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Our Palace of Intestines: an art project-in-progress
Get PDF'Our Palace of the Intestines' was the final part of a workshop, 'Extispicy in the Everyday: An Exploration of Human-Environment Binaries through the Gut', delivered at the 9th Society of Artistic Research conference, "Artistic Research Eats Itself" at the University of Plymouth, England, on April 11, 2018. It performs multiple acts of inter-embodiment and engages with live audience-participants
Spatial Cinema
Get PDFThis Blu-ray/DVD collects many years of artists film practice (2002 –18) and consolidates it as a Spatial Cinema. The potential on this disc media platform for paratexts was explored by commissioning contributions from other researchers responding to the work as commentaries and an included 4000 word essay
London’s street markets: the shifting interiors of informal architecture
Get PDFThis paper examines London’s street markets as overlooked sites of consumer modernity, ‘complex interiors’ that were contested and contradictory spaces within the city. It asks whether the street markets can be seen as ‘architecture’, arguing that, despite their outdoor locations, shifting form, and lack of built infrastructure, the street markets achieved a sense of enclosure and interiority through the particular qualities of their lights, sounds and their crowded occupation of space. The street markets produced complexity as a result of their informality, as a-legal and organic outbreaks of micro-entrepreneurship. The paper covers the 1850-1939 period, and examines the specific example of Chrisp Street market in Poplar. In the post-war period, this was formalised as Lansbury Market, and relocated into a planned market square. It thus usefully casts light back on the earlier period, as an example of what happened when street markets moved from informal to planned status
Loss & Lucidity (from the research project Locus of the Dress)
Get PDFSupported by a collaboration with clinical psychologist Dr. Hermina Hernaiz ‘Locus of the Dress’ explores the construction of the ‘self’ through a textile investigation of Julian Rotter’s psychological theory ‘Locus of Control’ by analysing and identifying characteristics of the internal and external landscapes of a dress, its zones of psychogeography.
The project presents a new paradigm of Rotter’s theory, establishing two landscapes of the dress form (external surface, outward facing, projection to, reflection of, the world and internal surface, an intimate space, receptacle for private reflections), played out through a series of repetitive drawings and photographs, resulting in an innovative body of textile based mixed-media artefacts presented in a fine art context.
Two locations represent the ‘dress’ landscapes, poles of the theory. Firstly, Ohio, USA, focusing on the 1974 Tornado ‘Super-Outbreak’ documented through heavy graphite drawing. The second, the sublime tidal sea-pools of the Thanetian Coast, photographically fused to the inside surface of the ‘dress’.
Goldsmith’s work is distinctive in presenting a psychological theory, an opportunity for self-reflection (access to psychological knowledge) and emotional growth though new textile expression. Extensive experimentation in dye-sublimation has yielded new insights and material insights. What new understanding arises from exploring psychology through contemporary textiles practice, clothing as a receptacle and communicator of our sense of self and the dress as a place we inhabit, physically and psychologically?
Goldsmith was invited to present this work in a seminar at the Tate Modern. The research is documented in two publications/essays (1) Goldsmith/Dr. Herminia Hernaiz, (2) Dr. Victoria Kelley. The work has been curated in international exhibitions, Axis Contemporary online exhibition and published. In 2019 it was shortlisted for the inaugural Vlieseline Fine Art Textiles Award and to coincide with the Turner Prize at Turner Contemporary, the solo exhibition ‘Dresses for Giants’, is presented in Thanet Oct 19
Brief encounters
Get PDFEdinburgh Arts Festival in collaboration with Deirdre McLeod.
Live 8 hour intervention on 5 August 2019 within a square mile area of central Edinburgh.
As a means to navigate the tourist gaze; a mass of people at festival time in Edinburgh who move in a mass, unclear where they are going, or what they will see as they contract, disperse and meet again drifting from one spectacle to the next. Into this mix 4 people, starting from different points in the city, with a very clear purpose to weave in and through that mass.
