BARBARA KRUGER PATRICIA L BOYD L PATRICIA MODERN ART OXFORD
- - Revolution Urban
David Harvey David
BARBARA KRUGER Paste-ups the to City the to Right the From Cities: Rebel from Extract
28 June - 31 August This is most evident in Kruger’s careful skewing interests. profit-maximizing private by appropriated
group creates, the more likely it is to be raided and and raided be to is it likely more the creates, group
of familiar idioms to generate aphorisms, which materialism. and value of conceptions
This exhibition presents a selection of work by
times. The better the common qualities a social social a qualities common the better The times.
range from the metaphysical to more overtly contemporary about questions challenging poses
renowned American conceptual artist, designer
the true tragedy of the urban commons for our our for commons urban the of tragedy true the
political agitprop. Examples of this can be found too she works, text and installations her in media
and writer Barbara Kruger (b. Newark, New Jersey,
This is, surely, a far better tale by which to explicate explicate to which by tale better far a surely, is, This in Kruger’s handmade paste-up works such as mass of language the utilises Kruger While Galleries.
1945).
Untitled (Talk is cheap) (1985) and Untitled (You Upper our in exhibition Kruger’s Barbara in
SoHo district. SoHo
The vitality and range of Kruger’s unique oeuvre delight in the loss of others) (1982) which are on explored concerns the with resonates work and live
York City, and it was also what destroyed that city’s city’s that destroyed what also was it and City, York
will be explored in this presentation which display in the Middle Gallery. we which in spaces everyday the of critique Boyd’s
comprises a site-specific text installation, multi- New in DUMBO and Willamsburg or Hamburg, of
like Christiania in Copenhagen, the St. Pauli districts districts Pauli St. the Copenhagen, in Christiania like
Twelve York. New in space project a channel video installation and a selection of
This is the fate that again and again threatens places places threatens again and again that fate the is This
collages. Kruger’s art functions as a site of resistance, Surface, Work Primary of invitation the at Brooklyn,
meant devitalisation, according to local opinion. opinion. local to according devitalisation, meant positing a new perspective and refuting normative Heights, Crown in shelf a on exhibited title, same
so debased as to be unrecognisable. Revitalisation Revitalisation unrecognisable. be to as debased so
follows on from a previous project of the the of project previous a from on follows Background to Barbara Kruger narratives about how we should look, act or think. Metrics
Known for her dramatic juxtapositions of text and This is especially evident in Twelve (2004), a multi- becomes itself common the but taxes), property
culture. image, Kruger’s bold visual language originated channel video installation on view in the Piper and rents rising by out forced being (often created
art that became important for late-twentieth century century late-twentieth for important became that art in her background as a graphic designer in New Gallery. In this rare film work, twelve conversations had they which common that of dispossessed
who generated the very idea of a ‘process’-based ‘process’-based a of idea very the generated who York, where she worked for magazines like - in the mode of the soap opera or chat show - been residents original the have only not work,
Manhattan that once housed some of the artists artists the of some housed once that Manhattan
Mademoiselle in the late 1960s. This commercial play out across four screens. The protagonists’ destructive its done has market the time the By
training developed her fluency in arranging words unspoken thoughts appear in text at the bottom of downtown in spaces loft of redevelopment the
multicultural, street-lively, and diverse. diverse. and street-lively, multicultural,
and images to maximum effect. Later Kruger the picture, echoing the information overload of 24- as such elsewhere, processes gentrification by
“character” of their neighborhood to the wealthy as as wealthy the to neighborhood their of “character”
began combining original writing with her own hour news channels. In this work Kruger plays with informed also is It lifestyles. bohemian past of image
(and taxes) rising as real estate agents market the the market agents estate real as rising taxes) (and
photographs, eventually developing her signature televisual conventions to destabilise meaning and the in constructed is environments sanitised newly
gentrification may suddenly find its property prices prices property its find suddenly may gentrification
style of bold lettering overlaid onto cropped or challenge our expectations of cohesive narrative. these in activities leisure and work of blending The
diversity in its neighborhood and protect against against protect and neighborhood its in diversity
