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Introduced by the Pat Hearn artist Patty Martori, Mary Heilmann first met Iwan Wirth and Ursula Hauser in 1994 during a visit to her exhibition at the Pat Hearn Gallery. Heilmann found kindred spirits in Hauser & Wirth and this fortuitous encounter not only kicked off a long-term friendship and working relationship, but it also led to the legendary publication of Heilmann's 'The All Night Movie.' Initially planned as a straightforward exhibition catalogue, the publication took several years to realize and transformed into an extensive artist book made by Heilmann and Mark Magill.

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Introduced by the Pat Hearn artist Patty Martori, Mary Heilmann first met Iwan Wirth and Ursula Hauser in 1994 during a visit to her exhibition at the Pat Hearn Gallery. Heilmann found kindred spirits in Hauser & Wirth and this fortuitous encounter not only kicked off a long-term friendship and working relationship, but it also led to the legendary publication of Heilmann's 'The All Night Movie.'

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Rodney Graham pulls at the threads of cultural and intellectual history through photography, film, music, performance and painting. He presents cyclical narratives that pop with puns and references to literature and philosophy, from Lewis Carroll to Sigmund Freud to Kurt Cobain, with a sense of humour that betrays Graham's footing in the post-punk scene of late 1970s Vancouver. The nine-minute loop Vexation Island (1997) presents the artist as a 17th-century sailor, lying unconscious under a coconut tree with a bruise on his head; after eight and a half minutes he gets up and shakes the tree inducing a coconut to fall and knock him out, and for the sequence to start again. Graham returns as a cowboy in How I Became a Ramblin' Man (1999) and as both city dandy and country bumpkin in City Self/Country Self (2001) - fictional characters all engaged in an endless loop of activity. Such dream states and the ramblings of the unconscious are rooted in Graham's earlier upside-down photographs of oak trees. Inversion, Graham explains, has a logic: 'You don't have to delve very deeply into modern physics to realise that the scientific view holds that the world is really not as it appears. Before the brain rights it, the eye sees a tree upside down in the same way it appears on the glass back of the large format field camera I use.' (2005)

Rodney Graham was born in Abbotsford, British Columbia, Canada in 1949. He graduated from the University of British Columbia, Burnaby, Canada in 1971 and lives and works in Vancouver, Canada. Solo exhibitions include Museum Frieder Burda, Baden-Baden, Germany (2017); Museum Voorlinden, Wassenaar, Netherlands (2017); BALTIC Centre for Contemporary Art, Gateshead, UK (2017); Le Constortium, Dijon, France (2016); Sammlung Goetz, Munich, Germany (2015); Charles H. Scott Gallery, Emily Carr University of Art and Design, Vancouver, Canada (2014); Vancouver Art Gallery, Canada (2012); Museum der Moderne, Salzburg, Austria (2011); Museu D'Art Contemporani de Barcelona, Spain (2010); Jeu de Paume, Paris, France (2009); Museum of Contemporary Art Los Angeles, CA, USA (2004); Whitechapel Art Gallery, London, UK (2002); Hamburger Bahnhof, Berlin, Germany (2001); and Kunsthalle Wien, Vienna, Austria (1999). He has participated in group exhibitions such as the Carnegie International (2013), the 13th, 14th and 17th Sydney Biennales, Australia (2002, 2006, 2010), the Whitney Biennial, New York, USA (2006) and the Biennale d'Art contemporain de Lyon, France (2003). He represented Canada at the 47th Venice Biennale, Italy (1997) and among awards he has received the Gershon Iskowitz Prize, Toronto, Canada (2004), the Kurt Schwitters-Preis, Niedersächsiche Sparkassenstiftung, Germany (2006), and the Audain Prize for lifetime achievement in visual arts, British Columbia, Canada (2011). Rodney Graham was appointed as an Officer of the Order of Canada in 2016 for his contributions to Canadian contemporary art.

Current & Recent Projects:
'Artists and Models', Serlachius Museum Gösta, Mänttä, Finland, 24 October 2020 - 18 April 2021

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Rodney Graham pulls at the threads of cultural and intellectual history through photography, film, music, performance and painting. He presents cyclical narratives that pop with puns and references to literature and philosophy, from Lewis Carroll to Sigmund Freud to Kurt Cobain, with a ...

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g

BUY THE BOOK

Trade Paperback

$17.00

Hill and Wang

Farrar, Straus and Giroux

ISBN: 9780809071944
288 Pages

"No denunciation without its proper instrument of close analysis," Roland Barthes wrote in his preface to Mythologies. There is no more proper instrument of analysis of our contemporary myths than this book-one of the most significant works in French theory, and one that has transformed the way readers and philosophers view the world around them.

Our age is a triumph of codification. We own devices that bring the world to the command of our fingertips. We have access to boundless information and prodigious quantities of stuff. We decide to like or not, to believe or not, to buy or not. We pick and choose. We think we are free. Yet all around us, in pop culture, politics, mainstream media, and advertising, there are codes and symbols that govern our choices. They are the fabrications of consumer society. They express myths of success, well-being, or happiness. As Barthes sees it, these myths must be carefully deciphered, and debunked.

What Barthes discerned in mass media, the fashion of plastic, and the politics of postcolonial France applies with equal force to today's social networks, the iPhone, and the images of 9/11. This new edition of Mythologies, complete and beautifully rendered by the Pulitzer Prize-winning poet, critic, and translator Richard Howard, is a consecration of Barthes's classic-a lesson in clairvoyance that is more relevant now than ever.

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Reviews

Praise for Mythologies

"Teacher, man of letters, moralist, philospher of culture, connoisseur of strong ideas, protean autobiographer . . . of all the intellectual notables who have emerged since World War II in France, Roland Barthes is the one whose work I am most certain will endure" - Susan Sontag

"One of the great public teachers of our time, someone who thought out, argued for, and made available serveral steps in a penetrating reflection on language sign systems, texts --and what they have to tell us about the concept of being human" - Peter Brooks

"With so much new material now included, this volume is not an unabridged reissue so much as a celebration anew." - Publishers Weekly

"Barthes was one of the major French critics of the 20th century, and this fuller translation will be of interest to English-speaking students of French and comparative literature as well as to cultural anthropologists." - Library Journal

"As this new translation and expansion of a seminal work by the French semiotician and philosopher demonstrates, Barthes remains ahead of his time, and our time, more than 30 years after his death.... It's remarkable that essays written more than a half-century ago, on another continent, should seem not merely pertinent but prescient in regard to the course of contemporary American culture." - Kirkus Reviews

- ... More...

"Teacher, man of letters, moralist, philospher of culture, connoisseur of strong ideas, protean autobiographer . . . of all the intellectual notables who have emerged since World War II in France, Roland Barthes is the one whose work I am most certain will endure" - Susan Sontag

"One of the great public teachers of our time, someone who thought out, argued for, and made available serveral steps in a penetrating reflection on language sign systems, texts --and what they have to tell us about the concept of being human" - Peter Brooks

"With so much new material now included, this volume is not an unabridged reissue so much as a celebration anew." - Publishers Weekly

"Barthes was one of the major French critics of the 20th century, and this fuller translation will be of interest to English-speaking students of French and comparative literature as well as to cultural anthropologists." - Library Journal

"As this new translation and expansion of a seminal work by the French semiotician and philosopher demonstrates, Barthes remains ahead of his time, and our time, more than 30 years after his death.... It's remarkable that essays written more than a half-century ago, on another continent, should seem not merely pertinent but prescient in regard to the course of contemporary American culture." - Kirkus Reviews

- Less...

Reviews from Goodreads

Roland Barthes; Translated from the French by Richard Howard and Annette Lavers

Roland Barthes (1915-1980) was a French cultural and literary critic, whose clever and lyrical writings on semiotics made structuralism one of the leading movements of the twentieth century. Barthes had a cult following and published seventeen books, including Camera Lucida, Mythologies, and A Lover's Discourse.

Roland Barthes

From the Publisher

Hill and Wang

g

$17.00

Hill and Wang

Farrar, Straus and Giroux

ISBN: 9780809071944
288 Pages

Reviews

"Teacher, man of letters, moralist, philospher of culture, connoisseur of strong ideas, protean autobiographer . . . of all the intellectual notables who have emerged since World War II in France, Roland Barthes is the one whose work I am most certain will endure" - Susan Sontag

"One of the great public teachers of our time, someone who thought out, argued for, and made available serveral steps in a penetrating reflection on language sign systems, texts --and what they have to tell us about the concept of being human" - Peter Brooks

"With so much new material now included, this volume is not an unabridged reissue so much as a celebration anew." - Publishers Weekly

"Barthes was one of the major French critics of the 20th century, and this fuller translation will be of interest to English-speaking students of French and comparative literature as well as to cultural anthropologists." - Library Journal

"As this new translation and expansion of a seminal work by the French semiotician and philosopher demonstrates, Barthes remains ahead of his time, and our time, more than 30 years after his death.... It's remarkable that essays written more than a half-century ago, on another continent, should seem not merely pertinent but prescient in regard to the course of contemporary American culture." - Kirkus Reviews

- ... More...

"Teacher, man of letters, moralist, philospher of culture, connoisseur of strong ideas, protean autobiographer . . . of all the intellectual notables who have emerged since World War II in France, Roland Barthes is the one whose work I am most certain will endure" - Susan Sontag

"One of the great public teachers of our time, someone who thought out, argued for, and made available serveral steps in a penetrating reflection on language sign systems, texts --and what they have to tell us about the concept of being human" - Peter Brooks

"With so much new material now included, this volume is not an unabridged reissue so much as a celebration anew." - Publishers Weekly

"Barthes was one of the major French critics of the 20th century, and this fuller translation will be of interest to English-speaking students of French and comparative literature as well as to cultural anthropologists." - Library Journal

"As this new translation and expansion of a seminal work by the French semiotician and philosopher demonstrates, Barthes remains ahead of his time, and our time, more than 30 years after his death.... It's remarkable that essays written more than a half-century ago, on another continent, should seem not merely pertinent but prescient in regard to the course of contemporary American culture." - Kirkus Reviews

- Less...

From the Publisher

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Mythologies | Roland Barthes | Macmillan

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g Trade Paperback $17.00 Hill and Wang Farrar, Straus and Giroux ISBN: 9780809071944 288 Pages "No denunciation without its proper instrument of close analysis," Roland Barthes wrote in his preface to Mythologies.

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Where to start reading Roland Barthes

March 26 is the 40th anniversary of the death of French essayist, writer, philosopher, social and literary critic Roland Barthes. We've put together a reading guide to help you pick which books to read first - or next!

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'To read through A Barthes Reader is finally to be left with the image of Barthes as one of the great public teachers of our time' New Republic Edited by Susan Sontag, A Roland Barthes Reader offers a definitive selection of works by the French intellectual Roland Barthes, including seminal essays, such as 'Introduction to the Structural Analysis of Narratives' as well as his more unusual works, such as 'The World of Wrestling'.

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The O Show: Killer Conversations

Staying in? Treat yourself to two newly released hours of The O Show! My guests, the artists Phoebe Davies, Brian Lobel and Marcia Farquhar, and psychotherapist Dr. Windy Dryden offer advice to social anxiety sufferers and/or anyone who wants to strike up what might inevitably be challenging conversations (even if they can only happen remotely for the time being).
view article >

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Staying in? Treat yourself to two newly released hours of The O Show! My guests, the artists Phoebe Davies, Brian Lobel and Marcia Farquhar, and psychotherapist Dr. Windy Dryden offer advice to social anxiety sufferers and/or anyone who wants to strike up what might inevitably be challenging conversations (even if they can only happen remotely for the time being).

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In January 2016 the Whitechapel Gallery presents Electronic Superhighway, a landmark exhibition that brings together over 100 artworks to show the impact of computer and Internet technologies on artists from the mid-1960s to the present day.
New and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing by over 70 artists feature, including works by Cory Arcangel, Roy Ascott, Jeremy Bailey, Judith Barry, James Bridle, Douglas Coupland, Constant Dullaart, Lynn Hershman Leeson, Vera Molnar, Albert Oehlen, Trevor Paglen, Nam June Paik, Jon Rafman, Hito Steyerl, Ryan Trecartin, Amalia Ulman and Ulla Wiggen.

The exhibition title Electronic Superhighway is taken from a term coined in 1974 by South Korean video art pioneer Nam June Paik, who foresaw the potential of global connections through technology. Arranged in reverse chronological order, Electronic Superhighway begins with works made between 2000 - 2016, and ends with Experiments in Art and Technology (E.A.T), an iconic, artistic moment that took place in 1966. Spanning 50 years, from 2016 to 1966, key moments in the history of art and the Internet emerge as the exhibition travels back in time.

As the exhibition illustrates, the Internet has provided material for different generations of artists. Oliver Laric's painting series Versions (Missile Variations) (2010) reflects on issues surrounding digital image manipulation, production, authenticity and circulation. Further highlights include a series of photographs from conceptual artist Amalia Ulman's four-month Instagram project Excellences & Perfections (2014-2015), which examines the influence of social media on attitudes towards the female body. Miniature paintings by Celia Hempton painted live in chatrooms go on display alongside a large scale digital painting by Albert Oehlen and manipulated camera-less photography by Thomas Ruff.

The dot-com boom, from the late 1990s to early millennium, is examined through work from international artists and collectives such as The Yes Men who combined art and online activism in response to the rapid commercialisation of the web.

Works by Nam June Paik in the exhibition include Internet Dreams (1994), a video-wall of 52 monitors displaying electronically-processed abstract images, and Good Morning, Mr. Orwell (1984). On New Year's Day 1984 Paik broadcast live and pre-recorded material from artists including John Cage and The Thompson Twins from a series of satellite-linked television studios in New York, West Germany, South Korea and Paris' Pompidou Centre to an estimated audience of 25 million viewers worldwide. Paik saw the event as a counter response to George Orwell's's dystopian vision of 1984.

