What is it like to be a fly on a psychotherapist’s wall? This compelling case study in the form of a graphic novel vividly explores a year’s therapy sessions as a search for understanding and truth. Told in a witty and thought-provoking manner, each engagingly illustrated scene is accompanied by deft commentary. Buy it here
Deptford X wanted to produce a book to celebrate their tenth aniversary. With a small budget but a fantastic story to tell, I pulled together a tight team, and co-published this spirited little book with them and distributed by Thames & Hudson.
“Deptford X is honourable, healthy and fun; a totally non-damaging way of having art and creativity in the community.” Matthew Collings. The past decade has seen a massive growth in arts festivals, to the point where almost no city would be without one – yet few have had the impact of Deptford X. Many of the hottest names in the contemporary art world – including Dan Graham, Miltos Manteas, Stephen Pippin, Bernadette Corporation, Simon Starling, Julian Opie – have been drawn to its unique atmosphere, and even launched their careers here. Now celebrating its tenth anniversary, this book takes a look the festival’s achievements so far, as well as its role in the redevelopment of this vibrant corner of Southeast London.
After an introduction by the renowned critic Matthew Collings, in which he casts an eye over the area and its history, your guide to the wonderful world of art festivals is acclaimed artist Bob and Roberta Smith. His insightful and frequently amusing observations have been arranged into a 23-point manifesto of how to – and how not to – organize your own festival. Topics covered include the role of the artist in contemporary society, art education, renewal through art, whether anybody really wants to be the new Hoxton, why the YBAs had to go, and the sheer hard work that goes into keeping it all on the road.
Illustrated throughout with works from past exhibitors, this book is a must-read for all those who love (or even hate) arts festivals, as well as all anyone who have ever worked with artists, is an artist, or is even thinking of becoming one. Buy it here
This was the first book I published: "Home Sweet Home is a kind of alt-Condé Nast thing, where nosiness about how others organise their nests is given intellectual legitimacy.” Matthew Collings, The Guardian.
Including an introduction from Richard Hamilton, an essay by Edgar Allen Poe and photography from Wolfgang Tillmans, Mark Borthwick, Bless, Laetitia Benat and Leah Singer. Home may be a house or an apartment or a cardboard box, but it is never just that. It is not merely bricks and mortar, but rather something far more abstract, something both physical and emotional. We all personalize our spaces, invoking our own domestic aesthetics, creating an extension of ourselves, a statement of our character, our historical and social situation, and our aspirations. Home Sweet Home 102 investigates these and other notions of home through texts, found photographs, commissioned artwork, and music. Jay Davis’s fantastical interior-scapes are illustrated and discussed by poet Max Henry; Wolfgang Tillmans contributes his first-ever still life together with a collection of recent unpublished work; Edgar Allen Poe’s essay The Philosophy of Furniture offers a picture of his perfect room; Art Nouveau graphic artist Aubrey Beardsley decorates in dripping curlicues; and more. A surprise, too, upon entering Home Sweet Home 102: out of its pages fall housing confetti, small cutouts of house shapes from architecture and design magazines.
The Moon is a parallel artwork that both documents this event and extends its themes. Included in The Moon are: a selective timeline of the history of feminist performance art, essays debating the significance of feminism in the contemporary context, the research that led to the event’s realisation and as well as a programme of the live acts to be performed at the Tate.
The Moon is also a performance tool – women can open its tabloid-size pages on buses and tubes or any public place where they see a man reading The Sun with page 3 visible. Page 3 of The Moon will have a large and playfully knowing picture of a nude man. In this way, the reading of this paper throughout the UK will act as an unplanned, spontaneous performance where women armed with their copies of The Moon will silently battle with The Sun. There will also be reproductions of a series of paintings made by Katie Horwich wherein she painted her daily outfits on top of The Sun’s page 3 girls.
