1,720,975 research outputs found
Resist: be modern (again) [Exhibition Catalogue]
No full textCurated by artists and researchers Alice Maude-Roxby and Stefanie Seibold, Resist: be modern (again) explores the practices of women artists of the 1920s and 30s. The project looks back in particular at revolutionary art, design, performative and written practices via the lens of contemporary art, theory and design practitioners, highlighting the importance and influence of these long-lost early avant-garde practices into the present. It is part of a larger research project highlighting the contributions to modernism of women in general and non-heterosexual women in particular.
Contributions by artists: Becky Beasley, Madeleine Bernstorff, Tessa Boffin, Ricarda Denzer, Andrea Geyer, Moira Hille, Alice Maude-Roxby, Nick Mauss, Ursula Mayer, Falke Pisano, Ingrid Pollard, Tanoa Sasraku-Ansah, Katie Schwab, Stefanie Seibold, Megan Francis Sullivan, S. Louisa Wei, Riet Wijnen, Gillian Wylde and curator Beatriz Herráez. The exhibition Resist: be modern (again) includes installations of archival materials, contemporary artists’ works and writings relating to the early practices of Alice Austen, Berenice Abbott and Elizabeth McCausland, Natalie Clifford Barney, Phyllis Barron and Dorothy Larcher, Sonia Delaunay, H.D. (Hilda Doolittle), Rose Dugan and Vera von Blumenthal, Esther Eng, Elizabeth Eyre de Lanux and Evelyn Wyld, Baroness Elsa von Freytag-Loringhoven, Therese Giehse, Eileen Gray, Lotte Goslar, Barbara Ker-Seymer, The Little Review, Jane Heap and Margaret Anderson, Erika Mann, Maria Martinez, Enid Marx, Marlow Moss,Charlotte Perriand, Lilly Reich, Annemarie Schwarzenbach, Ada ‘Bricktop’ Smith, Florine Stettheimer, Renée Vivien, A’Lelia Walker, Marguerite Wildenhain and Virginia Woolf. Essays by Madeleine Bernstorff, Laura Cottingham, Bridget Elliott, Sian Norris, Gemma Romain, T.L. Cowan & Jasmine Rault and Shane Vogel
Performing memory
No full textPerforming Memory was a symposium held at Kunstraum Niederösterreich Vienna and an eponymous publication following the event. The subject of the symposium was the interrogation of the influence of performance documents on the interface between lived, remembered and recorded aspects of live art events. I was invited to deliver a keynote paper contextualising my collaborative research with Françoise Masson, the photographer of Gina Pane, which had been influential on the work of one of the curators of the symposium - the Austrian artist Julia Kläring. Kläring produced a radio play based on interviews with Gina Pane utilising sections of my earlier co-authored publication ‘On Record: advertising, architecture and the actions of Gina Pane.’ Extracts from Kläring’s piece appear in the publication Performing Memory. For the live event/symposium a performance by Julia Kläring focusing on the work of Gina Pane was realised., My published paper, adapted from my keynote address, forms a chapter of Performing Memory. Other speakers and writers included in the symposium and book are Christiane Krejs, Julia Kläring and Virginie Bobin (Bo-ring), Carola Dertnig, Andrea Salzmann, Barbara Matijevic, Giuseppe Chico, Bojana Cvejić. Stefanie Seibold has pinpointed my body of work as influential and references my address in an installation relating to Pane and Masson
The Art of Intervention
No full textThe Art of Intervention was a series of symposia and exhibitions that took place in Japan and UK between 2009 and 2010. The central topic was the legacy of Dumb Type, the radical and innovative visual Japanese performance group notorious for addressing subjects 'taboo' in Japan such as the AIDS crisis. Dumb Type’s principal, Teiji Furuhashi (d. 1995), remains culturally prominent.
The symposia brought together contemporary artists Yoshiko Shimada, Bubu de la Madeleine (participant in Dumb Type) and artists and researchers from the UK and Japan. I was part of panels at two symposia and participated in the exhibition at Fleur Gallery, Kyoto, Japan (‘The Art of Intervention’ in 2010) and the lecture series ‘The Art of Intervention’ (February 2009) and ‘Love Song for the Future’ (November 2009).
