just deriving via the web and found theis old photo of york. Looking into bootham bar and found it of interest. think its a lovely photo.

This to me is a seminal piece of work by Banksy, although his work now has become very commercialised, the viewer is reminded of early wall slogans depicting the troubles in Ireland and Berlin. Who's side are we looking at, is it from the Israeli or Palestinian side? I wonder what the thinking behind using children in this is.... The hole in the wall depicts Utopia albeit somewhat hurricane swept. BBC's Alan Johnston says 'there's no space left in Gaza, no parks, no grass, but there is a beach, it's Gaza's only playground, as Samehh the lifeguard put it, it's where people go to breathe'

To me it reminds me of a fading lens shutter on a camera, maybe blocking all hope, the last glimmer.

Christo and Jeanne-Claude

Surrounded Islands by Christo and Jeanne-Claude, Biscayne Bay, Greater Miami, Florida, 1980-83

This is not dis-similar to artist Robert Smithson in his work spiral jetty, both involving key elements of water in the art. To look at the picture it looks incredibly ephemeral as if it could float away, almost like a piece of gold leaf. Christo's wrapping features lie flat on the surface unlike his wrapping of building which are more 3D. There's a certain stillness in the water and to an extent it has a feel of a floating reef with the trees almost being coral.

Rona Smith

"Arbitrary and accidental incidents act as a starting point for a series of installations and sculptures that explore themes of process and transformation."

"For High Rise, a typical breeze block stands upright slowly absorbing rainwater collected in a discarded wheelbarrow. A distinct water level is visible on the brick's vertical surface, rising and falling depending on changes in the atmosphere."

This stuff is being exhibited in a gallery; I am quite interested in perhaps documenting the same kind of things but outside the white cube. Why not just leave the objects where one finds them?

i give up...

im feeling like there really is no interesting things in the world at this moment... and well no artists are currently making me feel inspired.. other than the one i posted the other day!! ok well... im bit useless.... at this moment!

Dan Graham

New Housing Project, Staten Island. 1978
Two photographs of a housing development are juxtaposed in this work. On showing a backyard with garden table and chairs. The other one is the entrance. This was one of many works which Graham made of mass-produced housing estates that had been built to create a new suburban landscape in post-war America. He examines their use of space and materials, their relationship to the environment and their effect on people's lives. Talking about making the art, this council estate i suppose was the art as he was examining the materials and its effect on society. This was Grahams chosen site specific. Cannot find photographs.

Victor Burgin

Today is the Tomorrow You Were Promised Yesterday. 1976

This image boasts a typically British street scene. Alongside the image is a poetic verse which speaks of an exotic idyll, conflicting with the drudgery of the image. It amplifies the dashing hopes, forgotten dreams and social and political injustices of a beleaguered nation. The bitter title, directly addressing the viewer, underscores the message. He focuses his work on the nature of representation. While out deriving i grew to like these scenes which i have documented in a similar way to Burgin. I plan to research further into this.

Daniel Buren

Within and Beyond the Frame 1973

Striped banners, hanging like washing from a gallery window, flutter in the breeze. The black and white stripes have become Buren's trademark. This is ironic, since he uses the anonymity of stripes to register his contempt for individual style, announcing in 1967, that "all art is reactionary". His striped billboards, exhibited in Paris in 1968, contituted an eloquant voice of dissent against traditional art and traditional forms of patronage and presentation. Later he began to work for the kind of institution he had previously derided, he continued to retain political tension between art and context in his work, which is rarely available to collectors.

