Hayward Annual '78

At the invitation of the selection committee, American critic and curator Lucy Lippard contributed the introductory essay to the exhibition’s catalogue.

As Lucy Lippard states in the introduction to the catalogue, the 1978 Hayward Annual had its roots in a feminist protest to the 1975 Hayward Gallery exhibition The Condition of Sculpture, which featured 36 men and only four women. Following this exhibition, Liliane Lijn proposed a historical exhibition of women’s art to Tate, who later passed it on to the Arts Council. Although the Arts Council didn’t take on Lijn’s proposal, they invited her to bring together an all-female selection committee for the second Hayward Annual.

Notes from a committee meeting regarding Hayward Annual 1978. The matters for discussion included 'Inclusion of males'.

The press release for the exhibition outlined the process behind the making of Hayward Annual 78. It also stated that the selectors had '...only chosen artists, regardless of sex, whose work they personally find stimulating, and worth bringing to the public's attention.'

An early list of artists and artworks intended for Hayward Annual 78.

Artist and selector Liliane Lijn's Wave Guide: a counterpoint in 15 parts (1977-8) and Four Figures of Light (1978).

Deana Petherbridge's The Iron Siege of Pavia ( 1973-5) and The Concrete Armada (1978).

Early, hand-drawn layouts of the exhibition.

Sue Beere made a new work for the exhibition. Installation Piece (1978) was exhibited on one of Hayward Gallery's sculpture terraces.

Steve Furlonger also exhibited on the sculpture terraces: an artwork called Tether (1978).

Michael Sandle’s Twentieth Century Memorial (1971– 78).

As part of the exhibition, the selectors staged a series of performances, discussions, film screenings, readings and debates in an area called the ‘Open Space’.

Poster for informal slide night that was part of the exhibition's wide-ranging public programme.

Press cutting for Hayward Annual 78.