The Moon features four main essays:
Catherine Grant’s essay on ‘fans of feminism’
Judith Batalion critical and humorous exposé on ‘fighting feminists’
An art historical examination of early performance work from Judy Chicago’s Feminist Art Program by Meredith Brown
Marianne Mulvey’s text about the use of sincerity and cliché in contemporary performance
Also included are:
A timeline of feminist performance art
Maureen Paley on the significance of the moon to women and feminism
Information about performances that rework feminist classics such as Carolee Schneemann’s Interior Scroll (1975), Martha Rosler’s Vital Statistics (1977) and Betsy Damon’s 7000 Year Old Woman (1974)
MY PREFACE BELOW
The Moon has been published to coincide with the Once More with Feeling event hosted by the Tate Modern on 27 June 2009 where Oriana Fox and co. will play out an abbreviated history of feminist performance art. The paper was born out of Oriana and I talking about her research into this subject and the opportunities a printed publication might offer in extending her themes and marking this event for her and the other artists. A little while ago I read an article in Vogue written by a man discussing how contemporary women hate each other. The text bothered me and to my surprise, shortly after I found myself reading about this idea of hatred between women again in Meredith Brown’s essay, now printed in these pages. Here she introduces us to Judy Chicago’s all-women art course in the ’70s and a performance piece the group played out called Rivalry Play (1971). In the skit, two women of a similar age and social standing confront each other, are overtaken by the experience of rivalry and end up killing each other. She goes on to reference Juliet Mitchell’s psychoanalytic theories in relation to peers and the oscillation between ‘an extension of [our] narcissistic love for a friend and [our] violence toward the person who has displaced [us]’. Thinking about identification, displacement and rivalry my mind went to the images of women I am used to seeing in the glossies. Largely driven by marketing, theirs is an objectified, aspirational image of beauty: beauty that our subjective self sees as we wish and project our life into. This reminded me of John Berger’s seminal book Ways of Seeing in which he writes of the publicity image that ‘steals [a woman’s] love of herself as she is, and offers it back to her for the price of a product’. Advertising imagery is a potential threat to one’s sense of self no doubt, but it is also somehow a private, indulgent, capitalist fantasy: this is a fiction I had become comfortable with. Vogue’s recent features however, where they interview the gorgeous and successful – who would normally be behind the scenes or at least voiceless – go further. In inviting us into a dialogue, the images and text silently nag us about that which we may have imagined for ourselves. Vogue takes our fantasies and throws back hard facts. So when I am confronted with an attractive and moneyed female contemporary living in NY with her super-star photographer husband, two freckled kids and a wardrobe full of luxury items, what’s not to hate? But I don’t hate her; what I hate is the displacement I feel for myself and that’s largely due to a society driven by opportunities. Opportunities we fought for. The paradox of feminism today lies between the joy we feel in the knowledge that we can “have it all” and the need to acknowledge that fear and anxiety come hand in hand with expectation and opportunity. At a certain age women feel that babies, love and the realisation of our dreams should all align because this is what we deserve and were promised. As ambitious women in this society I think we are often just one click away from falling over into the wrong side of ambition: a condition named “Status Hysteria” by Alain de Botton in his book Status Anxiety. Botton arrives at this idea through a discussion of Aristotle’s Eudemian Ethics which offers examples of how human behaviour can subvert a philosophical ideal if left unexamined, just as liberality can succumb to profligacy. So here we are forever questioning our situations and ourselves, and our imaginations run away with us, just as each of the artists’ and contributors’ imaginations have been free to explore issues such as these in preparing for the event or writing for the publication. So, am I a fan of feminism? Well, I can’t say I’d thought of it in such terms until now, but what’s there not to rate? Oriana and I had a brilliant time making this paper, and each of the contributors has given me a lot to think about. Women are pretty damn cool and Linder’s strident woman on the cover says it all; we are all our expectations at every turn, our fantasies both please and agitate us and inherent in those lines is strength and history. CT
By Amos Vogel (1974)
A classic returns. Accompanied by over 300 rare film stills, Film as a Subversive Art analyses how aesthetic, sexual, and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. Published by CT Edition and Distriubted Art Publishers. Buy it here
“I think it must be the most exciting and comprehensive book I’ve seen on avant-garde, underground and exceptional commercial film.” Norman Mailer
A classic returns. The original edition of Amos Vogel’s seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. According to Vogel – founder of Cinema 16, North America’s legendary film society – the book details the ‘accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored.’ So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyses how aesthetic, sexual, and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.