The birth of the World Wide Web in 1989 provided a breeding ground for early user-based net art, with innovators such as Moscow-born Olia Lialina adopting the Internet as a medium, following earlier practices in performance and video. In My Boyfriend Came Back from the War (1996) the artist presents a love story enacted via an interactive black and white browser screen.

The emergence of net art is explored through a curated selection of interactive browser-based works from the Rhizome archive, a leading digital arts organisation founded online in 1996 by artist Mark Tribe, and affiliated with the New Museum in New York since 2003. In 1999, Rhizome created a collection of born-digital artworks which has grown to include over 2000 and in recent years, it has developed a preservation programme around this archive.

One of the first ever major interactive art installations, Lorna (1979-1982) by Lynn Hershman Leeson presents a fictional female character who stays indoors all day watching TV and anticipated virtual avatars. Also on show is Judith Barry's video installation Speed flesh (1998), which lures viewers into an interactive computer-generated world.

A proliferation of experiments from the 1960s - 70s pushed the boundaries of technology. Artists such as Manfred Mohr, Vera Molnar, Frieder Nake and Stan VanDerBeek adopted computer programmes to create abstract and geometrical works while Roy Ascott, Allan Kaprow, Gary Hill and Nam June Paik used various new media to connect across multiple sites globally.

The exhibition concludes with artefacts from the formation of Experiments in Art and Technology (E.A.T) in New York in 1966 which saw performances over nine evenings from artists such as Robert Rauschenberg, John Cage and Yvonne Rainer working together with engineers from American engineering company Bell Laboratories in one of the first major collaborations between the industrial technology sector and the arts.
Image: Surface Tension - Paris Rafael Lozano-Hemmer, Surface Tension (1992) Courtesy the artist and Carroll/Fletcher, London. Installation photograph by Maxime Dufour © Rafael Lozano-Hemmer Electronic Superhighway (2016 - 1966) - Whitechapel Gallery - 29 January to 15 May 2016
Related Posts

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Whitechapel Gallery: Exhibition Electronic Superhighway Shows Impact Of Technology On Artists - Artlyst

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In January 2016 the Whitechapel Gallery presents Electronic Superhighway, a landmark exhibition that brings together over 100 artworks to show the impact of computer and Internet technologies on artists from the mid-1960s to the present day. New and rarely seen multimedia works, together with film, painting, sculpture, photography and drawing by over 70 artists feature, ...

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Overwhelm your senses with Babel, Meireles' 2001 artwork, which explores information overload and failed communication

Cildo Meireles refers to Babel as a ' tower of incomprehension '. Comprising hundreds of radios, each tuned to a different station, the sculpture relates to the biblical story of the Tower of Babel, a tower tall enough to reach the heavens. God was offended by this structure, and caused the builders to speak in different languages. No longer able to understand one another, they became divided and scattered across the earth, and so began all mankind's conflicts.

Babel consists of analogue radios of varying ages, from large valve radios dating from the 1920s, which make up the bottom tiers of the tower, to the smaller mass-produced electronic radios of more recent years, which form its summit. By using radios of decreasing size from the floor to the ceiling, Meireles enhances the sense of the tower's height.

'The quantity and diversity of radios and all the different types of sound objects' that he saw in the bargain shops of New York's Canal Street inspired the Brazilian artist's choice of material.

Meireles has commented. Likewise, the noise produced by Babel is constant, but the precise mix of broadcast voices and music is always changing, so that no two experiences of this work are ever the same.

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Cildo Meireles - Display at Tate Modern | Tate

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Overwhelm your senses with Babel, Meireles' 2001 artwork, which explores information overload and failed communication Cildo Meireles refers to Babel as a ' tower of incomprehension '. Comprising hundreds of radios, each tuned to a different station, the sculpture relates to the biblical story of the Tower of Babel, a tower tall enough to reach the heavens.

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Zanele Muholi is one of the most acclaimed photographers working today, and their work has been exhibited all over the world. With over 260 photographs, this exhibition presents the full breadth of their career to date.

Muholi describes themself as a visual activist. From the early 2000s, they have documented and celebrated the lives of South Africa's Black lesbian, gay, trans, queer and intersex communities.

In the early series Only Half the Picture, Muholi captures moments of love and intimacy as well as intense images alluding to traumatic events - despite the equality promised by South Africa's 1996 constitution, its LGBTQIA+ community remains a target for violence and prejudice.

In Faces and Phases each participant looks directly at the camera, challenging the viewer to hold their gaze. These images and the accompanying testimonies form a growing archive of a community of people who are risking their lives by living authentically in the face of oppression and discrimination.

Other key series of works, include Brave Beauties, which celebrates empowered non-binary people and trans women, many of whom have won Miss Gay Beauty pageants, and Being, a series of tender images of couples which challenge stereotypes and taboos.

Muholi turns the camera on themself in the ongoing series Somnyama Ngonyama - translated as 'Hail the Dark Lioness'. These powerful and reflective images explore themes including labour, racism, Eurocentrism and sexual politics.​

The exhibition is based on the artist's 2020-21 exhibition at Tate Modern and will include new works produced since then.
The Huo Family Foundation
Research supported by Hyundai Tate Research Centre: Transnational.
The exhibition in 2020 was supported by the Zanele Muholi Exhibition Supporters Circle, Tate Patrons and Tate Members

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Zanele Muholi is one of the most acclaimed photographers working today, and their work has been exhibited all over the world. With over 260 photographs, this exhibition presents the full breadth of their career to date. Muholi describes themself as a visual activist.

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Ann Veronica Janssens at the South London Gallery

Installation view of Bikes, 2001 and Phosphènes, 1997-2018 (left to right) by Ann Veronica Janssens

Photo: Andy Stagg

Belgian artist Ann Veronica Janssens (b. 1956)  has created an extensive body of work over four decades spanning installations, projections, immersive environments and sculptures. At the core of her practice is an interest in light and its impact on our perception and experience.

This exhibition is the first major presentation of Janssens' work in London.

Janssens' Untitled (Blue Glitter), an expanse of reflective, blue glitter scattered across the floor of the gallery, occupied the Main Space for the first half of the show.

It has now been replaced by Janssens' reflective wheeled Bikes, 2001. Visitors are invited to cycle round the Main Gallery on one of five custom-made bicycles with mirrored wheels, which reflect light on the surrounding gallery walls and floor as the wheels turn.

Across three floors of the Fire Station, sculptures, projections, light works and installations continue Janssens' exploration of perception and ephemerality.

VISITOR INFORMATION REGARDING BIKES

Booking a visit to the SLG does not reserve a timeslot for riding Ann Veronica Janssens' , and you may have to queue

Visitors must use the hand sanitiser provided before riding a bike

Before riding, visitors are required to read and sign an injury waiver

A face mask covering your nose and mouth must be worn at all times

A protective helmet, provided by the SLG, must be worn while riding

Only two bikes will be in use at any one time to ensure social distancing is maintained

Unaccompanied children under the age of 18 are not permitted to ride a bike

Edition

Janssens has created a new edition to accompany Hot Pink Turquoise at the SLG. Click here to visit our online shop for more details.

Catalogue

Click here to visit our online shop to purchase Hot Pink Turquoise, the catalogue accompanying the exhibition.

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Ann Veronica Janssens: Hot Pink Turquoise - South London Gallery

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Belgian artist Ann Veronica Janssens (b. 1956)  has created an extensive body of work over four decades spanning installations, projections, immersive environments and sculptures. At the core of her practice is an interest in light and its impact on our perception and experience. This exhibition is the first major presentation of Janssens' work in London.

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Due to the coronavirus pandemic, the jury of the cancelled 2020 Turner Prize has selected 10 artists to receive £10,000 bursaries. The artists were chosen for their significant contributions to new developments in British contemporary art.

'Following a lively and rigorous virtual debate, the jury has settled on a list of ten fantastic artists who reflect the exceptional talent found in contemporary British art. From ceramics to film, performance to photography, they represent the many exciting and interdisciplinary ways that artists work today. These bursaries represent a vote of confidence in that work and offer some much-deserved support in challenging times.'
- Alex Farquharson, Director of Tate Britain

The Turner Bursaries are generously supported by John Booth, Catherine Petitgas and The Ampersand Foundation.

Arika

Arika is a political arts organisation based in Edinburgh who since 2001 have organised projects supporting connections between art and social change. Arika was selected by the jury for their innovative project Episode 10: A Means Without End presented at Tramway, Glasgow. The project was a 5-day programme of performances, discussions, screenings and study sessions exploring ideas in maths and physics as analogies for the desires and struggles of social life and existence.

Liz Johnson Artur

Liz Johnson Artur is a Ghanaian-Russian photographer based in London. For over thirty years she has been photographing the lives of people from the African diaspora in an ongoing project titled the Black Balloon Archive. The jury praised this body of work, in particular the exhibition at the South London Gallery If you know the beginning, the end is no trouble, which focused on her photographs of Black British life including Black-majority churches and non-binary club nights, presented in a series of installations.

Oreet Ashery

Oreet Ashery is a London-based artist whose projects include moving image, performance, photography, workshops, writing and assemblages. Ashery's work explores issues of gender, autoethnography, fiction, biopolitics and community. She was selected for her contribution to Misbehaving Bodies: Jo Spence and Oreet Ashery at the Wellcome Collection, which explored lived experiences of care and chronic illness. The jury were particularly moved by her new film Dying Under Your Eyes and the innovative web series Revisiting Genesis following two nurses who assist people actively preparing for death to create biographical slideshows serving as their posthumous digital legacy.

Shawanda Corbett

Shawanda Corbett is an Oxford-based artist whose expansive practice combines ceramics, paintings and performance to question the idea of the 'complete' body. Each of her hand-thrown ceramic vessels are inspired by real people and are frequently incorporated into politically charged performances in which Corbett's own body leaves traces on the pottery vessels and surfaces. The jury commended the power of her performance Blackbird Mississippi at the Serpentine Gallery in which the artist drew parallels between a slave's voyages on the underground railroad to the artist's own journey towards rehabilitation. The jury also noted the current exhibition of jazz-inspired paintings and hand-thrown ceramics Neighbourhood Garden at Corvi-Mora, London.

Jamie Crewe

Glasgow-based artist and singer Jamie Crewe uses video, sculpture, drawing and text to probe ideas of identity, power, desire, community and history. Crewe was selected for their 'sister' exhibitions at the Grand Union in Birmingham and the Humber Street Gallery in Hull. These were inspired by Radclyffe Hall's 1928 novel The Well of Loneliness and its lasting impressions on generations of LGBTQIA+ people. The jury particularly praised Crewe's dynamic and poetic retellings of mythology and literature while exploring contemporary notions of gender.

Sean Edwards

Sean Edwards, Undo Things Done (Wales in Venice), 2019 in parallel with the past i-iv, 2019, UV curable ink printed direct to medium density fibreboard substrate, perforated hardboard, plywood, hardboard, automotive spray paint, graphite, colouring pencil, household emulsion, plywood, wood glue and steel. Photograph: Jamie Woodley. Image Courtesy the Artist and Tanya Leighton gallery, Berlin.

Sean Edwards is a Cardiff-based artist who intertwines simple sculptural objects and mixed media installations with personal family histories. Edwards was selected for his installation Undo Things Done for the Welsh Pavilion at the 2019 Venice Biennale, which addressed austerity, class, shame and loss. Responding to his own experiences of growing up on a council estate, the work included a live radio play spoken by his mother from Cardiff and a video of shuffling dominoes evoking memories of his father.

Sidsel Meineche Hansen

London-based artist Sidsel Meineche Hansen investigates the ways in which virtual, robotic and human bodies are manufactured and manipulated in today's technology-driven, capitalist society. With particular attention to the pharmaceutical, pornographic, gaming and tech industries, Meineche Hansen explores how these different bodies relate to human labour. The jury noted the innovative use of VR and AR in her work and praised her exhibitions Welcome to End-Used City at Chisenhale Gallery and An Artist's Guide to Stop Being An Artist, at the National Gallery of Denmark.

Ima-Abasi Okon

Ima-Abasi Okon,
Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M's Hard'Loved'Flesh [I'M irreducibly-undone because] -Quantum Leanage-Complex-Dub (2019)
Installation view, Chisenhale Gallery, 2019. Commissioned and produced by Chisenhale Gallery, London. Courtesy of the artist. Photo: Andy Keate.

Ima-Abasi Okon is a London and Amsterdam-based artist who works with sculpture, video, sound and installation. Okon was selected for her exhibition Infinite Slippage: nonRepugnant Insolvencies T!-a!-r!-r!-y!-i!-n!-g! as Hand Claps of M's Hard'Loved'Flesh [I'M irreducibly-undone because] -Quantum Leanage-Complex-Dub at Chisenhale Gallery. The jury praised this highly accomplished installation, which included industrial air conditioners adapted to become hosts for a multi-channel sound piece.

Imran Perretta

Imran Perretta, the destructors (2019). I
Installation view, Chisenhale Gallery, 2020. the destructors is produced by Chisenhale Gallery and Spike Island, Bristol, and commissioned by Chisenhale Gallery; Spike Island; the Whitworth, The University of Manchester; and BALTIC Centre for Contemporary Art, Gateshead. Courtesy of the artist.
Photo: Andy Keate.

Imran Perretta examines marginality and cultural histories through film, performance, sound and poetry. The London-based artist was commended by the jury for his powerful recent film, the destructors 2019, which reflects on his experiences as a young man of Bangladeshi heritage. It addresses the complexities of 'coming of age' for south Asian men from Muslim backgrounds in the UK and explores the uncomfortable relationship between austerity and the War on Terror. The destructors was commissioned by and exhibited at Chisenhale Gallery, London; Spike Island, Bristol; the Whitworth, The University of Manchester; and BALTIC Centre for Contemporary Art, Gateshead.