I made contributions at Kyoto Seika University, Kingston University and the 2010 lecture ‘Performance Art and Photography.’ Lois Keidan at Live Art Development Agency and I collaborated to instigate an exchange between UK live artists and visiting Japanese artists - following this exchange, David Falkner curated a series of events, ‘Louder than Bombs,’ for Stanley Picker Gallery as part of Art of Intervention
Anti-academy
No full textAnti Academy is an exhibition and publication that analyses artists’ workshops in anti-mainstream art programmes at Tokyo (Bigakko), Copenhagen (Ex-Skolen) and Iowa (Intermedia) between 1968 and 1970. The exhibition took place at John Hansard Gallery, Southampton, from November 2013 until January 2014. The publication and exhibition situate these three educational programmes, each employing the most ‘radical’ artists of the time in formations concurrently idiosyncratic and programmatic, in relation to socio-political climates of 1968. Aros Aarhus will publish an overall Systemics catalogue situating Anti Academy within their broader two year programme., The Anti Academy publication includes interviews with key figures and contextual essays by writers in USA, Japan and Denmark. The Japanese aspects of the work were made possible by the award of a Japan Foundation grant (2010) and a Great Britain Foundation Sasakawa Grant (2010). Artists focused on include Akasegawa Genpei, Nakanishi and Matsuzawa, Kikuhata from Bigakko; Hans Breder, Allan Kaprow, Vito Acconci, Elaine Summers and Mary Beth Edelson from Intermedia; and Troels Andersen (the English first translator of Kazimir Malevich), Poul Gernes, Per Kirkeby, Henning Christiansen and Bjorn Norgaard from Ex-Skolen
Out of the archive: Berenice Abbott's changing New York and the carry-all coat
No full textThis text reflects on how inclusions and exclusions of artefacts within archives influence art historical narrative. The potential of the artist’s archive is examined as a resource for the making of new works that reference an earlier time, yet have resonance in the contemporary context. In particular, experience of the archive of American photographer Berenice Abbott is analysed here, as impetus for the making of recent exhibits and publications. The co-authored Censored Realities/Changing New York, Camera Austria, 2018 by Alice Maude-Roxby and Stefanie Seibold brought into circulation for the first-time, captions written by Berenice Abbott’s partner, Elizabeth McCausland. These writings by McCausland had been intended to accompany Abbott’s photographs within the Dutton publication of Changing New York in 1939 but were deemed unsuitable by the publishers. Also inspired by the archive, the processes inherent in the fabrication of a prototype based on one of Berenice Abbott’s House of Photography inventions, the Kit-Jak coat, are considered here within the context of the Resist: be modern (again) exhibition curated by Maude-Roxby and Seibold, and on display at John Hansard Gallery, Southampton in 2019
Past-present -future
Full text linkDouble Exposures is a new collaborative venture between Manuel Vason and forty of the most visually arresting artists working with performance in the UK. Ten years after his first, groundbreaking book, Exposures, Vason has produced another extraordinary body of work, which sets out new ways of bridging performance and photography. For Double Exposures, Vason has worked with two groups of artists, using two distinct types of collaboration, to produce a series of double images. Artists who had previously worked with Vason were invited to create two images, one of their own practice and another, where they took on the role of the photographer, shaping an image with Vason’s body. A second group of new collaborators were invited to create a performance, which could be captured in two photographs. All the images exist as doubles – pairs – diptychs. Double Exposures includes commissioned essays on photography and performance by David Bate, David Evans, Dominic Johnson, Lois Keidan, Alice Maude-Roxby, Adrien Sina, Chris Townsend, and Joanna Zylinska and an interview with Helena Blaker. Themes explored include the body, the diptych, documentation, encounters, identity, mediation and the relationship between photography and performance. In photography, a ‘double exposure’ can be accidental or deliberate. Both types permeate Double Exposures, making it Manuel Vason’s most ambitious project to date. Double Exposures collaborators: Aaron Williamson, Áine Phillips, Alexandra Zierle & Paul Carter, Alistair MacLennan, Ansuman Biswas, Brian Catling, David Hoyle, Dickie Beau, Eloise Fornieles, Elvira Santamaría Torres, Ernst Fischer, Florence Peake, Franko B, Giovanna Maria Casetta, Harold Offeh, Helena Goldwater, Helena Hunter, Hugo Glendinning, Iona Kewney, jamie lewis hadley, Joshua Sofaer, Julia Bardsley, Katherine Arianello, Lucille Acevedo-Jones & Rajni Shah, Mad for Real, Marcia Farquhar, Marisa Carnesky, Martin O'Brien, Mat Fraser, Michael Mayhew, Mouse, Nando Messias, Nicola Canavan, Noëmi Lakmaier, Oreet Ashery, Rita Marcalo, Ron Athey, Sinead O'Donnell, Stacy Makishi, The Famous Lauren Barri Holstein, the vacuum cleaner Published with the support of Arts Council England Reviews 