4,706 research outputs found
Graham Fagen, The Slave’s Lament, Scotland + Venice 2015
No full textAlongside Graham Fagen’s exhibition Hospitalfield and Scotland + Venice have published a book with extensive photographs chosen by Fagen to represent his past projects and to document the new body of work made for Venice.The publication also features new texts by Katrina Brown and Penelope Curtis; an interview between Graham Fagen and Louise Welsh; and an introduction by Lucy Byatt, Director of Hospitalfield.The book has been designed by Richy Lamb.Excerpts from the introduction: The title of Curtis’s essay, Palazzo Fontana / Fountain Palace: Hospitalfield / Campo Ospedale, reminds us immediately of how important site is for Fagen and how many of his works draw from, or are formed by their situation… Formers and Forms, Casts and Casting, the title of the essay authored by Katrina Brown references a very early yet influential work, Former and Form (1993).… In their conversation Welsh compares her working process, ‘Writers are often thinking about what to leave out, in order to enable the reader to invest imaginatively in the experience. Are you doing something similar…?’ She is specifically referring to Fagen’s use of theatre scripts but it is an important question to ask more generally. Fagen replies ‘The artwork is neither the form nor the text … the artwork gets made in the mind of the person who has viewed and read the form and the text’.The publication has been supported by Duncan of Jordanstone College of Art & Design, University of Dundee, where Graham Fagen is a Senior Lecturer.ISBN 978-0-9932275-0-
Graham Fagen - complainte de l'esclave = Graham Fagen - the slave's lament
No full textThis catalog is being published in the wake of the exhibition 'Graham Fagen. The Slave's Lament' showed at Galerie de l'UQAM. It brings together works from the multidisciplinary artist Graham Fagen, who represented Scotland at the 2015 Venice Biennale, on the theme of slavery and Scottish involvement in the fate of African people deported to the Caribbean in the 18th century.The drawings, with the look of masks or portraits, the seascape photographs and the imposing video and music installation shown here explore the tensions and emotions brought about by colonialism and the African slave trade. Today considerable feeling has been mobilized with the aim of reconciliation and redemption for the economic servitude and cultural oppression of peoples -- whether aboriginal, the product of immigration or subject to current insidious forms of servitude. Fagen's questioning of nationality and identity, however, is based on a particularly pertinent critique of the cultural and social heritage. At the invitation of curator Louise Déry, specialist of the arts of the Caribbean Erica Moiah James signs an essay that contextualizes and questions the work of Fage
Ping Pong Club:The Archive of the Misspelling of Graham Fagen, Queens Park Railway Club, Glasgow
No full textExhibition Dates: 11 – 27 June 2021Venue: Queens Park Railway Club as part of Glasgow International festival of contemporary visual art. Graham Fagen, who represented Scotland at the 56th Venice Biennale in 2015, works across a range of media to explore relationships between identity and cultural context. For GI, Fagen presents Ping Pong Club, a new body of work at track-side gallery Queens Park Railway Club.The starting point for this project is an archive collected over 20 years that includes letters, notes, name tags and invitations all bearing Fagen’s name, spelt incorrectly. They come from airlines, football clubs, the BBC and even the Prime Minister of the UK. For Fagen, this archive raises questions beyond simply bureaucratic ineptitude; it touches upon the socio-political and cultural formation of identity, and the relationships between archives and subjectivity, fiction and the law.Supported by Glasgow International<br/
Editors Choice Julie Lawson:Graham Fagen Malika Booker
No full textThe works West Coast Looking West (Atlantic) and East Coast Looking East (Caribbean) by Graham Fagen are paired with the poem Yonder Awa by Malika Booke
The Archive of the Misspelling of Graham Fagen
No full textPublicationThe Archive of the Misspelling of Graham FagenISBN 978-1-912717-09-5Full colour, 116 pages.Published by Matt’s Gallery, London.Supported by DJCAD, University of Dundee.Essay by Sue Breakell, Archive Leader and Senior Research Fellow at the University of Brighton Design Archives. The Archive of the Misspelling of Graham Fagen is published by Matt's Gallery on the occasion of Graham Fagen's solo exhibition Ping Pong Club at Queens Park Railway Club, Glasgow. Ping Pong Club is part of this year's Glasgow International programme, which takes place 11—27 June 2021. The publication features imagery from an archive collected over 20 years that includes letters, notes, name tags and invitations all bearing Fagen’s name spelt incorrectly, as well as texts by the artist and Sue Breakell, Archive Leader and Senior Research Fellow at the University of Brighton Design Archives.<br/
Fuck Class by the Upper and Officer Class artist, Glasgow School of Art alumni, Professor Graham Fagen MA, RSA
No full textFuck Class by the Upper and Officer Class artist, Glasgow School of Art alumni, Professor Graham Fagen MA, RSA is Graham Fagen's contribution to the day conference Class Matters at Glasgow School of Art.4 still images along with a reading and a 1min 26sec video clip of artworks Fagen has made while describing his awareness of a class consciousness when dealing with the subject area the artwork is influenced by. The subject areas range from house and home, architecture and planning, war, the concept of race and a conscious understanding of culture and place.<br/
Fuck Class by the Upper and Officer Class artist, Glasgow School of Art alumni, Professor Graham Fagen MA, RSA
No full textFuck Class by the Upper and Officer Class artist, Glasgow School of Art alumni, Professor Graham Fagen MA, RSA is Graham Fagen's contribution to the day conference Class Matters at Glasgow School of Art.4 still images along with a reading and a 1min 26sec video clip of artworks Fagen has made while describing his awareness of a class consciousness when dealing with the subject area the artwork is influenced by. The subject areas range from house and home, architecture and planning, war, the concept of race and a conscious understanding of culture and place.<br/
Artpace at 25:Graham Fagen, Under Heavy Manners, text by Russell Ferguson
No full textIn celebration of its 25th anniversary, Artpace San Antonio has published a 272-page volume of never-before-published curatorial essays and full-color images of every exhibition created through its International Artist-in-Residence program from 2008 to 2019.Fagen, Graham pages 94, 95 <br/
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Graham Fagen complainte de l'esclave = The slave's lament
No full textThis catalog is being published in the wake of the exhibition 'Graham Fagen. The Slave's Lament' showed at Galerie de l'UQAM. It brings together works from the multidisciplinary artist Graham Fagen, who represented Scotland at the 2015 Venice Biennale, on the theme of slavery and Scottish involvement in the fate of African people deported to the Caribbean in the 18th century.The drawings, with the look of masks or portraits, the seascape photographs and the imposing video and music installation shown here explore the tensions and emotions brought about by colonialism and the African slave trade. Today considerable feeling has been mobilized with the aim of reconciliation and redemption for the economic servitude and cultural oppression of peoples -- whether aboriginal, the product of immigration or subject to current insidious forms of servitude. Fagen's questioning of nationality and identity, however, is based on a particularly pertinent critique of the cultural and social heritage. At the invitation of curator Louise Déry, specialist of the arts of the Caribbean Erica Moiah James signs an essay that contextualizes and questions the work of Fagen.
Includes bibliographical references
Tilting the Field, Fagen, Burns and Ghetto Priest:by Michael Morris, Studies in Photography, Winter 2017
No full textCover image and review of Graham Fagen exhibition The Slave's Lament at the Scottish National Portrait Gallery, Edinburg
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