10,323 research outputs found
C21st RECENT HISTORY, 2016
No full textAn artist’s book comprising the artwork, documentation and conference papers of 5 collaborative projects and exhibitions by Milly Thompson and Alison Jones between 2012-16. The project rethinks the conditions of art through feminism, showing off, distinction*, luxury, glamour and ‘being hot’. It is a hand-assembled, riso and digital print book with fold-out inserts, posters ephemera etc.
C21st Recent History makes an original contribution to current understanding of gender and power in the field of art through its exploration of dialogical and opposing positions of the woman artist. It identifies and occupies a series of interrelated positions available to female artists at the start of the C21st, juggling feminism, neo-liberalism, individualism, gender power, hypocrisy, ambition, fashion and embodiment. The project acknowledges that there are many feminisms which range the political spectrum, and builds on current knowledge by opening up the terrain of feminist practice across
• A Marxist critique of commodity culture
• Institutional critique
• Individual desire
• critique of the neoliberal subject
• within the context of affective labour in the artworld
The research matters to art theorists and practitioners in the field of non-cis male art because it connects a number of previously distinct positions in relation to the creation, distribution and dissemination of art and ideas within the artworld.
The research collaborates with canonical feminist artists Rosler, Meckseper, Wermers whose works focus on a critique of commodity aesthetics. The artist book form is integral to the research being a desirable highly tactile and sexualised limited edition comprising all the documentation, polemical texts, posters, press releases as well as advertisements for the artists.
Through precise juxtapositions of artistic subjectivity with self promotion, affective labour and the art market, and the politics of feminism and the politics of post feminism, C21st Recent History interrogates the ideologies of the contemporary art world and its markets.
The various strands of the research/exhibition/projects included are:
• The exhibition Martha Rosler Reads Vogue (2010), setting feminism against post-feminism, worthiness intermingled with the guilty fandom of glamour in culture and the art world. Artists: Alison Jones, Martha Rosler, Milly Thompson
• The exhibition Evasion (2012) perfomed opposition nestling in co-dependency as a trope. Artists: Alison Jones, Josephine Meckseper, Martha Rosler, Milly Thompson, Nicole Wermers
• Thompson and Jones’ gallery performance Evasionista (2012) and public billboard C21st Art Worker (2013/16) enacted the feminine labour of the gallery assistant through which she activates the cultural context for the objects on display.
• The magazine Vuoto elides artisic integrity and self-promotion with an editorial by Nina Power. Artists: Alison Jones, Josephine Meckseper, Martha Rosler, Milly Thompson, Nicole Wermers
• An invited panel of academics addressed the ideas proposed in Evasion; the papers are reproduced in C21st RECENT HISTORY. Papers from Nicholas Cullinan, Mark Harris, Ian Hunt, Angela McRobbie and Monika Szewczyk
• Michael Archer did an introductory talk at the book launch.
C21st Recent History is held in many libraries, including the Feminist Art Library in Goldsmiths. It was included alongside 'VUOTO in the exhibition 'THE GEO POLITICS OF MONETIZED AIRSPACE — Come Fly with Me, I Meet You by the Airside Gucci Concession at 4, Fox Fur Hat', at Midway Contemporary, Minnesota, in 2017
C21ST ART-WORKER 2013-2015
No full textCommissioned by LGP for a series of ongoing residencies, the poster deconstructs notions of art’s autonomy, emphasizing the apparatus of its appearance and the conduits of its circulation, where women are marshalling their individual cultural, social and erotic capital in the prestige field of art. Actualising the commercial and economic structures of the art world, the research extends the gender critique of cultural work in neo-liberalisation.
C21ST ART-WORKER was produced during Alison Jones and Milly Thompson's residency at LGP. Riso printed posters were exhibited in the exhibition 'Stolen planks from under the bourgeois phalanx', and a public adboard displayed in Coventry City centre.
The poster was further developed for a Deptford X offsite project, ‘C21ST ART-WORKER/ÉVASIONISTA EST ARRIVÉE’, 2015 in anticipation of the publication 'Alison Jones & Milly Thompson C21ST RECENT HISTORY', 2016 for the exhibition at Filet 'Alison Jones & Milly Thompson C21ST RECENT HISTORY Valentines Day'
C21ST RECENT HISTORY
No full text'C21ST RECENT HISTORY’, 2016 is an artist’s book, itself a collaboration, presenting the collaborative works of Alison Jones and Milly Thompson from 2011 - 2016 comprising documentation, papers and publicity for the following collaborative projects and exhibitions: 'Martha Rosler Reads Vogue' (2010); 'ÉVASION', 'VUOTO' and 'ÉVASION Panel Discussion' (all 2012) and 'C21ST ART-WORKER' (2016). Thompson worked mainly on the design/aesthetics and visual articulation whilst Jones was mainly responsible for writing introductions for each project. Throughout the project Thompson designed visual strategies that would reflect the dynamics, aims and context for each. Thus fluidity was maintained throughout the project, culminating in the artists’ book or ‘publication’. The collaboration began with a shared interest in the film ‘Martha Rosler reads Vogue’ (Rosler, 1982); Rosler’s film marked the end of the ‘public sphere’, marking the beginning of rampant individualism. Jones and Thompson looked at Rosler’s feminist investigation of the representation of women in women’s magazines and brought those issues into a contemporary context asking whether representation had altered in the ensuing years. The results revealed the problematic between two positions that formed the basis of our collaboration and which we saw in Rosler’s film – a sort of worthiness intermingled with the guilty fan-hood of glamour in culture and the art world. The publication acknowledges the context within which it comes to have meaning whilst dressing up the language of institutional critique as glamorous chimera. As a strategy the publication allowed Jones and Thompson to claim criticality whilst being motivated by aspiration. The publication concludes the collaboration and reveals the interrelatedness of all the projects through careful design. It is prescient of its time, revealing social/political thinking in positions on art at a time marking the end of subsidy and state support, and the beginning of private patronage and lobbying as power – coincidentally feminism is relevant once more. - 'C21ST RECENT HISTORY' was launched at FILET project space with an exhibition 'C21ST RECENT HISTORY, Valentines Day, 2016’ which featured some of the works in the book alongside two new poster-prints by the artists. Michael Archer wrote an introduction to the project for the private view
VUOTO, 2012
No full textVUOTO – Italian, meaning empty, nothing
Book of artists’ projects amplifying the self-commodification inherent in art-world visibility.
