Art Monthly - No.280 - October 2004

Art Monthly - No.280 - October 2004
Library Shelf Location AP
Publication Date Oct 2004
Abstract October 2004 / No 280 Paul Noble Mall 2001-02 detail FEATURES Art on Parade Celebration or protest, self-representation or self-promotion? Pablo Lafuente compares three parades organised by Jeremy Deller, Mierle Laderman Ukeles and Francis Alÿs. Judgement Call Mark Wilsher on the surreptitious return of aesthetics. ‘The root cause of today’s problem with beauty was the paradigm shift from an essentialist idea of the work to the formulation of the artwork-as-text, open to endless deconstructions, and the conviction held by artists and crtics alike that no final judgements can be made. But something interesting and problematic seems to have happened while critical attentions have been fixated on this wealth of language. It appears that the outdated and utterly non-textual idea of aesthetic wholeness has crept back in unannounced.’ EDITORIAL Assessment time Now is the season of the annual report. Up and down the country publicly funded cultural institutions are struggling to prove that not only are they financially responsible but that they are actively addressing all the increasingly demanding requirements of government directives concerning access, social inclusion, diversity and most important of all in terms of securing future funding, generating new audiences for art. EXHIBITION REVIEWS Artists’ Favourites ICA, London Alex Farquharson Julian Rosefeldt / Christoph Girardet & Matthias Müller Baltic, Gateshead and Site Gallery, Sheffield Martin Herbert Terminal Frontiers Street Level Photoworks, Glasgow Nicky Bird Heimweh: Young German Art Haunch of Venison, London Sara Harrison Paul Noble Whitechapel Art Gallery, London Morgan Falconer Saskia Olde Wolbers Maureen Paley Interim Art, London Eliza Williams Valie Export Camden Arts Centre, London Sally O’Reilly Emily Wardill Grizedale Arts, Ambleside Bruce Haines Susan MacWilliam Temple Bar Gallery, Dublin Niamh Ann Kelly ARTISTS’ BOOKS Maria Fusco reviews Whitstable Interiors Adam Chodzko’s collection of transcribed conversations with fellow homeowners and DIY enthusiasts from Whitstable in Kent. ‘You’ve got a nice collection of firewood.’ ‘Yes, this is the interior of the old bathroom. It was like a shed, inside the bathroom were kind of planks, so I’ve been slowly working through it and using up old fence posts and things.’ ‘That must feel good; burning your own bathroom.’ ‘Yes it is; it was so horrible.’ Stephen Bury reviews Wilf - a life in pictures by James Pyman. Wilf lives symbiotically in the paperback, landscape format of the cartoon annual. It was published to accompany the London-based artist James Pyman’s exhibition at the Norwich Gallery this Spring. This is not the first time that Pyman has exploited cartoons: there was Rememberdogs for Matthew Higgs’ Imprint 93 series, and his sub-Tourtel and Bestall’s Rupert Bear Adventures of Lionel through the moon for Tony White’s Piece of Paper Press (1997) (see AM210), as well as his production of Nine Panel Grid (see AM216). BOOKS Amna Malik reviews After Criticism, New Responses to Art and Performance edited by Gavin Butt. ‘Divided into three parts: ‘Performing Art’s Histories’, ‘Distracted and Bored, the critic looks elsewhere’ and ‘Critical Response/Peformative Process’ with an incisive introduction by Butt, this book is a rare example of a virtuoso collaboration that places pressure on the fiction of the critic or art historian as a distanced observer without relinquishing critical engagement.’ Mike Sperlinger reviews Film Art Phenomena by Nicky Hamlyn. ‘What are we to do with ‘‘artists’ film and video’’? How possessive, for example, is that apostrophe? Exigencies of funding, amongst other things, mean it is never quite clear where the emphasis falls - which is to say, whether this is a case of film/video as a subcategory of art or vice versa.’ FILM Kenneth Anger. A Demonic Visionary is reviewed by Ian Hunt ‘The first film by Anger I saw was Eaux d’Artifice. It knocked me out. Everything from its curly titles (‘UN FILM D’ANGER’), its date, 1953, its abstract finery - it follows a figure in 18th-century wig and dress round the fountains of the Villa d’Este at Tivoli - and subliminal tinting of black and white hinted at an unknown aesthetic moment. It was more incalculably queer and formally rapturous than anything on offer in the independent British film world - such as Derek Jarman - that I was trying to catch up on. It remains, by my calculations, one of five films by Anger that anyone might try to see.’ NET WORKS Locative Media ‘‘Where are you?’’ is the first question that many people ask when talking to someone on a mobile phone, as though to suggest that location is somehow an important context-defining component of communication. At the same time, internet use is becoming de-localised, allowing you to log in anywhere at any time.’ ARTLAW Wills / Estates Posthumous Artworks Edinburgh College of Art has committed itself to remaking Blinky Palermo's Blue/yellow/white/red, 1970, executed in the college's buildings during the 1970 Edinburgh Festival. Palermo cannot be consulted as he died in 1977, and the college's inability to discuss its rescuing/remaking plans with the artist raises important issues concerning the artistic legacies of deceased artists and how they may be handled. Few artists record their wishes and intentions for dealing with their work after completion, or indeed, after death, but some have done so through specific instructions in their wills or in detailed documentation forming part of their artistic estate.
Quantity 1
Format Magazine
Month October 2004
Issue Art Monthly - No.280 - October 2004
Publication Art Monthly

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