blown-up images (often depicting human faces workforce. wireless mobile, new a accommodating
community group that struggles to maintain ethnic ethnic maintain to struggles that group community
and bodies), along with her distinctive black, red Untitled (Titled) 2014 - Upper Gallery cafes and offices by replaced been have areas heel at
through the extraction of land and property rents. A A rents. property and land of extraction the through
and white palette. Kruger’s investigation of rhetoric is further down formerly where centres, city many in apparent
appropriated in urban contexts is, of course, course, of is, contexts urban in appropriated
intensified by the work’s impactful graphic style of is transition This gentrification. of process social a
The primary means by which ‘the common’ is is common’ ‘the which by means primary The
Ideas and Concepts which the artist says, “I attempt to investigate the and process artistic an both – process a to witness
Kruger’s work is primarily concerned with the complex inter-relationships between power and bear can building a of materials the that idea the of common property resources? resources? property common of
workings of power in contemporary life. Through society, but as for the visual presentation itself, with labour artistic of image an presents exhibition and debates concerning the creation and utilisation utilisation and creation the concerning debates and
ironic appropriation of text and imagery, she I try to avoid a high degree of difficulty. I would The us. around designed world the in present forces how does this relate to the long history of arguments arguments of history long the to relate this does how
addresses the latent political and social social and political latent the addresses deploys the visual strategies of mass media in like for people to be drawn directly in the work.” Metrics
order to subvert the often manipulative logic at This has been further developed in a brand new And mean? possibly it could what but intriguing, the right to the city, the idea sounds catchy and and catchy sounds idea the city, the to right the
work in the language of advertising, television, text work made specifically for Modern Art Oxford occupants. studio’s the anti-capitalist critique and political activism. Like Like activism. political and critique anti-capitalist
films and websites. Kruger’s use of both declarative which covers the walls and floor of the Upper by time over out carried processes artistic various common,” they suggest this as an entry point for for point entry an as this suggest they common,”
statements and the imperative, what she terms Gallery. This immersive environment demands the by generated marks with engrained are they metropolis as a factory for the production of the the of production the for factory a as metropolis
‘direct address’, is a consistent tactic throughout that the viewer be activated and adopt multiple dirt; and stains pockmarks, spills, paint of layers When theorists argue that we should view “the “the view should we that argue theorists When
her work. This mode of address is used not only to standpoints in order to apprehend the meaning of congealed with thick are surfaces Their students. and
attendant activities of office workers, freelancers freelancers workers, office of activities attendant grab the viewer’s attention but also to implicate us the words pasted across the walls. While previous interests. class capitalist by dominated
and shelving that support the bodies, objects and and objects bodies, the support that shelving and in the work’s content, forcing us to confront and installations have focused on specific issues, the not if influenced process urban an within commons)
visually and structurally resemble the tables, chairs, chairs, tables, the resemble structurally and visually question familiar orthodoxies. installation at Modern Art Oxford presents a more new (a relations social of forms new inhibit or build
Designed to be load-bearing, the sculptures both both sculptures the load-bearing, be to Designed philosophical enquiry in which each viewer cannot to potential the upon particular in and general, in
The artist has described her interest in popular
fail to be implicated. life urban of qualities the upon surveillance and
culture, citing influences such as film, websites, sourced. are they which from privatisations, enclosures, spatial controls, policing, policing, controls, spatial enclosures, privatisations,
magazines and reality television as a useful This exhibition at Modern Art Oxford presents the businesses the of address the reference that titles seemingly profound impacts of the recent wave of of wave recent the of impacts profound seemingly
measure of contemporary conceptions of value inventiveness and diversity of Kruger’s formal with offices, and cafes surrounding the in found supposed loss of urban commonalities reflects the the reflects commonalities urban of loss supposed