Alberta Whittle

Alberta Whittle lives and works between Barbados, Scotland and South Africa. Rooted in the experiences of the diaspora, Whittle's work incorporates performance, video, photography, collage and sculpture to tackle anti-blackness and the trauma, memory and ecological concerns which come in the aftermath of slavery and colonialism. The jury were moved by Whittle's exhibition How Flexible Can We Make the Mouth at Dundee Contemporary Arts which thoughtfully focused on healing, writing and speech as means of self-liberation.

The 2020 jury

The members of the 2020 jury were: Richard Birkett, Curator at Large at the Institute of Contemporary Arts; Sarah Munro, Director of BALTIC Centre for Contemporary Art; Duro Olowu, designer and curator; and Fatoş Üstek, Director of Liverpool Biennial. The jury is chaired by Alex Farquharson, Director of Tate Britain.

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Due to the coronavirus pandemic, the jury of the cancelled 2020 Turner Prize has selected 10 artists to receive £10,000 bursaries. The artists were chosen for their significant contributions to new developments in British contemporary art. 'Following a lively and rigorous virtual debate, the jury has settled on a list of ten fantastic artists who reflect the exceptional talent found in contemporary British art.

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Creating art can be transformative and healing, allowing for expression in ways sometimes words can't or fall short. Experiencing art can be equally cathartic.

Light plays a role in the creation and experience of art. Humans are phototrophic by nature, meaning we grow toward light. Art can use light to create depth, detail and atmosphere, and to convey emotion or to make a statement.

Artists have always used light to emphasize certain aspects of their works of art. How light bathes a basket of fruit, for example, or shines on a pearl earring, can accentuate an artwork's attributes. The contrast of darkness with lightness can be alluring. Chiaroscuro, for example, is a technique using a stark contrast between light and dark to create dramatic compositions, most famously used by artists such as Caravaggio, Rembrandt and Goya. In modern and contemporary art, only the medium has changed.

In the 20 th century artists began to use light itself as art. Light art, as it's come to be known, can take multiple media forms, including sculpture, installation and performance. Installation lights artists use light color, intensity, filters, angles and shadows to create their works. You may have seen more of what's called light art than you realize; neon signs, holographic images projected on a building, abstract light fixtures or light sculptures. Light art dominates museums as well as commercial and residential spaces, making it a prominent and accessible art form.

Background on light art

The light bulb was invented in 1879. Yet it's believed that an artist named El Lissitzky is the first to have used electrical light in his work - 60 years later. One of the first object-based light sculptures was made by Laszlo Moholy-Nagy in the 1920s.

But using light in art goes back to ancient culture.

"The interplay of dark and light has been a theme running from Greek and Roman sculpture to Renaissance painting to experimental film," explained art critic Hilarie M. Sheets. "As technology advanced from the glow of the electric light bulb to the computer monitor, artists have experimented with actual light as material and subject."

From bulb to projection

Light art as it's known today originated in the 1960s as kinetic, or Lumino kinetic, art. In later forms, some artists used light to create psychedelic experiences. From that movement came minimalism, with artists such as the late Dan Flavin, who worked with fluorescent light tubes, playing with light as it relates to sculpture, movement and various spaces.

Neon took the light art scene in the 1980s. During this decade, electric neon lights resurged as part of the arts scene. Artists began using neon in interior design and sculpture in an effort to push boundaries.

The newest light art trend is projection mapping, which projects video onto an object, or wall. When shown against three-dimensional objects, a projected video employs color, light and movement to give the appearance of transforming a static object into something almost lifelike.

Light artists

Many artists have gained notoriety using light as an artistic medium. From public space exhibitions to museum showcases, light art uses everyday encounters to express an experience, a thought or an emotion. Most notable among artists using light:

Ellsworth Kelly

Ellsworth Kelly was an American painter, sculptor and printmaker in Spencertown, New York associated with Color Field painting and minimalism. His techniques emphasize line, color and form. Kelly often used bright colors.

Dan Flavin

Following the kinetic movement of the 1960s came the minimalism movement. Dan Flavin pioneered the use of fluorescent lighting tubes in his sculptural and installation light art. Flavin's first professional installation using the fluorescent tube light was in 1963. The work was named Diagonal of Personal Ecstasy and it featured a yellow fluorescent placed on a wall at a 45-degree angle from the floor.

Mona Hatoum

Mona Hatoum's Terra Infirma comprises more than 30 sculptures and installations. Hatoum's work often references domestic and everyday objects with themes of home and displacement, global instability and political upheaval.

Adela Andea

Romanian-born artist Adela Andea uses LED light and space, magnifying lenses and flexible neon tubes to immerse viewers in a sensory experience.

Lucio Fontana

This aerial sculpture-100 feet of neon tubing looming overhead-now hangs in the Museo Novecento in Milan, Italy. Giant windows entice you to look out onto the famous Duomo, yet, your eyes are drawn to Fontana's Structure in Neon for the 9th Milan Triennial at the Palazzo dell'Arte, Milan 1951 titled after the place where it was originally installed. Fontana's light art combined what he referred to as 'spatial concept" and "spatial environment."

James Turrell

Among James Turrell's pieces is this installation at the Guggenheim Museum in New York, where Turrell used shape and light to immerse the visitor in purple. Turrell demonstrated here that light doesn't have to be static or displayed on a wall-he shows that light can merely be part of an experience.

Jenny Holzer

In this piece, Jenny Holzer makes a statement about power by using light on words from declassified U.S. government documents. Her piece was displayed in the Whitney Museum, but Holzer's work has been exhibited in many places, including Times Square.

Gunda Foerster

Gunda Foerster strays from post-minimalistic light, evoking a sense of awe and alienation. This piece, shown in Berlin, is called TUNNEL. Fluorescent yellow bulbs light and surround the hallway, emphasizing color, neon and unnatural light.

Ben Rubin

By spelling words with light, Ben Rubin made a mark on the light art scene. With a multimedia background, Rubin used vacuum-fluorescent bulbs to display text from a chat room in real-time. By using dark and light from within a specialized light bulb, he created a unique piece.

Jim Campbell

Jim Campbell created this piece, titled Eroding Wave, in 2016. The editor-in-chief of Artnet Andrew Goldstein hailed it as, "a cascade of lights that crescents over the viewer like breaking waves."

Rafael Lozano-Hemmer

Using lights, robotics, LED screens and film projections, Rafael Lozano-Hemmer alters how people interact within a space. Featured here is his piece Pulse Room, where hanging incandescent light bulbs flash at the same rate as a visitor's heartbeat when they hold on an interface placed inside the room. Light can alter one's mood. When tied to a heartbeat, light can leave the visitor with a stronger sense of awareness.

Angela Bulloch

With a different approach than her peers, Angela Bulloch combines light art with mysticism. The Munster Cathedral displayed Bulloch's Night Sky: Mercury & Venus above the altar. The juxtaposition pits the modernity of LED lights against stained glass.

Olafur Eliasson

Installed at Pinchukartcentre in Ukraine's historic city, Kyiv, in 2011, Danish-Icelandic artist Eliasson's inspiration for Lamp for Urban Movement is shadows and light and how the difference creates space. "Let's say that the spheres are machines that create space," Eliasson says. "Some of them contain a light source inside that projects fragmented light out into the space where they are hanging, like a map projection. So it is not only, or primarily, the physical object in the space that interests me, but the way the light and the shadows and the colors claim and create space together. They perform architecture, you might say."

Grimanesa Amorós

Peruvian-born Grimanesa Amorós lives and works in New York City as an interdisciplinary artist known for large-scale installations of light sculpture. Amorós first researches locations, histories and communities of her sites, and incorporates various elements from video, lighting and technology to create site-specific installations to engage architecture and create community.

Keith Sonnier

Keith Sonnier is a Postminimalist video and light artist. In 1968, Sonnier created his first artwork using neon. A neon tube is a sealed glass tube with a metal electrode at each end, filled with one of a number of gases at low pressure.

He has been one of the most successful with this technique. Over the years, Sonnier has used incandescent, fluorescent, as well as LED lighting. Sonnier's pieces tend to include light tubes, aluminum and other objects to create electric light sculptures.

LED innovation in light art

As LED lighting technology evolves, it affords light artists a broader range of control over the light used in art installations. For example, RGBW color tuning allows artists to set specific colors for light within a piece and change colors as desired. IoT lighting provides voice-control, allowing the artist or exhibit visitors to control lighting with voice commands.

Light art tells a story

In fact, it tells quite a few. Modern artists have leveraged this relatively new technology to play on an age-old fascination humans have with art and light. By experimenting with color and shape and intertwining its existence with outside materials, our public spaces and our museums, light art challenges the way we perceive the things around us.

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Light Art and Profiles of Renowned Light Artists

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Art can use light to convey an emotion, mood or thought, transcending language. Artists have always used light to emphasize certain aspects of their works of art. How light bathes a basket of fruit, for example, or shines on a pearl earring, can accentuate an art work's attributes.

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Jessica Stockholder: Relational Aesthetics - The Contemporary Austin

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The Contemporary Austin presents an exhibition by the artist Jessica Stockholder.

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John Anthony Baldessari (June 17, 1931 - January 2, 2020) was an American conceptual artist known for his work featuring found photography and appropriated images. He lived and worked in Santa Monica and Venice, California.

Initially a painter, Baldessari began to incorporate texts and photography into his canvases in the mid-1960s. In 1970 he began working in printmaking, film, video, installation, sculpture and photography. He created thousands of works which demonstrate-and, in many cases, combine-the narrative potential of images and the associative power of language within the boundaries of the work of art. His art has been featured in more than 200 solo exhibitions in the U.S. and Europe. His work influenced that of Cindy Sherman, David Salle, Annette Lemieux, and Barbara Kruger among others.

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Artist page for John Baldessari (1931 - 2020)

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Mark Titchner is fascinated by the myriad systems of belief that permeate contemporary culture. He often revisits defunct and outmoded philosophies, especially those born out of an avant-garde idealism which has long since waned. Conflicting theories are extracted from their historical framework and submitted to us for reappraisal, reassembled as hybrid installations incorporating wall paintings, vinyl banners, light boxes and hand-carved sculptures.

Whether combining song lyrics with the writings of the twentieth-century German philosopher Martin Heidegger or remaking 1960s scientific devices out of hardware store materials, Titchner's interest lies in the dissolution of boundaries, the migration of ideas and aesthetics from one discipline to another. His recent series of wall paintings constructed from airbrushed geometric shapes was initially based on his memories of the 1970s wallpaper he grew up with. He sees a trajectory originating from patterns in early abstract art, such as paintings by Kasimir Malevich or Joseph Albers, through to the homogenised patterns present in home décor, from high art to high street. A shared aesthetic persists without the conceptual or spiritual dimension that was fundamental to its origination. It is an examination of this cultural filtering process - the survival and popularisation of certain elements over and above others - which lies at the core of Titchner's practice.

In his installation , Titchner situates the gallery between the experimental forum of the laboratory and the devotional space of the cathedral. Through sculptural and text-based works, he conflates the philosophies of four cult figures whose theories were planted firmly outside scientific orthodoxy: Wilheim Reich MD, Marxist psychoanalyst and pioneer of Orgone energy; Arthur Janov, pioneer of Primal Therapy; Hans Jenny, natural scientist and inventor of Cymatics and Emmanuel Swedenborg, philosopher and theologian.

The central component of Titchner's installation is a laboriously hand-carved contraption, the latest in an ongoing series of semi-functional works that explores notions of ritual and devotion. Visitors are invited to shout into one of the six arms protruding from its hexagonal base and watch as their collective screams, with the help of electronic amplification, become manifest as vibrations in an adjacent tray of liquid. This totemistic sculpture parodies a number of dissonant ideas. Jenny's theory of Cymatics, the idea that all matter in the universe vibrates and therefore through its study we can gain a more complete understanding of existence, is combined with Primal Scream Therapy, a popular misreading of the natural therapy pioneered by Janov in the late 1960s that linked the repression of mental pain with physical breakdown. A third strand is presented through the introduction of Swedenborg's proposition that the original communication was a pure expression of divinity from which language was subsequently generated. This further abstracts the procedure into an investigation into the true nature of the word. The sculpture therefore functions as a multi-faceted experimental mechanism, the language of logic applied to an illogical interweaving of theories, which relies on the viewer for activation.

Titchner links disparate elements of the installation through the repetition of the hexagon, the graphic symbol for benzene which is a key solvent used in organic chemistry. This motif is further disseminated through the number six. The six vertical freestanding banners surrounding the sculpture echo in scale and form the religious standards common to churches and cathedrals (a swallow-tailed silk flag suspended from a pole). At the centre of each a hand-carved wooden plaque is inscribed with a single word introduced by the word 'and', suggesting an infinite accumulation of information. Contrasting with the roughly hewn surface of the sculpture and acting as a sort of altarpiece for the space, a huge digitally printed banner confidently asserts . Its typeface is reminiscent of early computer graphics and is offset by a digitally generated starburst that is an attempt to suggest spiritual redemption and deliverance.

The phrase is taken from the poster for WR: Mysteries of the Organism, the controversial 1971 film by Dusan Makavejev loosely based on the life and work of Wilheim Reich. Found text features largely in Titchner's practice, eclectic phrases pilfered from miscellaneous sources and transformed into philosophical proclamations that seemingly demand a response. However, an ambiguity surrounds the tone of the delivery of these phrases as they are presented, devoid of context, as slick graphic posters or lightboxes with the vapidity of mainstream advertising. It is unclear whether we are to interpret them with sincerity, cynicism or humour. Titchner sees these proclamations as a sort of 'cod-philosophy, scavenged from the collapsed space that used to keep disciplines like philosophy and pop music apart' 1.