Simon Sheikh: In the Place of the Public Sphere

Simon Sheikh is a critic and curator based in Copenhagen, Denmark. He was director of OVERGADEN, contemporary Exhibition space of the cultural ministry, Copenhagen, from 1999 to 2002. He is currently an assistant professor in art theory at the Malmö Art Academy, Sweden, where he is head for the Critical Studies Programme, an international one-year course for artists, critics and curators, a joint venture btw. The academy and the Rooseum in Malmö. Since 1996 he has been co-editor of Øjeblikket, a danish magazine for visual cultures, and has since 1997 been writing for the daily newspaper Information. (He is currently writing a number of articles regarding the changing public sphere within cultural production in the United States after the changes in civil liberties and freedom of speech since 9-11 for said paper). His curatorial interest center around notions of narration, space and publicity, particularly within public works and the realm of video and film. Besides his work at OVERGADEN he has curated larger group shows, such as I Confess, Copenhagen 1995, Compartments, Copenhagen 1996, DIY - Mappings and Instructions, Vienna 1997, In My Room, Paris 1998 and Models of Resistance, Copenhagen 2000. He has edited anthologies such as The Meaning of Site, Ø, Copenhagen 1998 and We are All Normal (and we want our freedom), Black Dog Publishing, London 2001, as well as the forthcoming In the Place of the Public Sphere?, b_books, 2002 and a monograph on the work of Knut Åsdam, 2003.

See also:
Public Spheres and the Functions of Progressive Art Institutions
In the Place of the Public Sphere? Or, the World in Fragments

access public records and make a 'data-work'

Identify an 'institution' which holds public records or information pertinent to your developing ideas, work or potential setting. Negotiate access to this 'institution'. Think about libraries, archives, internet sources. Devise a strategy to shape your research and compile a body of information generate a range of data (e.g. geographical, economical, demographical, historical, social, political, cultural, etc). In your studio, submit this data material to some form of intervention/manipulation. Carefully document this investigation and the ideas that arise from it. Present this as an artwork-in-progress next time we meet.

NB Some organisations will need to be approached in advance of your visit and you should plan your activities accordingly. You should also consider a number of lines of enquiry in case some approaches are rejected or need more time to pursue.

JR-
"The hippest street artist since banksy"
JR is a 25 year old french artist working out of Paris. He is a self described "photograffeur", a hyprid of Photographer and graffiti artist.

JR has made his mark around the world turning unconventional spaces into large scale photograph galleries, for example train carriages in Kibera, Africa, or the
security wall in Isreal. A lot of his
work helps the communties he works in, for example in africa by pasting hhis photographs on slum roofs he in turn made them water proof.

Richard Long's practice involves photography, painting and sculpture and is most commonly regonised for his large scale land art pieces. In relation to my current studies for the outside the white cube module, several of Long's works are in response to walks which he has made, as with my documentation of my derives Long incorporates photographs, maps and texts detailing the time and location of a particular walk. Materials found on his walks are often used to fashion sculptures or to manipulate a landscape, very much like the nature of land artist Andy Goldsworthy.

Iemza-

Started out working as a graffiti writer, using bold, bright coloured lettering. He then became influenced by the derelict structures which he was working in, or "deconstructed abandoned spaces".

Iemzas work went from brightly coloured stereotypical graffiti to work which he described as "dark dirty and without tricks"

Chiho Aoshim.

ok now this is the most amazeing thing ever!! Well ok (maybe not..) but i think so!! well this is outside the white cube'ish'.. as its in a tube station... so yes ive shared a wonderfull artist with you all!

Jenny Holzer

"jenny holzer is famous for her short statements, formally

called ‘truisms’. some are common myths while others
are just phrases on random subjects in the form of slogans."

Gordon Flemons and Fran Wilde

This is a series of observational drawings. Not sure if this is really outside the white cube. Well, I guess the googlemap is and the drawings were made on location. There are lots drawn on plastic bags! The exhibition was in a pub. "The act of drawing quickly focused our attention on the flow of people through the area, and for me more specifically, the forest of signs that control this movement; directing, dictating, and tempting."

andy abbott- anecdote vendor

i know we all know this one already, or at least those of us in word based art last semester, but i've talked to andy quite a bit about this piece since then, and i thought it was really interesting that after displaying it in an exhibition space, it was put in a pub for a while, and actually worked a lot better there. for those of you who missed this lecture, it kind of acts like a normal vendor, only instead of putting in money, you have to write your own anecdote and put it in a capsule and drop it into one of the tubes, and in exchange for it you get someone elses story. so anyway, apparently the anecdotes left in the pub-exhibition were all more genuine and interesting than the first exhibition, which were a bit contrived. but apart from that, it turned out that in the pub, this machine sparked off all these really interesting conversations, so really the art ended up being the vendor as a facilitator of these random interactions between people, rather than the machine as an object. i'm really liking the idea of the conversation or interaction as art in themselves rather than art-objects.

