1 Subterraneans has been published to accompany the Subterraneans exhibition at Leeds College of Art from 21st November – 5th December 2014

Leeds College of Art Blenheim Walk Leeds LS2 9AQ Tel: 0113 202 8000 4 Leeds College of Art

Subterraneans the start and attracted a number indeed mainly from, the culture and those paths that were of artists, photographers and present day. laid out in the 1940’s and 1950’s. Beat Influences on film makers to their circle. Also Contemporary Art the Beat movement influenced Although the Beat Generation in Although some of the works many others to create art that all probability began as far back are obvious such as a paper cut Subterraneans, an exhibition that could reasonably be called Beat as 1944 at New York’s Columbia piece by Bristol based artist Rose looks at the Beat movement from in its own right. Subterraneans University where Jack Kerouac, Vickers, using an early paperback a mainly visual perspective, has has taken this a stage further, Allen Ginsberg, Neal Cassady, cover of On the Road, or works by been gradually evolving since discovering Beat in work where it William Burroughs and others both Simon Morris and Joe Hale 2011 when Leeds College of Art may not be immediately obvious, became acquainted, the Beats based on the more recent Penguin held a couple of small shows but in doing so a unique exhibition have somehow managed to Edition of On the Road, the called En el Camino, Sur la Route begins to come together where, remain the coolest of literary exhibition soon veers away from and City Lights. Working closely for example, a Marcel Duchamp movements attracting ever more the overly literal and yet there is with the City Lights book store in 7” record is shown next to Kim followers. By pure coincidence always this connection, this thread San Francisco, these two shows Gordon’s Marcel Duchamp around the same time a new that binds all the artists and included work by San Francisco screenprint which is in turn shown generation of painters emerged, designers, writers and film makers photographer Larry Keenan and next to a Small Stakes poster the New York School, perhaps together, a perceived coolness, various versions of On the Road of Sonic Youth, playing at the better known as the Abstract edginess, art that is potentially in several languages alongside Fillmore, San Francisco. Expressionists and all this wild, crazy, art that if it were a other Beat publications. Such was glued together by the Be work of literature it would surely was the interest shown that the Back in 1952 Carolyn Cassady Bop jazz of musicians such as be Beat. The selection of what idea of a larger show soon took took some photographs of her Dizzy Gilespie, Miles Davis and to show, who to invite, or perhaps hold. Initially this was planned as husband Neal Cassady standing Thelonius Monk which permeated just as importantly who to leave an exhibition of contemporary art next to a relaxed Jack Kerouac everything. This is an exhibition of out, has not been easy and has with a Jack Kerouac connection. and these have become among art that you can almost click your taken a number of years - on the the most iconic images of the fingers to. one hand we have included work However as the months passed Beat Generation. I have taken by long established artists such the exhibition began to take a one of these photographs, an Of course, there have been, and as Gavin Turk, Jonathan Monk, different direction, less literal, image of youth, freedom and will be, many exhibitions about Marcel Duchamp, Sam Taylor- more open to influences from rebellion, as the starting point the Beat Generation in one Wood, John Baldessari, James the entire Beat movement, and for Subterraneans, an exhibition form or another but rarely has Turrell, Roy Lichtenstein, Richard beyond, and this has given us which is nevertheless not so anyone touched upon the wider Hamilton, Boyd & Evans and Yoko the opportunity to display a much about Jack Kerouac or implications of Beat culture and Ono, while on the other we have large, quite diverse range of work the Beat Generation but rather the visual arts. Subterraneans young artists such as Bonnie including paintings, photographs, the mind-set of artists since that confidently shows art by and Clyde, Adie Russell, Stefanie prints, film, performance and photograph was taken, artists who established artists and young Posavec, Aaron Murphy, Silviu and video, yet all crucially linked. have maybe been influenced by unknowns, recent graduates Irina Szekely, Rossina Bossio and Beat culture, directly or indirectly, and the long dead, artists and Jonna Bergelin and many others. Unlike most literary movements, even if not being immediately designers who have all in some We have also included recent the Beats were pretty visual from aware of the fact, right up to, way come under the spell of Beat

Subterraneans 5 6 Leeds College of Art graduates and even one involved. I met Simon Warner that changed lives, including mine, Brontë’s perhaps, Shakespeare photographer still at art school. at the University of Leeds and profoundly. The artists taking part maybe - and this all started with Simon Morris at the University are from the United States, the Jack Kerouac sitting down at his There is a strong Leeds College of Middlesbrough, which in turn United Kingdom, Sweden, Canada, Underwood typewriter to start of Art connection - many of the led to others being discovered Brazil, China, Romania, Colombia, work on his scroll . . . the rest works on show come from the such as Jason Jadick in the Holland, Ireland and elsewhere, is history. Leeds College of Art Collection USA or Joe Hale and so it went a truly international display of and a good number of the artists on. A German collector of On creativity and an extraordinary involved are Leeds College of the Road in foreign languages, collection of art and design, film Art alumni. Several artists have Horst Spandler, got in touch, as and literature. links with Leeds College of Art did several artists in California, through exhibiting here in the past even the quirky Beat Museum The Beat movement produced while others have been directly in San Francisco. If we had the many literary stars and a few approached by the College. A space this could have developed mega stars – Allen Ginsberg, number of the artists we are into a major exhibition but as we William Burroughs, Jack Kerouac showing approached us to take have a small gallery we had to – Kerouac even has a street part on hearing about the show limit the exhibitors in some way. named after him in San Francisco. but all the works in Subterraneans Therefore there are not many And in San Francisco, just up from vary tremendously, from the direct references to Kerouac or the Vesuvius Bar where Kerouac simple woodcut by Los Angeles On the Road, but the works do once drank, the City Lights book artist Loren Kantor to the difficult have this special connection: The store still exists pretty much as it I first read Kerouac in the 1970’s to describe in a few words re- Boyd & Evans absorbing video did in the 1950s with rooms full of starting with On the Road then mastering of the Harry Smith piece One Day at a Time showing poetry, left wing literature and an rapidly consuming most of his Anthology by Jesse Kuppila or the short sequences of being on the entire room upstairs devoted to other works such as Visions painterly works by Russian/Dutch road in the American West, Adie the Beats. Owned and founded of Cody, Desolation Angels, artist Roza Horowitz. Russell’s works based on found by the Beat poet and painter Dharma Bums and of course photographs from the 1950’s or Lawrence Ferlinghetti, this is the The Subterraneans, perhaps my Going back to the beginning Chris Osburn’s Self Portrait taken true centre of the Beat Movement. favourite Kerouac novel. There is the paper-cut piece by Rose while on the road have no direct It is not a tourist place although much about the industry that has Vickers, which utilised the cover connection with the Beats but all plenty of tourists visit and it still built up around Kerouac and the of a Penguin copy of On the Road are included because they each sits precariously in a slightly Beat Generation that is somewhat that I had bought, and read, in the have a feel of Beat about them. sleazy area of North Beach on tacky, and film adaptations have 1970’s, became the catalyst. the edge of Chinatown and Little proved to be less than successful, This exhibition is a snapshot Italy. It is the genuine article but but it is the writing that matters I looked at our collection and of creative art from the past since City Lights was founded in and without that writing this found numerous works than could sixty years, sixty years that may 1953 the idea of Beat and Beat exhibition of visual art could never be called “Beat” and we began possibly have been so different, literature has spread worldwide, have existed. to approach other artists who certainly as far as literature is in all major languages and many we deemed to be equally “Beat” concerned, if Jack Kerouac had minor ones, and as a literary Terence Jones, Curator to see if they would like to be not written On the Road, a novel phenomenon it has few rivals - the Leeds College of Art 2014

Subterraneans 7 8 Leeds College of Art Aaron Murphy

Aaron Murphy is a contemporary of Fine Art. Previous degrees Canadian artist working primarily are in Fine Art and Photography with photography, text and audio. from the Slade and the Nova His landscape images have been Scotia College of Art and Design described as digital printmaking, (Nova Scotia, Canada), with and are an experimental hybrid previous studies in experimental of historical and contemporary filmmaking at Sheridan College media and technology. His text (Ontario, Canada). Over 10 years and audio works are derived he has exhibited primarily in from the editing and completion Canada and the United Kingdom, of these images. These texts with exhibitions during the Nuit and audio works are an attempt Blanche Festival in Toronto, the to interpret the meaning of the Contact Photography Festival image, while elucidating their (Toronto), Goodenough College, often elusive resources and University College London, the references. Frequently these Slade Research Centre and at texts become an extended Leeds College of Art, as well as daydream or reverie, springing Artcite (Windsor), the Hamilton from the completion of an artwork. Artists Incorporated, the McIntosh Aaron is currently researching Gallery (University of Western synchronicity, metaphor and Ontario) and the Burlington rhythm in the practice-led PhD Art Centre. programme at the Slade School

Subterraneans 9 Murphy © Aaron Image Leeds College of Art Adam Tanser

Adam Tanser is a young Artificial Scarring explores photographer who lives and works industrial spaces, looking for in Leicester, England. Having the sublime within them. Many been exposed to quarrying consider that this can only be through his father’s work at an viewed and documented within early age, Tanser found wonder a natural landscape. However, in an environment which many Artificial Scarring invites the would only consider harsh viewer to consider the aesthetic

Image © Adam Tanser and destructive. He used his appeal of an environment that time as a student at Leeds would be classed as destructive. College of Art from 2010 - 2013 The ambiguity within the series to focus on the aesthetics of invites the viewer to reconsider industrial landscapes so that their conceptions of beauty and it the viewer can reconsider their is not until the array of images is conceptions of beauty through explored that the full allure of the a series of ambiguous industrial industrial landscape is revealed. photographs. He is now working on other projects finding beauty in other industrial areas.

11 12 Adie Russell

Adie Russell is a multi-media gives the impression that Russell artist who works in photography, is bringing together temporal video, performance, drawing, and spaces: the historical moment painting, and was raised in Europe of the audio recording and the and the United States. She holds moment inhabited by herself a BA/BFA from the New School and the viewer in the present. in New York and has exhibited The exchange between these regularly in the United States and moments exists as a composite in Europe where her work was of past and present, a kind of the subject of a solo exhibition third space where meanings shift, entitled The Reveal at Leeds judgments waver, visual cues College of Art in 2012. are displaced, and the language hovers, unattached to the identity The work being shown includes of the original speaker, and yet not a video and two mixed media quite able to attach to her identity, pieces. All the People Dreaming her image, her mouth, her gestures. is from an ongoing project where Russell lip-synchs found audio­ — In the same manner Russell mostly interviews from radio and uses found imagery from the television recorded in the 1950s, same era in her two mixed 60s and 70s. The subject of this media pieces, Letter to Edie video is an appearance by Jack and Triste and Dolour. Working Kerouac on the Steve Allen Show with vernacular photography to in 1959 during which Kerouac, represent a view of the world as Image © Adie Russell explaining why he writes, says Kerouac might have experienced “All the stories I wrote were true, it, she integrates abstraction, because I believed in what I saw...” text from Kerouac’s letters, and It’s a kind of direct meditation on recontextualized references to the “why” of the creative process abstract expressionist painting to — the desire to do something create an interstitial space and a with a life, to capture something of juxtaposition of the masculine and the experiences and relationships feminine, the past and the present, within it, to be inspired by the the image and the object. immensity of it all. The video

Subterraneans 14 Leeds College of Art Aesthetic Andy Apparatus Warhol after Image © Aesthetic Apparatus Image © Sunday B Morning © Sunday Image

Andy Warhol started working on of Marilyn screenprints in ten new his Marilyn Monroe prints soon colour variations. These were Minneapolis based Aesthetic fuelled hobby into a full-time after her tragic death in 1967, named the Sunday B Morning Apparatus began in 1999 when graphic design studio. Aesthetic producing what would become prints and are recognized as designers Dan Ibarra and Michael Apparatus has since created work one of the most iconic and authentic reproductions in Andy Byzewski combined their mutual for clients such as Stella Artois memorable representations of the Warhol’s catalogue raisonné, with interest in printmaking and music. and Harper Collins and they have actress, and consequently one some of them being signed by Together they started to create at the same time worked on gig of the most sought after printed Warhol himself using the phrase: limited edition hand-printed posters for the likes of Frank editions of his work. “this is not me. Andy Warhol.” gig posters that gained enough Black, The New Pornographers, recognition to convince them in Babyshambles and Dinosaur Jr. In 1970 original silkscreens were 2002 to turn their late-night beer reproduced to create a new series

Subterraneans 15 16 Leeds College of Art assume vivid astro focus

assume vivid astro focus is a other areas of popular culture at collaborative that was formed by first seemingly unconnected, but Brazilian-born, New York-based combined create wild psychedelic artist, Eli Sudbrack and Paris creations as in Garden 10 vs Butch based Christophe Hamaide- Queen 3. Pierson. Inspired by Oswaldo de Andrade’s “Anthropophagic Psychedelia in the 1960s came Manifesto” (1928) the work out of the hippies and their use, of assume vivid astro focus – be it real or imagined, of LSD. The Image © assume vivid astro focus which can include large scale Beats were certainly precursors installation, performance, of the hippy movement bridged printmaking and wallpaper – uses by people like Timothy Leary, the imagery of television, music, Allen Ginsberg, Ken Kesey, William fashion, film, architecture and Burroughs and Bob Dylan.

