Accessibility of the Art Object and VAP

• Reference:GB 254 MS 339/1/3
• Dates of Creation:1978 - 1979
• Name of Creator:
  Pete Horobin
• Physical Description:
  1 box

• Scope and Content

  Includes general correspondence from this time and material relating to these two projects. The Accessibility of the Art Object, inspired by the idea that art should be fuelled by a sense of hazard and accident sought to make art accessible in terms of price and to all. The project included postcards (DUNUC ARTS 4382) and artwork sent to members of the public, badges, and products sold at a Christmas stall. Material includes a 1978 manifesto, a 1978 diary / journal of Horobin and slides of his work. VAP (Visual Arts Promotions) was a collaboration with Edinburgh artists (part of the Edinburgh Group). The material includes notes on the Edinburgh Group meetings, slides of VAP exhibitions and material relating to Horobin's Live performance in the Henderson Gallery.

• Administrative / Biographical History

  Pete Horobin was born in 1949 in Hammersmith to Peter Horobin and Elizabeth (Betty) Haining. He lived in various locations in England until moving to Scotland with his mother and siblings in 1959. Pete Horobin began his habit of meticulous self-documentation in 1975, after graduating from Duncan of Jordanstone College of Art in Dundee that same year. His initial experiments took the form of small boxes filled each month and sealed – not to be reopened until some time in the future. These boxes, long since destroyed, contained ephemera, packaging and personal notes. After returning from a hitch-hiking journey to France in 1977 he commenced a project entitled The Accessibility of the Art Object, which distributed collaged postcards randomly through the post and small products, such as badges books and collages, through Scottish art galleries. These products were sold for as little as 50 pence up to a few pounds. The Accessibility of the Art Object prompted a short-lived grouping with other artists collectively known as Visual Arts Promotions. In 1979 Horobin initiated Junk Into Art/Art Into Junk, a large-scale collective recycling of waste materials, realised in collaboration with the Dundee Group Artists (Ltd) based in Forebank Studios. Participating artists came from Scotland and Paris, where Horobin had met an artists’ run collective called Cairn. The documentation of the Dundee event was later exhibited in Cairn’s space in Paris. Both of the above projects were carefully documented and are now held in Dundee University Archives. At the end of 1979 Horobin turned 30 a conscious ageing which precipitated a 10-year artwork, DATA – Daily Action Time Archive – 01.01.1980 to 31.12.1989. DATA has been referred to as a self historification project; it may also be described as a large bookwork comprising many chapters, that is an artwork which is the sum of its many parts. During this intense period Horobin became involved in the mailart movement and an international grouping of artists styled as the neoists. From 1971 Horobin had been based in the attic at 37 Union Street, Dundee, and as his documentation process gathered momentum and continued growing exponentially he began to refer to his space as The DATA Attic – a repository for his DATA and earlier documented projects, as well as all his correspondence and collaborations with other artists. When DATA came to an end the life of Pete Horobin was terminated. DATA was catalogued and the resulting A4 document of 373 pages, listing over 10,000 items, was self-published. Copies are archived in The National Library of Scotland, Dundee University Archives, and Artpool in Budapest. The end of DATA and the death of Pete Horobin did not however bring documenting and archiving to a conclusion – both activities persisted energetically. Accordingly the remit of The DATA Attic expanded to encompass new artworks and projects, therefore it became necessary to consider the domestic studio space as The Attic Archive, which through time contained 3 10-year artworks plus all associated correspondence, publications, ephemera and packaging. In addition objects from Horobin’s childhood and adolescence were also archived along with many student paintings and drawings. Each of the 3 10-year artworks was made by a different personality, these being – Pete Horobin, Marshall Anderson, and Peter Haining.

• Access Information

  Open for consultation subject to preservation requirements. Access must also conform to the restrictions of the Data Protection Act (2018), General Data Protection Regulation (GDPR, 2018) and any other relevant legislation or restrictions. Clinical information is closed for 100 years.

• Note

  Pete Horobin was born in 1949 in Hammersmith to Peter Horobin and Elizabeth (Betty) Haining. He lived in various locations in England until moving to Scotland with his mother and siblings in 1959. Pete Horobin began his habit of meticulous self-documentation in 1975, after graduating from Duncan of Jordanstone College of Art in Dundee that same year. His initial experiments took the form of small boxes filled each month and sealed – not to be reopened until some time in the future. These boxes, long since destroyed, contained ephemera, packaging and personal notes. After returning from a hitch-hiking journey to France in 1977 he commenced a project entitled The Accessibility of the Art Object, which distributed collaged postcards randomly through the post and small products, such as badges books and collages, through Scottish art galleries. These products were sold for as little as 50 pence up to a few pounds. The Accessibility of the Art Object prompted a short-lived grouping with other artists collectively known as Visual Arts Promotions. In 1979 Horobin initiated Junk Into Art/Art Into Junk, a large-scale collective recycling of waste materials, realised in collaboration with the Dundee Group Artists (Ltd) based in Forebank Studios. Participating artists came from Scotland and Paris, where Horobin had met an artists’ run collective called Cairn. The documentation of the Dundee event was later exhibited in Cairn’s space in Paris. Both of the above projects were carefully documented and are now held in Dundee University Archives. At the end of 1979 Horobin turned 30 a conscious ageing which precipitated a 10-year artwork, DATA – Daily Action Time Archive – 01.01.1980 to 31.12.1989. DATA has been referred to as a self historification project; it may also be described as a large bookwork comprising many chapters, that is an artwork which is the sum of its many parts. During this intense period Horobin became involved in the mailart movement and an international grouping of artists styled as the neoists. From 1971 Horobin had been based in the attic at 37 Union Street, Dundee, and as his documentation process gathered momentum and continued growing exponentially he began to refer to his space as The DATA Attic – a repository for his DATA and earlier documented projects, as well as all his correspondence and collaborations with other artists. When DATA came to an end the life of Pete Horobin was terminated. DATA was catalogued and the resulting A4 document of 373 pages, listing over 10,000 items, was self-published. Copies are archived in The National Library of Scotland, Dundee University Archives, and Artpool in Budapest. The end of DATA and the death of Pete Horobin did not however bring documenting and archiving to a conclusion – both activities persisted energetically. Accordingly the remit of The DATA Attic expanded to encompass new artworks and projects, therefore it became necessary to consider the domestic studio space as The Attic Archive, which through time contained 3 10-year artworks plus all associated correspondence, publications, ephemera and packaging. In addition objects from Horobin’s childhood and adolescence were also archived along with many student paintings and drawings. Each of the 3 10-year artworks was made by a different personality, these being – Pete Horobin, Marshall Anderson, and Peter Haining.

• Other Finding Aids

  Handlist

• Physical Characteristics and/or Technical Requirements

  Paper, analogue and digital media.

• Archivist's Note

  Description compiled by Durham Burt, Archives Assistant, 24/04/2012.

• Conditions Governing Use

  Reproduction is available subject to preservation requirements. Charges may be made for this service, and copyright and other restrictions may apply; please check with the Duty Archivist.

• Accruals

  Not expected

• Location of Originals

  The records are original.

• Additional Information

  Published