Waterside Project Space

Former undergraduate student Jack Brindley is currently running Waterside Project Space London. It is an artist-run, independent gallery space in East London, founded in 2008, and supported by the Arts Council of England. The gallery occupies a unique 250 square metre unit in the post-industrial Waterside building. The exhibition programme shows works from both established and emerging artists, and values the development and cross-practice dialogue this creates. 

Follow Waterside Project Space on Facebook: here & visit Jack Brindley’s website: here

Bodies without Organs

Katie Barrington; Christian Tilt; CJ Chandler; Emily Davis; Roisin Dykes; Owen Chapman; Charlotte Outram; Pete Montford;  Alex Webb; Eleanor Bottrall; Arianne Churchman; Siobhan Belingy; Judith Lancaster and Matthew Willcock.

Bodies without Organs brings together a group of artists that have been directly influenced by and incorporate the subject of film, theatre and other alternative forms in their work in dynamic ways. The show will come together as a live performance incorporating a diverse arrangement of events staged throughout the Bulmershe campus.

BwO Exhibition

Talk Show

Students from Fine Art, Reading performing at the Institute of Contemporary Arts, London as part of Dexter Sinister’s Talk Show, Saturday May 30, 7pm

Repeating our recent performance True Mirror Microfiche at the Kitchen (last November) which continued our no-longer-recent project for the 2008 Whitney Biennial (previous March), True Mirror, True Mirror Microfiche (again) will attempt to channel the many forms of work made there (
http://www.sinisterdexter.org
) through the single new form of a projected microfiche lecture. This cubist variety show will present (exactly the same as before) various contributors to the original project, including Mark Aerial Waller as Prem Krishnamurthy, Cory Arcangel as Jerry Seinfeld as Cory Arcangel, RJ Bibby & UH Thompson (with Katie Barrington as UH Thompson) as John Russell’s fax transmission, Fia Backstrom as Saul Anton, Mark Beasley as himself and as Rob Giampietro, Stephen Beasley as Bro Giampietro, Tom Benson as Miguel Abreu, Stuart Bailey as David Reinfurt, JJ Charlesworth as Domenick Ammarati, Vanessa Desclaux as Diana Kamin, Dan Fox as Domenick Ammarati, Beatrice Gibson as Shannon Ebner’s pocket calendar / almanack, Jennifer Higgie as Larissa Harris, Ruth Hoeflich as Tobi Maier, Kaisa Lassinaro as Rose Kallal, Isla Leaver-Yap as Diana Kamin, Tom Marioni as himself, David Reinfurt as Stuart Bailey, Elissa Santiago as Caroline Busta, Lucy Skaer as Sarah Gephart, Mike Sperlinger as Mark Beasely, Cally Spooner as Sarah Crowner, Alex Waterman as himself, Will Holder as Adam Pendleton, and someone else as Michael Portnoy. The performances are presented for Talk Show, curated by Will Holder, working together with Richard Birkett and Jennifer Thatcher at the ICA. And remember:

The first rule is ALWAYS PRODUCTION NEVER DOCUMENTATION.

Creating Friction

An Interdisciplinary Creative Practice Postgraduate Conference
22^nd April 2010 Newcastle University

With the expansion of creative possibilities for study within University settings, it is increasingly imperative that we question the borders between the creative and critical components of postgraduate study.  How do the different modes of creative practice intersect with the world of traditional academia?  How does a creative practitioner function as a PhD candidate?  What methods can be used for assessment?  What role does the accompanying critical thesis play in the context of the creative work produced?  How does creative practice differ from fieldwork?  What frictions are created by interdisciplinary work?

This one-day seminar aims to provide a space for creative practitioner PhD students to come together and discuss the relationship between their practice and research.

Keynote Speaker: Dr Sharon Kivland, Reader in Contemporary Art, Sheffield Hallam University, Visiting Fellow in the Institute of Germanic and Romance Studies, University of London, and a Research Associate of the Centre for Freudian Research and Analysis, London

 Presentations must discuss both the creative and the critical aspects of your PhD research and should last no longer than 20 minutes maximum.  We are keen to encourage diverse methods of presentation, and exhibition space will be available on the day. For installation based presentations, please e-mail us in the first instance to check we can meet your spatial and technical requirements.

 We invite 300 word abstracts (including up to 10 low res images or up to 2 minutes video where relevant) from those who consider themselves to be creative practitioner PhD students; this includes (but is not limited to) students working within the areas of creative writing, digital media, fine art, music, and the performing arts.