Subterraneans 17 18 Beat Scene

Kevin Ring, publisher of Beat by reading all the books they Scene had been interested in the published Kevin began to feel Beat Generation, in particular that they needed better coverage Jack Kerouac, since the early and support in England, a place 1970s. Information about the that would act as some kind books and authors, many of of focus for keen observers of which were out of print in those the Beats and began by setting far off days, was pitiful, sporadic up Satori Books in 1982, with and patchy in the UK so finding the name stolen from Kerouac’s out about Kerouac, Burroughs, novel SATORI IN PARIS. (Satori Ginsberg, Ferlinghetti and the - sudden illumination or kick in others was a difficult thing to do, the eye - Jack Kerouac). Out of they were not the media favourites this developed Beat Scene which that they have become today. started in 1988. Serving a long apprenticeship

Subterraneans Leeds College of Art Bonnie and Clyde

Born in Bradford, Bonnie and the gritty streets of downtown

Image © Bonnie and Clyde Clyde is a talented artist, graphic New York to engaging and unique designer and photographer now snapshots of pop culture icons like based in Brighton. She uses Warhol superstar Edie Sedgwick collage, type, paint, illustration and French provocateur, Serge and photography to produce Gainsbourg. Much of her recent limited edition prints and mixed work has been inspired by the media originals. She considers Beats and the Kerouac vision of her work Sub Pop Art as it draws San Francisco. upon elements of pop art, street art, graphic design and counter Bonnie and Clyde exhibited at culture. Her subjects range from Leeds College of Art during 2011.

21 22 Leeds College of Art Boyd & Evans Image © Bonnie and Clyde Image “Although it wasn’t anything we receptive to these images.” thought we needed, high definition Boyd & Evans. video recording is built into modern digital SLR cameras. On In 1963 Boyd and Evans came a three month photography trip to to Leeds as students for 4 western USA we thought of filming years; Fionnuala to the Fine Art the view outside each motel we department at the University of stayed in, but very soon changed Leeds and Les to Leeds College of the demand to ‘something we Art. They began collaborating in found interesting’ in the day, 1968 though they had each shown often taking more than one clip, the same work in their final year but sometimes, not having found shows. anything, we filmed the place where we ended the day. Things we shared when we started out on our journey as We have often travelled in collaborators were feelings for America, enough to know that representation, painting, narrative, we are inspired by the wilderness Surrealism, Dada, Pop Art, film Soon we carried cameras photographs. Prints need to be landscape and its relationship and the natural world. Since then everywhere to take visual notes of large enough to involve the viewer with human activity. These video our work has taken many twists images which caught our eye. Our in the scene. In our own minds clips vary greatly in quality and and turns which we could not have collective memory, from which it is important when exhibiting interest but editing them together anticipated. Some came about by we make our work, consists of photographs to make a distinction for half a minute per day we have chance, some by design and some 200,000 transparencies and a between when a picture is as a gentle portrait of the journey while we weren’t noticing. similar, and growing, number of found, and when it has been which we feel is very like a moving digital pictures. interfered with and we hope this painting - a demonstration of the Looking back for consistencies is clear without the need for notes whimsical nature of inspiration and patterns it is clear that we are Our attitude to photography is on the wall. as we roam in search of... what?.. stimulated and moved to make as painterly as our paintings are Images to present as photographs work by things we see. Early on, photographic. We use Photoshop Boyd and Evans exhibited at or develop into paintings? Yes. But needing to know what a runner to plan paintings and sometimes Leeds College of Art during 2013. also a state of mind when we are looked like we took photographs. to manipulate or collage

Subterraneans 23 24 Leeds College of Art Bruce Carson Nauman Ellis

Bruce Nauman, born 1941, is an piece playing a loop of sound “for American sculptor also known for as loud and as long as you can his video work and environments. stand it.” The sound is recorded He studied at the University of onto a strip of recorded magnetic Wisconsin from 1960-64 followed tape wound around a folded op- by the University of California art card printed with instructions Carson Ellis is a Portland, Oregon The original polaroid being shown from 1965-66 but he gave up for playing. based illustrator known for her in the exhibition, along with an painting in 1965 and concentrated children’s book illustrations, such accompanying book of polaroid on making films, performance Sound played a big part in as Wildwood, written by Colin shots, was taken while the band pieces and objects and had his Kerouac’s work, particularly jazz, Meloy of The Decemberists was recording the album, The King first one-man show at the Nicholas and performance. Several of the and The Composer is is Dead. She has also created Wilder Gallery, Los Angeles in Beats were as much performers Dead, written by Lemony artwork for other musicians, such 1966. That same year he moved as they were writers - and the Snicket. She worked with Meloy as Laura Veirs and Weezer. to San Francisco where he began classic performance is perhaps again illustrating his second novel to make sculptures based from Kerouac reading to the piano in the Wildwood Chronicles series, The Decemberists were the parts of his own body and neon accompaniment on the Steve Under Wildwood, in 2012. subject of a small exhibition at pieces with words. Since 1968 Allen Show in 1959 – Jack had Leeds College of Art in 2011. Their his work has consisted mainly of gone almost mainstream! She is well known for her work music frequently conveys a long performance pieces and film. with the Oregon band The lost rural America and Carson’s Decemberists, for whom she Polaroids perfectly captures this, The work shown in the exhibition, has created album art, t-shirts, taken on an Oregon farm. Footprints, is a conceptual sound websites, posters, and stage sets.

Subterraneans 25 Leeds College of Art Carolyn Cassady

Carolyn Cassady, who died in did not stop Carolyn and Kerouac 2013 aged 90, wrote about her having an affair. extraordinary life with Neal Cassady and Jack Kerouac in her Carolyn took up art and eventually book Off the Road published in photography, taking some of the 1990. Carolyn had been a student most famous photographs of Neal at Vermont’s exclusive Bennington and Jack in the early 1950s, such College before attending the as the image shown. University of Denver and it was while there that she first met Neal Neal Cassady died in 1968, by in 1947. He was a bi-sexual car which time he and Carolyn had thief with a restless energy that been living apart for several had seduced the young Kerouac, years. Carolyn later moved to and Allen Ginsberg, into his world. England where she stayed until He also had a teenage wife but her death. Her memoir Heart Beat: when Carolyn moved to San My Life with Jack and Neal was Francisco, Neal followed her, and published in 1976. She wrote they eventually married in 1948. the foreword to As Ever: The Collected Correspondence of Kerouac’s novel On the Road Allen Ginsberg and Neal Cassady (1957), based on the drives across (1977). A collection of Kerouac’s America and Mexico he made letters to Carolyn was published with Neal (Dean Moriarty in the in 1983, and Carolyn wrote the

Image © the Estate of Carolyn Cassady novel) and Neal’s wife LuAnne introduction to Neal Cassady: (Marylou), relates how Carolyn Collected Letters, 1944-67, (Camille) stayed at home, raising published in 2005. Heart Beat was their child. She was sensible and made into a film in 1980 in which level-headed about most things she was played by Sissy Spacek. but had a total weakness where In the 2013 film of On the Road she Neal was concerned and yet this was played by Kirsten Dunst.

27 28 Catherine Opie

Catherine Opie was born in Ohio United States, Europe, and Japan in 1961. She studied at the San and solo exhibitions include Francisco Art Institute and the those at the Walker Art Center, California Institute of the Arts Minneapolis; St. Louis Art Museum; and is currently Professor of Museum of Contemporary Photography at the University of Art, Chicago; Museum of California Los Angeles (UCLA). Contemporary Art, Los Angeles; Opie is interested in the way The Photographers’ Gallery, photography can both document London and the Long Beach and give voice to social Museum of Art, Long Beach. phenomena in America today, registering people’s attitudes and Surfing was linked to the Beats relationships to themselves and for a long time. Both movements others, and the ways in which they were rebellious and threatening occupy the landscape. to middle class values. Also the Pacific Ocean was the end of the Her work has been exhibited road, where the trip ended and the extensively throughout the traveller had to turn back. Los Angeles © Catherine Opie © Catherine Angeles Los Subterraneans Courtesy Projects, Image Regen Leeds College of Art Chloe Early

“How I yearn to throw myself into painting with screen printing, endless space and float above the switching back and forth between awful abyss” - Goethe. the layers. Chloe Early was born in London Chloe has spoken of how she was in 1980 and grew up in Cork, looking at the idea of flight, both Ireland. Since graduating from real and metaphorical, in her work the National College of Art and and this developed and grew into Design in Dublin in 2003 she has ideas of fleeing, departing and the exhibited regularly in Ireland, the desire to escape drudgery. USA and in London, where she has livedsince 2004. Since hearing about tower jumpers in the Middle Ages - men The work on show is from Chloe’s dressed in homemade wings series On Twisted Wings, made throwing themselves off towers

Image © Chloe Early up of hand pulled screenprints in the name of flight research (a with added hand painted acrylic. classic example of man’s inability On Twisted Wings was shown at to accept his circumstances - I Leeds College of Art in 2009 and am a man, but I want to be able is a series in which each work is to fly like a bird too), Chloe has part of a family but also has some wanted to capture that feeling of individual elements and unique abandonment from reality and qualities, retaining some of the also the dystopian effects that spontaneity of Chloe’s studio such an approach brings. practice by combining hand

31 32 Chris Osburn

Chris Osburn, aka tikichris, is an Over the past few years his American expat living in London. photographs have appeared in Every day since 2006, he has or been commissioned by Blue been blogging lifestyle, culture Tomato, Box 1824 (for Burger and travel related posts that King), City AM, CNN, Cookery feature his own photography. School, Fareportal, Georgia Image © Chris Osburn When not creating content for Institute of Technology, Great this or a client’s blog, he works as British Chefs, The Hunt Guides a photographer, photojournalist, (Gatehouse Publishing), Hyper community manager, consultant Happen (for Cadbury), Juxtapoz and curator. He curated the show Magazine, LBC 97.3FM, Leeds Megacities at Leeds College of Art College of Art, Linqia (for during 2012 and had a small solo Westfield), Nestlé and Cereal show of his work at the College – Partners, Nokia, Pervoe Vtoroe Red State: Excess and Despair in Tretye, and TripAdvisor. the American South during 2009.