and materialism. Kruger selects specific images strategies, as well as underlining the continued furniture from copied are sculptures the of forms The recent revival of emphasis upon the the upon emphasis of revival recent The
to explore the appeal of escapist stereotypes relevance of her political concerns in today’s The businesses. creative many for location prime a
and time) and its deeper meanings. meanings. deeper its and time) and and the impact on the psyche that particular society. London, central in Soho in studio her of floor the
character of life in a particular city in a given place place given a in city particular a in life of character representations of the body and consumer goods from lifted timber of layer 6mm a with clad are that
Kruger’s investigation of consumerism, power pin down the character of that life (or the particular particular the (or life that of character the down pin , Boyd has produced a series of sculptures sculptures of series a produced has Boyd , Metrics can have. For
and desire echoes some of the ideas explored
Though informed by feminism and critical of to attempt that like) the and videos, painting, films,
in Patricia L. Boyd’s exhibition in the Project institution. public UK a at exhibition solo
capitalism, Kruger’s work in the main encourages novels, (in representations and writings evocative of
Space. While Boyd’s sculpture employs a very first her in Oxford Art Modern by commissioned
a healthy distrust of institutions or entities which range wide a of subject compelling the and stripes, different formal language, both artists challenge work new presents London) 1980, (b. Boyd L Patricia
claim authority, particularly those which have a our understanding of value, materialism and the all of urbanists by commentary of matter a been transitory life. The commonality of that life has long long has life that of commonality The life. transitory
bearing on our own individual freedoms. For the everyday enviroments in which we live and work. 2014 August 3 – June 14 produce a common if perpetually changing and and changing perpetually if common a produce
artist, it is power, be that in personal situations Space Project
and relationships, or on a macro-economic scale The exhibition will be accompanied by a catalogue to agonistically, and reluctantly however mingle,
METRICS
through governments and corporations, that is a featuring an introduction by Paul Hobson with classes and sorts all of people where site the is city The
texts by Ciara Moloney and Timothy Williamson. BOYD L PATRICIA major determinant in people’s lives. COMMONS URBAN THE OF CREATION THE
- - Revolution Urban David Harvey David
Cover artwork by Patricia L Boyd L Patricia by artwork Cover
Extract from Rebel Cities: From the Right to the City to the the to City the to Right the From Cities: Rebel from Extract UPPER GALLERIES MAP Upper Gallery
appropriated by private profit-maximizing interests. interests. profit-maximizing private by appropriated AND LIST OF WORKS 1. Untitled (Titled)
group creates, the more likely it is to be raided and and raided be to is it likely more the creates, group conceptions of value and materialism. and value of conceptions Dimensions variable
2014 times. The better the common qualities a social social a qualities common the better The times. poses challenging questions about contemporary contemporary about questions challenging poses 2014
10.5 x 7.5 x 4.5cm x 7.5 x 10.5 the true tragedy of the urban commons for our our for commons urban the of tragedy true the
media in her installations and text works, she too too she works, text and installations her in media Middle Galleries
ply, reclaimed timber reclaimed ply, This is, surely, a far better tale by which to explicate explicate to which by tale better far a surely, is, This Galleries. While Kruger utilises the language of mass mass of language the utilises Kruger While Galleries.
2014
2014
38 Lexington Street (1) Street Lexington 38 5. in Barbara Kruger’s exhibition in our Upper Upper our in exhibition Kruger’s Barbara in 2. Untitled (Who is beyond the law?)
6.5 x 9.5 x 3.5cm x 9.5 x 6.5
SoHo district. SoHo
45 x 35 x 45cm x 35 x 45
live and work resonates with the concerns explored explored concerns the with resonates work and live Collage, 43 x 26 cm
ply, reclaimed timber reclaimed ply,
2014 York City, and it was also what destroyed that city’s city’s that destroyed what also was it and City, York
ply, reclaimed timber, metal bar bar metal timber, reclaimed ply,
Boyd’s critique of the everyday spaces in which we we which in spaces everyday the of critique Boyd’s 1989
10. 38 Lexington Street (2) Street Lexington 38
200 x 150 x 20cm x 150 x 200 of Hamburg, or Willamsburg and DUMBO in New New in DUMBO and Willamsburg or Hamburg, of 18 Brewer Street Brewer 18 15.
steel bar bar steel
like Christiania in Copenhagen, the St. Pauli districts districts Pauli St. the Copenhagen, in Christiania like 2014 3. Untitled (You do what you can to get what a project space in New York. New in space project a
2014 13.
