Who knew, in the summer of 1971, that the newest hotbed of art theory would be born, and grow up, in the villages of Chipping Norton and Leamington Spa and the industrial city of Coventry, twenty miles apart from each other and over one hundred miles northwest of London, the supposed center of British contemporary art? For it was there that David Rushton and Philip Pilkington – first-year students in the Fine Arts course at the Faculty of Art & Design, Lancaster Polytechnic – published the two (and only) issues of Analytical Art, rare copies of which have just now entered the Fine Arts Library collection.
Rushton and Pilkington quickly dissolved their work into the larger mission of ‘Art & Language’ group. (The entire text of the introduction to the last issue of the journal is: This is the final issue of Analytical Art. The editors will subsequently be publishing in Art & Language). Together with Terry Atkinson and most especially Charles Harrison they went on to make the discussion of conceptual art central to the critical dialogue of the seventies.
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