Subterraneans 34 Leeds College of Art Daniel Diane Danger Wakoski Image © Diane Wakoski Image

Daniel Danger is an illustrator limited runs and plays in several Diane Wakoski was described by including an unhappy childhood and printmaker working out New England bands. Paul Zweig in the New York Times and some painful relationships. of New England. His dark Book Review as an “important The work being shown in screenprints in particular are The work on show in the and moving poet” and has been Subterraneans, The Magellanic much in demand - old houses, exhibition is taken from all this frequently named as being one Clouds, is a recording printed with urban decay, road signs, bridges, hum and all this awful noise, a of the foremost contemporary a photographic portrait of the old cars, ambulances, often in a series of twelve screenprints American poets. artist - if played, it reproduces a dull monochrome. Daniel mainly originally shown at Leeds College mellifluous recording of the poet concentrates on screenprints but of Art during 2012. Wakoski’s poems are based reciting a poem. also produces gig posters in very around personal experiences

Subterraneans 35 Leeds College of Art Die Schöne Familie

This recent work considers the fragmented within the small placement and combination of physical confines of the working images, from places that I’ve area, echoing broken film or visited in and around Berlin. The slide projections. images are altered by process, colour and layering, created On show are a collection of through painting, screenprinting, postcard size snapshots - sanding away and repetition. Sometimes contemplative, other The process is reactive and times tinged with melancholy responsive; a kind of editing of or a sinister uneasiness, images which allows the work to sometimes celebrative. The form avoiding pre-considered pieces sit alongside each other approaches usually associated like a dysfunctional family with screenprinting. but ultimately, are open to interpretation as individual pieces Image Familie © Die Schöne These visual decisions offer up or as a combined narrative. strange, off-kilter narratives to form. The photographic images Die Schöne Familie are placed together, but often

37 38 Leeds College of Art Donald Dyna Moe Topp Image © Dyna Moe Image

Drawing a 1960s-style Christmas comedy scene around the Upright card for an actor friend on the Citizens Brigade Theatre. She’s then brand-new drama Mad Men made short films, written stage in 2007 launched New Yorker shows, taught improvisation Dyna Moe into first Internet classes, and taken endless fame and then international meetings with Hollywood reputation as Mad Men’s official producers discussing projects cartoonist. Spinning off first into that never got made. an illustration blog, then a viral web-toy Mad Men Yourself, a DVD As a freelance illustrator she’s featurette on Mad Men’s season worked for clients such as Marc 3 box-set and a best-selling book Jacobs, Chronicle Books, Random Mad Men: The Illustrated World (in House, and McSweeney’s. She four languages and six countries), has exhibited in pop-culture group Donald Topp is an American as well as at the Richard Goodall she’s drawn a hell of a lot of shows in New York, Los Angeles, San screenprint artist using mixed Gallery in Manchester. drunken execs in skinny ties. Francisco, and exotic Elkader, Iowa. media in small editions on paper and board and usually taking The work being shown in But it was all a complete accident. The work shown in Subterraneans rock ‘n’ roll and movie stars as Subterraneans is a screenprint Dyna Moe had been designing was first exhibited in her solo his subjects. He has shown with of Marilyn Monroe, one of several posters and CDs to support her exhibition held at Leeds College of a range of galleries in the USA versions he has created. career on New York’s alternative Art during 2013.

Subterraneans 39 40 Florence Brewin

Florence Brewin is a Leeds based Britain and the Western world, photographer and her work to differentiate between female revolves around current issues Muslim dress, as a trope of faith and debates, shown through and an act of terrorism. contemporary still life. The work on show was included Within this work, Brewin in an exhibition Implicit Content at concentrates on the social Leeds College of Art during inability, in contemporary spring 2014.

Subterraneans Brewin © Florence Image Leeds College of Art Gavin Turk

Gavin Turk was part of the so- Nat Finkelstein’s photographs called ‘young British artists’ to the Andy Warhol after image phenomenon, the YBA’s, in the of Marilyn Monroe. Although on early 1990s and his thoughtful, opposite poles, Jack Kerouac and visually striking work gained him Andy Warhol both broke through a reputation as an artist who what was accepted or expected questioned the nature and values in their fields and both became of identity, pop culture, and probably as famous as each other.

Image © Gavin Turk: Gavin Turk / Live Stock Market art itself. Indeed dig deeper and there are many more similarities from By including his widely known doting mothers, barely self-portrait in an Andy Warhol able to speak English, to both fright wig, we are linking in with being capable of disturbing mid- several other works on show, from century America.

43 44 Leeds College of Art Hampus Harriet Ericstam Hammel Image © Harriet Hammel © Harriet Image

Harriet Hammel studied at Paris and Helsinki. In 1977 she Saint Martins School of Art and helped create the huge inflatables Ealing School of Art in the 1960s. for the Pink Floyd World Tour. Originally studying Graphic Design, in her final year a visit Inspired by the introduction of a to a Claes Oldenberg exhibition smoking ban, Harriet has taken an Hampus Ericstam is a Swedish Strauss, EMI, Lee Jeans, BMG inspired her to make soft almost nostalgic look at smoking, illustrator, graphic designer and Music and H&M. sculptures. While still a student, creating soft burning cigarettes artist who studied at Stockholm’s she created a soft Jabberwok for on soft Ricard ashtrays to capture Royal School of Art, developing a His work often follows a Basquiat Peter Blake’s Alice exhibition at that French ambience without the style influenced by video games, influenced graffiti tradition and a the Waddington Galleries, in 1970. fumes. Jack Kerouac was part 1950’s design and 1990’s street wider tradition of America’s post She shortly afterwards held her French and also liked to smoke . . . style. Hampus has worked with 1950 influence in Europe and first solo show in a Bond Street many major clients including around the world. Gallery and was widely written Since 2009, Harriet has exhibited Virgin Atlantic, Virgin Mobile, about in the press as well as a selection of her work in the ink_d The New Yorker magazine, Hampus held a solo show at Leeds appearing on TV. She took part Gallery in Brighton. Sony Ericsson, Mastercard, Levi College of Art in 2012. in a number of shows in England,

Subterraneans 45 46 Leeds College of Art Ian Burnley Irina Image © Ian Burnley Woman and Typewriter Video Untitled Still #2, from “ToStill #2, Let Know That Others We Are Here” and Silviu Szekely

Irina and Silviu Székely were Photomontage is related to the born in communist Romania, collage but far more radical. It is and currently live and work not content with beauty, nor is Ian Burnley was born in 1985 in on the morning of 3 March 1972; in Wales. After studying it complacently based on ‘inner New York City and works primarily secretaries and businessmen philosophy in Romania they laws’. It has an everyday, sober in 16mm film and digital video. discuss the contents of the spent time in France and Italy, character, it wants to teach He received his MFA from Bard morning paper, including the gradually developing collage and and instruct, its rearrangement College and his BFA from The recent launch of the American photomontage as their medium, of parts indicates ideological Cooper Union School of Art in space probe, Pioneer 10. The fascinated by the possibility to and practical principles. Thus, New York and his works revisits piece stages a narrative about remove an object from its original photomontage is connected to life materials from the past; content the past, within a Twenty-First space allocated in a definitive itself. (Richard Huelsenbeck) is often sourced from newspaper Century office building, in order reproduction such as photography articles, magazine spreads, and to generate an unstable sense of or the printed image and to place The production of artistic objects image catalogues; documents that time and place, and an experience it in a totally different environment is not a question of vision, depict the popular imagination that is both familiar and unfamiliar in order to produce alternative beauty and sound proportions. of a past era. His filmic works at once. visual and conceptual behaviours The re-production tendency often take the form of a narrative, with parallel functionalities. inherent to every subject chosen staged at present-day locations Ian Burnley exhibited work at to manipulate the surrounding that are already layered with Leeds College of Art in the Irina and Silviu have exhibited realities is a question of specific social and political exhibition Framing Space / in both group and solo shows in disproportional contingencies. histories. Narrative Space during 2013. London and Wales as well as a solo show at Leeds College of Therefore, we can only rely on To Let Others Know That We Are Art in 2013. objects already there, at hand, Here is a costume drama, set ready to be made. Trapped in this

Subterraneans 47 48 Leeds College of Art whirlpool, what we can do best is magical realism, surrealist to try and re-make them, ignoring collage and other similar futile the burden of abstract authenticity. denominations. Thus, the continuity of every chosen object can be broken and the This is what we are concerned materialisation of a new aura can with. This is how we leave the be activated again. Needless to say, impressions of our fingers in the this new aura cannot guarantee soft, incongruous tissue called the complete disqualification of world. This is how we indicate innovative procedures. the location of whatever is being sought. This is why we reconfigure A strong feeling of suspicion arises peculiar shapes vaguely when we are about to assume the described by exuberant lexical essential constructivism of every emissions operating without artistic achievement. official sanction. Simultaneously, we can no longer Irina and Silviu Szekely ignore the deconstructive aspect of art making: an object ready to be made or constructed can be, at the same time, the deconstructed replica of another object, with similar functionalities but simulated connotations.

Grosso modo, our approach to art is very naïve, lucid and hazardous; the manifestations of this approach end up sometimes in finite and continuous reconstructions of once thoroughly accomplished objects. Taking into account the proliferation of these objects through photographic means and the gradual loss of ontological values filtered by several artificial mediums, we are giving shape to a series of subdivided collations, whose affinities can be traced back to Dadaist photomontage,

Subterraneans 49 Székely © Irina and Silviu Image 50 Leeds College of Art James Jason Turrell Jadick Image © Jay Jadick © Jay Image

American artist James Turrell, taken from his portfolio Infinite born 1943, uses light and space Light, a unique, limited edition, as his primary mediums. His publication, signed by the artist site-specific artworks, particularly and printed on archival paper. the on-going Roden Crater in the The 14 individual prints provide Jack Kerouac wrote The Jay Jadick is a filmmaker, actor, Arizona desert, which Turrell is an overview of both the Roden Subteranneans over the course and poet based in Philadelphia. transforming into a naked-eye Crater and Skyface projects as of three days and three nights. In His books include The Uncreative observatory, and his Skyspace well as room-size light works in response to Kerouac, and Simon Subterranean, advised by Kenneth series, constructed around the which forms seem to float in air Morris’s Getting Inside Jack Goldsmith, and ed/it/ed (2014, world, are all concerned with the and spaces gradually fill with Kerouac’s Head, a copy of which 89Plus/LUMA Foundation). He is physical presence of light and can mysterious light. is included in the exhibition, Jay also co-director and lead actor create an almost religious, mystical Jadick marathon retyped all of for the independent feature film experience for the viewer. Leeds College of Art will be Kerouac’s The Subterraneans Driving Not Knowing. showing work from James Turrell’s on Friday, November 30, 2012 in The James Turrell work being Infinite Light during 2015. 23 hours and 58 minutes . . . and shown in Subterraneans has been filmed it.

Subterraneans 51 Leeds College of Art Jason Munn

California based graphic designer on posters, as well as design Jason Munn started The Small and illustration commissions. Stakes in 2003 and it has since become a successful independent Jason’s work has appeared in design studio, producing nationally numerous exhibitions, including and internationally commissioned a small show at Leeds College of work in a range of print materials, Art during 2010 and publications. including book covers, album A selection of his posters are part packaging, t-shirt designs, screen of the permanent collection at the printed posters and illustration. San Francisco Museum of Modern Art and Denver Art Museum Originally from Wisconsin, and Jason’s work has appeared Jason is now based in Oakland, in magazines such as Print, California. He began making Communication Arts, Computer posters for local venues and Arts Projects and Creative independent musicians, designing Review. In 2010, Chronicle Books under the pseudonym The Small published The Small Stakes

Image © Jason Munn Stakes. Now, working under his which focuses on Jason’s posters name, Jason continues to focus created from 2002 to 2009.