ply, reclaimed timber, timber, reclaimed ply,
This is the fate that again and again threatens places places threatens again and again that fate the is This
20 x 50 x 2.5cm x 50 x 20 you want) Brooklyn, at the invitation of Primary Work Surface, Surface, Work Primary of invitation the at Brooklyn,
53 x 64 x 75cm x 64 x 53
193 Wardour Street Wardour 193 4. 4. meant devitalisation, according to local opinion. opinion. local to according devitalisation, meant
ply, reclaimed timber reclaimed ply, Collage, 41.5 x 32 cm same title, exhibited on a shelf in Crown Heights, Heights, Crown in shelf a on exhibited title, same ply, reclaimed timber timber reclaimed ply,
so debased as to be unrecognisable. Revitalisation Revitalisation unrecognisable. be to as debased so 9.
73 Beak Street (1) Street Beak 73 1984 2014 follows on from a previous project of the the of project previous a from on follows Metrics 68 Oxford Street Oxford 68 14.
property taxes), but the common itself becomes becomes itself common the but taxes), property
60 x 30 x 25cm x 30 x 60 2014
2014 4. Untitled (Free Love) culture. created (often being forced out by rising rents and and rents rising by out forced being (often created
ply, reclaimed timber timber reclaimed ply,
50 x 20 x 10cm x 20 x 50
15 x 200 x 10cm 10cm x 200 x 15 Collage, 42.8 x 31 cm
art that became important for late-twentieth century century late-twentieth for important became that art dispossessed of that common which they had had they which common that of dispossessed
11 Brewer Street Brewer 11 3.
ply, reclaimed timber timber reclaimed ply,
7. Reading Table Reading 7.
ply, reclaimed timber timber reclaimed ply, 1988 who generated the very idea of a ‘process’-based ‘process’-based a of idea very the generated who work, not only have the original residents been been residents original the have only not work,
8. 10 Frith Street Frith 10 2014
50 Rupert Street Rupert 50 13.
Manhattan that once housed some of the artists artists the of some housed once that Manhattan
By the time the market has done its destructive destructive its done has market the time the By
6. Vitrine Two ‘Rope Piece’, 1969 Piece’, ‘Rope Two Vitrine 6.
2014
dimensions variable dimensions 5. Untitled (You kill time)
the redevelopment of loft spaces in downtown downtown in spaces loft of redevelopment the
2014
198 x 109 x 92.5cm x 109 x 198 3.
ply, reclaimed timber reclaimed ply, Collage, 40.8 x 31.8 cm multicultural, street-lively, and diverse. diverse. and street-lively, multicultural,
5. Vitrine One ‘Location’, 1969 ‘Location’, One Vitrine 5.
by gentrification processes elsewhere, such as as such elsewhere, processes gentrification by
19.5 x 50 x 10cm x 50 x 19.5
ply, reclaimed timber reclaimed ply, 4. 32 Great Windmill Street Windmill Great 32
2. 1983 “character” of their neighborhood to the wealthy as as wealthy the to neighborhood their of “character”
image of past bohemian lifestyles. It is also informed informed also is It lifestyles. bohemian past of image
ply, reclaimed timber timber reclaimed ply,
4. Park Lane, London, 1968/2013 London, Lane, Park 4.
7.
25 Great Pulteney Street Pulteney Great 25 5. 2014 (and taxes) rising as real estate agents market the the market agents estate real as rising taxes) (and
newly sanitised environments is constructed in the the in constructed is environments sanitised newly
12.
16 Old Compton Street Compton Old 16 6. Untitled (We don’t need another hero)
2014 dimensions variable dimensions gentrification may suddenly find its property prices prices property its find suddenly may gentrification
3. Holland Park, 1967 Park, Holland 3.
The blending of work and leisure activities in these these in activities leisure and work of blending The Collage, 27.5 x 36 cm
35 x 35 x 74cm x 35 x 35 2014 black paint paint black diversity in its neighborhood and protect against against protect and neighborhood its in diversity 6.
accommodating a new mobile, wireless workforce. workforce. wireless mobile, new a accommodating 1988
2. Mirror Fragmentation, 1977 Fragmentation, Mirror 2.
steel bar bar steel 20 x 50 x 2.5cm x 50 x 20 ply, reclaimed timber, timber, reclaimed ply,
community group that struggles to maintain ethnic ethnic maintain to struggles that group community 7. 12.
