Keith Arnatt

Liverpool (the beach at Formby); the moors around his farmhouse in Todmorden, Yorkshire; and his garden surrounded by woodland in Tintern, are settings for works.

Some materials that Arnatt gave to Robert Smithson in the form of documentation of proposals were donated to LACMA, Los Angeles by Nancy Holt.

(1982-5)[12] and series such as Miss Grace's Lane (1986-7) and Howler's Hill (1987-8) make directly realist evidential references in their uses of settings.

Here, where Arnatt was using the camera in a first-order way and there has been some theorising over the extent of his influence on contemporary photographic practice, there still remains an overriding continuity in the form of analytic and self-disclosing interests in his work.

[13] In late series like Painter’s Cans (1990), Notes from Jo (1991–95), and Labels Borrowed/Stolen (1993–95)[14] Arnatt continued to investigate objects with something very close to the type of manipulative detachment originally shown in early works.