18,598 research outputs found
Trigger's Broom: Kingsgate Mix
No full textTrigger's Broom considers how the paradoxical figure of Trigger’s Broom, from the BBC TV series Only Fools and Horses, can operate as an exemplary conceptual model for thinking critically, productively and collaboratively about the mercurial life and transformational power of objects in contemporary practice.
In an episode of the BBC sitcom Only Fools and Horses, Trigger tells how he has been awarded a medal for using the same broom for twenty years, before revealing that the broom has had seventeen new heads and fourteen new handles. Wikipedia now lists Trigger’s Broom as a contemporary version of the ancient paradox of identity known variously as Theseus’ Ship, Locke’s Sock, Washington’s Axe, and Jeannot’s Knife: when does something which changes cease to be itself?
Artists: Jo Addison, Adam Gillam, Anna Hughes, Neill Kidgell, Max Mosscrop, Clunie Reid, Alice Walton
Curated by Adam Gillam and Max Mosscro
ADAM SMITH'S OPTIMISTIC TELEOLOGICAL VIEW OF HISTORY
No full textAdam Smith's four-stage theory provides the framework for his writings on history. The fourth stage is the commercial epoch; the culmination of history in this stage is a key component in the conventional interpretation of Adam Smith as a prophet of commercialism. In two historical case studies Smith shows the capacity of commercial society to regenerate itself. This potent capacity suggests that commercial society is inevitable. At a certain point in time it also overcomes the major obstacles to its permanence. Smith's philosophy of history anticipates the end of history views of Kant and Hegel.Political Economy,
Ideal Paste
No full textSite specific exhibition of sculptural works.http://membership.contemporaryartsociety.org/news/hobsons-choice-adam-gillam-ideal-paste-at-tintype
How Might Adam Smith Pay Professors Today?
No full textAdam Smith’s proposal for paying professors was intended to induce increased faculty knowledge. If students have imperfect information about what they learn, and universities can only imperfectly measure the input of faculty time in student learning, publications may be used to measure faculty knowledge. If professors’ ability to publish is positively related to their ability to produce student learning, which universities can imperfectly measure, publications may be necessary to attract more able professors. Since research signals faculty knowledge, schools that do not value publications per se could require higher publication standards and pay higher wages than schools that value only publications.
ADAM SMITH'S VIEW OF HISTORY: CONSISTENT OR PARADOXICAL?
No full textThe conventional interpretation of Adam Smith is that he is a prophet of commercialism. The liberal capitalist reading of Smith is consistent with the view that history culminates in commercial society. The first part of the article develops this optimistic interpretation of Smith's view of history. Smith implies that commercial society is the end of history because 1) it supplies the ends of nature that he identifies; 2) it is inevitable; and 3) it is permanent. The second part of the article shows that Smith has some dark moments in his writings where he seems to reject completely such teleological notions. In this more civic humanist mood he confesses that commercial society does not supply the ends of nature, nor is it inevitable, nor is it permanent. Both views exist in Smith and the commentator is forced to choose between passages in Smith's work in order to support a particular interpretation of the former's view of history.Political Economy,
Stop bugging me: frame 1
No full textThe exhibition Stop Bugging Me was a series of solo shows punctuated by a number of events, happenings, performances and hauntings.
The title and framework for the research initially draws on Peter Ackroyd’s “The English Ghost” (2011) where he suggests “ The commonplace phrase “stop bugging me”, can perhaps be translated as “stop haunting me”.”
“Stop bugging me” presented the work of three artists; Adam Gillam, Oona Grimes, and Jo Addison, over three months. Each solo show punctuated or “bugged” by the work(s) of the next exhibiting artist, providing a forum for testing new works, methodologies and in seeking new insights. Evolving and mutating over time, “Stop bugging me” provided an interlinking and meandering snapshot of three artists’ who share a solitary practice but who revel in collaboration and exchange.
The research developed through a series of regular studio visits and discussion between the artists involved through 2014 – 2015, with the aim to illuminate common shared thematics and methodologies and to explore these in the making of a series of exhibitions and public programmed events. The research sought to explore and interrogate subtle territories between solo show, group show and public events programme through each artist presenting a solo show alongside specifically invited individuals to contribute to an evening public event
Buffet d'Art
No full textBuffet d'Art showcases an array of artists, all of whom have been invited to bring along a buffet size piece of work, to be perused on a plinth.
The show is a meleè of mismatched yet aspiring works, some with delusions of grandeur, others grubby with spillage and monotonous repetition, set to a medley of smooth and relaxing music, designed to whet the senses and heighten your experience of these buffet-inspired memories.
Artists: Des Hughes, Doug Fishbone, Demelza Watts, Jo Addison, Peter McDonald and Eric Bainbridge, Flora Parrott, Gustavo Ferro, Robert Rush, Keith Wilson, Ian Kiaer, Georgina Starr, Gayle Chong Kwan, Katie Cuddon, Fabian Peake. Adam Gillam, Luke Gottelier, Marcia Farquhar
Adam Smith and Roman Servitudes
No full textThis essay is a preprint of an article that appeared at: Tijdschrift voor Rechstsgeschiedenis, 72 (2004), 327–57.This essay discusses Adam Smith historical jurisprudence and his use of Roman law materials in his Lectures on Jurisprudence. It argues that Smith found it difficult to maintain his theory of legal development in the face of a highly developed body of Roman law literature
In Constant Use
No full textIn Constant Use is a solo exhibition at Tintype Gallery, London.
The title refers to the space in which Gillam currently works – a garage awaiting conversion to a studio, and to his working methods.
Change, evolution, and cannibalization are key to Gillam's practice, where strategies and methods around painting, image making and bricolage result in witty transformations of found, utilitarian materials that often include drawings, notes and phrases, layered into wall-based pieces.
This is particularly evident in new photographic works presented in In Constant Use. Glimpses of the artist in his studio in the act of taking a photograph, are overlaid with magic-marker squiggles, bits of coloured tape, a piece of fabric with a fragment of a drawing taped over the
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