at heel areas have been replaced by offices and cafes cafes and offices by replaced been have areas heel at
ply, reclaimed timber, timber, reclaimed ply,
ply, reclaimed timber timber reclaimed ply, KITCHEN)
through the extraction of land and property rents. A A rents. property and land of extraction the through 7. Untitled (You delight in the loss of others) 1. Pyramid (Soul City), 1967 City), (Soul Pyramid 1. apparent in many city centres, where formerly down down formerly where centres, city many in apparent 8.
128 Wardour Street Wardour 128 6. 6. (2) Street Beak 73 11. 10 Kingly Street (DETOX (DETOX Street Kingly 10 1.
appropriated in urban contexts is, of course, course, of is, contexts urban in appropriated Collage, 36.1 x 39.4 cm
a social process of gentrification. This transition is is transition This gentrification. of process social a 2. 11. 10. 9.
The primary means by which ‘the common’ is is common’ ‘the which by means primary The 1982 witness to a process – both an artistic process and and process artistic an both – process a to witness List of Works of List
the idea that the materials of a building can bear bear can building a of materials the that idea the
of common property resources? resources? property common of 8. Untitled (Who does the crime? Who does
exhibition presents an image of artistic labour with with labour artistic of image an presents exhibition
and debates concerning the creation and utilisation utilisation and creation the concerning debates and the time?)
forces present in the world designed around us. The The us. around designed world the in present forces
how does this relate to the long history of arguments arguments of history long the to relate this does how Collage, 28.7 x 41 cm
3 1 4 5 1 addresses the latent political and social social and political latent the addresses Metrics
intriguing, but what could it possibly mean? And And mean? possibly it could what but intriguing, 1988
the right to the city, the idea sounds catchy and and catchy sounds idea the city, the to right the
the studio’s occupants. studio’s the
anti-capitalist critique and political activism. Like Like activism. political and critique anti-capitalist 9. Untitled (Your misery loves company)
various artistic processes carried out over time by by time over out carried processes artistic various
common,” they suggest this as an entry point for for point entry an as this suggest they common,” Collage, 43 x 26 cm they are engrained with marks generated by the the by generated marks with engrained are they
metropolis as a factory for the production of the the of production the for factory a as metropolis 1985
2 layers of paint spills, pockmarks, stains and dirt; dirt; and stains pockmarks, spills, paint of layers
When theorists argue that we should view “the “the view should we that argue theorists When
and students. Their surfaces are thick with congealed congealed with thick are surfaces Their students. and 10. Untitled (Talk is cheap)
attendant activities of office workers, freelancers freelancers workers, office of activities attendant dominated by capitalist class interests. interests. class capitalist by dominated Collage, 33.7 x 36.5 cm
and shelving that support the bodies, objects and and objects bodies, the support that shelving and commons) within an urban process influenced if not not if influenced process urban an within commons) 1985
6
visually and structurally resemble the tables, chairs, chairs, tables, the resemble structurally and visually
build or inhibit new forms of social relations (a new new (a relations social of forms new inhibit or build 11. Untitled (We will no longer be seen and Designed to be load-bearing, the sculptures both both sculptures the load-bearing, be to Designed
in general, and in particular upon the potential to to potential the upon particular in and general, in
1 not heard), and surveillance upon the qualities of urban life life urban of qualities the upon surveillance and
7
from which they are sourced. sourced. are they which from Collage, 35.5 x 35 cm privatisations, enclosures, spatial controls, policing, policing, controls, spatial enclosures, privatisations,
titles that reference the address of the businesses businesses the of address the reference that titles 1986 seemingly profound impacts of the recent wave of of wave recent the of impacts profound seemingly
15 found in the surrounding cafes and offices, with with offices, and cafes surrounding the in found
supposed loss of urban commonalities reflects the the reflects commonalities urban of loss supposed 12. Plenty LA 14 forms of the sculptures are copied from furniture furniture from copied are sculptures the of forms