'Manuel Vason is to Performance Art what Robert Capa is to war photography.' – Franko B, artist 'Manuel Vason's images exist somewhere between portraiture, performance documentation, and documentary - or perhaps, his images are fashion shots, but the bodies are clothed in performance.' – Tracy Warr, independent curator, editor of The Artist's Body 'Manuel Vason's startling and stylised images, powerfully reproduced in Encounters, violently force bodily abjection into the arena of the sublime. Not since the era of Caravaggio and Bernini has pain been so exquisitely and beautifully rendered - here, through Vason's capacity to connect, via the red-hot wire of aesthetic reduction, to the bodies that wield and convey it.' – Amelia Jones 'Photography stages what it records; and subjects perform on that stage. In this age of the complicit auto-branding of the ‘Selfie’, it’s a relief to be reminded that the self and the camera are less knowable than we might think. In this book Manual Vason’s collaborative photographs along with a range of nimble writers reopen for us all the uncertainties and possibilities, the trapdoors and escape hatches that make the self and the camera such wild companions.' – David Campany, writer, curator and Reader in Photography at the University of Westminster, Londo
Excavating the archive: exchanges between artists and their photographers
No full textExcavating the Archive focuses on the documentation of live art through interviews with artists and their photographers or film-makers and reflects on the ways in which bodies of photographic work have been made manifest as representations of the live within exhibitions.
The exhibition and publication Live Art on Camera (John Hansard Gallery, 2007, SPACE, 2008) positioned documentation of artists’ performances within the context of the archives of the photographers or filmmakers who had recorded their work. In this way seminal performance documentation from artists including Gutai, Adrian Piper, Carolee Schneemann, Marina Abramovic, Ana Mendieta amongst many others was seen in relation to the ongoing practices of the corresponding photographers and filmmakers, Kiyoji Otsuji, Rosemary Mayer, Peter Moore, Babette Mangolte, Hans Breder, Kurt Kren amongst others. A series of interviews enabled insight from both sides of the camera. These conversations opened up discussions about the actuality of the lived experience, the act of recording and being recorded, the physical processes mechanics inherent in the making of the work and the ways in which these images subsequently navigated paths both through the historical and commercial canons of art.
Excavating the Archive re-evaluates this approach within the present and tracks the circulation of specific images within contemporary discourses
12 Approaches to 12 Shooters
No full textThis publication examines Marcia Farquhar’s 12 Shooters - film records of Farquhar’s performance artworks made in collaboration with twelve artist film-makers: Uriel Orlow, Sarah Pucill, Trine Lise Nedreaas, Tal Sterngast, Tom Paine, Nichola Bruce with Rebecca E. Marshall, Gary Stevens, Dryden Goodwin, Jem Finer, Judith Goddard, Andrew Kötting, Saskia Olde Wolbers and Zoe Brown., 12 Shooters approaches from the ‘documentary’ to idiosyncratic works overtly fusing the ideas of Farquhar's performances to the film-makers’ aesthetics. The book documents these collaborations and includes writing by Peter Suchin, Tony Grisoni, Mark Harris and Stuart Brisley. My essay-chapter relates the film series to current and historic debate on the documentation and commodification of live art by touching on notions of lived experience, subjectivities, and the presence of stylistic influence when documenting performance artworks. This writing expands upon my previously-published research with Artwords Press, Tate Liverpool (‘Art, Les and Videotape: Exposing Performance’), lectures on Regina Galindo (Museum of Modern Art, Oxford) and Manuel Vason (Arnolfini, Bristol) and invitations to photographically record works by Lisa Watts and Michael Stevenson., The volume was reviewed by Deborah Levy: ‘The 12 Shooters book will be of enduring value to generations of artists fortunate enough to get hold of a copy. Entertaining and scholarly, 12 Shooters dismantles the form of most publications that document a distinguished artist’s practice, and elucidates the ways in which a once-only conceptual performance might haunt and possess an entirely new body of work … with the stray thoughts and unexpected philosophical conundrums of everyday lived experience that have always been Farquhar’s subject.’ (Levy, July 2009
The trouble with captions: the censorship of Elizabeth McCausland’s texts that were originally intended to accompany Berenice Abbott’s photographs within their Changing New York, 1939, Dutton publication [presentation]
No full textThe Trouble with Captions: my presentation focused on the writings of Elizabeth McCausland that had been intended to accompany Berenice Abbott's photographs within the 1939 Dutton Changing New York publication. The presentation focused on the potential relationship of the written caption as a spoken draft to be heard in relation to image
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