53 54 Jesse Kauppila

Jesse Kauppila is a young Sleeve Notes American artist who has re- Laboratory Recordings Press mastered Harry Smith’s Anthology Version 4. of American Folk Music. Copper plates were engraved while Remastering the Anthology of listening to the “Anthology” so as American Folk Music. to create a new master that could both be played as a record on a Jesse Boardman Kauppila turntable and printed on a press November 21, 2012. as an engraving.

Subterraneans © JesseImage Kauppila 56 Leeds College of Art

Remastering the Anthology of American Folk Music talking at one’s leisure in sessions lasting • Turntable felt Jesse Boardman Kauppila up to twenty four hours long. In the circle’s • #2 Burin November 21, 2012 center a recording device is placed to • Sturdy table with 1/4” hole and 1/4” record one’s “essential broadcast.”1 dowel in the hole • Compass with permanent, fine point, Entreme describes this broadcast as: red marker lashed to its • “business” end [G]iving voice to anything and everything • “Crocker” style sharpening jig that comes up through the circle, through • Screwdriver your nervous system and larynx and out • Black, thick permanent marker into the world. We need to imagine that the • Course sharpening stone inner part of the circle is a record for the • Medium, white arkansas stone inner part of ourselves and that the feet are • Fine, translucent sharpening stone frictive needles releasing the information • WD-40 Figure 1: Arrangement of tools inpreparation for a remastering session on the record through the application of • Leather strop sustained animal energy2 • Strop dressing Harry Smith’s “Anthology of American “Anthology [...],” analysis and creation • Magnifying lens Folk Music” was remastered. Copper occurred simultaneously and became To remaster the “Anthology [...]” this • Drafting broom plates were engraved while listening to psychosomatic. process was reversed in the way a • iPod the “Anthology [...]” so as to create a new speaker can be transformed into a • Headphones master that could both be played as a This methodology was based on microphone and made to pick up sound • Pitcher of water record on a turntable and printed on a the work of psychologist Joachim and convert it into electricity, rather • Glass press as an engraving. Entremer. He describes his walking than converting electricity into sound. • Thermos of coffee cure as an “approach rooted in the Through intense concentration, this • Mug Those originally exposed to the many alternative traditions of circle sound became electric “animal energy” • Ibuprofen “Anthology [...]” were inspired by its dancing [. . . ] dervishes that enter that was deposited into a copper plate • Tiger balm revelatory strangeness. A remastering into the circle of repetition to achieve through engraving. Essentially the • Powerbar was necessary to elicit a similar ecstasy through psychokinetic travel.” engraving burin became a “frictive response today. Entremer’s opposes the hierarchical needle,” which rather than playing sound, This experiment took place on six analytical techniques of Freud et al which deposited sound into the copper plate. different evenings on September 18th Results are currently inconclusive and emphasize the specialized training of This process, of course, necessitated and 21st as well as Oct. 7th, 11th, 17th it remains to be seen if the “Remaster an elite expert rather than a personal entering into a meditative state in which and 27th. The experimental sessions [...]” has had this effect. journey of self discovery. the body became a conduit through occurred in Kauppila’s studio at the time which the “Anthology [...]” could flow from in West Oakland’s “Ghost Town.” 1. Introduction “The basic technique,” Entremer explains, the ears down through the fingers and “emerges from a series of experiments into the new master. Each experimental recording session For this project the act of listening is an that I performed on myself beginning in was treated as a performance piece for act of devotion. It is both a form of aural the year 1995 and it involves dissolving 2. Materials & Methods videographers Chris Edley, Karl Nelson, and exegesis and deep reading. the self into a circle of time in a way photographer Ethan Raffel. The evening that releases what I call the existential What you will need for remastering: started as a meal and bled into the “event” as By simultaneously engraving a rotating gramophone.” Practically this involved • 6, 12” Diameter copper plates with Kauppila sat down in front of his tools, turned copper plate and listening to the walking in a five-foot diameter circle while 1/4” hole in center of each on his iPod, and picked up his engraving burin.

Subterraneans 57 58 Leeds College of Art

The iPod was used to listen to the volume hours. To enable the completion of each Minimalism has a certain democratic As one might suspect, and as writer of “The Anthology of American Folk session water, coffee, and sometimes impulse in its simplicity and the necessity Charles Bernstein articulates, this Music” being re-mastered that night. The Ibuprofen, Tiger Balm, and an occasional that it be activated by the viewer.. Noise process of “revealing code” can be poetic copper plate was placed on a wooden Powerbar were employed. music has a grass roots, DIY culture. in its own right. spindle embedded in the table. The burin They both resist commodification was positioned on the copper plate. The The remastered “Anthology [...]” can also because they loose so much when It’s like swimming or something. You move copper plate was pushed (clockwise) on be used as a printing plate to create a photographed or recorded. As from one part of the pool to the other, this spindle into the hand-held engraving visual corollary to the sound that the Michael Fried writes in “Art and you never completely reveal the entire burin while Kauppila looked down, remastered “Anthology [...]” creates on a Objecthood”, minimalist art has a certain system. That’s impossible, but you use focusing intensely on this process with a record player. theatrical presence. I would argue that the reflection, the making visible that suspended magnifying lens. noise music is similarly theatrical, you which was invisible, making audible that Experience in intaglio printing is have to be there, in situ. which was inaudible or not noticed or A process had been experimentally necessary to create these prints. The being aware of things which you were derived to create a spiral a normal record grooves of the plate are essentially filled Kauppila attempted to avoid the otherwise not aware of. [...A]nd once you player needle could remain in while with ink and the surface of the plate is temptations to stage a nostalgic are aware of something you were not spinning on a turntable. It was discovered wiped clean. A piece of black gampi reenactment, the sort which classic rock aware of a whole realm of other things that a line engraved with a small burin3 paper is laid upon the surface of this cover bands and folk music groups often fall into the realm of non-recognition. and a light touch, could be played, but plate and then manually cut down to the cave into. Indeed, this whole process It’s always a partial process of moving only for so long. However, what started as size of the plate. This plate is then placed involved an attempt to listen to and through, traveling through a space, that is a circle eventually turned into a ellipse, on a press, a piece of paper is put on understand but also move beyond ultimately extremely dark, [sub voce: the the sharper turns of which would throw the plate, and the whole package is sent avante-garde and alternative culture of world in which we live] you can create this the record needle. This was due to the through the press. the sixties. The “Anthology [...]” stands little reflection of light within that darkness accumulation of minute inaccuracies with such totemic volumes of the sixties almost as a self generating engine of the in hand engraving. To combat this 3. Results as Stewart Brand’s “The Whole Earth poetic imagination.6 technical challenge, after each track of Catalog”, Llyod Kahn’s “Shelter”, and Bill the “Anthology [...]” a compass was used Originally the “Anthology [...]” revealed a Holm’s “Northwest Coast Indian Art: An This project is an attempt to jump-start to calibrate the engraved spiral. The strange new aspect of America. Kauppila Analysis of Form.”5 All these volumes the “self-generating engine of the poetic circular mark of this compass would then similarly revealed other American were uniquely formatted, creative text imagination” of Harry Smith’s “Anthology be used as a guideline for remastering traditions that are also home grown, but books, which mapped out manners of of American Folk Music.” Whether the the next track. of another ilk. These include both noise living, building, making art, and making charge of “animal energy” remains long music and minimalism. Not exactly two music. They were not, however, the dry enough to jump start other imaginative Between remastering each track things as American as apple pie. But could prescriptive “How-to-Books” which engines remains to be seen. the cutting faces of the burin were they be? Folk music was not always the overpopulate pristine “ticky-tacky” book sharpened using successively finer national symbol it is now. School children stores. Instead, the author had their own 4. Discussion grades of sharpening stones culminating didn’t sing Woody Guthrie’s “This Land is voice. They had something to say and in de-burring with a leather strop. This Your Land, This Land is My Land,” they didn’t just want to tell you what to do. In Harry Smith sought to expose the world process was repeated for every track of were singing “The Battle Hymn of the many ways not just the content, but the to a more authentic, rich, but American each volume. Republic”4 and swinging to Glenn Miller’s form of the presentation of this content cultural tradition by reaching back in time “Chatanooga Choo Choo.” Perhaps it is was itself, dare I say, inspirational. to recordings from the America of the Each volume of the “Anthology [...]” was possible to similarly understand these art Kauppila’s experiment is an examination 20’s. In doing so he exposed the uprising remastered in one, non-stop session. forms as strange American traditions in of the appeal of the structure of these of youth at that time to a more real, Each of these lasted approximately two their own right with similarly broad appeal. totemic volumes. authentic, living tradition of music which

Subterraneans 59 60 Leeds College of Art was, at the time, and strange, an legendary dumpster. Everybody sat Hence the Folkways anthology in effect At the end of his life he was shaman- authentic tonic to all that appeared around and stared as the performers legitimized its material investing it with in-residence at the Naropa Institute. wrong with American society. sang. There was none of the give and the cultural authority both of its advanced Through his vast collection of early take, the irrational exuberance, there was technology, and its rarefied sociopolitical folk music recordings Smith similarly By “Remastering the Anthology of a clear line between the performers and connections. What had been, to the people attempted to capture ritual, as Greil American Folk Music” Kauppila sought the audience. It felt too staged. Basically who originally recorded it, essentially the Marcus explains, “it was the scent of to synthesize his particular experience it felt like everyone was pretending to be music of the poor, the isolated, and the ritual Smith pursued.” Interestingly at a noise and folk concert on the Bob Dylan, but Kauppila knew these were uneducated, the “Anthology [...]” reframed enough Bob Dylan saw a similar link same evening. By hand engraving the all friends and Bob Dylan was not as a kind of avant-garde art. 10 between folk music and ritual. “Anthology,” Kauppila could both pay in attendance.8 homage to the music he liked while also Indeed, Harry Smith in addition to being Traditional music is based on hexagrams. It creating something exciting, new and This project has been an attempt to a musicologist was an avante-garde comes about from legends, Bibles, plagues, perhaps challenging. synthesize these two cultural experiences. artist. He was primarily preoccupied with and it revolves around vegetables and film but also created paintings that were death. There’s nobody that’s going to kill One evening while attending college in One of Bob Dylan’s, not to mention many meant to be watched to music. As traditional music. All those songs about Portland, Oregon, Jesse Kauppila was other folk revivalist’s main influences, Harry Smith described one of his roses growing out of people’s brains and double booked. Two different sets of was the “Anthology of American Folk paintings: lovers who are really geese and swans that friends were putting on concerts. One Music.” Indeed, Greil Marcus, the world’s turn into angels - they’re not going to die. was put on by a very good, but dissimilar foremost Dylanologist states that the “ It is a painting of a tune by Dizzy Gillespie It’s all those paranoid people who think that friend of his. It was a noise concert. The ‘The Anthology of American Folk Music’ called “Manteca.” Each stroke in the someone’s going to come and take away other was put on by a group of his friends was Bob Dylan’s first true map of a painting represents a certain note on their toilet paper - they’re going to die. and was to be all folk music. republic that was still a hunch to him”9. the recording. If I had the record, I could Songs like ’Which Side Are You On?’ and project the painting as a slide and point ’I Love You Porgy’- they’re not folk - music Kauppila went to the noise concert first. “Noise” music is similarly a hidden to a certain thing. This the main theme songs; they’re political songs. They’re It wasn’t really his scene. It was in a big genre. It has been resistant to there, which is a-doot-doot-doot- already dead.14 house with a lot of older goths, punks, commercialization and commodification. dootdoottadootdoot- those curved lines and drugs. Kauppila knew almost no It has a storied, but underground, secret up there. See, tadoot-doot-doot-doot- Obviously, death is not very universally one, but here people were just having quality. These stories and music are dootaloot-dootaloot, and so forth. 11 accepted. I mean, you’d think that the fun making the sounds, building (and traded by friends in small intimate traditional-music people could gather sometimes even destroying) their own settings and in this context noise music According to Smith’s friend Luis from their songs that mystery is a fact, physical and digital instruments with their is something that can remain truly Kemnitzer he would actually do this, a traditional fact . . . traditional music is friends. It was pretty pure, unbridled, strange and weird rather than banal and ”He would then stand to one side of the too unreal to die. It doesn’t need to be creativity, but he had to go. Kauppila had commodified. I wanted to connect the painting, long pointer in hand, slightly protected. Nobody’s going to hurt it. In that friends across town that were putting on glory of this strangeness back with folk huddled over, and formally point to one music is the only true, valid death you can their own show. 7 music. Harry Smith originally used art to small area after another in succession as feel today off a record player. 15 communicate the power he found. I’m the music progressed.” 12 In a clearing, in an old orchard between trying to do the same thing. In this statement Dylan to subscribes Reed College’s art building and the Harry Smith was also a shaman. He grew to a shamanistic view of art. The work “psycho path” a group of Kauppila’s The “Anthology [...]” popularized folk up in Portland, Oregon and from an early of art acquires agency. Anthropologist friends were putting on a folk concert music through technology and its age recorded and learned various Native Alfred Gel explains art as a sort of and potluck. They had brought in contextualization as art. American songs and languages and also shamanism,“[A]rt as a system of action to hay bales and beer procured from a collected religious objects. 13 change the world rather than encoding

