Selected Work 1987-2018, Books, Short CV And
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
CVAN Open Letter to the Secretary of State for Education
Press Release: Wednesday 12 May 2021 Leading UK contemporary visual arts institutions and art schools unite against proposed government cuts to arts education ● Directors of BALTIC, Hayward Gallery, MiMA, Serpentine, Tate, The Slade, Central St. Martin’s and Goldsmiths among over 300 signatories of open letter to Education Secretary Gavin Williamson opposing 50% cuts in subsidy support to arts subjects in higher education ● The letter is part of the nationwide #ArtIsEssential campaign to demonstrate the essential value of the visual arts This morning, the UK’s Contemporary Visual Arts Network (CVAN) have brought together leaders from across the visual arts sector including arts institutions, art schools, galleries and universities across the country, to issue an open letter to Gavin Williamson, the Secretary of State for Education asking him to revoke his proposed 50% cuts in subsidy support to arts subjects across higher education. Following the closure of the consultation on this proposed move on Thursday 6th May, the Government has until mid-June to come to a decision on the future of funding for the arts in higher education – and the sector aims to remind them not only of the critical value of the arts to the UK’s economy, but the essential role they play in the long term cultural infrastructure, creative ambition and wellbeing of the nation. Working in partnership with the UK’s Visual Arts Alliance (VAA) and London Art School Alliance (LASA) to galvanise the sector in their united response, the CVAN’s open letter emphasises that art is essential to the growth of the country. -
The Art of Quotation. Forms and Themes of the Art Quote, 1990–2010
The Art of Quotation. Forms and Themes of the Art Quote, 1990–2010. An Essay Nina Heydemann, Abu Dhabi I. Introduction A “Japanese” Mona Lisa? An “improved” Goya? A “murdered” Warhol? In 1998, the Japanese artist Yasumasa Morimura staged himself as Mona Lisa.1 Five years later, the British sibling duo Jake and Dinos Chapman ‘rectified’ Francisco de Goya’s etching series „The Disas- ters of War“ by overpainting the figures with comic faces.2 In 2007, Richard Prince spoke about his intention in the 1990s of having wanted to murder Andy Warhol.3 What is it in artists and artworks from the past that prompts so many diverse reactions in contempo- rary art today? In which forms do contemporary artists refer to older works of art? And what themes do they address with them? This paper is an extract of a dissertation that deals with exactly these questions and analyses forms and themes of art quotes.4 Many 1 In the series „Mona Lisa – In Its Origin, In Pregnancy, In The Third Place“ Yasumasa Morimura raised questions of his Japanese identity and hybrid sexuality based on Leonardo da Vinci’s masterwork. 2 Jake Chapman quoted in the Guardian: "We always had the intention of rectifying it, to take that nice word from The Shining, when the butler's trying to encourage Jack Nicholson to kill his family – to rectify the situation". Jones 2007, 11 or online at <http://www.theguardian.com/culture/2003/mar/31/artsfeatures.turnerprize2003> (15.12.2014). 3 Interview with Richard Prince in Thon – Bodin 2007, 31. -
Equality, Diversity and the Creative Case
Equality, Diversity and the Creative Case A Data Report 2018-19 Getting started Read a Foreword from our Chair, Sir Nicholas Serota; find out more about where the data in this report is from; and get the key findings from the Executive Summary. EQUALITY, DIVERSITY AND THE CREATIVE CASE A DATA REPORT: 2018-19 2 Foreword Foreword by Sir Nicholas Serota, Chair, Arts Council England In 2017, we announced a new This is the first report to focus on this new analysis, review of reports, conversations To fully embrace these opportunities, the National Portfolio and it’s also the first time and two national consultations. A core cultural sector needs to apply its creativity National Portfolio of organisations we’ve been able to look deeper into the detail. principle of the investment that will be made to all aspects of its business and activities. that