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Who Owns the Art World? an Online Panel Discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This Short Panel
A DACS panel discussion, 14 March 2018 Who Owns the Art World? An online panel discussion with Hayley Newman, Morgan Quaintance and Richard Parry. This short panel debate took place during DACS’ Annual Strategy Day, as we thought about the context in which artists are currently working and how best DACS could best support artists and artists’ estates in the future. The Panel Mark Waugh (Chair) is the Business Development Director at DACS. Hayley Newman, Artist and Reader of Fine Art, Slade School of Fine Art, UCL. Morgan Quaintance, writer, musician, broadcaster and curator. Richard Parry, Artist. Mark Waugh (MW): Welcome, and we’re live again at DACS, this time from RIBA, and we’re live with a specific question, it’s quite a simple question – “Who Owns the Art World?” And to answer that, what we’re going to have three presentations, one from Richard Parry, one from Hayley Newman and one from Morgan Quaintance. They come from very particular positions and I think you’ll be able to understand what those positions are after the presentations. Essentially, all three of them share a discourtesy of concern with that question of ownership - and not only the ownership of the art world in a conceptual and a material sense - but also in what the role and agency of the artist is, and indeed, art is, in that context. And we’re asking that in the context of DACS as an organisation which has a 30-year history of thinking about what artists can do to empower themselves and support each other. -
Press Release
Press Release Abigail Lane Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) Victoria Miro Gallery, 4 October – 10 November 2001 The exhibition is organized by the Milton Keynes Gallery in collaboration with Film and Video Umbrella The Victoria Miro Gallery presents a major solo exhibition of work by Abigail Lane. Tomorrows World, Yesterdays Fever (Mental Guests Incorporated) extends her preoccupation with the fantastical, the Gothic and the uncanny through a trio of arresting and theatrical installations which are based around film projections. Abigail Lane is well known for her large-scale inkpads, wallpaper made with body prints, wax casts of body fragments and ambiguous installations. In these earlier works Lane emphasized the physical marking of the body, often referred to as traces or evidence. In this exhibition Lane turns inward giving form to the illusive and intangible world of the psyche. Coupled with her long-standing fascination with turn-of-the-century phenomena such as séances, freak shows, circus and magic acts, Lane creates a “funhouse-mirror reflection” of the life of the mind. The Figment explores the existence of instinctual urges that lie deep within us. Bathed in a vivid red light, the impish boy-figment beckons us, “Hey, do you hear me…I’m inside you, I’m yours…..I’m here, always here in the dark, I am the dark, your dark… and I want to play….”. A mischievous but not sinister “devil on your shoulder” who taunts and tempts us to join him in his wicked game. The female protagonist of The Inclination is almost the boy-figment’s antithesis. -
Download Curriculum
CORNELIA PARKER 1956 Nace en Cheshire / Neix a Cheshire / Born in Cheshire 1974-1975 Gloucestershire College of Art & Design 1975-1978 Wolverhampton Polytechnic - B.A. Hons 1980-1982 Reading University - M.F.A. Vive y trabaja en Londres / Viu i treballa a Londres / Lives and works in London Exposiciones Indiviaduales (selección) / Exposicions individuals (sel·lecció) / Selected solo shows 2011 D’Amelio Terras, (front room) New York Thirty Pieces of Silver York St Mary’s, York (in association with Tate) 2010 Doubtful Sound, Baltic Centre for Contemporary Art, Gateshead D’Amelio Terras, (front room) New York No Mans Land, Two Rooms, Auckland, New Zealand (as part of International Artists Residency) 2009 Nocturne: A Moon Landing, Firework display and installation to open Jupiter Artland, Edinburgh 2008 *Guy Bartschi, Geneva *Carles Taché, Barcelona Never Endings Museo De Arte de Lima, Peru (Touring from IKON) Latent News Frith Street Gallery, London Chomskian Abstract, Whitechapel Laboratory, Whitechapel Gallery, London (touring: Ballroom Marfa, Texas; Galleria d’Arte Moderna Contemporanea, Bergamo: Fundacion PRO, Buenos Aires; Henie Onstad Kunstsenter, Oslo; The Institute for the Re-adjustment of Clocks, Istanbul; Kunsthaus, Zurich; Moderna Museet, Stockholm; The Ullens Centre for Contemporary Artm Beijing) 2007 * Never Endings IKON, Birmingham 2006 * Brontean Abstracts, Brontë Parsonage Museum, Haworth, West Yorkshire 2005 Focus: Cornelia Parker, The Modern Art Museum of Fort Worth, Fort Worth, Texas New Work by Cornelia Parker, Yerba Buena -
Stephen Willats