 Please email abstracts to: i.s.streffen@ncl.ac.uk  | Deadline: Friday 25^th February 2010, 10am

Radical Aesthetics-RadicalArt

Wednesday 17th February 2010 Loughborough University

Is art history? (re-visited)

Mihnea Mircan is an independent curator based in Bucharest, Romania. 2005-06 he was curator of Le Pavillon, Palais de Tokyo, Paris. At the National Museum of Contemporary Art (MNAC), Bucharest, Mircan curated exhibitions such as: Sean Snyder (with Florin Tudor), 2007; SUBLIME OBJECTS, 2007; Video Works. Jaan Toomik, 2006; and the Under Destruction series of site-specific interventions. Other curatorial projects include: Since we last spoke about monuments, Stroom Den Haag, 2008; Low-Budget Monuments, Romanian Pavilion, 52nd Venice Biennial, 2007; No Significant Incidents To Report, Galeria Noua, Bucharest, 2005. He contributes regularly to international publications of contemporary art and has recently written on the work of Deimantas Narkevicius, Mircea Cantor and Alon Levin. His forthcoming projects are exhibitions ‘History of Art, the’, David Roberts Art Foundation, London, ‘An Image instead of a Title’, Spinnerei Leipzig, and ‘Hans van Houwelingen: Until It Stops Resembling Itself’, Stroom Den Haag.

Robert Garnett

 

 
You Can’t be Serious: On the Pre-posterous Encounter With Art

2pm Weds 10 March, Fine Art Lecture Theatre
Garnett, theoretician and art critic, is co-editor of the recent Gest: Laboratory of Synthesis #1 (2008)

Initiated by a series of events and discussions during the exhibition ‘Gest’ — at the Stanley Picker Gallery, Kingston University, this book Gest: Laboratory of Synthesis, includes a range of essays and interviews bringing together philosophers, artists, theorists and critics to discuss new approaches to art writing. It operates in the widening gap between the mainstream art magazine and the academic journal in order to create new conjunctions and productive disjunctions between theory and practice out of which new voices and new modes of art writing emerge.

Contributors include: Jennifer Allen, Eric Alliez, Devrim Bayar, Dan Fox, Rainer Ganahl, Johnny Golding, Peter Osborne, Anne Pontégnie, Nina Power, Ralph Rugoff, John Russell and Dirk Snauwaert ISBN 978 1 870699 96 9

Edinburgh Festival

Two Reading University Fine Art graduates have transformed a pink double decker bus into a spectacular cavern of recycled bric-a-brac. Victoria Brook and Caroline Fletcher took the bus to the Edinburgh Fringe for use as a venue. The bus, run on bio-fuel, will be stationed at the central Bristo Square in Edinburgh for the festival.Talking to the BBC they explained:

“This installation was in response to the amount of litter we observed and what a huge impact this was having on our environment,” says Victoria. “We felt if we could use the discarded objects as materials, we could create something positive.” 

“Inside we’ve carved out environments which include a fireplace and a bar made from crushed beer can blocks complete with melted vinyl record bar top,” says Victoria. “There’s also a love corner with Mills and Boon wallpaper and also a sprouting tree! “Every surface is covered with society’s abandoned tat which we have lovingly constructed into a shrine of treasures.”

Read the full article here on the BBC website

Degree Show 2009 BBC preview

Reading University, Fine Art degree show 2009 previewed by BBC here.

 

 

 

 

 

 

 

 

 

Degree Show 2009 Press Release

The University of Reading Degree Show will exhibit the work of 57 finalists across all Fine Art programmes.

The show represents the diversity of contemporary art practice within the Fine Art environment. There is painting responding to challenges of digital imaging; filmed performance; relational and social practices; collaborative and web based artworks; and even a fictional educational institute. This year’s degree show is the culmination of our students’ collective experience of studying art at Reading. It will prove to be a dynamic and diverse exhibition which looks to the future and is full of potential.

Graduates from the University’s Fine Art Department have gone on to become acclaimed artists, but also make huge contributions across creative and cultural areas as writers, curators or performers. The department, which has produced famous alumni such as Turner Prize nominees Cornelia Parker, Richard Wilson and Mike Nelson, has a long history, originating nearly 150 years ago in 1860. Since then, the department has been associated with successful artists such as Walter Sickert and Terry Frost.

More information about the degree show at
http://www.readingdegreeshow2009.com

Degree Show 2009

more about "Degree Show 2009", posted with vodpod

Image: Action: Text

Revolutionary and assimilated artworks in the form of performance, film, audio, painting and mixed media are presented by a group of seven 3rd and 4th Year Fine Art students. The private view will host performance work from a selection of these artists working with ideas based around the interaction between image, action and text.