would receive regular funding This reveals more information across different under the 2020-30 Strategy is the need to Organisations need to continue to change parts of the country and different types of diversify the cultural sector – the leadership, and develop, to innovate, to explore and to for the period 2018-22. Libraries organisations. We’ve also been able to release workforce and governance of organisations; progress. Diversity of thought, experience and Museums were integrated more granular data looking across disciplines, the audiences and visitors influencing and and perspective are vital, and inclusivity and including individual Creative Case ratings. experiencing the creative and cultural offer; relevance are therefore driving principles in into the portfolio for the first and the artists, creatives and producers. -
Angela Bulloch
ANGELA BULLOCH BIOGRAPHY Born 1966 in Rainy River, Canada Lives and works in Berlin, Germany EDUCATION 1985–1988 B.A. (Hons.) Fine Art, Goldsmiths College, London, UK RESIDENCIES 1994 Artist Residency, ARCUS Projects, Moriya Manabi-no-Sato, Japan AWARDS AND GRANTS 2011 Vattenfall Contemporary Art Prize, Berlinische Galerie, Berlin, Germany Visual Arts Grant, The Canada Council for the Arts, Ottawa, Canada Junge Stadt sieht Junge Kunst, The City of Wolfsburg, Wolfsburg, Germany 2002 Cultural Grant, ASEF (Asia-Europe Foundation), Singapore 1989 Whitechapel Artists’ Award, Whitechapel Gallery, London, UK FORTHCOMING EXHIBITIONS 2022 Musée d'Arts de Nantes, Nantes, France SELECTED SOLO EXHIBITIONS 2019 “…then nothing turned itself inside-out and became something.”, Simon Lee Gallery, New York, NY Anima Vectorias, Museum Art Architecture Technology (MAAT), Lisbon, Portugal 2017 Euclid in Europe, Cristina Guerra, Lisbon, Portugal Heavy Metal Body, Esther Schipper, Berlin, Germany Angela Bulloch, Omi International Arts Center, the Fields Sculpture Park, Ghent, NY 2016 One way conversation…, Simon Lee Gallery, Hong Kong Considering Dynamics and the Forms of Chaos, Sharjah Art Museum, Sharjah, UAE (exh. cat) Space Fiction Object, Galerie Eva Presenhuber, Zurich, Switzerland 2015 Archetypes and Totem Antidotes, Galerie Micheline Szwajcer, Brussels, Belgium Topology: No Holes, Four Tails, Mary Boone Gallery, New York, NY New Wave Digits, Simon Lee Gallery, London, UK 2014 Universal Pixels And Music Listening Stations, Kerstin Engholm Gallery, Vienna, Austria In Virtual Vitro, Esther Schipper, Berlin, Germany Pentagon Principle, Galeria Helga de Alvear, Madrid, Spain 2013 Universal Mineral, Simon Lee Gallery, Hong Kong. 2012 Short Big Yellow Drawing Machine, Galerie Esther Schipper, Berlin, Germany Short Big Drama, curated by Nicolaus Schafhausen, Witte de With, Center for Contemporary Art, Rotterdam, The Netherlands (exh. -
02 Cv Angela Bulloch Eng
Angela Bulloch 1966, Ontario, Canada Lives and works in Berlin, Germany SELECTED SOLO EXHIBITIONS 2019 Then nothing turned itself inside-out and became something. Simon Lee Gallery, New York Special Commission: Angela Bulloch. Fundaçao EDP, Lisbon, Portugal 2017 Euclid in Europe. Cristina Guerra, Lisbon, Portugal Heavy Metal Body. Esther Schipper, Berlín Angela Bulloch. Omi international Arts Center, the Fields Sculpture Park, Ghent, NY 2016 One way conversation... Simon Lee Gallery, Hong Kong Considering Dynamics and the Forms of Chaos. Sharjah Art Museum, Sharjah, UAE Space Fiction Object. Galerie Eva Presenhuber, Zurich, Switzerland 2015 Archetypes and Totem Antidotes. Galerie Micheline Szwacjer, Brussels, Belgium Topology: No Holes, Four Tails. Mary Boone Gallery, New York New Wave Digits. Simon Lee Gallery, London, UK 2014 Universal Pixels And Music Listening Stations. Kerstin Engholm Gallery, Vienna, Austria In Virtual Vitro. Esther Schipper, Berlin, Germany Pentagon Principle. Galeria Helga de Alvear, Madrid 2013 Universal Mineral. Simon Lee Gallery, Hong Kong, China 2012 ABCDLP 002—Short Big Drama by George Van Dam for Short Big Yellow Drawing Machine by Angela Bulloch. Esther Schipper, Berlin Short Big Drama. Witte de With Center for Contemporary Art, Rotterdam, The Netherlands 2011 Angela Bulloch. Galerie Micheline Szwajcer, Antwerp, Balgium Information, Manifesto, Rules and other leaks. Berlinische Galerie, Berlin Time and Line. Städische Galerie Worlfburg, Wolfsburg, Germany 2010 KW69 # 1 Molecular Etwas von Angela Bulloch. Kunst-Werke Berlin e.V., Berlin Angela Bulloch. Esther Schipper, Berlin 2009 Angela Bulloch. Galerie Kreo, Paris Angela Bulloch. Air de Paris, Paris Smoked, Formed & Quartered. Galería Helga de Alvear, Madrid Angela Bulloch. Cristina Guerra Contemporary Art, Lisbon 2008 V. -