(Anecdote Vendor, 2005, a pub somewhere in leeds)

i really like that piece too, i think we all saw it on our trip to liverpool last year? but i prefer the pictures of it in the park...its like theres so many contradictions in the picture, with the show-light writing, the scaffolding and the environment its in.

artist: Nathan Coley

Very interesting commts he makes on the demarkation of space and how semiotics have so much control over us. Coloured lines have so much controll turner prize 2007, Tate liverpool
Can't upload videos cause i'm silly follow this link:
http://www.channel4.com/video/3-minute-wonder-turner-prize-2007/series-1/episode-4/nathan-coley_p_1.html

this doesnt work as a link sorry!but it were the video i watched was from

Artist: Zarina Bhimji

This is one of a collection of five stills and a short film Zarina Bhimji exhibited for the turner prize in 2oo7 . These images were collected over a period of many months when bhimji spent days travelling the trade and imigration routes in Uganda, talking to people from all the places she came into contact with. Uganda has a colourful history partly from suffering from Idi Amin and the migration and uproar that this causes. Ifound it particularly relevent her as she closely anlysis the movement and pathways of people and place.

Title: Shadows and Disturbances
Date: 2007
Media: Ilfochrome Ciba Classic Print
Dimensions: 1270mm x 1600mm
Additional info: Aluminium mount, TrueVue Museum Acrylic and frame (2007)

Simon Starling - cos I love the little fella

Bugger if I know what this piece was called - it had a REALLY long word for a name but I can't find it anywhere online, and I can't find the exhibition note from the gutted out Glaswegian bath house where I saw it exhibited as documentation.

It goes like this - Simon Starling drags up this boat from the bottom of a loch (at least I think he drags it up - it could well be that he acquired it in a less remarkable way). Then he sets out into the loch, fuelling the boat's steam motor with pieces of wood cut from the boat's own hull. Of course, eventually there isn't enough of the boat left and it disappears into the murky depths of the loch.

I love it. I think I love anything to do with water. I'm starting to have ideas about the river for this module. May have to get my brother to bring the canoe up here.

I wrote about Miele Laderman Ukeles for Intertextuality and also Inside the White Cube last semester and i think that her work also relates to this module. She basically declared her chores and mudane experiences to be her art...

'In the 1960s as an educated young woman early in her art career Mierle Laderman Ukeles learned an important lesson in cultural detachment. Once she became pregnant and then a mother she found herself ignored in the art world and treated with less respect in the larger community. In response to this, she capitalised on her mundane experiences to reinvent her cultural role; ever since, she has created meaningful events and relationships in places where art and culture had been loathed to step. She declared that her chores as housewife and mother were her art.'




Ukeles washed the floor of the Hartford Art Museum during regular public visiting hours, surrounded by sculptures and paintings.

Mark Wallinger

Sadly I couldn't find a picture of this one. Mark Wallinger's A Real Work of Art (1995) was a horse. A racing horse that he bought, named A Real Work of Art and entered into races.

The idea was to take further the idea of a readymade, not only by claiming a thing as a work of art but by just letting it go about its normal business (running races, doing horsey things). He saw the idea of bringing a readymade into a gallery context nowadays as a rather conservative gesture, kind of hiding under Duchamp's skirts.

So, what was to happen would be that his 'work' would get 'disseminated' into bookies nationwide. Sadly, the horse was injured after one race and had to be retired, so that didn't really happen.

The fascinating thing about naming a live animal as a work of art is that from that point onwards everything it effects in any way is arguably part of the work. The work has no existential limitations(!) in a way that I can only compare to Jeremy Deller's Battle of Orgreave, which also implements living humans directly as part of the titled 'work'. Mind job.