PRESS RELEASE STEPHEN WILLATS THE WORLD AS IT IS AND THE WORLD AS IT COULD BE 7 May - 12 June 2010 From the 1960's until today, London-based conceptual artist Stephen Willats has concentrated on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organization. Stephen Willats has situated his pioneering practice at the intersection between art and other disciplines such as sociology, cybernetics, systems research, learning theory, communications theory and computer technology. Victoria Miro is delighted to present new and unseen works by Stephen Willats in THE WORLD AS IT IS AND THE WORLD AS IT COULD BE. This exhibition furthers Willats' interrogation of social interactions and the polemics of contemporary life in urban society. Through his ongoing preoccupation with developing a new graphic language that establishes continuity between film, photography, text and drawings, here Willats takes the idea of a journey through two parallel realities, the world as it is - the world we live in - and its transformation into the world as it could be. Via this strategy, Willats explores the idea of art as something that motivates people to change their perceptions of reality, to embrace the notion that the world in which they live could be quite different, that one can effect change. The exhibition features a large new installation Cybernetic Still Life (2010), comprised of a monumental wall drawing that incorporates film projections, as well as several photographic and text based works. Employing a diagrammatic framework to express fluidity and transience in relationships - concepts that define the locus of production and exchange of information - these new works explore the very human side of perceptions, our relationships to each other and our tendency to stereotype and make instant assumptions based on brief glimpses into the lives of others. -
My Article in the Last Issue of Finch's Quarterly About the Royal Academy's Summer Exhibition Achieved a Very Modest Degree
Hungary for Culture Charles Saumarez Smith takes issue with the line of Brian (Sewell) and looks forward to the Royal Academy’s Treasures from Budapest exhibition My article in the last issue of Finch’s Quarterly about the Royal Academy’s Summer Exhibition achieved a modest degree of fame by being quoted in Brian Sewell’s review of this year’s exhibition in the Evening Standard: As its chief executive put it in the current edition of a journal of which he is arts editor, the Academy holds “the 18th-century view that the best judges of art are not the critics but the public. Critics may sneer, but the public continues to enjoy the Summer Exhibition precisely because it gives them an opportunity to make up their own minds about what to like.” Sewell went on to say: The public can make up its mind about fish and chips and jellied eels, but to put it in charge of the kitchens of The Ritz would not be wise. And I am less sure that Charles Saumarez Smith’s contempt for critics was widely held anywhere in Europe in the 18th century, the Age of Reason, when the Enlightenment held sway; and even if it were, then the public to which he refers was not the ancestor of some bloke on the Clapham bendy-bus, but an educated gentleman with the benefits of private tutoring, Eton, Oxbridge and the Grand Tour, as ready with a Greek or Latin tag as our beloved Boris Johnson. The chief executive will find little of that background among the old biddies from Berkshire up for the day. -
Conrad Shawcross
CONRAD SHAWCROSS Born 1977 in London, UK Lives and works in London, UK Education 2001 MFA, Slade School of Art, University College, London, UK 1999 BA (Hons), Fine Art, Ruskin School of Art, Oxford, UK 1996 Foundation, Chelsea School of Art, London, UK Permanent Commissions 2022 Manifold 5:4, Crossrail Art Programme, Liverpool Street station, Elizabeth line, London, UK 2020 Schism Pavilion, Château la Coste, Le Puy-Sainte-Réparade, France Pioneering Places, Ramsgate Royal Harbour, Ramsgate, UK 2019 Bicameral, Chelsea Barracks, curated by Futurecity, London, UK 2018 Exploded Paradigm, Comcast Technology Centre, Philadelphia, USA 2017 Beijing Canopy, Guo Rui Square, Beijing, China 2016 The Optic Cloak, The Energy Centre Greenwich Peninsula, curated by Futurecity, London, UK Paradigm, Francis Crick Institute, curated by Artwise, London, UK 2015 Three Perpetual Chords, Dulwich Park, curated and managed by the Contemporary Art Society for Southwark Council, London, UK 2012 Canopy Study, 123 Victoria Street, London, UK 2010 Fraction (9:8), Sadler Building, Oxford Science Park, curated and managed by Modus Operandi, Oxford, UK 2009 Axiom (Tower), Ministry of Justice, London, UK 2007 Space Trumpet, Unilever House, London, UK Solo Exhibitions 2020 Conrad Shawcross, an extended reality (XR) exhibition on Vortic Collect, Victoria Miro, London, UK Escalations, Château la Coste, Le Puy-Sainte-Réparade, France Celebrating 800 years of Spirit and Endeavour, Salisbury Cathedral, Salisbury, -
REVISED 4/27/2013 VERTIGINOUS ACEDIE, CIRCA 2013 the Preternatural Beauty and Equipoise of the Post-War Alexander Calder Mobiles