Gustav Metzger, the Conscience of the Artworld
GUSTAV METZGER, THE CONSCIENCE OF THE ARTWORLD John A. Walker (Copyright 2009) Gustav Metzger. Image may be subject to copyright. ------------------------------------------------------------------------------ Gustav Metzger is a survivor, an itinerant intellectual-agitator who has lived in various European countries including Britain. After residing in the Netherlands for some years - where he researched the art of Vermeer - he reappeared in London in November 1994. In March 1995 he gave a meticulously prepared and thought- provoking lecture about his beliefs and 'career' to student members of the Art History Society of Middlesex University. Here is a chronology of his life (revised in 2009): 1926. Metzger was born into a Polish-Jewish family that lived in Nuremberg, Germany - famous for its annual Nazi rallies. Metzger recalled that as a child he was impressed by the growing power and visual impact of those rallies and Nazi design/architecture; this is one of the reasons why he later became suspicious of design, architecture and forms of mass manipulation such as the press, political propaganda and commercial advertising. In 1939 Metzger was sent with his elder brother to England to escape Nazi persecution. Other members of his family were not so fortunate - they perished in the Holocaust. Naturally this loss shaped Metzger's view that humanity was brutal, dangerous and self-destructive. 1941-44. Studied woodwork and cabinet-making in Leeds. Made furniture and farmed near Bristol - lived in a commune of Anarchists and Trotskyists. Became interested in revolutionary politics and the ideas of Wilhelm Reich. 1944-53. Became interested in art. In 1944 he met Henry Moore and asked to become his assistant. -
Jemima Stehli B
Jemima Stehli b. 1961, London, UK Education 1989-1991 MA Fine Art, Goldsmith’s College 1980-1983 BA Honours Fine Art, Goldsmith’s College, University of London Solo Exhibitions 2007 ‘Jemima Stehli’ Lisboa 20, Lisbon Portugal ‘Studio Double’, ARTRA, Milan, Italy 2004 ‘Put there’, Galerie Bernd Kluser, Munich, Germany 29 April – 23rd June ‘Jemima Stehli’, Centro de Artes Visuais, Coimbra, Portugal, 7th Feb – 21st March ‘Jemima Stehli / John Hilliard’, Artra Milan, Italy, 17 Feb – 30 March ‘Jemima Stehli / John Hilliard’, Artra Genova, Italy, 14 Feb – 30 March 2003 ‘mm Studio’, Contemporary Art Gallery, Vancouver, BC, Canada 9th May- 29th June ‘The Upsetting Table’, Jeffrey Charles Gallery, London 3- 31st May ‘Jemima Stehli’, Lisson Gallery, London, 26th March -3 May 2001-2 ‘Jemima Stehli’, ARTRA, Milan, Italy 2000 ‘Jemima Stehli’, Chisenhale Gallery, London ‘Karen 2000’, Artlab, Imperial College, London Selected Group Exhibitions 2007 Fotofestival, curated by Pedro J. Vicente Mullor, Centro de Historia, Zaragoza, Spain The Naked Self Portrait, curated by Martin Hammer, The Scottish National Portrait Gallery, Edinburgh Republic, L’est, London 2006 Kunst und Photographie, Galerie Bernd Kluser, Munich, 23rd May – 29th July, XX- Visoes no feminino, da colleccao dos Encontros deFotografia, Centro de Arte Visuais, Coimbra, Portugal, 1ST April – 28th May Filmperformance Modern Art Oxford, Oxford, 21st February – 24th February 2005 I Shot Norman Foster, The Architecture Foundation, Old Street, London, 16th November – 20th January 2006 Transmission -
La Pittura Come Forma Radicale Painting As a Radical Form