Burgoyne and 3 colleagues from the department of geography at the University of Edinburgh each select one colour, and follow anyone wearing at least one item of clothing of that colour until the person they are following moves beyond the square mile designated as the boundary of the project. Burgoyne wearing a blue t-shirt seeks to follow people in blue, should he pass someone going in the opposite direction while following another person wearing blue he can choose to change route and follow them instead. Each member of the project documents those encounters throughout the day. The route Burgoyne's was led along, like his colleagues, was mapped throughout the the day using tracking technology. Coincidentally, people he lost while following were re-encountered and then re-followed, albeit elsewhere in Edinburgh later that day, paradoxically while he was following another blue wearer. The project will be the subject of an exhibition which collates our findings in 2020 in Edinburgh
Fragile Lines
Get PDFThe questions surrounding notions of boundaries are increasingly becoming more publicly contested particularly in the context of a constant change of geopolitics, the environment and of course technology. In these fast-changing experiences dominated by considerable speed, our understanding and perhaps our experience of the concept of a boundary are becoming ever more blurred. This practice led research project interrogates the perceived understanding of what deemed to be a boundary, which functions as a delineation of the same object, either side differentiated by the line that defines them. The research question is: How boundaries being redefined in the context of identity. The project will consist of 7m x 2.8m, 3mm thick overlapping porcelain glazed titles of 40cm x 40cm each (112 tiles in total). An imaginary new world order is drawn, demarcated by complex and overlapping black lines creating regions, territories defined by fields of red and white glazing. This image of a world map lookalike constructs an illusion that is intended to test our perception and the deterioration of potential segregation.
In addition to the relationship between the symbolism presented through colours and lines, the construct of the map is pertain to hysterical, natural and structural forces that are at play within a given space and it’s the connection to temporality
BBC licence fee: culture minister hints at a future in competition with Netflix for UK public broadcaster
No full textNicky Morgan, the culture secretary, has announced to the Digital, Culture, Media and Sport Select Committee that she is open to replacing the BBC license fee with a Netflix-style subscription charge. This is a significant change from previous ministers who have protected the license fee for many years and ruled out scrapping it
Fast Forward: Interviewing Women Photographers
No full textFast Forward: Interviewing Women Photographers consists of a series of interviews recorded in situ with specific female photographers when they were either showing in a major exhibition, in an Art Fair or in their studio or home, both internationally and in the UK. Wainwright’s research centred on the authenticity of the artist’s voice in the context of whose histories are told and who has been overlooked. The raw unmediated material of the interview became a series of linked outcomes with a common research question.
The Fast Forward Research project became a catalyst for Wainwright’s archival interviews with women photographers to be contextualised with the addition of new multi-cultural recordings redressing some of the absences in photographic histories. The interviews highlight the development and importance of women photographers worldwide through their own voices.
The Vocal Cord (2015) paper linked together Tina Barney, Steffi Klenz, Hellen van Meene, Helen Sear, Gillian Wearing and Sue Williamson for the Tate Modern Conference.
The exhibition Trailblazers: Pioneers of British Photography (2019) consisted of a series of eighteen commissioned interviews of Women Photographers speaking about their specific work, highlighting the history of women photographers, and continued the research questions initially raised by the Tate Conference. Installed in the gallery for the duration of the exhibition they are also being added to the Lightbox website as a permanent record of the exhibition. The new interviews each focused on a specific work that was discussed for its significance at the time.
The 'Fast Forward and Rewind: Voices of Women Photographers' article for Photography and Culture further reveals the dynamics and authenticity of the interview with women photographers, with first-hand accounts of some of the issues regarding race and gender
Student: 1945 to 1960; Sculptor: 1961 to 1970; Seeker: 1970 to 1980; Sage: 1980 to 2007
No full textThis book is associated with the exhibition ‘Lenore Tawney: Mirror of the Universe’ at the John Michael Kohler Art Center (JMKAC), WI, USA. A team of curators led by Karen Patterson of JMKAC looked at Tawney’s work from numerous vantage points, including conservation studies and contemporary art practice. Adamson had set out to write a self-standing biography of Tawney, and immediately discovered that an exhibition was underway at JMKAC. He joined forces with Patterson on the project. Patterson curated the exhibition and is editor of this volume; Adamson provided the chronological ‘spine’ of the book, with contributions by other authors exploring specific aspects of Tawney’s work. Adamson’s contribution totals 45,000 words, organized into four long chapters that cover Tawney’s entire life and career and places her work in multiple contexts
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