Part2ism

Something more local!! Keith Hopewell is best known as 'Part 2' or Part2ism by many for pioneering photorealist graffiti in the late eighties and early nineties shown here, in ‘galleries’ around York. He has been slowly re-establishing his art for the last few years. Keith first caught people's attention once again with his cardboard cut out installations. He placed complex geometric type, as long as 30 ft in broad daylight around busy city centre's throughout the world. Never designed as commodity, but many of these works were left in the public domain for people to hijack & Keith was caught on the BBC news & also received editorial in the Times & Independent. “I just wanted to play with people's perception of what this art is about, like the first time I saw graffiti on the New York subway! It was an arthouse of its own, born out of suppression & creating something from nothing. It was about expanding your own space & taking things to their limits".His work concentrates on disposable graffiti interventions which are constructed from discarded pieces of cardboard repossessed from the streets. They are designed to modify our city environments & daytime pedestrian streets.

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=63185756

White Cube is one of the most prominent contemporary commercial art galleries in the world,

In 1999, the Stuckists art group declared themselves "opposed to the sterility of the white wall gallery system", and opened their own gallery (with coloured walls) in an adjoining street..

On another occasion in 2002, while dressed as clowns, they deposited a coffin marked "The Death of Conceptual Art" outside the White Cube's door...

In 2003, Charles Saatchi launched an attack on the concept of the white wall gallery, calling it "antiseptic" and a "time warp ... dictated by museum fashion".

Their group manifesto places great importance on the value of painting as a medium, as well as the use of it for communication and the expression of emotion and experience - as opposed to what they see as the superficial novelty, nihilism and irony of conceptual art and postmodernism.
The most contentious statement in their manifesto is: "Artists who don't paint aren't artists".

In 2000 they gained attention by staging 'The Real Turner Prize Show' at the same time as the Tate Gallery's official version.

http://en.wikipedia.org/wiki/Stuckism

http://www.stuckism.com/

Jeremy Deller

The Battle Of Orgreave (2001)

Here's where I regurgitate what I learned from my Intertextuality essay.

Deller's work rarely (if ever) goes in galleries. Documentation does, but not the work itself (like much of Richard Long's work, Sarah!). A lot of his work is so collaborative that his collaboration makes up most of the work, and it is often temporary/performative so it defies exhibition. The Battle of Orgreave is a good example - a massive re-enactment of one of the most violent clashes between miners and police in the 1984/5 miners' strike. It's actually easy to miss that he's an artist at all, and his work still stands up if you forget that it's art.

ESSAY QUOTE!

For Deller, the ‘art’ side of his work takes a back seat to his sense of social responsibility. Or to look at it another way, the art is so closely entwined with the social or political in his work that if you negate the art it doesn’t leave a gaping hole in your experience or interpretation. The participants in Orgreave didn’t need it to be an art event for it to be significant, although as Deller states, it wouldn’t have happened without him [he says that being an artist puts you in an interesting position where you get to do things that wouldn't happen normally]. It takes little effort to conceive of any of Deller’s works removed from the art sphere and for them to retain all credibility as socially involved, dialogical, if sometimes a little wacky, public endeavours.

So I reckon Deller's work is so far outside the white cube (as a concept) that it's only just art. Or you could argue that it's more like art than any other gallerised stuff. It's definitely constructive, which I fucking love.

Betty Besumont

(Teddy Bear IslandMaterials: 15 feet below water surface, Plastic cable1 submerged island,

1973, Location: West Hill Pond, Connecticut)

Beaumont was one of the earlier pioneers of enviromental art, she uses her social, conceptual and enviromental concerns to create projects. She uses photography to document her works.