Titchner does not appear to offer judgement or critique of the theories he appropriates. Rather, he provides a secular reinterpretation, maintaining a freedom to mix and overlay ideas. He exploits the catchphrases and clichés that bubble to the surface while dispensing with the theoretical frameworks from which they emerged. Through this process, he simultaneously highlights the redundancy of once radical thought whilst acknowledging the potential for certain aspects to seep quietly into popular consciousness. By amalgamating ideologies, Titchner persuades us to accept the validity of opposing beliefs, underlining both the susceptibility and complexity of the collective psyche.

Text by Lizzie Carey-Thomas

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Art Now: Mark Titchner - Exhibition at Tate Britain | Tate

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Mark Titchner is fascinated by the myriad systems of belief that permeate contemporary culture. He often revisits defunct and outmoded philosophies, especially those born out of an avant-garde idealism which has long since waned. Conflicting theories are extracted from their historical framework and submitted to us for reappraisal, reassembled as hybrid installations incorporating wall paintings, vinyl banners, light boxes and hand-carved sculptures.

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Martin Kippenberger Heavy Burschi / Heavy Guy 1989/90

This is the first major UK exhibition to explore the extraordinary art of Martin Kippenberger (1953-1997). The German artist produced a rich and diverse body of work from the mid 1970s until his untimely death at the age of 44 and is now regarded as one of the most influential artists of his time.

Kippenberger once proclaimed that he was the ultimate embodiment of the art of the 1980s and it is certainly true that his work was preoccupied with a number of artistic concerns prevalent at the time. He was a master appropriator who consistently absorbed, challenged and transformed the world around him. His work draws on popular culture, art, architecture, music, politics, history and his own life - where no subject remained sacred. Also reflective of the era was Kippenberger's awareness of the importance of self-publicity. He was constantly reinventing himself and his art, and tirelessly controlled his image through press and marketing. He also felt that he was working in the face of a 'perceived death of painting' and his art reflects his struggle with the concept that, at the turn of the millennium, it was impossible to produce anything original or authentic.

In this long-awaited exhibition, work from his entire career is presented in a loose chronology. Included are forty paintings, four large installations, ten sculptures and numerous works on paper. Many of these works are privately owned and are rarely seen in public. Highlights include the remarkable installation The Happy End of Franz Kafka's 'Amerika' 1994, which consists of an array of tables and chairs organised on a green basketball court, and is a commentary on Kafka's description of the series of interviews faced by immigrants on arrival in the USA. Also, on show are books, photographs and exhibition posters which offer a revealing portrait of 'Kippenberger the exhibition-maker'.

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Martin Kippenberger - Exhibition at Tate Modern | Tate

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This is the first major UK exhibition to explore the extraordinary art of Martin Kippenberger (1953-1997). The German artist produced a rich and diverse body of work from the mid 1970s until his untimely death at the age of 44 and is now regarded as one of the most influential artists of his time.

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The portrait, simply called David, is a 107-minute film of Beckham slumbering in bed, a drift of blond locks cascading on to a white pillow. Somewhat less eventful than the average Real Madrid match, the film shows Beckham tenderly cradling his head in his startlingly hairy forearms, occasionally stirring to reveal a hint of shoulder tattoo, a nipple or a touch of lower torso.

Beckham (on this evidence at least) has no unpleasant sleep habits, such as snoring or dribbling. His mouth remains firmly closed, though there is the odd twitch of the lips and even the occasional tantalising half-smile.

Sandy Nairne, director of the gallery, said: "It took a long time to arrange, but what turned out to be very simple was that with Real Madrid the players have a training session in the morning, followed by a long siesta."

Taylor-Wood, who was nominated for the Turner prize, made the work in a Madrid hotel room in January. "He really is asleep," said Mr Nairne.

Claims about Beckham's alleged infidelity may have rekindled the debate about privacy and the press, but ironically, Taylor-Wood's image is almost transgressive in its intimacy. The film is shot at Beckham's eye level, such that the viewer might almost imagine him or herself lying beside the star. The figure appears strikingly vulnerable.

The image is also unashamedly beautiful. Beckham's limbs and face are warmly lit, looming out of a Caravaggio-esque gloom. The curves of his musculature and honeyed tone of his skin are sensuously conveyed. This is a David as physically perfect as Michelangelo's.

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The portrait, simply called David, is a 107-minute film of Beckham slumbering in bed, a drift of blond locks cascading on to a white pillow. Somewhat less eventful than the average Real Madrid match, the film shows Beckham tenderly cradling his head in his startlingly hairy forearms, occasionally stirring to reveal a hint of shoulder tattoo, a nipple or a touch of lower torso.

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In 2013, Tilda Swinton drew crowds to the Museum of Modern Art when she appeared, slumbering peacefully, on a white mattress in a glass box-presenting sleep as a work of art to behold. Other artists have crafted works that encourage gallery- and museum-goers to drift off into dreamland themselves. From an open-air bedroom on a Swiss mountainside to a pod marooned in an Amsterdam sandscape, here are 12 works of art that you can (or could once) sleep in.

Various artists, "UrbanCampSite Amsterdam," 2015

In summer 2015, Annette van Driel and Francis Nijenhuis invited campers from all over the world to their outdoor exhibition-cum-campsite on Centrumeiland, one of 10 artificial islands being built in Amsterdam's IJmeer lake, soon to be transformed into residential neighborhoods. Sprawled across a sandy wasteland, the 14 eclectic works of mobile art featured in "UrbanCampSite Amsterdam" included a house constructed of shrinkwrap, a "survival capsule" with hemispheric look-out windows, and a tent topped with a trampoline. Largely built using recyclable materials, the works encouraged their inhabitants to reflect on home and the environment in relation to sustainability.

Antony Gormley, ROOM, 2014

A geometric human figure, the external portion of this "inhabitable sculpture" by renowned British sculptor Gormley, sits perched atop the southern wing of the Beaumont, a hotel in London's ritzy Mayfair district. Forming a stark contrast with the hotel's pristine neo-Georgian facade, the cluster of cubic forms contains a suite-which starts at £1,420 a night-complete with a high-ceiling bedroom, living room, pure white marbled bathroom, and large windows shrouded in blackout curtains. Unveiling the work in 2014, Gormley dubbed it a "hermit's cave; a primal space within the city but removed from the city entirely"-a description that's fitting within his practice, which often investigates the human body in relation to the urban environment.

Ilya and Emilia Kabakov, The House of Dreams, 2005

Since the early 1990s, Long Island-based duo Ilya and Emilia Kabakov have created immersive "total" installations that allude to elements of history, literature, philosophy, and art. In 2005, they transformed the Serpentine Galleries into a dreamlike labyrinth of bedrooms, including white tomb-like cubes shut off from the outside world and corridors lined with surgical curtains, looking out on the surrounding Kensington Gardens. One critic described the space as "distinctively Russian," evoking both the architecturally intricate interior of St. Basil's church in Moscow and the sterility of the space station in Andrei Tarkovsky's 1972 film Solaris.

Ricardo Basbaum, Capsules (NBP x me-you), 2000

In the mid-'90s, Brazilian artist and writer Basbaum launched "New Bases for Personality" (NBP), an ongoing theory-based project-including both manifestos and installations staged all over the world-to explore concepts like human interaction and visual cognition. At the Tate Modern 's "Between Object and Architecture" exhibition, his cage-like "bed-capsules" lie partially open, inviting weary (or Instagram-savvy) museum visitors to crawl inside and become active participants in the work. A cryptic wall drawing and lecture soundtrack further reflect his interest in the science of communication.

Alfredo Barsuglia, Hotel Publik, 2013

Perched in front of Innsbruck's palatial Tyrolean State Museum for three chilly winter months, Barsuglia's Hotel Publik (2013)-measuring just two meters in height and two-and-a-half in length-allowed anyone to take shelter within its miniscule walls. Inside, you would find all your basic necessities: a twin bed, radiator, light, and even a few books for your solitary pleasure. With no reception desk in sight, the "hotel" had only two rules, listed on its exterior: check in by noon and check out by 10 a.m.

Martha Araújo, "Para um corpo...", 1987

Figure and materiality have played a prominent role in Araújo 's performances since the 1980s. At Frieze London's Live section earlier this month, she showed her "Para um corpo..." ("for a body...") series of mattress-like works exploring the human form as both fragment and whole. Carved in the human form, these foamy sculptures had people lying inside and on top of them, offering both leisure and relaxation to fair-goers and their children.

Frank and Patrik Riklin, Null Stern Hotel, 2016

This summer, twin conceptual artists Frank and Patrik Riklin placed a bed atop a Swiss mountain and charged visitors 250 Swiss francs per night to sleep under the sky. It marked the second iteration of the pair's Null Stern Hotel, first realized in 2009, when they transformed a 1980s Swiss fallout shelter into a commercial space that sleeps 14. A dig at luxury hotel brands busy adding a sixth, even seventh star to their ratings, they promote a "zero-star" concept (Null Stern's motto: "the only star is you"). Although the 2016 summer season ended in August, the hotel is currently accepting reservations for 2017, with plans to install some 25 additional beds across the Swiss countryside.

Carsten Höller, Two Roaming Beds (Grey), 2015

Höller has a history of crafting works that allow museum- or gallery-goers a once-in-a-lifetime overnight experience. In 2008, he installed a functional rotating bed near the top of the Guggenheim's rotunda in New York. In 2010, visitors could pay to sleep with live reindeer (and enjoy a nightcap made from the animals' potentially hallucinogenic urine) in a former Berlin railway station. And most recently, in 2015, he introduced a pair of robotic beds that cruised through London's Hayward Gallery as participants snoozed. At £300 for two per night, the experience also included tubes of gendered toothpastes, concocted by Höller himself "to induce and influence male- and female-oriented dreams."

Jorge Pardo, Spare Bedroom, 2014

Pardo's work has always walked the line between art, sculpture, and design. His first piece to make waves in the art world was his self-designed Los Angeles home, built on commission for the city's Museum of Contemporary Art and exhibited for five weeks in 1998 (after which time Pardo moved in). More than a decade and a half later, Pardo explored similar themes when he constructed a spare bedroom inside New York's Petzel Gallery for a 2014 solo show. Outfitted with a pink shag rug and a mattress, the structure was intended for visitors to explore-to step inside, peer through the multi-colored panes of glass, and even lie back on the bed and close their eyes.

Ai Weiwei, Aus der Aufklärung, 2013

Banned from foreign travel in 2013, Chinese political activist and artist Ai crafted the tents for this German installation (its title translates to "Out of Enlightenment") from his studio in Beijing. The 1,000 temporary shelters-each featuring one of ten designs inspired by the artist's previous works-were pitched alongside the Emscher River as a part of the Emscherkunst triennial arts festival in western Germany. Visitors could rent them for a low, symbolic price; Ai emphasized the "human dimensions" of the work, unlike the monumental scale of many of his installations.

Marina Abramović, Sleeping Exercise, 2014

Art fairs can be many things, but "restful" is typically not one of them. At Art Basel in Miami Beach, Abramović changed that with a cluster of camp beds set up at Fondation Beyeler's booth. Although the Serbian artist is best known for her performances that test the limits and endurance of the human body, in recent years she's turned her focus to teaching what she's labeled the "Abramović Method"-a series of activities meant to slow the pace of 21st-century life and allow people to live in the moment. In that spirit, Sleeping Exercise instructed participants to stash their electronics in nearby lockers, don noise-cancelling headphones, and lie down to escape the commotion of the fair.

Allen Ruppersberg with Public Fiction, Al's Grand Hotel, 2014

In 1971, American conceptual artist Allen Ruppersberg converted an aging house on Sunset Boulevard into a lively hotel-cum-artwork. Each of the seven rooms had a theme, ranging from the "Jesus Room" (guests had to step over an enormous wooden cross to reach the bed) to the "Al Room" (chock full of life-size cardboard cutouts of Ruppersberg). More than 40 years later, experimental exhibition space Public Fiction revived the work at Frieze New York. Taking inflation into account, a room that cost no more than $30 in 1971 went for as much as $375 in 2014.

-Abigail Cain and Demie Kim

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From Ai Weiwei to Marina Abramovic, 12 Artists Who Made Artworks for Us to Sleep In | Artsy

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From an open-air bedroom on a Swiss mountainside to a pod in an Amsterdam sandscape, here are 12 works of art that you can (or could once) sleep in.

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Cinematography

Staged photographs that require sets, actors, costumes and the kind of techniques normally associated with film production.

Documentary

Straight photographs of everyday things that the artist has observed. They often depict inanimate objects or overlooked spaces.

Near Documentary

These pictures may be reconstructions of events that Wall has witnessed or they may be documentary photographs that involved a small degree of intervention by the artist. The resulting pictures occupy a middle ground between fiction and documentary.

Storyteller

Many of Wall's pictures feature someone speaking, a presence that implies a recounting of a story or a subjective experience in contrast to the silence of the photograph.

Light-box

A construction, often used for advertising purposes, of an photographic image mounted in a metal-edged box with florescent tube lighting behind it to lend it a hyper-real glow. Wall's colour photographs are transparencies mounted in light-boxes.

Montage

Since 1991, Wall has created many of his photographs with the aid of digital montage. This technique involves using a computer to assemble separate photographs into a single, coherent picture.

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Staged photographs that require sets, actors, costumes and the kind of techniques normally associated with film production. Straight photographs of everyday things that the artist has observed. They often depict inanimate objects or overlooked spaces. These pictures may be reconstructions of events that Wall has witnessed or they may be documentary photographs that involved a small degree of intervention by the artist.

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Legacy Russell doesn't do things IRL. Throughout her writing, you'll find instead the term "AFK" (Away From Keyboard).

