11,592 research outputs found
Research into the Best Products Archive:A Journey by Artist Scott Myles
No full textArticle in the members magazine of the Virginia Museum of History and Culture featuring images and ideas around ‘Spiral Bound’ and ongoing research by Scott Myles
Ruins recast: appropriated and fabricated ruins in the work of Scott Myles
No full textThis paper discusses recent projects by Glasgow-based artist Scott Myles, and in particular a number of works which have deployed effects of ruin and ruination. Key among these is Potlatch, a 2014 piece that invoked the work of Guy Debord within the unlikely setting of Galeries Lafayette Maison. Placing Potlatch in the context of Myles’s wider practice, and in particular his uses of appropriation and fabrication in relation to ruins, the paper also seeks to situate Myles’s practice theoretically in relation to the writing of Agamben, Benjamin, Debord and others
Beware of First Hand Ideas
No full textBeware of First Hand Ideas
Edwin Pickstone & Scott Myles
2021
Silkscreen on paper, 70.7x100cm.
An artwork commissioned for the exhibition Imprints: Art Editing Modernism
Shandy Hall, the Laurence Sterne Trust, Coxwold, UK
28 August – 11 September 2021
The artists would like to refer you to the following three passages taken from ‘The Machine Stops’ by E.M. Forster, first published in The Oxford and Cambridge Review, November 1909:
‘Imagine, if you can, a small room, hexagonal in shape, like the cell of a bee. It is lighted neither by window nor by lamp, yet it is filled with a soft radiance. There are no apertures for ventilation, yet the air is fresh. There are no musical instruments, and yet, at the moment that my meditation opens, this room is throbbing with melodious sounds. An armchair is in the centre, by its side a reading-desk — that is all the furniture. And in the armchair there sits a swaddled lump of flesh — a woman, about five feet high, with a face as white as a fungus. It is to her that the little room belongs.
An electric bell rang.
The woman touched a switch and the music was silent.
“I suppose I must see who it is”, she thought, and set her chair in motion. The chair, like the music, was worked by machinery and it rolled her to the other side of the room where the bell still rang importunately.
“Who is it?” she called. Her voice was irritable, for she had been interrupted often since the music began. She knew several thousand people, in certain directions human intercourse had advanced enormously.
But when she listened into the receiver, her white face wrinkled into smiles, and she said:
“Very well. Let us talk, I will isolate myself. I do not expect anything important will happen for the next five minutes — for I can give you fully five minutes, Kuno. Then I must deliver my lecture on ‘Music during the Australian Period’.”
She touched the isolation knob, so that no one else could speak to her. Then she touched the lighting apparatus, and the little room was plunged into darkness.
“Be quick!” she called, her irritation returning. “Be quick, Kuno; here I am in the dark wasting my time.”
But it was fully fifteen seconds before the round plate that she held in her hands began to glow. A faint blue light shot across it, darkening to purple, and presently she could see the image of her son, who lived on the other side of the earth, and he could see her.’
‘…He broke off, and she fancied that he looked sad. She could not be sure, for the Machine did not transmit nuances of expression. It only gave a general idea of people — an idea that was good enough for all practical purposes, Vashti thought. The imponderable bloom, declared by a discredited philosophy to be the actual essence of intercourse, was rightly ignored by the Machine, just as the imponderable bloom of the grape was ignored by the manufacturers of artificial fruit. Something “good enough” had long since been accepted by our race.’
‘And even the lecturers acquiesced when they found that a lecture on the sea was none the less stimulating when compiled out of other lectures that had already been delivered on the same subject. “Beware of first-hand ideas!” exclaimed one of the most advanced of them. “First-hand ideas do not really exist. They are but the physical impressions produced by love and fear, and on this gross foundation who could erect a philosophy? Let your ideas be second-hand, and if possible tenth-hand, for then they will be far removed from that disturbing element — direct observation.
This Way Out
No full textArtist’s book, Scott Myles, with text by Graham Domke, unique edition of 50, screen printed canvas, Xerox copy, card, 112 pages. Designed by Neil McGuire & Scott Myle
Potlatch
No full textArtist’s book published by The Modern Institute, Glasgow, Scott Myles, unique edition of 8, screen printed canvas, colour offset print, Xerox copy, card, 54 page
ELBA:Glasgow Print Studio, Glasgow
No full textExhibition Dates 02/07/2010—15/08/2010Glasgow Print Studio presents Elba, a solo exhibition by Scott Myles. For Elba, Myles has created a new installation of unique screenprinted artworks produced in the Glasgow Print Studio workshop. These constructed pieces reference familiar objects and operate in both two and three dimensions. Alongside these works Myles will exhibit a number of pieces from his ongoing series of fluorescent text works. Initially referencing generic instructional signage, Myles’ most recent prints subjectively explore language through repetition and word play
Spiral Bound
No full textThis artist's book was produced as a limited edition artwork by Scott Myles. I contributed the text and collaborated with him on a series of captions that run throughout the publication. It was included as an element within his solo exhibition at Meyer Riegger Gallery in Berlin in Autumn 2015
Solo Exhibition:Kunsthalle Zurich, Zurich
No full textExhibition Dates: 2 July 2005 - 14 August 2005The oeuvre of Scottish artist Scott Myles is strongly gestural. It consists of photographs, objects, serigraphs, paintings, and performance-based projects. They always exhibit a reference to social values (for example to generosity or communication), to subjective involvement, to the experience of the artist and the viewer as a central concern, and to an open Romantic stance toward these values. Moreover, artistic projects and sculptures he has already realized likewise play an important role, one Scott Myles repeatedly includes in his artistic endeavors.In his first institutional solo show, the artist presents works of recent years and a group of sculptures and objects devised specially for Kunsthalle Zürich
Search and Research:Projects in Art and Theory, Cologne
No full textScott Myles (born 1975 in Dundee) has developed an exhibition for Projects in Art & Theory entitled Search and Research. In December 1977, Dan Graham performed Performer/Audience/Mirror for the first time, a piece in which he describes the relationships between himself (as performer), the audience and the reflection of both in the mirror: "The audience sees itself reflected by the mirror instantly while the performer’s comments are slightly delayed. First a person in himself, next he hears himself described ‘objectively’ (‘subjectively’) in terms of the performer’s perception." This (perceptual-) psychological significance of art at the interface between the verbal and visual is relevant to Scott Myles, yet his work is primarily concerned with the objects reacting to reflections and performative situations. The corresponding relationships between person and space play a secondary role
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