(Ocean Landmark, materials ; 17,000 coal fly-ash blocks, Date: 1980Location: Atlantic Ocean, 40 miles from the New York Harbor)

David Gosling

(Children in situ, dates unkown, location is a school)

(Willow girl and Dog, dates unknown)

David Gosling is an enviromental artist, he uses his back ground in weaving to create various sculptures in different materials. His work generally attempts to respond to the different enviroments in which he works.

love it

stuffed!

this is when clare, bex and me got a tad carried away with green wool!

http://www.slinkachu.com/ Slinkachu. London street artist working on a minute scale. The absolute opposite to art in a gallery, you could walk past and never notice these tiny pieces.

puddles

perhaps from our derives we could create a guide to the city for the under fives, with important information on it like wear the best puddles are to jump in.
Maybe there is a market to know which bus and at what time and on what is best to get on for the friendliest bus driver?
Or if you dropa glove where is it most likely to be stuck on a railing?

artist: James Jaxxa

This work personally apealed because i have been experimenting with the juxtoposition of green wool and ribbon in the streets of york, 'outside'. This piece and other works by james jaxxa ar small and focus in on strange placemeent of brightly coloured and unusual ojects in relation thheir setting forcing botth to be viewed deferrently. I think this element need to beared in mind if i produce a site specific work in york, which is a place populated by those who are use to seeing things out of place and so everything is commonplace.?

Fantastic Green Gemstones, 2005Site-specific workTopanga Beach, Los Angeles

artist: christo

i think Christo's way of mapping central park with this work aptly named path gchallenges what we believe about the space we are in and yet completments it.

Roger Hiorns ,Seizure,Art Angel

I went to see this intervention last year and the memory of it has stayed with me. An Art Angel project just outside Elephant and Castle....reuses a very rundown area of London and intervenes briefly. On reflection this module highlights how a project like this can generate interest in a community. The hoards of people flocking to see this work would not.....I'm sure, normally travel through this neglected but colourful area. I've included a link below for more details of the project.

http://www.artangel.org.uk/pages/present/present0808_seizure.htm

examples of artists to research

Krzysztof Wodiczko, Wendy Kirkup & Pat Naldi, Stefan Gec, Jenny Holzer, Lawrence Weiner, Mierle Laderman Ukeles, Guillermo Gomez Pena, Coco Fusco, John Newling, Brian Catling, Alastair MacLennan, Martha Fleming, Anna Best, Platform, Those Environmental Artists, Cildo Meireles, Vong Phanophit, Tehching Hsieh, Rachel Whiteread, ARTANGEL, Jeremy Deller, Roni Horn, The Yes Men, The Atlas Group, Jennie Savage, Becky Shaw, A Constructed World

Sculpture and Environmental Art, Glasgow School of Art

Hi all

Just found this other blog documenting the activities of students and staff of Sculpture and Environmental Art, Glasgow School of Art. Interestingly similar idea to ours blog but differs in that it mostly announces events. Check out the links to their '4th year students' work on the right hand side though to get a sense of what kind of projects they are doing. Let's start to see some images of your emerging work/projects too.

Good to see the blog here getting busier too

Cheers

Roddy

SOS

Hi all,

Just wondering if anyone knows of an "outside the white cube" artist who manipulates photos on Photoshop??

Thanks,

Katie =D

ben wilson

i'm posting these on behalf of me and lucy, because we both really really like this guy (feel free to add more chewing gum examples though lucy!!) he works in london and has been doing this for quite a while...no specific place, although a few years ago his plan was to start at the top end of High Street in Barnet and work his way to the centre of london. he does all kinds of paintings on the gum, including animals, flowers, faces, cups of tea, and does quite a few special requests or 'in memory of' pieces. and strawberries :] i like it that its so small and almost unnoticable but reallyreally cool at the same time.

isaiah zagar

i know i've talked about this guy before, but i just love his work so much. he does these murals all over philadelphia, but this is his magic garden (1020 south st, philadelphia) (i think made round 1995) thats kind of like his centre piece. i love this kind of art, that has such a positive influence on its environment, using mostly just junk as materials. and actually doing something, making something. i want to make things. like martin creed :] only probably not actually like his work.

Laura Keeble

Found this fake of the Hirst skull. Can't find much info about this artist. 

(Though she does quite a bit of work in Southend; might have gone to school with her sister!)

Pat Naldi and Wendy Kirkup

Pat Naldi & Wendy Kirkup, Search, Newcastle-upon-Tyne, 1993