The publication undermined the assumed autonomy of the artists project in its intersection with fashion, publicity and journalism. VUOTO served as publicity for the exhibition ÉVASION and was used to literally construct a platform and furniture within the exhibition for the performance ÉVASIONISTA.
The publication was included alongside 'Alison Jones and Milly Thompson C21st RECENT HISTORY, 2016' in the exhibition 'THE GEO POLITICS OF MONETIZED AIRSPACE — Come Fly with Me, I Meet You by the Airside Gucci Concession at 4, Fox Fur Hat', at Midway Contemporary, Minnesota, in 2017
C21st ART-WORKER
No full textAlison Jones and Milly Thompson were Lanchester Gallery Projects 2013 Autumn Artists-in-Residents, continuing the long-standing discussion and project that erupts every now and again for an altered re-iteration and re-thinking. For this they produced a ‘poster’, a photomontage which considers gendered labour set against the backdrop of the C21st art world. 'C21st ART-WORKER', 2013 and 2016. Commissioned by Lanchester Gallery Projects and Deptford X respectively, 'C21st ART-WORKER', 2013 was installed on a ClearChannel Adboard in Coventry City Centre and in 2016 a re-worked version was installed on an Adboard in Old Street, London during the launch of 'C21ST RECENT HISTORY, Valentines Day 2016', in February, 2016. A stack of mass-produced A3 riso prints of 'C21st ART-WORKER', in navy, was available as a free carry-out from LGP in association with the exhibition 'Stolen planks from under the bourgeois phalanx', 2013. 'C21st ART-WORKER' was part of the collaboration with Alison Jones that is documented in the publication 'C21ST RECENT HISTORY', published in 2016 by LGP. (See C21ST RECENT HISTORY, 2016
South Thompson Planning Report
No full textThe South Thompson River Basin is a major sub-regional area of the Thompson-Nicola Regional District. The South Thompson serves as a pathway for major salmon runs, a corridor for rail and highway transportation, a recreational resource for the Kamloops/Shuswap population, a scenic treasure, an agricultural base, a reservoir of flat land, and a clean water supply. It contains a priceless record of our archaeological and historical past. At the same time, it is obvious that this area is a delicate and vulnerable ecological and aesthetic system. Haphazard or random residential sprawl, ill considered industrial development, or inappropriate land use of any type could endanger and destroy this resource permanently. A policy statement indicating the desired directions in which the Regional District should permit development to proceed is imperative. This document, then, is a statement of policy.Not peer reviewedPlanning documentInterim Repor
South Thompson Settlement Strategy: Policy Document
No full textThe purpose of the South Thompson Settlement Strategy (STSS) is to strike a balance between anticipated settlement pressures and the many other important values in the South Thompson valley.Not peer reviewedPlanning documen
South Thompson Valley and Pinantan official settlement plan.
No full textThe recommended policies contained in this plan provide the Thompson-Nicola Regional District with the means to protect and enhance the agricultural economic base, regulate the supply and location of rural residential growth, guide commercial and industrial development and satisfy the historical, recreational, social and environmental concerns of the settlement plan area.Not peer reviewedPlanning documen
Mountain landscape
No full textThis unidentified mountain landscape in the Great Smoky Mountains National Park was photographed by Jim Thompson. This image is from the collection of the Smoky Mountains Hiking Club, a group formed in the fall of 1924 after a group of outdoor enthusiasts hiked up to Mount LeConte. Enjoying the spectacular views, they decided to form a hiking club. The club was formally organized in Knoxville, Tennessee. Early club members included Carlos Campbell; Paul Adams, builder of Mount LeConte Lodge; author Laura Thornborough; Paul Fink, who served on the Park’s nomenclature committee; and Albert “Dutch” Roth. Jim Thompson was their “official” photographer
Laura Thornborough
No full textA native of Tennessee, Laura Thornborough (born Laura Thornburgh, 1885-1973) was the author of several books; her most well-known work is “The Great Smoky Mountains.” In this 1937 publication, Thornborough describes the mountains and surrounding communities and provides a first-hand history of the park’s formation. James E. (Jim) Thompson (1880-1976) was a noted photographer, hiker, and outdoor enthusiast who played a major role in promoting a national park in the Southern Appalachians. In the 1920s, up to the park’s dedication in 1940, Thompson was often referred to as the “Official Photographer of the Great Smokies National Park Movement.” His work was reproduced in brochures and reports promoting the idea of a park and many of his photographs depict the landscape before park construction
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