The recent revival of emphasis upon the the upon emphasis of revival recent The
1 Single channel video projection
a prime location for many creative businesses. The The businesses. creative many for location prime a dimensions variable
and time) and its deeper meanings. meanings. deeper its and time) and
the floor of her studio in Soho in central London, London, central in Soho in studio her of floor the 2008 character of life in a particular city in a given place place given a in city particular a in life of character that are clad with a 6mm layer of timber lifted from from lifted timber of layer 6mm a with clad are that
pin down the character of that life (or the particular particular the (or life that of character the down pin 2 , Boyd has produced a series of sculptures sculptures of series a produced has Boyd , Metrics
For For Piper Gallery films, painting, videos, and the like) that attempt to to attempt that like) the and videos, painting, films,
solo exhibition at a UK public institution. public UK a at exhibition solo 13. Twelve of evocative writings and representations (in novels, novels, (in representations and writings evocative of
commissioned by Modern Art Oxford in her first first her in Oxford Art Modern by commissioned Four channel video installation,
stripes, and the compelling subject of a wide range range wide a of subject compelling the and stripes,
13 12 11 10 9 8 Patricia L Boyd (b. 1980, London) presents new work work new presents London) 1980, (b. Boyd L Patricia 15 min. loop, Dimensions variable, MAP
been a matter of commentary by urbanists of all all of urbanists by commentary of matter a been 2004 transitory life. The commonality of that life has long long has life that of commonality The life. transitory
14 June – 3 August 2014 2014 August 3 – June 14
produce a common if perpetually changing and and changing perpetually if common a produce
Project Space Project Café mingle, however reluctantly and agonistically, to to agonistically, and reluctantly however mingle,
AND LIST OF WORKS OF LIST AND You Want It (2008) / In Violence (2011)
METRICS
The city is the site where people of all sorts and classes classes and sorts all of people where site the is city The Duration: 30:45mins / 23:02mins respectively PATRICIA L BOYD L PATRICIA PROJECT SPACE MAP SPACE PROJECT THE CREATION OF THE URBAN COMMONS URBAN THE OF CREATION THE Extract from EVENTS WINNERS, LOSERS, BELIEVERS, DOUBTERS JOB DESCRIPTION Talks Performances Tours As you enter the Upper Gallery from the stairs, Your work is about you find yourself stepping on SUICIDES, narrowly the frame and the confines of articulated space Friday 27 June 5 - 6pm The Yard: Summer Sessions A series of tours of the avoiding the SURVIVORS just beyond. Elsewhere, the edge and the tension of a peripheral locator In Conversation July and August exhibition by Modern Art Oxford the floor is covered with POSERS, THINKERS, colour and the signature of saturation Barbara Kruger and Iwona staff. INTELLECTUALS, SYCOPHANTS, PROFESSORS light and the creation of the illusory site Blazwick, Director of the During the summer The Yard Wednesday 1 July, 1pm and other familiar Oxford figures. At least, those surface and the dictates of the forearm Whitechapel art gallery, discuss will host live music, theatre Sally Shaw, Head of Programme are the words put there by Barbara Kruger as part placement and the expository ground Kruger’s exhibition and wider and performance drawing on of her new installation at Modern Art Oxford. All formula and the elegant solution work. the tradition of the performed Wednesday 16 July, 1pm are often used to categorise and dismiss people as décor and the belated recognition of the practical arts text and the performance of Thursday 03 July, 7 – 8pm Ben Roberts, Curator of though nothing more need be said since one has material and the physical embrace publishing – the various ways Director’s Talk: Future Education and Public already been told exactly what types they are. The figures and the rhetoric of the real in which both material and Programme and Events at Programmes letters themselves are strident upper case, so plain structure and the puncture of space ideas and be replicated and Modern Art Oxford as to exclude all qualification and nuance. Many buildings and the direction of task distributed. Wednesday 30 July, 1pm Join Modern Art Oxford Director of the words are formed from verbs for things all dislocation and the subversion of the habitual Events include Paul Teigh, Production Manager Paul Hobson for drinks and an of us do some of the time — think, feel, believe, the arena and the business of men informal discussion of future Wednesday 13 August, 1pm doubt, win, lose, pose, survive — which become opacity and the exhaustion of social life Music plans at the gallery, particularly Ciara Moloney, Curator nouns for people who fit the stereotype of doers of desire and the prolongation of stasis focusing on events and public Saturday 6 July, 3-5pm Exhibitions and Projects that thing. Not everyone who thinks is a THINKER; shopping and the image of perfection programmes. Charlie Cunningham launches utopia and the abandonment of context Every Friday, 2pm a THINKER is someone whose typical activity is the 2014 Yard Summer Sessions sex and the collapse of the closet A short introduction to the thinking. A SURVIVOR is someone whose typical Thursday 17 July, 7pm with an exclusive performance commentary and the announcement of the additional history of Modern Art Oxford, activity is to survive; just surviving isn’t enough. Josefine Wikström of new work. The nouns tend to exclude each other in ways audience and the scrutiny of women A talk about production and hosted by a member of Modern visual splicing and the resonance of the cut the verbs don’t. You have presumably been labour in contemporary art, Print Your Text Art Oxford’s Team. naming and loosened singularities thinking, feeling and doing today, as other days, followed by a screening of Saturday 2 |16 August, 12 – 5pm transparency and the desire for rest Sundays, 3pm but THINKERS, FEELERS and DOERS sound like films relating to her exhibition Printer Richard Laurence making voyeurism and the long shot A short informal tour of the three mutually exclusive groups, defined by those selected by Patricia L Boyd. limited editions of visitors’ texts hooliganism and the lure of the picaresque exhibitions hosted by a member oppositions. Just as the labels partition the floor in the yard. Have your poem, privilege and the tyranny of exclusion Thursday 24 July, 7.00 – 8.30pm of Modern Art Oxford’s team, space, so we are all divided into separate groups. short story or Haiku printed in fashion and the imperialism of garments Perspectives: Barbara Kruger letter set or Risograph. Submit broadcast and the short conversation The first in a series of short talks A likely reaction to the jostling crowd of labels is your text by email or bring them narrative and the gathering of incidents given by experts, academics to dissociate oneself from it: ‘I’m not the sort of on the day. person who goes round labelling people.’ Such dreams and the sliding of meaning and professionals discussing memory and the defeat of total recall exhibitions at Modern Art Oxford self-congratulation is already close to labelling Independent Publishing Fair trauma and the sound that only dogs can hear from beyond the art world. oneself a non-labeller, by contrast with all those Saturday 16 August, 12 – 5pm disease and the accumulation of profit Including: nasty labellers out there. Words are labels. ‘Person’ A mini festival of publishing and property and the feel of value is a label for persons; ‘label’ is a label for labels. Exotic to the Prosaic: independent thought including race and the fear of difference Even the verbs are labels for activities. ‘Think’ is The strategies of imaging Haiti performances, book stalls, money and the velocity of power a label for thinking. ‘Do’ is a label for doing. We Leah Gordon discusses the work workshops and talks. Featuring analysis and the maintenance of the laboratory can’t speak, to others or ourselves, without using of Barbara Kruger and how this a live performance of the Fifth neutrality and the dealing of the double labels. Still, we can question our own labelling, not relates to her wider work as a Runway Radio Show with Paul argument and hand to hand combat with the aim of kicking the habit altogether, but in photojournalist. Carr and Jenna Collins. the hope of learning to follow it with more caution language and the rubbing of skin Timothy Wlliamson and discrimination. Sometimes the problem is not quotation and the rhythm of stacked bodies Wykeham Professor of Logic at too many labels but too few. We may forget that pleasure and the proper name New College Oxford discusses some posers are also survivors and feelers as well. the work of Barbara Kruger Kruger’s installation doesn’t try (vainly) to shame us Barbara Kruger in relation to his work on the into silence. Indeed, it seems sardonically to relish 1984 philosophy of language. the proliferating variety of scathing terms and their rich, powerful associations (FATUOUS FOOLS, BLOATED EGOS, AIR KISSERS, AIRHEADS). But it reminds us that although we need to apply words, they are potentially explosive, to be handled with care.
Timothy Williamson Wykeham Professor of Logic at the University of Oxford 2014