As the mobile internet became ubiquitous in the early 2010s, theorists talked about the fallacy of " digital dualism, " arguing against the idea that life online was any less authentic than life offline. Russell took this critique and ran with it, celebrating the very "real" potentials and possibilities that digital tools had opened up for queer identity, trans identity, and marginalized people in general.

Russell's notion of "Glitch Feminism" was, fittingly, launched on the web. She first developed the idea back in 2012 as an essay for the online theory journal the Society Pages, " Digital Dualism and the Glitch Feminism Manifesto." From there, it took on a life of its own, finding an audience among artists and "digital natives" of all kinds, anthologized and discussed at panels. Now, it has made the jump into book form as Glitch Feminism: A Manifesto, just released by Verso.

"USURP THE BODY! BECOME YOUR AVATAR!" the text exhorts its readers. Throughout its pages, Russell, who is also a curator at the Studio Museum in Harlem, tracks the artists and ideas that illustrate the potential of "Glitch Feminism." I spoke with her recently about the origins of the text, how she squares the manifesto's optimism with the darker side of tech, and what it means for the book to be coming out in a moment marked by protest and crises, both online and AFK.
What inspired the book? How did you arrive at the concept of Glitch Feminism?
The entry points discussed in the book are very personal: I am a Black, femme, queer woman who grew up in New York City, and had the privilege of being in a city that was incredibly diverse, exciting, and intersectional in so many ways. But at many, many points, the spaces that I traveled through as a kid also felt incredibly alienating. Looking back critically as an adult, it's been meaningful to reflect on how the digital was a bridge to different types of possibilities in terms of understanding who I could be.

The visibility of Blackness and queerness and femme identity is at historical highs right now-but for the period of time that I was coming up, this was not the case. In over a decade now of being in the art world, I've seen how these questions of representation and visibility have remained precarious and complicated.

There's also the academic side. I think of the sheer number of conferences and panels and symposia and exhibitions that I've been to about digital art, moving image art, new media, and internet art. You could probably count on one hand the Black people, people of color, and queer people who are being represented as part of those rosters.

And quite frankly, that made me angry. It made me question, as an art historian, why this story was being told in that way. I think of my peers, the people I have come up with creatively, who are doing incredible work, whom I felt very strongly should be positioned with a greater sense of purpose and clarity across an art historical canon. Why weren't these conversations being reflected inside of gallery and exhibition spaces and the broader academic discourse?

So the book is a demand to center certain questions tied to what artistry is and who is and is not made visible, looking at art as it exists through, and is inspired by, the internet and digital culture. It's also about the body and the machine, looking at the generation that came of age in the '90s, which went online because there were not always physical places that they could safely go to experiment and explore and think about who they wanted to become.
You connect it to the earlier moment of '90s Cyberfeminism. How do you consider what you're doing as developing or correcting that tradition?
I see Glitch Feminism as a part of that history, for sure. But I also recognize that so many of the primary contributors that come up in relation to Cyberfeminism are cis-gendered white women. So that's complicated.

This is where I think it's useful to talk about the personal again. In the early days of grad school, when I was getting my MRes at Goldsmiths or even during my undergraduate study, I'd present papers and research and end up on stage with folks who were absolutely brilliant but really narrow in terms of their understanding of Cyberfeminist history.

So many of the folks I mention in the book have done such important work to broaden the definition of what Cyberfeminism can be. As Black people and queer people, the ways that we have used the internet as a site of collective gathering, as a space for questioning and congregating but also of nightlife and performance-all of those things have been made possible through strands of discourse and theory that I didn't see represented at all. That was really disappointing to me.

Part of the impetus of this project was asking questions about ways that history can be written for us, by us. I wanted to make something that could live both as a call to action and as a syllabus, bringing together thinkers who are from different generations in one space, but speaking as a chorus, putting forward an idea about what the body can be.
Talk about a couple of the artists that you bring up in the book.
I can't talk about Glitch Feminism without talking about Mark Aguhar, who passed away in 2012 and was gender queer and both an incredible performance artist and a producer of many different types of texts.

I came across Mark Aguhar's work in my own late-night surfing of the net, and it's been a great joy to see it emerge into different places and spaces: some of the work was included in " Trap Door" at the New Museum and then again in the Brooklyn Museum's " Nobody Promised You Tomorrow. " Mark has an enduring presence across conversations about the digital and queering the body in many different spheres.

The book begins with an homage to Mark's work, including a 2012 piece called "these are the axes," which I kept coming back to after I encountered it many, many years ago. It was on my desktop forever. It was the screensaver on my phone. I couldn't put it down. It brought clarity, a way to be better at celebrating bodies and thinking about what the gender binary is and is not, and how we can maybe resist or refuse it.

Another artist would be Shawné Michaelain Holloway, someone whose work I have now followed for over a decade. She is absolutely phenomenal. It was always so shocking to see so many young, white, Cyberfeminists and net artists be recognized in lots of high-end academic spaces, and Shawné wasn't there. Yet again we see in these different exhibitions and surveys of "the Internet" that this discourse around the digital is often incredibly problematic, perpetuating-and replicating-all the problems of a white hetero AFK art historical canon.

Shawné is without a doubt one of the most talented artists of this current generation. She's somebody who is thinking very critically about what performance is on the internet, who has done some incredible work and really thought about ways of pushing back at questions of race and gender, performing different selves as part of a durational presence that exists and is captured through different digital platforms.

There are so many others. Sondra Perry is another artist who is very dear to me, someone who's grown in leaps and bounds, with great critical success and acclaim, over the past years. She's somebody bringing important questions about what visibility means. She's bringing in questions too about manipulating the image, proposing new bodies and creating new relationships between the body and the machine. Sondra also deploys digital material to challenge gender and race, showing us that gender is racialized and race is gendered and that all of this is entangled in this question of "visibility."
There's been a lot of anti-tech sentiment, particularly since Trump's election. This manifesto really centers the idea of the importance of digital spaces and social media for destroying the gender binary, for creating new kinds of communities, creating new terms of representation. I think that's really important-but I still do have a question about how it fits with the negative side. Because these digital platforms are still corporate spaces and all the problems of algorithmic control and surveillance and privacy are still there. Do you see that as a contradiction that's just at the heart of this, or is Glitch Feminism a way of moving beyond it?
I think it's complicated. I appreciate you asking this question, because I think it's important to try to navigate.

We've known for quite some time that the internet is not a utopia. It began as ARPANET. It had its roots in the military. It has always been used for corporate ends. It has never provided us complete freedom from the kind of challenges that afflict us away from our screens. There are very few people who are making this kind of work who aren't asking these kinds of questions. I'm thinking about American Artist, who's in the book, and the incredible work that they've done about predictive policing.

So I'm not saying that these challenges don't exist or that we should not be concerned about them. It's useful to ask questions about the algorithm-but also, to remember that in the United States of America, every day, when we close our screens and walk around the world, things are equally coded, they're incredibly violent, the possibility for harm is very high. In a moment where it feels urgent to think about Black and queer lives, femme-identified people, trans lives, it's really important to still know that there are many, many people who do not feel safe moving around physically in the world.

If we think about the approach to the internet of a book like Sherry Turkle's Alone Together, the idea that we are isolated on the internet and that it's difficult to connect and build authentic communities there-that actually only presents one part of the story. Then we have another critical narrative, from someone like Lisa Nakamura, of "identity tourism"-that the internet is a place where we exploit different identities. And there's still another critical narrative, which focuses on how the internet holds no one accountable. We saw this play out with Gamergate, where digital space allows certain forms of gendered violence to mask themselves.

But for every one of those things, we see an opposite argument. For the question about identity tourism, we see that actually many creative people are using the internet as a means to explore different parts of themselves. Experimenting with other identities is not in and of itself a violence. The violence comes in with the question of deception. We can go back to Irving Goffman's Presentation of Self in Everyday Life -performativity is part of being human. So the idea that going on the internet is faceless does not necessarily automatically make it sinister.

We can see the same counterpoint when we think about this notion of accountability. With the #MeToo moment, with the Black Lives Matter moment, people are being held deeply accountable by a digital action, right? These are kinds of collective actions, movements that are taking place online, but that are also allowing for different types of political engagement.

For me, the situation doesn't have to be simple. It can be nuanced and complicated. The hope in writing this book is to think about ways in which, as you said, there is a move beyond two sides. It is not purely that physical space is honest, whereas the internet is a site of deceit. Fetishizing the digital versus the physical in this way does a disservice to the imaginative potential of what worlds we can build therein.

So many of us use the Internet to explore our range. One of my incredible thought partners, McKenzie Wark has built an incredible career grappling with the problems of technology-but also I really appreciate that she has a badass Instagram where she makes space to celebrate, explore, question her own brilliant trans presence and, too, to bring together a community of people who can collectivize in doing that work together to dialogue in allyship and advocacy.

That is important work, especially when we recognize that these are spaces built to share and show what sort of futures we are fighting for. On a daily basis, we are all performing different selves, on and beyond the Internet. It's important to recognize that this type of exploration can help us center one another; it can help us see ourselves with greater clarity; it can break through very real isolation.

We are told every day, in physical space and otherwise, that we do not have a right to live-and we are going to live anyway. That critical action in itself is part of the bedrock of what Glitch Feminism is aiming to put forward.
I wondered if that was part of the symbolic work that "glitch" was doing, taking the argument beyond Cyberfeminism. In one of its strands, Cyberfeminism was very utopian, claiming technology as a vehicle of liberation. The glitch seems to be about inhabiting contradiction: you're in those spaces, but also looking for the moments where you can turn them against themselves, where they break down.
Absolutely. Glitches are a frustration of the machine, a failure. If you are the user of the machine, they actually will agitate you and cause some discomfort-but that in and of itself is an important place to occupy.

I want to think about the fact that the people themselves-myself included-are the glitch in the system, to ask the question of what it means to be a broken self, to fail in a system that has failed us, rather than to succumb to the pressure to assimilate or conform within a culture that doesn't love us, a culture that does not recognize our right to live and make a life.

How do we break what is broken? This is a question that has obviously come to the surface for so many people in the last few months. I think it's an important question to interrogate, to think through what models of "success" are in a culture that continues to center supremacy and enact social and physical death unto those who don't "fit."

I say tear it all down-breaking what's broken is the glitch. It is an abolitionist demand, a demand to get free.
You write in the book, "Glitch is anti-body, resisting the body as a coercive social and cultural architecture." That brought to mind all the discussions since the pandemic about what it means to be an "essential worker," that it's actually a privilege to have access to digital work and not have to show up as a body for work. That's a question that your manifesto opens up for me: How do you balance embracing the liberating possibilities of cyber identity with the realities that some people's means of survival make those inaccessible?
When someone says to you "body," what comes to mind? I've lectured at different institutions, and it's always interesting to see how they are or are not defining what a body is. When I'm at the London School of Economics there is one definition, but then you go over to an art space and it's a whole different kettle of fish. No one comes up with the same idea. So many people bring very real and devastating bias into shaping this "body" and shaping how it should work, who it should serve.

What the book is arguing is that the body is a construct. There are so many different versions of what a body is, and part of the violence we are seeing in this moment right now, especially as tied to Black lives, to trans lives, connects to this notion of who does and does not fit and who is and is not defined or read as human, quite literally. Those decisions are actually a determining factor for making decisions about who has the right to live.

The questions about "essential worker" have become part of this COVID-19 conversation, which is urgent and very important. When you go into Whole Foods, for example, you're seeing a Black and Brown workforce shopping for groceries for people who are sitting at home. This is plantation capitalism. With Amazon, there's this notion of it as a faceless force that is too big to break-but who are the physical individuals inside of those warehouses? Those are the people who are putting themselves at risk on a daily basis. These, too, are essential workers.

The challenge is that those individuals have always been there, but not seen. The workforces that are often carrying the burden of these great moments of historical crisis, social and cultural, are Black and Brown people. They are taking care of your grandmother at the hospital. They are the people who are delivering your groceries. And those are individuals who are rendered invisible by the broader systems of capitalism and economy that exist in America and the world today.

So I think it's complicated. This notion of "anti-body" is not intended to erase; it's about raising the question of who is and is not visible, challenging people to think about what their definitions are. It's about recognizing that the term "body" as entangled with a discussion of what is and is not "human," is gendered, and racialized-and too often it is Black bodies, femme bodies, queer bodies that are rendered invisible by machinic systems.
Now is a really crucial moment for a Glitch Feminism Manifesto to come out. You started the project back in 2012-so much has changed since then, and so much just in the last couple of months. Do any of these changes shift the way you think about this theory or where it fits in?
I'll be completely frank with you: recent events have been staggering. I wouldn't have wished these events on the world. But I also think it could not be a better time to be talking about some of these questions, given everything that's going on.

It's been quite surreal. The context that the text rose out of was deeply personal. It began with conversations in my community, looking at notions of identity and representation, looking at different utopian demands, thinking about ways where we might make a different type of presence for ourselves felt. But in a moment like the present, which involves an incredible confluence of different types of crises, the questions in the book bleed into the rest of the world in all of these different ways.

I feel like I've written 20 books in writing the one. There are moments across those pages where I have just ranted. Moments where I have despaired. Moments of great optimism.

Aspects of the world have been changing so fast that it was hard at points to think about what needed to be pinned down and what needed to be allowed to change as the world changed. To me, the constants were the artists and the artwork that I discuss. They allow for certain types of constant engagement, that can be set against these broader world events.

In thinking about how this work lives on, my hope is that it can be a strategic tool. The moments that have been most rewarding, in the journey from 2012 to the publication of this book, have been the moments where it has gone out into the world and intersected with people's lives and living, been made real because it becomes tangible, becoming more than theory for theory's sake. There are people who have so generously written to me and told me their personal stories about how these texts have been resonant for them, how they've opened up new understandings. That, for me, is the most important thing.

