8 2025
Martin Lang does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