Subterraneans 61 62 Leeds College of Art

16 symbolic propositions about it.” It is this distancing effect of [T]he first sounds that men were able to draw flipping switches of his homemade electronic instruments. Similarly, when recognized for representation which Kauppila sought from a pierced reed or a taut string were The audience spilled from the house with giggles to eat up the spectacle while the cafe’ proprietors glared across the street. the ‘Anthology [...]’ with a lifetime to recreate. It was not only Kauppila, stupefying, something new and wonderful. Some strangers joined the crowd on the porch their curiousity achievement award by the National however, in a way the entire project Among primitive peoples, sound was peeked. The cops soon appeared explaining that though, “this isn’t illegal, your neighbors are really mad.” The proceedings Academy of Recording Arts and was an attempt to create a mirror that attributed to the gods. It was considered promptly withdrew to the basement and continued. People Sciences, Harry Smith perhaps remarked reflected the story of Harry Smith’s sacred and reserved for priests, who used it milled around while music blared from the basement. Jesse Kauppila left reluctantly there would be thirteen bands in all at the success of his shamanism when he “Anthology [...].” This started with to enrich their rites with mystery. Thus was and meat had just been put on the grill. stated. “I’m glad to say that my dreams listening to the most recent re-issue of born the idea of sound as something in itself, 8. Hay bales had been set up and a potluck was spread out on a table. Beers were lain out from a gold mine, the legendary came true. I saw America changed the “Anthology [...]” by Smithsonian as different from and independent of life. beer dumpster. In the dark the audience sat watching in through music.”17 Folkways on an iPod and creating a And from it resulted music, a fantastic world respectful silence, hanging on the words of the performers piped through an elaborate speaker system. Here strangers physical record from this act of listening. superimposed on the real one, an inviolable did not giggle at the strangeness, the weirdness, of pure It is because of the power, the influence Simultaneously, however, videographer and sacred world. 20 transgression. Kauppila knew these people and this music and so did the performers and the audience. Everyone of this album, and indeed, its shamanistic Chris Edley taped this process on a fell easily into the comfort of tradition and predetermined qualities, that it has been re-mastered by handheld black and white tube camera. This experiment is an analytical roles. The audience knew their place and the performer’s knew their’s and never the twain shall meet. The rolls were hand as an avante-garde art piece. Photographer Ethan Rafal photographed search and an attempt at a historic so familiar, the music fell into the background even as both the engraving and the videotaping re-enactment. A meditation, and everyone gazed enraptured. It just wasn’t that interesting, it wasn’t about the music or creativity. It was about personal By creating a print from this plate of the engraving using first both a digital mechanical incantation conducted to mythology, hagiography, and ego. Kauppila left somewhat Kauppila also intended to create an and a large format, hooded camera.19 create something new and strange from disturbed and confused. 9. “Invisible Republic: Bob Dylan Basement Tapes.” New York: homage to the talismanic quality of These anachronistic processes both cultural artifacts and technology in the Henry Holt, 1997 the history of the “Anthology [...].” Even documented and recreated a new same way that Harry Smith’s “Anthology 10. ‘Cantwell, Robert. “Smith’s Memory Theater.” from “When We Were Good Folk: The Folk Revival,” Boston: Harvard University when the recordings compiled in the “Anthology [...]” that similarly built upon of American Folk Music” elicited a Press, 1996. pg. 190. “Anthology [...]” were first sold in the ‘20’s both old time music as well as several response that changed America through 11. Perchuk, Andrew. “Struggle and Structure” from “Harry Smith: The Avante-Garde in the American Vernacular” Los Angeles: they were often bought as objects and different centuries of technology to music. Getty Research Institute, 2010. pg 26. were never played. continue a tradition of appropriation and 12. “West Coast Collector,” ‘Anthology [...]’ Reissue liner notes, Washington D.C.: Smithsonian Folkways Recodings,1997. re-contexctualization. References: pg. 31. Many copies of these records were bought 13. www.harrysmitharchives.com/1_bio/index.html 14. “Invisible Republic: Bob Dylan Basement Tapes.” New York: by people without phonographs. They Kauppila also wanted to be part of a radical 1. Whitehead, Gregory, “The Bottom of the Mind.” Kassel: Henry Holt, 1997. pg. 113. bought the discs as talismans of their own tradition of aural disruption. He wanted documenta 12 magazines, 2007. 15. ibid pg. 103. 2. ibid 16. “Art and Agency: An Anthropological Theory,” Oxford: existence; they could hold these objects to create something that was radically 3. E.C. Lyons 2 Clarendon Press, 1998. pg. 6. in their hands and feel their own lives strange, but yet attached to tradition. 4. My octogenerian highschool Latin teacher Graham Newell’s 17. Harry Smith continues, adding, “And all that stuff that the rest favorite song. of you are talking about.” “Harry Smith: The Avante-Garde dramatized. [. . . ] Why was it inexpressibly The power of this contrast is profound. 5. Bill Holm’s book similarly became the bible for Native in the American Vernacular” Los Angeles: Getty Research more exciting to hear a song you could Ironically, this technique of aesthetic American and First Nations artists. Incidently, Bill Holm was Institute, 2010. pg 55. childhood friends with Harry Smith. Bill Holm was an artist in 18. Indeed, Kauppila was first intrigued by the physical presence hear next door or at a dance next Saturday contrast also has something of a tradition. his own rite, but stopped making “northwest coast Indian art” of the “Anthology [...]” itself, albeit the distinctive red box set night coming out of a box? Precisely Not only was the “Anthology [...]” powerful after the movement he helped found became a significant reissued by Smithsonian Folkways. Kauppila saw this box in source of native income. He now makes history paintings. the personal collections of two master printers he worked for: because you could have heard it next door because it coupled strange sounds with 6. Stahl, Ola with Charles Bernstein. “Interview 001a/ Tape Peter Pettengill and Niels Borch Jensen. or even played it yourself - but not with the traditional American culture, so too was works” Malmo, Sweden: IEM Press and Verbale Pupiller, 2009. 19. Karl Nelson also videotaped the proceedings using more “up- 7. In 2006 Jesse Kauppila attended a noise concert and a folk to-date” digital recording technology distancing of representation, which made Stravinsky’s “Rite of Spring”, which started concert on the same evening. Both events were put on by 20. Russolo, Luigi. “The Art of Noises: Futurist Manifesto.” from a magic mirror and produced the shock of with a Lithuanian folk song and whose friends. It was his first time at a noise concert and he had very “Audio Culture: Readings in Modern Music” Ed. Christoph Cox little idea of what “noise music” was. One of the bands, “Otious and Daniel Warner. New York: Continuum, 2007. self recognition. (Marcus, “The Old, Weird subject was a pagan ritual (and which Octopi” was however using his masks for their performance America,” “Anthology [...]” liner noters, 21) 18 incidentally sparked a riot). This tradition of and he was curious. The first venue was the porch, which overlooked a busy intersection flanked by a stop light and the radical power of sound goes back even cafe’. All of this was promptly blown away by ear-drum ripping further, argues Luigi Russolo: screeches of harsh noise unleashed by an excited punk-nerd

Subterraneans 63 64 Leeds College of Art Joe Hale Getting Inside Simon Morris’ “If the nascent internet gave Head is a performative retyping conceptual writing its database of Simon Morris’ conceptual logic, and the browser-based bookwork Getting Inside Jack ’90s offered a model of wholesale Kerouac’s Head (also published appropriation, the relay mode of by information as material, 2010, Web 2.0 – retweeting, reblogging, and shown in the exhibition). Like forwarding, embedding, etcetera Morris’ original performance of – opens a new horizon. Realizing retyping the scroll edition of Jack the potential of the platform that Kerouac’s On the Road, Joe Hale’s supported its source, Getting project first appeared as a blog. At Inside Simon Morris’ Head is the rate of one page per day, like conceptual writing for the age of © Joe Hale Image Morris retyping Kerouac before social media.” him, Hale retyped Morris’ entire book and in doing so re-retraces — Craig Dworkin, poet and Kerouac’s famous adventure. Professor, University of Utah Morris gave us all of Kerouac’s pages in reverse order: each blog “Someone retypes a text that post presented one page and already exists in millions of the default settings of the blog copies, and he retypes it day by platform organised his posts in day, word for word, not by simply reverse order, from the newest to copying & pasting the ‘original’. the oldest. Now inverted again, This action sounds odd, even as a double negative, Hale has anachronistic, like a throwback restored the direction of travel to to medieval times. But in fact Joe the story and produced a wholly Hale’s act of copying is at the (un)original new text. This first cutting edge of literature and has are proposed as distinct works, no — Annette Gilbert, Professor, printed edition takes the imitative unsettling implications: Once, in matter how similar to their source Freie Universität Berlin gesture to a new extreme. It the medieval ages, the copyist they might be. The distinguishing features an introductory essay remained anonymous; now he qualities of a work of literature GETTING INSIDE SIMON by poet Kenneth Goldsmith and claims authorship. Once copying no longer depend, necessarily, on MORRIS’ HEAD reuses Morris’ paratext. From was an act of reproduction; now it ‘the work’s’ textual distinctiveness. the cover design to the choice is nominated as an act of creation. This challenging idea is directly Edited by Jamie Ley with of paper, Hale tests the limits of Once the copies, no matter how opened out by this book. an introductory essay by conceptual extension. textually erratic, were considered Consequently, Hale’s contribution Kenneth Goldsmith to undoubtedly be instantiations to our understanding of literature ISBN 978-1-907468-21-6 of the pre-existing work; now they is significant .”