It has been incredibly emotional watching the news, to every day see history being played out in these devastating and dystopic twists and turns. Still, I feel incredibly proud of my peers and the generation that is existing, right here and right now, coming together across different backgrounds and mobilizing toward more radical collective action. This is a moment where we should be thinking critically about how we, proudly broken and refusing to "fit," can really truly break the system.

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'I Say Tear It All Down': Curator Legacy Russell on How 'Glitch Feminism' Can Be a Tool to Radically Reimagine the World | artnet News

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Legacy Russell doesn't do things IRL. Throughout her writing, you'll find instead the term "AFK" (Away From Keyboard). As the mobile internet became ubiquitous in the early 2010s, theorists talked about the fallacy of " digital dualism, " arguing against the idea that life online was any less authentic than life offline.

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In most media - from film and theatre to music, TV and fashion - creative collaboration is the norm. In the art world, however, prestige tends to cling to the individual. A new tome by by Ellen Mara De Wachter, Co-Art: Artists on Creative Collaboration, seeks to unpick this attitude and, drawing from an inexhaustive pool of examples, highlights the arbitrary differences between single and multiple entity artists. Themes of anonymity, security and identity guide the course of the book, while love - that of friendship, romance or familial relationships - emerges as a driving force for creative works. From symbiotic duos to amorphous collectives, it seems that great work can come from sharing.

1. Guerrilla Girls (above)

Brought together by outrage at the lack of diversity in MoMA's International Survey of Painting and Sculpture in 1984, this group of anonymous radical feminists conjoined in a bid to protest. Creating propaganda-esque posters that now hang in galleries worldwide - Do Women Have to be Naked to Get into The Met. Museum? (1989) is their most famous - this gang of gorilla-masked artists eschew individual applause in favour of the liberation granted by divorcing your 'self' from your work. As one of the group professes: "you wouldn't believe what comes out of your mouth when you're wearing a gorilla mask". Besides the liberation offered by this collaborative approach, their work offers a comment on the art market itself too: "The concept of the individual genius artist is outdated, anyway, kept alive by an art market that needs super expensive art objects made by 'geniuses'."

2. Elmgreen & Dragset

Having met in a nightclub in Copenhagen and started a romantic relationship, Michael Elmgreen and Ingar Dragset's union gradually developed into a collaborative artistic practice. The pair began to create mise en scene installations and the homogeneity of their same sex relationship inspired themes of gay identity and mirroring in their work. Marriage (2004), a pair of matching sinks linked by wildly contorting pipes, exemplified this, as did Boy Scout (2008), an installation of bunk beds with mattresses that face each other. "There are certainly a lot of male artists who have been heavily supported by their female spouses, but it is never even mentioned that they are part of the whole production and planning. Artists who run studios also use their assistants for more than practical stuff, packing, crating and putting screws into works [...] I would say that working together as an 'artist duo' is just a formalised collaboration - a working process without lying about your inspirational sources, somehow."

In 2009, the pair curated both of their national pavilions - Elmgreen is Danish and Dragset Nordic - at the 53rd Venice Biennale. "Our names were shortened in biennials and big group shows because we occupied too much space with our full names," explains Elmgreen. "And galleries suddenly left out our first names, so we simply became this corporate sounding brand name, 'Elmgreen and Dragset'. And we thought, 'Okay. Whatever.'" "The Italians called us Bang & Olufsen for years, the only other Scandinavian collaborators they knew!" Dragset adds.

3. Jane Wilson and Louise Wilson

Studying almost 200 miles apart, sisters Louise and Jane Wilson used their work to challenge the art world institutions from the outset of their careers. Submitting duplications of their joint project (subjecting themselves to hypnosis) for their respective BA shows, the siblings confounded their school syllabuses. "It meant that our tutors had to collaborate," Jane explains. "They had to talk to each other on the phone because they were assessing what was effectively the same work, and if they'd passed one and failed the other..." As such their submissions challenged the subjectivity of art assessment.

A further confrontation to the academic rulebook, the pair went on to make a joint application for their MA. A credit to its progressive tutorship, Goldsmiths College was one of the only universities to be flexible enough to let this happen. While undertaking the MA course they shared a studio and each contributed on a part-time basis (the sisters took LSD for their graduation show video work) and joined the throngs of YBAs to emerge from the famed university. In 1999, the sisters were nominated for the Turner Prize in an acknowledgement of the Wilsons' impact on these often staid institutions.

4. Assemble

Assemble began as a small group of architecture students at Cambridge University. Having expanded to an amorphous group of approximately 20 people - "that's how many are on the lunch rota" - the art-craft-design-building-collective maintains a group anonymity, refusing to publish a list of names or members. They made their name with the creation of The Cineroleum (2010): the reclamation of a disused petrol station on Clerkenwell Road that became an outdoor cinema. The collective went on to win the Turner Prize in 2015 for its project Granby Four Streets, which saw it redevelop an area in Liverpool that had been subject to "managed decline" since the 1990s - a deliberate disinvestment from public services. These projects embody their communal ethos, both outwards and in. Their methods engaging a communal spirit of creativity in order to realise community-engaging projects.

"We were really just having fun and experimenting for ourselves," Assemble explains. "So to be able to say that you authored something individually would have gone against the way in which the work had come about. I suppose it has got something to do with the hierarchy of the broader architectural world, because we were all indoctrinated to believe that we couldn't have a voice because we were, at that time, too inexperienced. So there was a clear feeling that we were still students and because of that, we had a freedom to do what we wanted. When we launched the project and people came to see it, it became clear what we were doing had implications within a wider discourse, and that discourse itself had value, and we realised inadvertently that we did have a voice."

5. Broomberg and Chanarin

Documentary photographers and artists Adam Broomberg and Oliver Chanarin were awarded the Deutsche Börse Photography Prize for their book War Primer 2, described as a "book that physically inhabits the pages of Bertolt Brecht's remarkable 1955 publication War Primer". They were awarded the International Center of Photography Infinity Award for their publication, Holy Bible.

The artist duo's work explores photography as a medium usually associated with a single author since, as Co-Art' s author Ellen Mara de Wachter explains, the mechanics of the modern camera is intended for one person's eye. To address this notion, they used a medium format camera with a ground glass viewing plate, which enabled them to crowd under a black cloth together to view the subject. "The whole history of photography is premised on the idea of somebody looking with one eye through a lens and with one finger clicking a button," says Chanarin. "That's the mythology. So immediately to be two destroys the foundations of the history of photography."

Co-Art: Artists on Creative Collaboration is out now, published by Phaidon.

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Five Artist Collectives on the Art of Collaboration

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In most media - from film and theatre to music, TV and fashion - creative collaboration is the norm. In the art world, however, prestige tends to cling to the individual. A new tome by by Ellen Mara De Wachter, Co-Art: Artists on Creative Collaboration, seeks to unpick this attitude and, drawing from an inexhaustive pool of examples, highlights the arbitrary differences between single and multiple entity artists.

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British artist David Shrigley is best known for his distinctive drawing style and works that make satirical comments on everyday situations and human interactions. Shrigley's quick-witted drawings and hand-rendered texts are typically deadpan in their humour and reveal chance utterings like snippets of over-heard conversations.

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Here are four reasons why you should add this print of Jordan Wolfson' s 2017 piece to your collection:

1. Jordan Wolfson is undeniably a rising star in the art world. Spanning media including video and film, sculptural installation and virtual reality, his sensational works are characteristically controversial.

2. His provocatively titled Colored Sculpture (2016) (which debuted at David Zwirner and has since travelled to the Tate Modern in London) and his 2017 virtual reality piece Real Violence at the 2017 Whitney Biennial are Wolfson's most recent spats with controversy over the violent nature of the works. Still, Wolfson's works remain jarring and irreplaceable contributions to how we perceive and relate to violence and entertainment, and how the two are often blurred in contemporary society.

3. That being said, this untitled 2017 print is relatively lighter fare-in fact, it's kind of cute!

4. This edition was printed by Parkett-a globally renowned studio that collaborates directly with top-tier artists to create truly spectacular editions that can be anything from prints, objects, installations, to unique works of art. With 101 books and 270 in-depth artists' collaborations published, Parkett is a one-of-a-kind time capsule and a venerated archive of contemporary art.

5. This print, full of profanity, is a great way to hint at how you really feel when out-of-town relatives-in-law visit without, you know... screaming it over dinner. Let your freak flag fly!
Untitled (2017) is available on Artspace for $2500 or as low as $220/mo.

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The Voice Inside Your Head: 5 Reasons to Collect Jordan Wolfson's "Untitled" Print

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Here are four reasons why you should add this print of Jordan Wolfson' s 2017 piece to your collection: 1. Jordan Wolfson is undeniably a rising star in the art world. Spanning media including video and film, sculptural installation and virtual reality, his sensational works are characteristically controversial. 2.

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Painting in the New Millennium

Michael Armitage, Kampala Suburb, Oil on Lubugo bark cloth, 196 x 150 cm, Private Collection, London

Since painting was pronounced dead in the 1980s, a new generation of artists has been revitalising the expressive potential of figuration. Charging their vibrant canvases with a social and political undertow, they echo the words of Philip Guston: 'I got sick and tired of all that Purity. I wanted to tell stories'.

The paintings of Daniel Richter (b. 1962, Germany) draw from current events - the migrant crisis or Taliban mythology - as do Michael Armitage's (b. 1984, Kenya) narratives of politics and violence in East Africa, equivocally conveyed in the lush, exoticised style of Gauguin. The rollicking surfaces of Cecily Brown 's (b. 1969, UK) canvases congeal into figures, whose sources range from pornography to art history, before dissolving back into painterly marks.

Nicole Eisenman's (b. 1965, France) protagonists occupy a brightly lit universe that is both dream and nightmare, while Dana Schutz's (b. 1976, USA) contorted figures give form to unconscious drives. Tala Madani's (b. 1981, Iran) primal fantasies of abject men and children shift from comedy to debasement, from paint to shit. Sanya Kantarovsky (b. 1982, Russia) and Ryan Mosley (b. 1980, UK) look to art history, literature and children's stories in their darkly humorous and carnivalesque scenes.

Artists also critique from within or expand on the styles and subjects of canonical male painters. In Christina Quarles's (b. 1985, USA) canvases, groups of polymorphous nudes are intimately entwined, merging with graphically patterned surfaces. Tschabalala Self (b. 1990, USA) pieces together paint, fabric and print for a cast of characters inspired by the streets of Harlem. Exuberant and explicit, each artist revels in the expressive potential of paint.

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Michael Armitage, Kampala Suburb, Oil on Lubugo bark cloth, 196 x 150 cm, Private Collection, London Since painting was pronounced dead in the 1980s, a new generation of artists has been revitalising the expressive potential of figuration. Charging their vibrant canvases with a social and political undertow, they echo the words of Philip Guston: 'I got sick and tired of all that Purity.

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Queer critique is, among other things, the best type of bad behavior. In mocking or destabilizing cultural orthodoxy, queer critiques temper, and sometimes obliterate, the conventional. Surveying artists whose work complicates the formal language and conceptual parameters of abstraction, this exhibition demonstrates how "queer art" can disarticulate and reimagine routinized aesthetics, rather than exclusively illustrate desire or difference.

One of the first works visitors encounter in the exhibition is a canvas by Elijah Burgher, displayed on the floor. The work's placement, along with its drips and dots, immediately recalls Jackson Pollock's technique. But while Pollock's paintings were eventually hung, their hermeticism restored, Burgher's work remains relational: Text adhered to the floor invites visitors to traverse its surface. Considerations of space motivate other artists in the exhibition as well, including Tom Burr, whose Deep Purple, 2000/2019, reinterprets Richard Serra's notorious Tilted Arc from 1981. Although it mimics the original proportions and angle of Serra's rusty curve, Burr's take-composed of a series of wood planks and supports-is easily disassembled and transported, forgoing any impression of site specificity. Burr's emphasis on a material history of transition replaces Serra's insistence on authorial presence, perhaps reflecting the fluidity germane to queer identity.

Other artists strategically disavow pure abstraction and its rigid focus on formalism. Carrie Moyer's sumptuous canvases insert pleasure into nonobjective forms, delighting in Frankenthaler-like stains, hard-edge abstraction, textural friction, and glimpses of genitalia. Rather coyly, Prem Sahib tinkers with the literalism of Minimalism and its "specific objects" via a souvenir from his own queer biography: Roots, 2018, is a resin-covered replica of a steel water fountain from a gay club in the artist's hometown. These sly subversions (along with particularly compelling pieces by Mark Bradford, Harmony Hammond, and Sheila Pepe) poke through the historically reified veneer of abstraction to repurpose, confound, or elide its dictations.

- Blake Oetting

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"Queer Abstraction" at Des Moines Art Center

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Queer critique is, among other things, the best type of bad behavior. In mocking or destabilizing cultural orthodoxy, queer critiques temper, and sometimes obliterate, the conventional.

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Shades of Noir

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Terms of Reference Journals - Shades Of Noir

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I've never had this happen before, but I cannot finish this book (at least this printing of the book) due to the alarming abundance of spelling and typographical errors. Having worked in the editorial department of a publisher, I am very attuned to grammar, spelling, etc., and after having noticed mistakes on almost every other page my enjoyment as a reader has transformed to feeling as though I have become this book's copy editor. In other words, reading this book is feeling like work.

Shame,...more

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I've never had this happen before, but I cannot finish this book (at least this printing of the book) due to the alarming abundance of spelling and typographical errors.

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Read, watch or listen more

The exhibition received multiple five-star reviews, including one from The Guardian praising that 'it touches, in profound ways, on what it is to be human'. Dubbed an 'enthralling exhibition with a crucial sense of activism' by the Evening Standard, Kiss My Genders is a 'trailblazing show' ( The Telegraph) of 'dazzling works' ( Metro).