La pittura come forma radicale Painting as a Radical Form 1995 - 2007 Matthew Antezzo Nato a / Born in Connecticut (USA), 1962 Vive e lavora a / Lives and work in Berlin Il lavoro di Matthew Antezzo consiste principalmente nel recupero, e nella sostanziale rielaborazione pittorica di immagini della tradizione occidentale; “icone” cercate, trovate, e carpite in differenti fonti: spesso sono illustrazioni pubblicate su quotidiani o riviste, libri di storia dell’arte o di cinema, fotografie e più recentemente anche in internet. Le immagini scelte sono spesso quelle di personalità celebri (come quelle di artisti concettuali immortalati in occasione di mostre di portata storica o ritratti di importanti protagonisti del mondo della ricerca scientifica e culturale) nonchè fotogrammi di film conosciuti. Antezzo scegliendo e ri-dipingendo queste immagini, rimanda alla sua memoria culturale, nonchè visiva, creando il suo cosmo personale tra pittura e riflessione concettuale, mettendo in gioco il suo stesso ruolo d’artista tra legittimazione e autonomia. Utilizzando, e reiterando, immagini pubblicate allude al potere di suggestione della comunicazione contemporanea, estendendo il campo della pittura al mondo della tecnica e dei mass media. L’opera in mostra When Attitudes Become Form, An Exhibition Sponsored by Philip Morris Europe (Pascali) (1997) può costituire un paradigma del lavoro dell’artista; il titolo allude alla storica mostra che celebrò l’arte concettuale nel 1969, mentre sulle tele si presentano, in una, la celebre fotografia di Pino Pascali alla Biennale di Venezia del 1968, e nell’altra, che funge da didascalia, compare il nome dell’artista e le date di nascita e di morte, in quattro lingue. -
Emmanuelle Waeckerle
EMMANUELLE WAECKERLE www.ewaeckerle.com [email protected] www.ucreative.ac.uk www.thebookroom.net [email protected] · Biography Born in Rabat, Morocco. Lives and works in London. 1994-1996 Slade school of Art, MA Fine Art / Media 1992-1993 University of Greenwich, Cert Ed Art and Design 1987-1991 City of London Polytechnic, DADS Fine Art Photography · employment - 0.5 Reader in photography and relational practices at UCA Farnham - Lead academic and director of bookRoom research cluster and bookroom press at UCA Farnham · Teaching 1999 current - University college for the creative arts, Farnham, BA/MA Photography, PHD 1996-2000 - Kent Institute of Art and Design, Maidstone, BA and MA Visual Communication 1997 - Surrey Institute, Croydon College, BA Photomedia 1996-1997 - Slade school of Fine Art; Research assistant in Media / Electronic Media 1993- 2006 - Lambeth College, Film Video and Photography Access course · selected exhibitions/performances and other projects 2015 On walking and reading and thinking, exhibition with Thomas Evans, David Rule, the saison poetry library, southbank centre, 13th Jan / 1st March, London 2014 - bookRoom at Small publishers fair, Conway hall, Nov 2013 - CODEX; paper, pixel and beyond, curating and chairing talk and panel discussion with Alessandro Ludovico, Delphine Bedel, Colin Sackett. London art book fair, 24th Sept, Whitechapel gallery, London - bookRoom display at Whitechapel international book fair, 22/25 september London - PRAELUDERE in Neufelden performance , die Station, Austria, 6th September - PRAELUDERE in Haan performance, ATELIER IM OF, 4th May Haan, Germany - PRAELUDERE im Munich performance, KUNST IM BAU 5 , Munich, 9th February 2013 - bookRoom at Small publishers fair, Conway hall, Nov 2013, launch of bookroom press first publications by Simon Aeppli, Nicky Hamlyn and Vicky Churchill. -
TOWARDS the END the Baring Foundation's Arts and Older People
TOWARDS THE END The Baring Foundation’s Arts and Older People Programme 2010-2017 by David Cutler THE BARING FOUNDATION About the author David Cutler is Director of the Baring Foundation and runs its arts programme. He has written several publications on aspects of arts and older people, including Living national treasure – creative ageing in Japan. Cover photo: 'Ticky Picky Boom Boom', performed by Malcolm X Theatre Company and Acta community theatre, Photo © Graham Burke TOWARDS THE END Contents Purpose 1 Origins 2 Focus on care homes and people living with dementia The case for arts and older people 5 Focus on dance When you have met one older person, you have met one older person 8 Focus on digital arts And the arts are, almost always, local 11 Focus on singing and music Open grant programmes run by the Foundation 13 Focus on festivals Arts Council partnerships 16 Focus on drama and spoken word Building a movement – networking and learning 