Subterraneans 65 Leeds College of Art Joe Castro

Joe Castro is a Philadelphia art and design work as for his based collage artist, musician, guitar playing. In 2006, he began painter and graphic designer. to show his paintings and in 2010, His paintings and collages have he was one of 6 artists selected been exhibited across the United by Vans and Color Magazine to States, Canada and Europe customize canvas sneakers, and have been described as “a which were displayed in art shows controlled explosion, aggressive in Vancouver, Montreal and and pensive“ (Kolaj Magazine). Toronto. His work has also been featured in many publications Born in New York, he spent his including The Age of Collage: formative years in Delaware Contemporary Collage in Modern where he played guitar in several Art (Gestalten), 50/50 (Collage bands including the critically Collective Co./Hanker acclaimed The Situation. Formed Magazine), Kolaj Magazine (issue in 2001, The Situation signed 8) and Color Magazine. When with Elephant Stone records in not working on new paintings 2004, releasing The Reece Nasty and collages, he runs his own EP, followed by their self-titled full graphic design business, Red Attic length album in 2006. The band Studios, where he has created gig toured the USA, and opened for posters for bands such as Nick bands such as The Strokes, The Cave & the Bad Seeds, Echo and Libertines, Nada Surf and Arthur the Bunnymen and Pavement. Lee & Love. Their music has been He has won numerous awards

Image © Joe Castro featured on shows for both MTV for his design work, which has and Fuel TV. The group disbanded been featured in Graphic Design in 2006. USA and hosts a popular website as well as directing music Taking a keen interest in the videos for The Sky Drops, Curly visual representation of the Castro, and Zilla Rocca. band, he was responsible for most of the group’s flyers and For more information, please visit album graphics and found he was mightyjoecastro.com receiving as much notice for his

67 68 John Baldessari

John Baldessari, born in 1931, is an potential of images and the power American conceptual artist best of language in art. He has shown known for work that blends in over 200 solo exhibitions in photographic materials such as the U.S. and Europe, including a film stills, found photography big retrospective, Pure Beauty, at and appropriated images, taking Tate Modern during 2009-10. them out of their original context and rearranging their form and The Wrong series (1966-1968) frequently including text. showed photographic images with lines of text taken from an Although initially a painter, amateur photography book. In the Baldessari began to incorporate work shown a tree grows out of texts and photography into his his head. Image courtesy John Baldessari © John Baldessari canvases during the mid-1960s. In 1970 he began working in John Baldessari lives and works photography, film, printmaking, in Santa Monica and Venice, sculpture and installation creating California. works that combine the narrative

Subterraneans Leeds College of Art Jonathan Monk

Jonathan Monk replays, recasts Paris; Kunstverein Hannover; and re-examines seminal works Institute of Contemporary Art, of Conceptual and Minimal art London and the Museum Kunst by ingenious and irreverent Palast, Dusseldorf. His work has means. He was born in Leicester been included in many group in 1969 and studied at Leicester exhibitions, including the Whitney Polytechnic and Glasgow Biennial; the 50th and 53rd Venice School of Art. Solo exhibitions Biennales; the Berlin Biennale include those at Centro De and the Taipei Biennial (2000). Arte Contemporáneo (CAC) Jonathan Monk lives and works Málaga; Kunstraum Dornbirn, in Berlin. Austria; Musee d’Art Moderne,

Images © Jonathan Monk 71 72 Leeds College of Art Kennard Kim Phillips Gordon Image © kennardphillips

Kim Gordon was born in 1953 in Kim has produced a number of Rochester, New York and is well text paintings such as those with known as both a musician and the words Larry Gagosian, Sharon kennardphillipps is a collaboration & magazines, and they also lead an artist. She started out initially Tate, and the names of noise between Peter Kennard and Cat workshops that develop peoples’ as a visual artist becoming the bands. Marcel Duchamp, the Phillips who have been working skills and help them express their bassist, guitarist, and vocalist work shown in Subterraneans, is a since 2002 to produce art in thoughts on what is happening in of the band Sonic Youth, which departure, both in subject matter response to the invasion of Iraq. the world through visual means. she formed with Thurston Moore and palette. It has since evolved to confront in 1981, continuing to write and power and war across the globe. kennardphillips exhibited work at release material with Sonic Youth The work is made for the street, Leeds College of Art during 2012. throughout the 1990s and on into the gallery, the web, newspapers the late 2000s.

Subterraneans 73 74 Leeds College of Art Loren Lucas Price Kantor (CYCLOPS) Image © Loren Kantor

Lucas Price is best known by his art incorporates everything from street artist name CYCLOPS and religious imagery and Renaissance Loren Kantor is a Los Angeles- His image The Road speaks for he was at one time a member still life paintings to low brow based Woodcut Artist and itself, the endless road. of the London based street paintings of children’s toys, yet it is writer. He loves carving iconic art collective Burning Candy. all distinctly contemporary. images inspired by classic His recent work however is movies, films and pop culture and increasingly shown in galleries Lucas Price exhibited at Leeds his work has been exhibited in and his hyper-realist paintings College of Art with Burning Candy galleries internationally. are much in demand while his in 2008.

Subterraneans 75 Leeds College of Art Marcel Duchamp

French-American artist Marcel Record, has the first side of the Duchamp was born in 1887 and disc featuring words in French died in 1968. He was a painter, printed on black paper which sculptor, chess player and covers the area of grooves. The writer whose work is primarily text “Esquivons les ecchymoses associated with Dadaism, esquimeaux aux mots exquis” can although he was not directly be loosely translated as ‘Let us associated with any Dada dodge the bruises of the Eskimoes groups, and conceptualism in exquisite words’ and is based art. Duchamp is generally on Duchamp’s filmplays on the regarded, along with Pablo similarity of the sound of words Picasso and Henri Matisse, as with quite different meanings. one of the three artists who This is one of the circular texts helped to define the revolutionary seen rotating on similar discs in developments in art during the his film Anemic Cinema. On the first decades of the twentieth second side the whole series of century, responsible for significant text is read by Duchamp in a 7

Marcel Duchamp developments in painting and minute recording. While most are sculpture and he has had a huge in French, Duchamp does include impact on twentieth century and one sentence in English: “my contemporary art. niece is cold because my knees are cold” which helps convey the The piece being shown in sense of word play inherent in Subterraneans, Contrepeterie these pieces.

77 78 Leeds College of Art Martyna Szczesna

Martyna Szczesna’s work Born in Poland in 1984, she explores materiality and utopian emigrated to the United States in constructs as they relate to the 1992, studying at the International contemplation of both formal Center for Photography, Parsons and intangible qualities of School of Design and is a graduate photography and site. Images of the “free as air and water” are broken apart and built Cooper Union School of Art in into sculptural constructs that New York. Currently, she is an seek to encapsulate memory, MFA candidate in the UCLA entropy and awe. In this way, she Photography department. assembles a fractured topography that speaks to notions of place Martyna has exhibited widely and cultural identity, or lack including showing at Leeds thereof, addressing the effects of College of Art in 2013 in Framing dislocation on the psyche. Space / Narrating Space.

Subterraneans 79 © MartynaImage Szczesna 80 Leeds College of Art Nat Finkelstein

Nat Finkelstein has exhibited his His photographs are in the work worldwide. While best known permanent collection of The for his images of Warhol’s Factory, Metropolitan Museum of Art, he documented stories as wide New York; the Andy Warhol ranging as civil rights protests for Museum, Pittsburgh; The Victoria

Nat Finkelstein © the Estate of Nat Finkelstein of the EstateImage Courtesy of Life Magazine in the 1960s to the & Albert Museum, London; “club kid” scene of the 1990s. His The Ludwig Museum, Cologne; monographs include The Andy Centre Georges Pompidou, Paris; Warhol Index (with Warhol, 1968), and the Smithsonian Institute, Girlfriends (1991), Merry Monsters Washington DC. (1993), Andy Warhol: The Factory Years (2000) and Edie Factory Leeds College of Art exhibited Nat Girl (2006). He died in 2009. Finkelstein’s work during 2012.

Subterraneans 81 82 Peter Liversidge

Peter Liversidge studied Fine Liversidge has exhibited Art at the University of Plymouth internationally including Tate and film and photography at Liverpool; the Centre d’Art Santa Montana State University, moving Monica, Barcelona; Bloomberg to London in 1996. Using an SPACE, London and the Scottish Olivetti typewriter he has become National Gallery of Modern Art. known for creating proposals for He is represented by the Ingleby exhibitions that range from the Gallery in Edinburgh and the Sean simple to the impossible. Kelly Gallery in New York.

Subterraneans Liversidge courtesy GalleryImage Ingleby © Peter 84 Leeds College of Art Ray Richard Johnson Prince

American painter and He lived in New York City for 25 photographer Richard Prince was years before moving to upstate born in 1949. He started New York. His mini-museum, appropriating photographs in Second House, purchased by 1975 and one of his best known the Guggenheim Museum, was images, Untitled (Cowboy), was a struck by lightning and burned “re-photograph” of a photograph down shortly after the museum taken originally by Sam Abell and purchased the House (which Ray Johnson, 1927 – 1995, was School, a wide-reaching mail appropriated from a Marlboro Richard had created for himself), known primarily as a collagist and art network which grew during the cigarette advertisement. having only stood for six years, mail artist. He was a major figure 1960s and is still active today. from 2001 to 2007. Prince has in the development of Neo-Dada Prince continued this now returned to live and work in and early Pop art and has been He lived in New York City from re-photographing into the New York City. referred to as “New York’s most 1949 to 1968, when he moved to 1980’s when he developed his famous unknown artist”. Johnson a small town on Long Island and Jokes series which concerned The work being shown in the participated in early performance remained there until his suicide the sexual fantasies and exhibition is from an invitation art events associated with the in 1995. frustrations of middle class card for his exhibition Canal Zone Fluxus movement and was founder America, using burlesque humour at the Gagosian Gallery, New York of the New York Correspondence and cartoon imagery. in 2008.

Subterraneans 85 86 Leeds College of Art Richard Robert Hamilton Crumb

Richard Hamilton, 1922 – The work on show, taken 2011 was an English painter from the Leeds College of Art and collage artist whose Collection, is a sepia picture 1955 exhibition Man, Machine postcard depicting a crowded and Motion at the Hatton British beach, the middle of Gallery, Newcastle upon Tyne which opens out to reveal eight Robert Crumb was born in He first became known after and his 1956 collage, Just what accordion-folded black and white 1943. He is best known as an the 1968 appearance of the is it that makes today’s homes so photographs of the same scene underground cartoonist, but also first of Zap Comix, the most different, so appealing?, produced as it gets progressively blown up as a musician. His work displays successful publication of the early for the This Is Tomorrow exhibition from a long shot to a close-up a distinct nostalgia for American underground comix era. He of the Independent Group in blur of a beach ball. folk culture of the early 20th introduced characters such London, are considered to be century combined with a satire of as Fritz the Cat and Mr.Natural as among the earliest works of pop Although a British artist, Hamilton contemporary American values. well as bizarre images from his art. A major retrospective of his had much in common with early His work however has sometimes “Keep on Truckin’” strip. work was at Tate Modern until 1950s American art and attracted controversy as being May 2014. literature scene. sexist and racist.

Subterraneans 87 Leeds College of Art Rose Vickers

Rose Vickers is a Bristol based flat object. She likes the fact that paper-cut artist who studied a paper cut is something which at the University of Derby. On involves not only the elements completing her degree she worked of drawing but also those of mainly in three dimensions using making, requiring a certain kind primarily wood and stone for of discipline, skill and process in Image Courtesy of the Estate of Nat Finkelstein © the Estate of Nat Finkelstein large scale public and private its’ creation. commissions. After making several series of work using light We are showing a piece created in boxes, paper cutting seemed to 2011 utilising the cover of an early just emerge as the appropriate Penguin paperback edition of On technique to carry the pieces the Road from the 1970s. forward, and she still feels inspired by the transformative effect that Rose Vickers had a solo show at light has on what is essentially a Leeds College of Art during 2011.