Spanning the past 50 years, Kiss My Genders brought together over 100 artworks by artists from around the world who employ a wide range of approaches to articulate and engage with gender fluidity, as well as with non-binary, trans and intersex identities.

Exhibition title taken from 'Transome' by Planningtorock, licensed courtesy of Domino Publishing Company Limited.

In partnership with GAYTIMES

Kiss My Genders catalogue

The exhibition is accompanied by an illustrated catalogue featuring original essays by Amrou Al-Kadhi, Paul Clinton, Charlie Fox, Jack Halberstam, Manuel Segade and Susan Stryker, an excerpt from Renate Lorenz's influential Queer Art: A Freak Theory, and poetry by Travis Alabanza, Jay Bernard, Nat Raha and Tarek Lakhrissi. The catalogue also features a roundtable discussion between a number of participating artists and the exhibition's guest curator Vincent Honoré.
Order the catalogue

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Read, watch or listen more The exhibition received multiple five-star reviews, including one from The Guardian praising that 'it touches, in profound ways, on what it is to be human'. Dubbed an 'enthralling exhibition with a crucial sense of activism' by the Evening Standard, Kiss My Genders is a 'trailblazing show' ( The Telegraph) of 'dazzling works' ( Metro).

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Soft Bodies will be our reopening exhibition. We are looking forward to welcoming the visitors to the show when we resume our regular opening hours in September 2020.

Soft Bodies features the work of artists; Emma Cousin, Stine Deja, George Gibson, Aliyah Hussain and Anna Bunting-Branch (Potential Wor(l)ds), Robin Megannity, Sadé Mica, Jake Moore and Semi Precious, Sam Rushton, Megan Snowe, Xiuching Tsay.

The exhibition takes its title from Soft-body dynamics, a field of computer-generated graphics which creates simulations of soft materials such as muscle, fat, hair, vegetation and fabric. The increasing availability of this kind of software has given artists new tools to make work; manipulating 'digital clay' in limitless space. These 3D digital works are however primarily experienced via the flat surface of the screen, as still or moving images. This may prompt questions about the contribution these works make to how we experience, understand and imagine our bodies. Do these smooth interfaces ultimately leave us feeling distanced and disembodied - and is that necessarily a bad thing?

This exhibition places works made with these digital technologies alongside photography, painting, drawing, and print in order to consider the shared limits and potential of these mediums. In particular their ability to call forth worlds beyond their two dimensional surfaces. With figurative and abstract, actual and virtual content, Soft Bodies explores how these works might inform our experience of being in a body, with its own insides and outsides, boundaries and internal worlds. In places the exhibition points towards experiences of the body that exist beyond everyday language, considering the speculative potential of these works to inform our understanding of the body in relation to politics, technology, the image, gender, race, sexuality and the future.

To find out more about Soft Bodies, you can download our exhibition handout George Gibson's book 'Other Kin', is also available to download here which includes images and links to video pieces in the show. Soft Bodies artist here .

We have also commissioned a Soft Bodies episode of artist Emma Cousin's podcast ' For this episode, available here: Chats in Lockdown'. Anchor, Spotify, Emma Cousin has invited writer Rajesh Parameswaran (author of I Am an Executioner: Love Stories (2013) described by The Washington Post as "the advent of a genuinely distinctive voice in American fiction"), and fellow exhibiting artist Megan Snowe, to join her for a chat in lockdown. Their conversation takes the Soft Bodies exhibition as a starting point as well as the restrictions and changes to our daily activities caused by Covid-19, such as the increasing presence of video conferencing in our lives. The discussion takes places via the internet between London and New York and covers subjects including the disembodying and embodying nature of technology, the removal of things from the body, phantom limbs, body trash and the potential of inhabiting our non-flesh-based erogenous selves.

Following their discussion Rajesh Parameswaran has written a short story which is available to download here. Copyright 2020 Rajesh Parameswaran. All rights reserved.

To read more see Sara Jaspan's for Creative Tourist and Castlefield Gallery curator Matthew Pendergast's contribution to Shuttered: Short Reflections on Closed Exhibitions for Corridor 8.

Curated and produced by Castlefield Gallery.

With special thanks to Commissioning Patrons Jo and Allan Melzack.
Castlefield Gallery Exhibition Supporters
Image: Stine Deja, The Perfect Human (2015) video still.

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Soft Bodies will be our reopening exhibition. We are looking forward to welcoming the visitors to the show when we resume our regular opening hours in September 2020. Soft Bodies features the work of artists; Emma Cousin, Stine Deja, George Gibson, Aliyah Hussain and Anna Bunting-Branch (Potential Wor(l)ds), Robin Megannity, Sadé Mica, Jake Moore and Semi Precious, Sam Rushton, Megan Snowe, Xiuching Tsay.

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Installation view of "Bad Girls (Part 1)," 1994, at the New Museum of Contemporary Art, New York.FRED SCRUTON/COURTESY NEW MUSEUM OF CONTEMPORARY ART, NEW YORK

In my new book Curatorial Activism: Towards an Ethics of Curating (Thames & Hudson), I devoted a chapter to exhibitions that have lingered in the historical record for their commitment to "Resisting Masculinism and Sexism." As what constitutes sexual prejudice continues to evolve, it's imperative that curators continually query and challenge the gender norms by which we are all confined. "Trigger: Gender as a Tool and a Weapon," a recent exhibition at the New Museum in New York, did just that-and within a lineage worth revisiting as the present adjusts for oversights of the past.

Though most commonly associated with a notorious run at the New Museum in 1994-in a tradition that would directly influence "Trigger" decades later-the first iteration of a series of shows titled "Bad Girls" was organized separately the year before for the Institute of Contemporary Arts in London (followed by a presentation at the Centre for Contemporary Arts in Glasgow). Curated by Kate Bush, Emma Dexter, and Nicola White, the exhibition celebrated a new spirit of playfulness, tactility, and perverse humor in the work of six British and American women artists: Helen Chadwick, Dorothy Cross, Nicole Eisenman, Rachel Evans, Nan Goldin, and Sue Williams -each of whom was represented by several works.

The term "bad girls" was defined in the London catalogue as "sly, in-your-face, disturbing, provocative, haunting, subtle, sensual, shocking, sexy." The exhibition sought to celebrate the multiplicity of feminisms in the 1990s, undermining tendencies toward the essentialist and didactic voices of early feminist work. "Irreverent, personal, shocking, funny, and fey," the curators explained, the show "dares to attack on two fronts at once: offending proscriptive feminism as well as the reactionary forces of patriarchy." The curators' aim was not to present work in the lineage of 1980s artists such as Cindy Sherman, Barbara Kruger, and Jenny Holzer-whose works, they argued, "put a feminist gloss upon the power and manipulations of the media, movies, and advertising"-but rather to harken back to "the surrealist traditions of Louise Bourgeois and Meret Oppenheim as well as the aggressive camp of Judy Chicago's Dinner Party." It did not purport to be a definitive survey of current trends within feminist art, but rather a "sympathetic grouping" that allowed for "intriguing and provocative correspondences" between the works.

Highlights of the London exhibition included Eisenman's drawing Betty Gets It (1992), which parodies the happy heterosexuality of the characters Betty and Wilma-from the 1960s animated television series The Flintstones-as a lesbian couple, and Williams's A Funny Thing Happened (1992), which depicts a series of rape scenes in stark black acrylic on white canvas with scrawled texts reading, "We don't know if she enjoyed it or not." Also featured were Chadwick's sculpture Glossolalia (1993)-a circular table on which several golden pelts are arranged like a trophy below a cone centerpiece with lapping lambs' tongues cast in glistening bronze-as well as photographic portraits by Goldin of drag queens and those living with AIDS. And then there were images of Amazons castrating pirates (Eisenman), platonic romance (Evans), and surrealist juxtapositions (Cross). In all, it was a selection of powerful works exemplifying what one critic called "the very highest fuck-you-fem Mae West tradition."

The London exhibition received mixed reviews. Brian Sewell, writing in the London Evening Standard, complained that the works on view demonstrated "anti-male prejudice at its silliest and most obsessive-hysterical and violent propaganda utterly contemptible as art." Laura Cottingham, writing in Frieze magazine-but who, ironically, also wrote for the ICA catalogue-was fiercely critical of the exhibition, taking particular issue with the title itself, as did Iwona Blazwick, who noted that it stressed an "infantile, naughty, rebellious posture whereas there was actually a very serious and powerful thrust to a lot of the work in the show." Cottingham argued that the exhibition presented some of "the artistic products of feminism's partial success in the form of an apology, a laugh." The curators, she said, attempted to appeal to "the tritest cliché of male chauvinist charges-that feminists have no sense of humor." The "girlie giggle," she continued, "an unconscious social signifier women deliver as a sign that you (men) need not take us seriously, is put forward as the controlling rhetoric. This 'It's So Funny!' curatorial posture betrays both feminism and art: none of the artists included in this exhibition is either a failed or an aspiring comedian and all are undeservedly trivialized by this mockery."

Others were more forgiving. Ekow Eshun wrote in Elle magazine, for example, that while the images were disturbing and confrontational, they also challenged a history of art in which women are merely passive subjects: "And bleak as their subject matter is, the cumulative effect of the new generation's work is liberating rather than depressing."

Deborah Kass, 4 Barbras (The Jewish Jackie Series), 1992, which appeared in "Bad Girls West," 1994, at the Wight Art Gallery, University of California, Los Angeles.©DEBORAH KASS/COURTESY ARTIST RIGHTS SOCIETY (ARS), NEW YORK

A year later, in 1994, curator Marcia Tucker organized a two-part "Bad Girls" exhibition at the New Museum in New York, and Marcia Tanner curated "Bad Girls West" at the Wight Art Gallery, University of California, Los Angeles, as a "sister exhibition" to Tucker's. Although the two curators inspired and assisted each other, and shared the same catalogue, the two exhibitions were organized independently. Both examined a phenomenon they had observed in the early 1990s: "a new wave of female artists who were using humor (often bawdy, raucous 'unladylike' humor) in their work as a strategy to engage viewers with feminist issues." Tanner explained that what distinguished this new wave from earlier feminist work was its use of humor as a subversive strategy operating outside the bounds of feminine propriety. In both curators' catalogue essays, laughter is presented as "an antidote to being silenced, defined, and objectified," and as these artists' "most transgressive strategy." Tucker's concept for the exhibition called for art that is "funny, really funny," and that goes "too far"; Tanner's was to showcase work that is "irreverent, anti-ideological, non-doctrinaire, non-didactic, un-polemical and thoroughly un-ladylike."

Subversive humor was the connecting force between the more than 100 artists, performers, and filmmakers-women and men-featured in "Bad Girls" and "Bad Girls West." The works ranged from sculptures to wall texts to photographs, and videos to comics, and addressed such issues as marriage, child-rearing, food, genitalia, lesbianism, motherhood, gender identity, role reversal, aging, sex, race, class, and violence. Standouts from the New York presentation included Xenobia Bailey's Sistah Paradise's Revival Tent (1993), a tent of brightly colored, beautifully patterned knitted wool that is part shelter, part headdress, part woman's head, and Renée Cox's larger-than-life photograph Mother and Child (1993), a nude self-portrait of the artist holding her son. Jacqueline Hayden's images of heavyset elderly women in the nude pointed up the obsession with beauty and youth, while Portia Munson's Pink Project: Table (1994), reinforced femininity by way of a large table laden with an orderly, densely packed array of some 2,000 pink objects-from combs, brushes, and hair slides to children's toys, dildos, and a garbage can. The stripper/photographer Cammie Toloui's Lusty Lady Series (1992) presented a slideshow of patrons masturbating, snapped in her place of business, "The Pleasure Palace," which viewers could ogle through a set of peepholes. And Yasumasa Morimura showed Portrait (Futago), 1988, a photographic self-portrait of the artist playing the role of both maid and model in a scrupulously reconstructed image of Edouard Manet's Olympia (1863).

West Coast highlights included Lutz Bacher's 1993 work titled Feminist Movement ("Sure I'm for the feminist movement. In fact, I'm pretty good at it."), which was based on the sensual, large-breasted, and blithely smiling pinups by illustrator Antonio Vargas that appeared in Playboy in the 1960s and 1970s, and Deborah Kass's 4 Barbras (1992), a Warhol spoof with a Jewish twist. Rona Pondick showed a wacky sculpture, titled Double Bed (1989), comprising a mattress, pillows, and dozens of baby bottles, and Sue Williams presented Manly Footwear (1992), which featured a series of squashed-in faces made of silicone rubber, referring to violence against women.

THAMES & HUDSON

The "Bad Girls" exhibitions in the United States drew mixed reactions from critics. Most took aim at the title, arguing that it was "trendy," "angry," "a cheap hook," and that it "eclipsed any real debate around the work." Some claimed that the exhibitions were based on a weak idea and actually trivialized the work of women artists. Others stated that the concept was backward, or like "a byline for a fashion magazine." As Jan Avgikos explained in Artforum, "Once feminist-oriented art has been disparagingly categorized as the work of 'bad girls' it can be laughed off, crated up, and shipped out to sea." She continued, "This curatorial misadventure . . . is particularly egregious, given that the show's organizers happen to be women."

And while some praised the quality of the work on view, others claimed that it was "not 'bad' enough." Benjamin Weissman from Artforum agreed: "The badness is elegant, safe, conventional, and, most important, museum-ready." Roberta Smith of the New York Times was disappointed by Part I of the New York City exhibition. She had hoped for a "reasonably accurate view of the new, angrily ironic feminist art . . . that has been percolating up through the galleries and alternative spaces in the last few years." She argued that this third generation of feminist artists to emerge since the 1970s "built on the attitudes of the photo-appropriation feminists of the 1980s (Barbara Kruger, for example), confidently branching out into painting and sculpture and installation art. It's a good time to assess their efforts and consider the issues they raise." She believed the exhibition fell short of doing so. Yet, a critic from the New York Observer argued that "Bad Girls' satirical sendup of feminism is refreshing . . . excess and outrageousness is the rule." And Elizabeth Hess of the Village Voice declared, "Tucker should be congratulated for staking her territory smack in the middle of current feminist debates."

