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.

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.

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/