Katie Barrington’s performance will present four experts who will dissect and reinterpret a twenty-minute broadcast of live television. A filmed recording of the performance will then be screened in the gallery for public view after the event. CJ Chandler’s work questions conventional wisdom in an increasingly didactic society. Christian Tilt presents a video piece centred on the production of a recent series of paintings entitled Conquests, looking into the modes of model perception and the current relationship between subject and artist. A sample of the paintings will be included for display within the exhibition. Catherine Brooks’ work involves an interactive station where the audience is presented with audio-based artworks to be interpreted through language and images. These notations will be re-used in the creation of subsequent artworks as part of an ongoing regurgitated public-collaborative project. Christina Denyer’s installation comprises of two short animated films from the Helios Institute, which appropriate scientific methodology and educational aesthetics in order to present an alternative history of the universe. Absurd yet plausible, these theories are extrapolated from existing facts or hypotheses. During the private view there will be a lecture with Prof. Isaac Lemming on the Bythingson-Hearney Cosmological Theorem, transmitted live from the Helios Institute (www.heliosinstitute.net). This will be recorded on the night and presented for the duration of the show. Rebecca Bibby & Jessica Paine form a dysfunctional collaborative duo. Through endless communications, mis-communications and non-communications, the pair explore the difficulties in their artistic relationship. For ‘Image:Action:Text’ the duo present The Self-annihilating Finale, a live performance piece that cultivates yet simultaneously sabotages an arena of mutual exchange between the two artists. A one-off performance of The Self-annihilating Finale will take place during the private view, leaving only the residual documentation of the exchange for the duration of the exhibition.

Welcome

Welcome to the Department of Fine Art, University of Reading’s blog.

Art School

 
Art School (Propositions for the 21st Century)
Edited by Steven Henry Madoff

Table of Contents and Sample Chapters

The last explosive change in art education came nearly a century ago, when the German Bauhaus was formed. Today, dramatic changes in the art world—its increasing professionalization, the pervasive power of the art market, and fundamental shifts in art-making itself in our post-Duchampian era—combined with a revolution in information technology, raise fundamental questions about the education of today’s artists. Art School (Propositions for the 21st Century) brings together more than thirty leading international artists and art educators to reconsider the practices of art education in academic, practical, ethical, and philosophical terms.

The essays in the book range over continents, histories, traditions, experiments, and fantasies of education. Accompanying the essays are conversations with such prominent artist/educators as John Baldessari, Michael Craig-Martin, Hans Haacke, and Marina Abramović, as well as questionnaire responses from a dozen important artists—among them Mike Kelley, Ann Hamilton, Guillermo Kuitca, and Shirin Neshat—about their own experiences as students. A fascinating analysis of the architecture of major historical art schools throughout the world looks at the relationship of the principles of their designs to the principles of the pedagogy practiced within their halls. And throughout the volume, attention is paid to new initiatives and proposals about what an art school can and should be in the twenty-first century—and what it shouldn’t be. No other book on the subject covers more of the questions concerning art education today or offers more insight into the pressures, challenges, risks, and opportunities for artists and art educators in the years ahead.

Contributors: Marina Abramović, Dennis Adams, John Baldessari, Ute Meta Bauer, Daniel Birnbaum, Saskia Bos, Tania Bruguera, Luis Camnitzer, Michael Craig-Martin, Thierry de Duve, Clémentine Deliss, Charles Esche, Liam Gillick, Boris Groys, Hans Haacke, Ann Lauterbach, Ken Lum, Steven Henry Madoff, Brendan D. Moran, Ernesto Pujol, Raqs Media Collective, Charles Renfro, Jeffrey T. Schnapp, Michael Shanks, Robert Storr, Anton Vidokle

Rethinking the art school

Rethinking the Contemporary Art School  (The Artist, the PhD and the Academy) examines the reasons for the art school and its continued existence, its role in society and what should be taught and learned in the context of what is now a globalised art world. The book considers different art school models—innovative graduate programs, independent stand-alone schools and art schools which are departments or schools of major research universities and the problems they face operating in what James Elkins describes as “marginalized in university life.” Rethinking the Contemporary Art School sheds light on the debates surrounding the appropriate terminal degree for university-level teaching in the arts and concludes with essays on new media, examining whether the contemporary art school offers the right context for this discipline. The anthology includes contributions from Su Baker, Bruce Barber, Mikkel Bogh, Juli Carson and Bruce Yonemoto, Edward Colless, Jay Coogan, Luc Courchesne, Sara Diamond, Lauren Ewing, Gary Pearson, Bill Seaman, and Jeremy Welsh.