It is too soon to know how "Trigger: Gender as a Tool and a Weapon," which closed this past January after a four-month run, will be regarded by history, particularly within its lineage of other gender- and identity-probing New Museum shows that included "Bad Girls" as well as "Extended Sensibilities: Homosexual Presence in Contemporary Art" (1982), "Difference: On Representation and Sexuality" (1984-85), and "HOMO VIDEO: Where We Are Now" (1986-87). But it will be intriguing to see how its conception of gender as malleable, variable, and nonconforming comes to age. In the catalogue assembled in advance of the exhibition's run, the show's curator, Johanna Burton, explained that "Trigger" and its devotion to work by trans and queer artists "synthesizes channels that take up the instability of gender and the forms that gender might temporarily coalesce into-or refuse altogether. If there is a shared impulse among the practices included," Burton wrote, "it is toward this idea of the impossible as a space of potential, and a place of other futures."

Adapted from Curatorial Activism: Towards an Ethics of Curating, by Maura Reilly. Text: ©2018 Maura Reilly. Reprinted with permission from Thames & Hudson Inc., www.thamesandhudsonusa.com.
A version of this story originally appeared in the Spring 2018 issue of ARTnews on page 32 under the title "Bad Girls to the Rescue."

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'Bad Girls' to the Rescue: An Exhibition of Feminist Art from the 1990s Has Much to Teach Us Today

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In my new book Curatorial Activism: Towards an Ethics of Curating (Thames & Hudson), I devoted a chapter to exhibitions that have lingered in the historical record for their commitment to "Resisting Masculinism and Sexism." As what constitutes sexual prejudice continues to evolve, it's imperative that curators continually query and challenge the gender norms by which we are all confined.

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KNOCK KNOCK: Humour in Contemporary Art. Design: OK-RM

Hettie Judah, frieze, September 2018

KNOCK KNOCK explores the enduring use of humour as a device in contemporary art. Featuring works by more than thirty artists, the show spans the SLG's main space and three floors of its new annexe in the former Peckham Road Fire Station.

Curated by SLG Director, Margot Heller, with artist Ryan Gander, KNOCK KNOCK brings works by internationally established figures such as Maurizio Cattelan, Sarah Lucas and Ugo Rondinone into dialogue with newly commissioned and existing works by younger practitioners such as Danielle Dean, Hardeep Pandhal and Simeon Barclay. The show provides a surprising encounter with
a broad range of humorous strategies, from slapstick, parody and caricature through to the in-joke, one-liner and visual pun.

At a time of much upheaval and unease in the world, KNOCK KNOCK aims to raise a smile at a joyous moment in the history of the SLG, but also to explore what makes us laugh in art and why.

Artists

Eleanor Antin, Simeon Barclay, Chila Kumari Burman, Maurizio Cattelan, Heman Chong, Martin Creed, Danielle Dean, Ceal Floyer, Tom Friedman, Ryan Gander, Gelitin, Rodney Graham, Lucy Gunning, Matthew Higgs, Judith Hopf, Jamie Isenstein, Christian Jankowski, Barbara Kruger, Lynn Hershman Leeson, Roy Lichtenstein, Sarah Lucas, Basim Magdy, Suds McKenna, Jill McKnight, Jayson Musson, Harold Offeh, Hardeep Pandhal, Joyce Pensato, Ugo Rondinone, Lily van der Stokker, Pilvi Takala, Rosemarie Trockel, Yonatan Vinitsky, Rebecca Warren, Bedwyr Williams and Amelie von Wulffen.

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KNOCK KNOCK: HUMOUR IN CONTEMPORARY ART - South London Gallery

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KNOCK KNOCK explores the enduring use of humour as a device in contemporary art. Featuring works by more than thirty artists, the show spans the SLG's main space and three floors of its new annexe in the former Peckham Road Fire Station. Curated by SLG Director, Margot Heller, with artist Ryan Gander, KNOCK KNOCK brings [...]

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Nalini Malani: Can You Hear Me? - Whitechapel Gallery

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Nalini Malani’s first UK commission, immersviely explores themes of violence, feminism, politics, racial tensions and social inequality.

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Batman, Donald Duck and Disney-style mice all loom large in the US artist Joyce Pensato's second exhibition at the Lisson Gallery, And, although the works, all from 2017, are well-worn territory for her, she demonstrates a subtle shift in style

Lisson Gallery, London
19 May - 24 June 2017

by MATTHEW RUDMAN

The blank stare of a giant Homer Simpson; a gurning Mickey Mouse; a half-erased Batman cowl: this is the vocabulary of Joyce Pensato (b1941), the born-and-bred Brooklyn artist who for the past 30 years has been creating eerie and explosive large-scale portraits of cartoon characters and cultural icons, marrying pop art sensibilities with abstract expressionist-inspired execution. FORGETTABOUT IT, her second exhibition at the Lisson Gallery, is exclusively made up of Pensato's 2017 output, revealing an artist still working intensively and experimenting with subtle shifts in her well-established style.

Pensato was a graduate of the New York Studio School of Drawing, Painting and Sculpture in the 1970s, where she was tutored by influential artists Mercedes Matter and Joan Mitchell. Pensato rebelled against the school's strict focus on still life and figurative drawing, with discarded toys and comic books replacing apples and pears on her canvases. Throughout her career Pensato's eye has been drawn to the cultural touchstones and abandoned ephemera of a quintessentially American childhood, and boasts an enormous collection of plush toys, models and statuettes of cartoon characters and mascots in her East Williamsburg studio.

Visible from the gallery entrance is FORGETABOUTITBATMAN, a huge painting of Batman's cowl, the character's eyes twisted into an almost gleeful expression. Elsewhere, a pair of warped Disney-style mice seem to waltz across the canvas, while, upstairs, Pensato has created a site-specific wallpaper for the exhibition, a photocollage featuring figures such as Lincoln and Robert De Niro, attacked with a storm of black, silver and gold paint. The reflective, trickling fluidity of these dramatic works, largely using enamel paint, are reminiscent of Pat Steir's waterfall paintings , all bold horizontals drooling paint downwards in a chaotic, near-monochrome mix. These works are well-worn territory for Pensato: her muscular, assertive visual style betrays a strongly abstract expressionist sensibility, and the artist frequently cites Franz Kline and Willem de Kooning as key influences.

Other works on show see Pensato branching out, if only slightly, from her established style. Four Donalds 1-4 see Pensato forgo her typical black and silvery-white palette for a gaudy black-on-gold composition. The gold paint is laid on thickly, layer on layer compounded until the linen base resembles a melting metallic sheet. Pensato's Donald Ducks, strangely compressed and reduced to their component geometries, rock back and forth, as if each painting is an extracted frame of an animated sequence.

Donald Duck is one of Pensato's favourite subjects, as her sketches on show attest. Works such as her Let's blow this joint series show Donald rushing to and fro, beak impossibly compressed, with wide anxious eyes and lines of movement pointing outwards in startled exclamation. Pensato recognises and revels in the sheer plasticity of cartoon characters, their ability to be diced, spliced and stretched in feats of death-defying adventure. Her paintings and drawings are often austere and ominous parallel versions of these characters, while in other works, such as The Erased Batman, Pensato literally peels back layers of paint to reveal a bare white expanse underneath. With her vigorous, attacking brushstrokes and sweeps of the eraser - The Eraser being one of the artist's alter egos - Pensato probes the outer limits of what viewers will accept as figuration

Often thought of as a monochromatic artist, this exhibition sees colour returning to Pensato's practice. On show in the front space of the gallery, prominently visible from street level, are three large charcoal and pastel drawings, each well over two metres across. Three of her favourite characters, Mickey Mouse, Homer Simpson and Donald Duck, are sporting bright shades of yellow, blue and magenta, as if lifted straight from an office printer. These lighter compositions do little to offset the unsettling nature of these crazed, vacant portraits, and the vicious scrawling patterns with which Pensato has applied her pigments rewards close observation.

Pensato is an artist of explosive energy, movement and tongue-in-cheek playfulness, and her work is reliably bracing. However, there is a challenge in putting on a solo exhibition of such work within a polite gallery space. Pensato has remarked on numerous occasions, most recently in the New York Times , how she has "always wanted to make art that trashed up a good white-cube gallery". Her previous exhibition at Lisson Gallery, Joyceland, saw her recreate her chaotic Williamsburg studio and paint a large-scale Batman mural within the gallery. FORGETTABOUT IT, while showcasing an impressive range of engaging new material from Pensato, is lacking in such added personality, and can feel incongruously well-behaved by comparison.

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Lisson Gallery, London 19 May - 24 June 2017 by MATTHEW RUDMAN The blank stare of a giant Homer Simpson; a gurning Mickey Mouse; a half-erased Batman cowl: this is the vocabulary of Joyce Pensato (b1941), the born-and-bred Brooklyn artist who for the past 30 years has been creating eerie and explosive large-scale portraits of cartoon characters and cultural icons, marrying pop art sensibilities with abstract expressionist-inspired execution.

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All four artists shortlisted for the 2019 Turner Prize have been named joint winners after they collectively argued that the judges should recognise the causes of "commonality, multiplicity and solidarity".

The award ceremony in Margate on Tuesday 3rd December made history as Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shani were named the collective winners after they jointly wrote to the judges. Helen Cammock read out a joint statement on stage. The artists, who had not met before being shortlisted, will get an equal share of the £40,000 prize.

The artists' statement referred to the significance of the Turner prize, which is for a British artist working in Britain, seeking to "expand what it means to be British", and said their work sought to take a stand against isolation and exclusion in a hostile environment with a "symbolic gesture of cohesion". They explained that with their works taking on themes of migration, patriarchy, torture and civil rights, the subjects should not be pitted against each other by the judges.

Polarised

Alex Farquharson, director of Tate Britain, said the artists had given judges a lot to think about, and both the nature of the work and the timing made it the correct decision. "To state the obvious these are very polarised times, in this country and across the world" he said.

See also: Peter Harrington Contemporary Prints Catalogue Features Dali, Banksy and Picasso

The prize has never before been won collectively in its 35-year history, and Alex Farquharson said it may never be again. "This is the result of a confluence of different issues.

"I don't think we've had a shortlist where all four artists work in a participatory manner and all with deep and pressing political concerns and that it comes at a time that it does."

The four artists said they formed the plan at their first meeting at Turner Contemporary, forming a WhatsApp group called "the winners" as a joke.

Abu Hamdan said this year was a "specific" event because all the artists were on a similar social and political track. "This time it seemed to be that there was a cohesion around a political approach more than an aesthetic practice," he said.

Propaganda

But former Guardian art critic Waldemar Januszczak wrote: "The use of the Turner as a propaganda vehicle for ultra-Londony evening-class lectures has become seriously off-putting. People don't go to art to be turned into better citizens. They go to art to have their eyes pleasured and their hearts touched."

Helen Cammock presented a 99-minute documentary film examining the overlooked role of women in the Northern Irish civil rights struggle, Oscar Murillo installed papier-mache worker figures on pews looking out at a sea view obscured by a black curtain, Abu Hamdan made audio works on Syria's torture of prisoners, and Tai Shani created a surreal fantasy installation representing a post-patriarchal city built by women (seen at top of page).

The Turner prize show is in the Turner Contemporary Margate until 12th January 2020.

See also: London Art Fair 2019 showcases exceptional contemporary and modern art

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Turner Prize Sensation As All Four Artists Share Joint Award - Arts & Collections

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All four artists shortlisted for the 2019 Turner Prize have been named joint winners after they collectively argued that the judges should recognise the causes of "commonality, multiplicity and solidarity". The award ceremony in Margate on Tuesday 3rd December made history as Lawrence Abu Hamdan, Helen Cammock, Oscar Murillo and Tai Shani were named the collective winners after they jointly wrote to the judges.

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A journey through the ground-breaking works of this quintessential contemporary artist

Bruce Nauman is a restlessly inventive artist. Since the late 1960s he has continually tested what an artwork can be, by reshaping old forms and creating new ones. His ground-breaking works using sound, film, video and neon have influenced generations of artists.

This is the first major exhibition of his work in London in more than 20 years. It allows visitors to engage with the artist's universe through immersive installations with a strong emphasis on sound and moving image, as well as poetic sculptures and neon pieces.

Major works like Double Steel Cage Piece 1974, Anthro/Socio (Rinde Spinning) and Clown Torture 1987 highlights Nauman's distinctive preoccupations and how he incessantly revisits them - yet never repeats himself.
Exhibition organised by Tate Modern and Stedelijk Museum Amsterdam in collaboration with Pirelli HangarBicocca, Milan

Bruce Nauman e 1970 Tate Purchased 1994 © ARS, NY and DACS, London 2020

Bruce Nauman The True Artist Helps the World by Revealing Mystic Truths (Window or Wall Sign) 1967 Kunstmuseum Basel (Basel, Switzwerland) © ARS, NY and DACS, London 2020

Bruce Nauman Manipulating the T-Bar 1965-1966 Courtesy of the Artist © ARS, NY and DACS, London 2020

Explore the exhibition room by room

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Bruce Nauman - Exhibition at Tate Modern | Tate

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A journey through the ground-breaking works of this quintessential contemporary artist Bruce Nauman is a restlessly inventive artist. Since the late 1960s he has continually tested what an artwork can be, by reshaping old forms and creating new ones. His ground-breaking works using sound, film, video and neon have influenced generations of artists.