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Mid-20th century experiments in aesthetics underpin the establishment of the first artist-in-residence schemes which were established by the Artist Placement Group from 1966. Documents from two underused archives, the Tate’s Artist Placement Group archive and the John Latham Archive, tell the story of the organisation. Tracing this story helps outline one aspect of the pre-history of impact in the geohumanities. The Artist Placement Group had a radical agenda that was in part taken from the artistic philosophy of one of its co-founders, the conceptual artist John Latham. Artists who were placed in a variety of workplace and community settings were not obliged to produce art objects, but rather to work with organisations in a way that might affect their development. This affective engagement in which the outcomes of the placement were co-produced with participants bears many similarities to contemporary practices of impact in the geohumanities. Despite their idiosyncratic outlook, underpinned as it was by Latham’s time-based cosmology, the Artist Placement Group placed artists in a number of large and influential organisations. Although the Artist Placement Group ultimately failed, the lesson from the story told here is not one that suggests our current endeavours might suffer the same fate. Rather, it is to celebrate and highlight the possibilities and potentials of belligerently different ways of thinking and doing impact.

This article tracks the development of Sir John Latham's constitutional doctrine and asks if we can identify a conceptual explanation for it. Latham was the fifth Chief Justice of the High Court of Australia (1935-52). But he set out a vision of the 'Constitution' in his earlier political career, advocating its sweeping reform. As a judge, Latham stridently avoided drawing even modest constitutional implications in the interpretive process. But the charge that his literalistic reading of the 'Constitution' masked a politically driven jurisprudence is flawed. Latham's interpretive formalism was primarily rooted in a much deeper fixation over public perceptions of legal integrity. Paradoxically, despite his grave concerns over the stability of the constitutional order, Latham's restraint permitted a radical expansion of Commonwealth power and, in turn, transformation of the federal balance. How did these countervailing forces - restraint and radicalism - arise, and then combine, to forge Latham's exceptional constitutional doctrine?

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This chapter examines the fraught relationship between drawing and Conceptual art in the late 1960s and early 70s. For some critics, Conceptual art sounded the death knell for drawing by prioritizing the idea over questions of materiality, skill, and technique. But others noticed a resurgence of interest in drawing within Conceptual art practice. Drawing's notational capacity and economy of means made it uniquely suited to recording conceptual processes without distracting from them. Its physical slightness and relatively low economic worth made it attractive to artists seeking to challenge art's commodity status. Furthermore, in its valorization of the “idea,” Conceptual art could be seen to retrieve some of the fundamental principles of drawing established during the Renaissance, when it was first theorized as an independent discipline. This chapter argues that rather than rendering drawing obsolescent, Conceptual art engaged critically with its conventions and its history.

The Hobart Criminal Court heard the girl was dressed in her school uniform when Latham invited her into a deserted bar. In sentencing today, Justice David Porter said the crime was opportunistic and predatory. He suspended four months of the jail term and ordered that Latham be placed on the sex offenders register.

The Hobart Criminal Court has heard that a former strip club manager accused of sexually assaulting a schoolgirl later told police he had been changing a light bulb at the time of the incident.

[John Latham] seems to be having a moment just now. Sleep is the starting point for Lisson Gallery's exhibition of the artist's spray works, while other work by the artist is also included in concurrent shows at the Henry Moore Institute, Leeds, Modern Art Oxford, and London's Tate Britain.

[John Latham] seems to be having a moment just now. Sleep is the starting point for Lisson Gallery's exhibition of the artist's spray works, while other work by the artist is also included in concurrent shows at the Henry Moore Institute, Leeds, Modern Art Oxford, and London's Tate Britain.