89 90 Leeds College of Art Rosie Vohra

The longer we live in this world, elements that connected me to the more we blur the transition drawing as a child is what holds between our past and present. my passion for drawing today Our experiences fill our lives and ultimately my drawings creating a bridge or bond express an excitement and fear between the two and life itself of working in the medium itself. becomes more layered. My multi- layered drawings made with Rosie Vohra paint, wood, tape, graphite and printed ephemera are an act Rosie studied Fine Art at Leeds of thinking onto a surface with College of Art, graduating in 2013. reference to my past and my She exhibited there with Rufus current surroundings. Distilling Newell and Abi Moffat in Hand in my work down to the basic Hand during 2014.

Subterraneans 91 © Rosie Vohra Image Leeds College of Art Rossina Bossio and Jonna Bergelin

In January 2010, Colombian values. Jack Kerouac wrote artist Rossina Bossio met with his book as one of the Beat Swedish artist and costume Generation. Carolyn Cassady, designer Jonna Bergelin to work on the other hand, wrote hers on an art book project inspired as the wife of Neal Cassady and by Jack Kerouac’s On the Road mother of their three kids. In her and Carolyn Cassady’s Off the novel, she reveals the not-so-cool Road. Most people have only side of the story, taking down heard of Kerouac’s book. In fact, the myth of the ‘wonderfully

Image © Rossina Bossio and Jonna Bergelin the length of the articles found on indomitable beatniks ’. Jonna Wikipedia illustrate how unpopular Bergelin designed the clothes, Off the Road is compared to On inspired by the figure of Carolyn the Road. However, these books Cassady, and together with tell two sides of the same story: Rossina Bossio they created that of the Beat Generation, the a series of photographs that term used to designate a group of resulted in a book entitled adventurous writers inspired by Comme des Filles. The book was jazz, poetry, drugs, sex, eastern exhibited at Stockholm’s Sweden religion, hedonism and a general Gallery Grafiska Sällskapet rejection of mainstream western during April 2010.

93 94 Leeds College of Art Roy Roza Lichtenstein Horowitz Image © Roza Horowitz Horowitz © Roza Image

Roy Lichtenstein 1923 – 1997 manner. He was represented by was one of the great American the Leo Castelli Gallery in New pop artists. During the 1960’s, York and had a major recent along with artists such as Andy retrospective at the Tate Modern Warhol, Jasper Johns and in London. Roza Horowitz was born in 1987 another series has been of rabbis. James Rosenquist he became a in Moscow and currently lives Roza’s work, which has similarities leading figure in this exciting new The work shown, taken from the and works in Amstelveen in the to that of Frank Auerbach in art movement, his work being Leeds College of Art Collection, Netherlands. Emotions and the use of a thick impasto, has immediately identifiable, using the was made in 1968 and is an offset experience constantly play a very been exhibited widely in Europe comic strip, along with advertising, lithograph printed on plastic sheet important role in her work – a including solo shows at the Peter as his inspiration and producing and hand folded to produce a tri- recent series of paintings depicted Klashorst Gallery in Amsterdam precise, detailed compositions cornered hat. the alcoholics, drug addicts and and many solo and group shows. that often parodied in a humorous bums in her neighbourhood, while

Subterraneans 95 96 Leeds College of Art Rufus Ryan Newell Callanan Image Newell © Rufus Ryan Callanan Ryan

I see my work as an investigation and visual language. Throughout into drawing, in both two and this process I attempt to let the three dimensions. It is through work dictate its direction, allowing drawing that I try to render visible intuition, material property and Ryan Callanan (RYCA) is an The work displayed, Hans the physical, intellectual and personal experience guide my artist working in contemporary Double, shows the face of a emotional space that makes my choice of scale, colour and form. printmaking and graphics. Already young Harrison Ford as Han Solo past comprehensive at the same a prominent artist on the street art superimposed on an Elvis pose time as it becomes irretrievably Rufus Newell scene, he has recently been moving used by Andy Warhol. The original lost. I often work with household away from this aesthetic towards a Warhol work can be seen in the paint and graphite and like to Rufus Newell studied Fine Art at new practice that draws upon his in- Nat Finkelstein image, Andy, Elvis bring processes from the trades Leeds College of Art, graduating depth knowledge of materials and and Bob. of building and cooking into in 2013. He exhibited there with craftsmanship acquired through his my artistic practice, helping to Rosie Vohra and Abi Moffat in training in industrial model making establish an intimate material Hand in Hand during 2014. and 3-D design.

Subterraneans 97 98 Leeds College of Art Sam Taylor-Wood

Artist, film maker and Her directorial feature film debut photographer Sam Taylor-Wood, came in 2009 with Nowhere Boy, also known as Sam Taylor- a film based on the childhood Johnson, was born in 1967 and is experiences of John Lennon. recognised as being one of the She has also directed the film group of artists known as the adaptation of E. L. James YBA’s or Young British Artists. bestseller Fifty Shades of Grey. Taylor-Wood first began Sergeant Wennigner and Me exhibiting fine art photography shows the artist and Sergeant Jeff in the early-1990s and in 1994 Wenniger, who accompanied the exhibited a multi-screen video artist on her tour of the state work, Killing Time, in which four of Georgia. people mimed to an opera score. From that point multi-screen video works became the main focus of Taylor-Wood’s work.

Subterraneans 99 © Sam Taylor-Johnson Image Courtesy Cube White Taylor-Wood) (Sam Leeds College of Art Simon Morris

Simon Morris’ bookwork, Getting original typescript was oriented Inside Jack Kerouac’s Head, is toward the writer: a jury-rigged a performative retyping of the roll of sheets taped together to recently published original scroll give the illusion of continuous edition of Jack Kerouac’s beat textual flow (whereas a true classic, On the Road. Morris’ “scroll,” properly speaking, would project first appeared as an allow one to move forward and ongoing journey through the book, backward, and thus would have read and re-typed on a WordPress been in the service of a reader). blog one page per day. This newly Morris’ practice collapses published codex version pours reader and writer, reorienting the content of that performative Kerouac’s typescript to the retyping back into the format of digital, discontinuous unit of the the paperback source book. It published codex page. In doing follows the default logic of a blog so, Morris both inverts Kerouac’s archive to put the last post / page style of production — pecking at the start and stores the rest slowly and methodically where of the entries in reverse order. In his predecessor sped along at other words, whereas Kerouac a reputed one-hundred-words- travelled from the East coast to per-benzedrine-fuelled-minute the West coast, Morris crosses — and he simultaneously fulfills America from West to East. its legend. The annotated details of Kerouac’s typescript belie the Retyping On the Road is not only Beat ideology of unconstrained a remarkable performance — of spontaneity and improvisation; it endurance, concentration, and is pockmarked with revisions and Image © Simon Morris apprenticeship — it is also a edits and polishing. Morris, on the deadpan experiment in textual other hand, hews to the adage literary criticism. Kerouac’s “first thought, best thought”

101 102 Leeds College of Art with an unflinching allegiance. A “True watershed works, I suspect, GIJKH was also reviewed by constrained and unexpressive are quite rare in the history of art. Vanessa Place for Constant Critic; homage to the era that heralded Duchamp’s Fountain is certainly and Colin Herd for 3:AM Magazine. unconstrained and improvisatory one. Picasso’s Les Demoiselles In Germany, it was extensively expressionism, Getting Inside d’Avignon and John Cage’s examined by three authors in Jack Kerouac’s Head showcases 4’33” may be others. Each of Professor Annette Gilbert’s critical the critical power of the extended these forced not only artists but anthology: Re-edited. Strategies techniques of conceptually ultimately the general public to of Appropriation of Texts and rigorous “uncreative writing.” In rethink their notions of art. Each Books. GIJKH has also been the process it reclaims Truman changed the nature and trajectory exhibited widely as contemporary Capote’s Parthian shot as a point of art. Potential watershed works art; We Are Grammar, at Pratt of pride: “it isn’t writing at all — it’s are those that stand at the outer Manhattan Gallery; HELP/LESS typing.” And type — as Kerouac boundary of our concepts of art at Printed Matter Inc.; and the used the word in On the Road — is and push further outward. This is Liverpool Biennale’s publication all about genre. where GIJKH stands. The Unexpected Guest. The author’s been invited to give public — Professor Craig Dworkin, It features in the first survey lectures; the opening paper at the University of Utah of conceptual writing, Against conference: Book Presence in the Expression, Northwestern Digital Age, Utrecht University; Getting Inside Jack Kerouac’s University Press. There is an entire Pennsylvannia University; Cabinet Head (GIJKH) is a key example chapter dedicated to this book in Gallery, NYC; and Harvard of conceptual writing, fusing art Kenneth Goldsmith’s Uncreative University, Boston. International and literature - a performative Writing, Columbia University critical interest in the publication retyping of Jack Kerouac’s beat Press. Doug Nufer reveiwed the demonstrates that conceptual classic, On the Road. The work work for American Book Review in writing is regarded as a significant employs appropriation strategies which he said: paradigm shift in literature, whilst playing between the acknowledging the impact of the analogue and digital. The work is I can think of no more exemplary digital age on writing. The work a serious experiment in textual introduction to uncreative has seen artists creating new literary criticism, collapsing the writing, or to the broader field of works inspired by this particular traditional distinction between conceptual writing, than this book. critical move; Jason Jadick, USA reader and writer. GIJKH’s - Retyping The Subterraneans significance and impact have Paul Stephens from Columbia (2012); Jacqueline Valencia, been subject to widespread University reviewed the book for Canadian – Retyping Portrait of critical debate. Darren Hick’s Digital Humanities Quarterly in the Artist as a Young Man (2013); dedicated paper ‘Ontology which he refers to the work as an: and Joe Hale, UK - Getting Inside and the Challenge of Literary “…exemplary instance of a Simon Morris’ Head, (2014). Appropriation’ in the American conceptual work that operates Journal of Aesthetics and by means of remediation and Art Criticism proposes it as a reclassification.” potential watershed work. Hick wrote:

Subterraneans 103 104 Stefanie Posavec

Stefanie Posaves is a designer, Communication Design at Central and data is her favoured Saint Martins in 2004 and never medium. She tends to work went home. With a background in with data projects that involve book design and text visualisation, language, literature, or science she works as a designer with a (or all of these at once) and many focus on data-related design, of these projects represent data with work ranging from data using a hand-crafted approach. visualization and information Besides designing with data she design to commissioned data occasionally designs books and art and data illustration for a career highlights include being variety of clients. Her personal exhibited at MoMA, helping work focuses on the visual make an app for Stephen Fry, representation of language, and designing some Jack Kerouac literature, or numbers and has book covers. been exhibited internationally. Stefanie will be having a solo Stefanie moved from the US to show at Leeds College of Art London to complete an MA in during 2016.

Subterraneans Posovic © Stefanie Image 106 Leeds College of Art Steve Valerie Quinn Phillips Image © Steve Quinn Valerie Phillips Valerie

Valerie Phillips is a New York Amber is for Caution is Valerie Steve Quinn, born in Belfast Steven Quinn plays with imagery fashion photographer whose Phillips’ sixth book documenting but now London-based, in a fresh & unique way, toying with work has also appeared on a wide the life of a young woman and creates epic collages pasted ideas and twisting images from range of CD sleeves including PJ follows Amber, an ex-model, as together from cut-outs of old their original context into new and Harvey, Manic Street Preachers she studies to become a surgical magazines, fanzines, posters sometimes humorous narratives. and Amy Whitehouse as well as technician in Kentucky. and his own photography. The Faces protrude from mountain commercial clients including Nike, Valerie Phillips exhibited at Leeds results are poignant landscapes ranges, 1950s families frolic Doc Martens, Reebok, Paul Smith, College of Art during 2011. and portraits, often with an beside nuclear explosions, burning Urban Outfitters, Selfridges and apocalyptic theme. planets and more... Virgin Atlantic.