REVISED 4/27/2013 VERTIGINOUS ACEDIE, CIRCA 2013 The preternatural beauty and equipoise of the post-war Alexander Calder mobiles at Pace Gallery, Burlington Gardens, London, are more than offset/countered by the vertiginous acedie of the exhibition at the Saatchi Gallery, Sloan Square, London, entitled “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia.” Foremost in the latter instance is the series “The Neighbors” by Vikenti Nilin (born 1971). This series of ten images, all black-and-white giclée prints of the exact same size (165 x 110 cm.), is absolutely stunning – and chilling. Image (left) – Vikenti Nilin, “The Neighbors,” Saatchi Gallery, Sloan Square, London One needs to walk the length of Green Park, Hyde Park, and Kensington Gardens to properly prepare oneself for Calder (“Calder After the War”) versus the new Russian photography at Saatchi. (In preparation, one could even stop at the Natural History Museum in Knightsbridge for “Genesis,” semi-objective documentary photography by Sebastião Salgado, if crowds and entrance fees are acceptable.) The Calder mobiles are all installed on two floors in a classic, modernist white gallery at the north end of the Royal Academy, the whiteness of the spaces a tribute to the extreme austerities of the Calder mobiles and stabiles – the path to abstraction fully developed by 1945, the works shown covering the years 1945 to 1949. Curiously or not, Calder’s ascendance also coincides with the slow decline of the modernist avant-garde, which by 1927 was more or less over. This is a contentious issue, but it is more than borne out by the commoditization of modern art well underway by the mid- 1920s and the peculiar turn by Joan Miró into the repetition of his previously anarchic canon principally for the emergent modernist art market – a similar practice that beset Moholy-Nagy, Kandinsky, and others, primarily while in Germany. -
THBT Social Disgust Is Legitimate Grounds for Restriction of Artistic Expression
Published on idebate.org (http://idebate.org) Home > THBT social disgust is legitimate grounds for restriction of artistic expression THBT social disgust is legitimate grounds for restriction of artistic expression The history of art is full of pieces which, at various points in time, have caused controversy, or sparked social disgust. The works most likely to provoke disgust are those that break taboos surrounding death, religion and sexual norms. Often, the debate around whether a piece is too ‘disgusting’ is interwoven with debate about whether that piece actually constitutes a work of art: people seem more willing to accept taboo-breaking pieces if they are within a clearly ‘artistic’ context (compare, for example, reactions to Michelangelo’s David with reactions to nudity elsewhere in society). As a consequence, the debate on the acceptability of shocking pieces has been tied up, at least in recent times, with the debate surrounding the acceptability of ‘conceptual art’ as art at all. Conceptual art1 is that which places an idea or concept (rather than visual effect) at the centre of the work. Marchel Duchamp is ordinarily considered to have begun the march towards acceptance of conceptual art, with his most famous piece, Fountain, a urinal signed with the pseudonym “R. Mutt”. It is popularly associated with the Turner Prize and the Young British Artists. This debate has a degree of scope with regards to the extent of the restriction of artistic expression that might be being considered here. Possible restrictions include: limiting display of some pieces of art to private collections only; withdrawing public funding (e.g. -
CV 2010! Between Times
Clare Strand CV Born 1973! Living and working in Brighton Uk.! www.clarestrand.co.uk! http://clarestrand.tumblr.com! !www.macdonaldstrand.co.uk.! ! ! Solo Exhibitions! 2015 ! Grimaldi Gavin. london . (Title TBC)! 2014! Further Reading. National Museum Of Krakow. Photomonth, Krakow.! 2013! Arles Discovery Award. Rencontre Arles. France.! 2012! Tacschenspielertrick, Forum Fur Fotografie, Cologne. Germany.! 2011! Sleight, Brancolini Grimaldi Gallery, London.! 2009! Clare Strand Fotographie Und Video, Museum Fur Photograhie Braunschweig,! Germany.! Clare Strand Fotographie Und Video, Museum Folkwang, Essen, Germany.! 2008! Clare Strand Recent Works, Fotografins Hus, Stockholm Sweden.! 2005! The Betterment Room – Devices for Measuring Achievement, Senko Studio. Denmark.! 2003! Gone Astray, London College of Communication, London.! 2000! Wasted, Galleri Image, Aarhus, Denmark.! 1998! Seeing Red, Museum of Photography Film and Television, Bradford, England; Imago! Festival, Universidad Salamanca, Spain; Viewpoint Gallery, Salford, England and! Royal Photographic Society, Bath England.! 1997! !The Mortuary, F-Stop Gallery, Bath.! ! Group Exhibitions.! 2015! A History of Art, Archetecture, Design from the 1980’s until Today. curated by Christiane Macel. Center Pompidou. Paris France.! European Portraits ( working title) The Centre of Fine Arts, Brussels, Bozor, Nedermands Fotomuseum , Rotterdam and The National Museum of Photography in Thessaloniki .! 2014! (Mis) Understanding Photography, Folkwang Museum, Essen, Germany. Curated by Florian Ebner! -