20 Focus on visual arts, galleries and museums An international perspective 22 Focus on – the unexpected… Conclusion – the last chapters 25 The Blue Wave Publications 28 Grants awarded 2010 – 2017 30 THE BARING FOUNDATION Play Resource Warehouse Strut and Stroll project, part of the Arts Council of Northern Ireland’s Arts and Older People’s programme. Photo © Brian Morrison TOWARDS THE END 1 Purpose This report explains why the Baring Foundation has been funding arts and older people activity and describes what we have funded for the first eight years of our grant making. We are aware that we are just one piece of the jigsaw in a much broader picture of creative ageing. -
EXPOSE YOURSELF to ART Towards a Critical Epistemology of Embarrassment
EXPOSE YOURSELF TO ART Towards a Critical Epistemology of Embarrassment Gwyneth Siobhan Jones Goldsmiths University of London PhD Thesis 2013 1 I declare that the work presented in this thesis is my own. Gwyneth Siobhan Jones 2 ABSTRACT This thesis investigates the negative affect of ‘spectatorial embarrassment’, a feeling of exposure and discomfort sometimes experienced when looking at art. Two particular characteristics of embarrassment figure in the methodology and the outcome of this enquiry; firstly that embarrassment is marginal, of little orthodox value, and secondly, it is a personal experience of aversive self-consciousness. The experiential nature of embarrassment has been adopted throughout as a methodology and the embarrassments analysed are, for the most part, my own and based on ‘true’ experience. Precedent for this is drawn from ‘anecdotal theory’, which uses event and occasion in the origination of a counter-theory that values minor narratives of personal experience in place of the generalising and abstract tendencies of theory-proper. The context is a series of encounters with artworks by Gilbert & George, Jemima Stehli, Franko B, Adrian Howells, and Sarah Lucas. They are connected by their contemporaneity, their ‘British-ness’, and that they allow the spectator no comfortable position to look from. This enquiry engages with theories of ‘the gaze’ (as both aesthetic disinterest and a dubious sign of cultural competence) and the challenge to aesthetic disinterest made by ‘transgressive art’ which may provoke a more engaged, even embodied response. Each encounter sparks consideration of differing causes and outcomes of embarrassment that resonate beyond art to broader sociocultural territories particularly in terms of gender and class. -
Here for Culture
Tuesday 11th May, 2021 Dear Secretary of State for Education, The Government has proposed that courses in price group C1 – covering subjects in music, dance, drama and performing arts; art and design; media studies; and archaeology – are not among its strategic priorities and will be subject to funding reductions. The proposed reduction of £121.40 per student represents a funding cut of 50 percent in the subsidy to these specialist subjects that are expensive to teach. The visual arts sector strongly disagrees with this proposal and furthermore, alongside the London Art School Alliance, opposes the removal of the London weighting. The impact is far-reaching. More than ever, we appreciate the emergency funding that the Government has provided for the cultural sector across the country through the Culture Recovery Fund. This is why we find these policy proposals a strategic misstep and contrary to the Department for Digital, Culture, Media and Sport strategy Here for Culture. We urge you to reconsider. Higher Education is a fundamental right of all people in this country. This proposal will detract from one of the UK’s fastest-growing economies. The Creative Industries contributed £116bn in GVA in 2019 and supports 1 in every 16 jobs (DCMS 2019). This success has been built upon the UK’s world leading arts education and its entrepreneurial graduates - 65% of employees in the creative sector have a degree, evidencing the value of the universities and schools of art. An arts education develops high level creative skills along with complex problem solving and critical thinking, areas that the World Economic Forum identified as the top three skills for future jobs.