8,049 research outputs found
C21ST ART-WORKER 2013-2015
Full text linkCommissioned 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, 2016
Full text linkAn 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
Invitation
Full text linkExhibition of monochrome works, Annie Whiles drawings are made painstakingly neatly with pencil crayon, Alison Jones’
watercolours are informal and splashy.
The work shares a relationship with objects and spaces and the correspondence between qualities of drawing, texture, composition and line of very particular places and things. Annie Whiles has placed objects and things together to form portraits of polarised powers, objects are selected on their origin and status to form difficult relationships, often unstable and comical combinations, rendered with a steady hand. Alison Jones depicts plush interiors and the parade of wealth and glamour published in W magazine online. An exacting process of elimination has been undertaken by the artist, for this apparently convivial mood and event to take place.
Whilst the work of both artists invite recognition and pleasure, this welcome has conditions: it asks the viewer to check their politics and art world, along with their coat at reception
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
Detailed summaries of peer-reviewed journal articles with Alison Snow Jones as primary author
Full text linkAnnotated guide to the scholarly work of Alison Snow Jones, created by Lauren J. Bruce for inclusion in "An Uncommon Woman: Alison Snow Jones Unleashed!
VUOTO, 2012
Full text linkVUOTO – 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
Stripping Sight Bare : Alison Jones’ ‘Portraits by Proxy’
No full textIn this paper I analyse UK artist Alison Jones’ sonic interventions Portrait of the Artist by Proxy (2008), Voyeurism by Proxy (2008) and Art, Lies and Audio Tapes (2009). In Portrait of the Artist by Proxy, Jones – who, due to deteriorating vision, has not seen her reflection in a mirror in years – asks and trusts participants to audio-describe her own image back to her. In Voyeurism by Proxy, Jones asks participants to audio-describe erotic drawings by Gustav Klimt. In Art, Lies and Audio Tapes, Jones asks participants to audio-describe other artworks, such as W.F. Yeames’ And When Did You Last see Your Father?. In these portraits by proxy, Jones opens her image, and other images, to interpretation. In doing so, Jones draws attention to the way sight is privileged as a mode of access to fixed, fundamental truths in Western culture – a mode assumed to be untainted by filters that skew perception of the object. “In a culture where vision is by far the dominant sense,” Jones says, “and as a visual artist with a visual impairment, I am reliant on audio-description …Inevitably, there are limitations imposed by language, time and the interpreter’s background knowledge of the subject viewed, as well as their personal bias of what is deemed important to impart in their description” . In these works, Jones strips these background knowledges, biases and assumptions bare. She reveals different perceptions, as well as tendencies or censor, edit or exaggerate descriptions. In this paper, I investigate how, by revealing unconscious biases, Jones’ works renders herself and her participants vulnerable to a change of perception. I also examine how Jones’ later editing of the audio-descriptions allows her to show the instabilities of sight, and, in Portrait of the Artist by Proxy, to reclaim authorship of her own image
Alison Jones and Amanda Beech: Audience into Community
Full text linkIn this essay, written in 2013 for online circulation, I set out some political questions of interpreting art, drawing on Susan Hiller's definitions of a primary and a secondary audience, and make some claim for the agency of latent communities of understanding. Alison Jones's use of painting is shown to produce bewildered recognition and an effective use of blatancy, Amanda Beech's video work is shown to be alert to the emergence of didactic online lectures and authoritative modes of speaking and narrating as contemporary capitalist form. The approach to the art I discuss is experimental, and aims to demonstrate clearly how I reach my understandings from these contrasting aesthetic strategies. Both Jones and Beech are shown to achieve a meaningful connection with urgent contemporary questions: the repositioning of feminism and laughter in painting, and the mobilisation of the viewer's wish to argue back to the screen and to understand how its authority is produced. The wounds in the word community are shown to be worth upholding
C21ST RECENT HISTORY
Full text link'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
Alison Jones Technical Production
No full textThe Alison Jones Technical Production Collection comprises materials and resources that capture the often-unseen practices of design, management and technology within live performance and theatre production. The collection documents the students’ work in the Bachelor of Fine Arts (Technical Production) across QUT performances and events. It stands as a heritage archive and educational resource for students, alumni, educators and practitioners in the field.
The Alison Jones Technical Production Collection is an ongoing collaboration between Technical Production staff and students.
Initial Project development; Carly O’Neill, Anthony Brumpton, Dale Norris (Technical Production), Jill Rogers (Library), and Matthew Kerwin (EIS).
* [All Items](/view/collections/3728/): broken down by type
* [Performance](/view/sub-collections/3728/): grouped by performance name
[About Ali Jones](/collections/technical-production/about.html
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