Death, Dots & Dollars
Department ART Death, Dots & Dollars The Physical Impossibility of Death in the Mind of Someone Living by JASON EDWARD KAUFMAN Have you heard the one about the artist who put a 13-foot tiger shark in a glass tank of formaldehyde? Of course you have, and you know it’s no joke. That pickled man-eater is one of the most recognized icons of contemporary culture, and the Damien Hirst turned himself into a pop culture man who created it more than two decades ago, British enfant terrible Damien Hirst, has become a bold-faced name and possibly the best-known artist alive. phenomenon, and along the way became the At 48, he may also be the richest. Three years ago, The Sunday Times pegged his assets at £235 million ($342 million), probably an underestimate for an artist world’s richest artist. who sells works for six figures apiece—some have approached $20 million—and whose production teams crank them out in quantity. w Photo: Ben Stansall/Getty Images 214 Winter 2012 Winter 2012 215 Some critics say he’s the new Warhol, but others label him a shock jock more interested in making headlines and money than meaningful art. The Evening Standard’s Brian Sewell gutted the shark, declaring it “no more interesting than a stuffed pike over a pub door,” and Time magazine’s Robert Hughes dubbed it “the world’s most over-rated marine organism.” But how’s this for return on investment? British advertising mogul Charles Saatchi paid £50,000 (approximately $80,000) for the shark in 1992 and in 2004 sold it to Connecticut hedge funder Steven Cohen for $12 million. -
Annual Seminar Tuesday 19 October 2010 | 10.00-16.55 National Portrait Gallery Biographies of Speakers and Chairpersons
Annual seminar Tuesday 19 October 2010 | 10.00-16.55 National Portrait Gallery Biographies of speakers and chairpersons Dr Andrew Moore is Keeper of Art and Senior Curator for Norfolk Museums and Archaeology Service. He has curated or co-curated a number of exhibitions examining the cultural identity of Norfolk and East Anglia. These include regional assessments of the impact of the European Grand Tour (1985), the influence of Dutch and Flemish painting (1988) and of Portraiture (1992). In partnership with the State Hermitage Museum, St. Petersburg he has published a reassessment of the collection of Sir Robert Walpole: A Capital Collection (Yale University Press, 2002 in association with the Paul Mellon Centre of Studies in British Art). His most recent co- curated exhibition The Art of Faith is currently on show at Norwich Castle Museum & Art Gallery until 23 January 2011. Andrew Ellis read Economics at Cambridge before joining the merchant bank Robert Fleming, enticed by its fine collection of Scottish art. He stayed with Robert Fleming for almost twenty years working in London, Tokyo and other parts of Asia in a variety of equity research and management roles. Swapping visits to Japanese chemical plants for visits to UK museum storerooms, he joined the Public Catalogue Foundation as Director ahead of its launch in 2003. Nick Cohen is the BBC's multiplatform commissioner for factual and arts, a role that encompasses finding, developing and commissioning innovative interactive and cross-platform projects, as well as overseeing a portfolio of major ongoing websites, such as BBC Food and BBC Arts. Nick has been working at the forefront of digital media for over a decade and his commissions and productions have won a number of industry awards, including two Emmys. -
University of Dundee Deleuze and the Simulacrum Plummer, Sandra
University of Dundee Deleuze and the simulacrum Plummer, Sandra Published in: The Routledge Companion to Photography Theory DOI: 10.4324/9781315727998 Publication date: 2019 Document Version Peer reviewed version Link to publication in Discovery Research Portal Citation for published version (APA): Plummer, S. (2019). Deleuze and the simulacrum: Simulation and semblance in Public Order. In M. Durden, & J. Tormey (Eds.), The Routledge Companion to Photography Theory (1st ed., pp. 97-112). Routledge Taylor & Francis Group. https://doi.org/10.4324/9781315727998 General rights Copyright and moral rights for the publications made accessible in Discovery Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from Discovery Research Portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain. • You may freely distribute the URL identifying the publication in the public portal. Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 24. Sep. 2021 Author Accepted Manuscript of chapter published by Taylor & Francis Routledge: Plummer, S 2019, Deleuze and the simulacrum: Simulation and semblance in