Subterraneans 107 108 Leeds College of Art Vicki Bennett

Since 1991 Vicki Bennett has been Sydney Opera House, Pompidou working across the field of audio- Centre, Maxxi and Sonar, and visual collage, and is recognized performed radio sessions for as an influential and pioneering John Peel and Mixing It. In 2006 figure in the still growing area Vicki was the first artist to be of sampling, appropriation and given unrestricted access to the cutting up of found footage and entire BBC Archive. The ongoing archives. Working under the name sound art radio show ‘DO or DIY’ People Like Us, Vicki specializes on WFMU has had over a million in the manipulation and reworking “listen again” downloads since of original sources from both the 2003. The People Like Us back experimental and popular worlds catalogue is available for free of music, film and radio. download hosted by UbuWeb.

Image © Vicki Bennett People Like Us have previously Vicki Bennett exhibited at Leeds shown work at Tate Modern, College of Art during 2014. The Barbican, Royal Albert Hall,

Subterraneans 109 110 WESSIELING

WESSIELING’s work concerns the enquired topics, to permit the asetheticisation of the everyday unseen to be seen. She uses seen through the lens of fashion. visual art both as a recording Her practice uses text, audio device and a way to create a and installation to create work field of investigation letting the that addresses fashion’s cultural research questions unanswered property and soft power. yet provoking discussion of the arising issues that are central to A trained cultural historian and and surrounding it. visual artist, both academic writing and visual art practice Exhibitions have taken place spin off WESSIELING’s inquiry of in Danson House (2013, UK: the (in)tangible assets of fashion, Bexleyheath), Brunei Gallery consumption, globalisation, (post) (2012, London: SOAS), Saltram Image © Wessieling colonialism, cultural hybridity House (2012, Plymouth: National and authenticity. Trust), Victoria & Albert Museum (2011, London) among others. She Drawing on her dual role as an is currently developing a series academic researcher and artist, of textual compositions from her artwork functions as an entity fragments of fashion advertising to examine a research subject. slogans into prints, audio, Her work strikes to question, if performance and text installations. not open up, a dialogue to the

Subterraneans 112 Leeds College of Art Yoko Zoe Ono Ward Image © Zoe Ward Ward © Zoe Image

Multimedia artist Yoko Ono was The work shown in the exhibition born in 1933. Although widely has been taken from the Leeds recognised as the second wife College of Art Collection, and widow of John Lennon, she Mend Piece for John, from is also well known for her work 1968 consisting of materials Zoe Ward’s exhibited work is part to emerge as one symmetrical in avant-garde art which included and instructions for repairing of a series of screenprints taken amorphous form; a continuous music, performance (she did a broken cup with “this glue from images originally created line shifting and shaping. a performance piece at Leeds and this poem in three stanzas as paper cuts. Inspired by the College of Art in 1966), painting, dedicated to John.” ancient folk art of paper cutting, Visually, the work takes its installation and filmmaking. She as well as the highly intricate inspiration from post-war pop was part of the 1960s conceptual wood carvings of Grinling- culture – from psychedelia, horror art movement and, like Ray Gibbons, she uses a folding films, pop art and music. Johnson, a member of Fluxus. technique that allows an image

Subterraneans 113 114 The Works

Aaron Murphy assume vivid astro focus Chloe Early Florence Brewin — Untitled — Garden 10 vs Butch Queen 3 — On Twisted Wings — A Westerner’s inability to (845 Egyptian Curtains over Digital print 42cm x 59cm Screenprint with added acrylic paint differentiate between a trope of faith Willows over Gandhi) Leeds College of Art Collection Collection of Leeds College of Art and an act of terrorism, A1 digital print Pigmented inkjet print 2014. © assume astro vivid focus © Chloe Early Collection Leeds College of Art Collection of Aaron Murphy — Untitled (851_G) Beat Scene Chris Osburn Gavin Turk Pigmented inkjet print 2014 — Three issues of Beat Scene Magazine: — Untitled self-portrait — Fright wig (green) Collection of Aaron Murphy Summer 2007, Summer 2011, Winter 2010 A2 digital print Screenprint 34cm x 35cm Both Artworks © Aaron Murphy © Kevin Ring Collection Leeds College of Art Collection Leeds College of Art © Chris Osburn Adam Tanser Bonnie and Clyde Hampus Ericstam — Artificial Scarring — The Strip, Screenprint, 100cm x 72cm Cyclops — Untitled , Digital print 70cm x 50cm Photograph 2013 Leeds College of Art Collection — Charlie Brown vinyl toy Collection Hampus Ericstam Adam Tanser / Leeds College of Art © Bonnie and Clyde Collection Leeds College of Art Leeds College of Art © Adam Tanser Boyd & Evans Daniel­ Danger Harriet Hammel Adie Russell — One Day at a Time, HD Video. — From all this hum and all this awful noise . . . — Ricard ash tray — Letter to Edie Collection of Boyd & Evans Screenprint 12” x 12” Soft material 13cm x 14cm Gouache and ink on C-print 2014 © Boyd & Evans Collection Leeds College of Art Collection of Leeds College of Art 51cm x 76cm Collection of Adie Russell Bruce Nauman Diane Wakoski Ian Burnley — Triste and Dolour — Footsteps — The Magellanic Clouds — Man with Watch Gouache and ink on C-print 2014 Recording tape and heavy card, Folder impressed with phonographic Untitled Video Stills #1, from “To Let 51cm x 76cm photograph and text on heavy paper; grooves and photographic portrait of Others Know That We Are Here” Collection of Adie Russell 27cm x 18cm 1968 the artist 8cm x 8cm A2 digital print — All The people Dreaming Collection of Leeds College of Art Collection of Leeds College of Art Collection Ian Burnley/Leeds College of Art Single channel video, 2006, — Woman with Typewriter 3;34 Collection of Adie Russell Carolyn Cassady Die Schöne Familie Untitled Video Stills #2, from “To Let All Artworks © Adie Russell — Neal and Jack, Photograph — Berlin, Screenprint on gesso Others Know That We Are Here” Collection of Leeds College of Art panel 92cm x 64cm overall A2 digital print Aesthetic Apparatus © the estate of Carolyn Cassady Collection of Die Schöne Familie Collection Ian Burnley/Leeds College of Art — Sid Vicious — Woman with Newspaper Screenprint 92cm x 64cm Catherine Opie Donald Topp Untitled Video Stills #3, from “To Let Leeds College of Art Collection — Untitled #4 (Surfers) — Marilyn Monroe Others Know That We Are Here” © Aesthetic Apparatus digital print 60cm x 41cm Screenprint 49cm x 61cm A2 digital print Collection of Leeds College of Art Collection Leeds College of Art Collection Ian Burnley/Leeds College of Art Andy Warhol Courtesy Regen Projects, — After Marilyn Los Angeles © Catherine Opie Dyna Moe Irina and Silviu Szekely Screenprint 91cm x 91cm — Travel , — Oropendola Leeds College of Art Collection A2 digital print Hand-cut collage on paper 28cm x 20cm © Sunday B. Morning Collection Leeds College of Art Collection Leeds College of Art

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Jason Jadick Marcel Duchamp Rosie Vohra Simon Morris — The Uncreative Subterranean — Contrepeterie Record — A skeleton of a bear’s body — Getting Inside Jack Kerouac’s Head DVD and paperback book 1968 7 minutes 7” record 2014 acrylic paint, oil paint, charcoal, Paperback Collection of Leeds College of Art Collection Leeds College of Art collage, tape, steel 180cm x 94cm. Collection Leeds College of Art Collection Rosie Vohra Jesse Kauppila Martyna Szczesna Stefanie Posavec Literary organism — Re-mastered Anthology of American — Badlands 2013 Rossina Bossio and Jonna Bergelin A0 digital print, Collection Stefanie Folk Music, Engraving Digital print — Comme des Filles Posavec / Leeds College of Art Collection Jesse Kauppila / Collection of Martyna Szczesna Eleven A3 digital prints Leeds College of Art Leeds College of Art Collection Rossina Bossio and Jonna Steve Quinn Bergelin / Leeds College of Art —The End of the Road, Screenprint Joe Castro Nat Finkelstein Collection Leeds College of Art — The Nerium Spring — Andy, Elvis and Bob Roy Lichtenstein Collage, 61cm x 46cm 1966 silver gelatine photograph — Hat Valerie Phillips Collection Joe Castro Collection Leeds College of Art 1968 offset lithograph on plastic sheet, — Amber is the same Amber, Screenprint — Andy with Balloons sandwiched in plastic and hand-folded Collection Leeds College of Art Joe Hale 1966 silver gelatine photograph to form a tri-cornered hat 18cm x 35cm — Getting Inside Simon Morris’ Head Collection Leeds College of Art Collection Leeds College of Art Vicki Bennett Paperback book — Marlon Sleeping, Digital print 12” x 12” Collection Leeds College of Art Peter Liversidge Roza Horowitz Collection Leeds College of Art — North Montana Plains — 7 small untitled paintings; John Baldessari Postcards 2000 and 2001 Oil paint on canvas 2014 Wessieling — Wrong 1966-68 Two letterpress postcards Collection Roza Horowitz — National Dress Digital print, 71cm x 56cm Collection Collection Leeds College of Art (digital photograph @ Plymouth Leeds College of Art Rufus Newell City Museum and Art Gallery, 2012) Richard Prince — Feeding Gary Hume polyester flags; wooden poles; fish wire Jonathan Monk — Canal Zone Invitation 2013 Oil paint, paint can dimensions variable 2007 — Grey/Gray 2012 2008, 29.2cm x 20cm Collection Rufus Newell Collection Wessieling Coloured vinyl record 7” Digital print Collection Leeds College of Art Collection of Leeds College of Art Ryan Callanan Yoko Ono — Hans Double — Mend Piece for John kennardphillips Robert Crumb Screenprint 76cm x 56cm Cardboard, paper, plastic bag, and — Untitled (Iraq) , 2007 pigment print — San Francisco Collection Leeds College of Art ribbon in a 16cm x 16cm container 1968 Collection Leeds College of Art 1970 33cm x 46cm digital print Collection Leeds College of Art Collection of Leeds College of Art Sam Taylor-Johnson Kim Gordon (Sam Taylor-Wood) Zoe Ward — Marcel Duchamp , 2013 digital print Rose Vickers — Sergeant Wenninger and Me — Eyes, Screenprint Collection Leeds College of Art — On the Road 2004 (2008), Pigmented digital print on 18cm x 18cm 2014 2011 paper cut Hahnemuhle Fine Art paper 25.4 x 20.3 cm Collection Zoe Ward Loren Kantor Image Rose Vickers Private Collection © Sam Taylor-Johnson — The Road Woodcut Photo: Ben Westoby Courtesy White Cube. Collection Loren Kanto Collection Leeds College of Art

The Works 117 Acknowledgments

Leeds College of Art would like to thank the following for their help in getting this exhibition off the ground: Sam Wilcox and Paul Bennett-Todd at Leeds College of Art; Sunday B. Morning; Kevin Ring at Beat Scene; Steph Burnley; Adie Russell; the studio of John Baldessari; White Cube; Tom and Ollie at Catalogue and everyone else who has contributed in any way. Subterraneans