Art Monthly Newsletter
Art Monthly #356 May 2012
Rest of World: £7.20
In the new Art Monthly
Art Monthly audio: On the radio and online
Opportunities: Jobs, competitions, commissions etc
Free sample copy and subscriptions
Art Monthly May Issue
John Wood & Paul Harrison One More Kilometre 2009
Do you believe in things? asks Paul O'Kane
In a western world dominated by immaterial labour, and where scientists and philosophers have thrown into doubt our understanding of physical objects, how have artists – from John McCracken and John Hilliard to Wood & Harrison and Andrew Dodds – questioned and defended the nature of things?
'Sculpture, of all the arts, must surely be responsible for mapping the various journeys of thinghood. "What is a Thing?" – the question Heidegger asked in the 1920s – turns out to be a question that we have to keep asking.'
Kraftwerk production still at Lenbachhaus Kunstbau Munich 2011
Omar Kholeif tracks the influences of Kraftwerk
With a recent move into exhibition making, German 'robot pop' group Kraftwerk has crossed disciplines into the visual arts. But which are the artists that the group borrowed from and who are the current artists, such as Jill Magid and Wafaa Bilal, that exemplify Kraftwerk's man-machine ethos?
'Kraftwerk's evocation of the cyborg has been discussed within academic music circles but rarely has its influence been positioned alongside contemporary visual art. For example, the work of infamous Cypriot-Australian performance and media artist Stelarc, who has used medical instruments, prosthetics and robotics to explore and alter how his body interfaces with its surroundings.'
Nothing Like a Dame
When culture secretary Jeremy Hunt sacked Liz Forgan, the first female chair of Arts Council England, he was following a well-worn pattern: when a major institution is in crisis, let a woman have a go at running it. Isn't that the lesson from other high-profile appointments to such diverse organisations as the IMF, now headed by Christine Lagarde, MI5, which appointed Stella Rimington as DG in 1992, and the SOGAT '82 union, which in the 1980s pitted Brenda Dean against Rupert Murdoch in his declared determination to crush the print unions?
'It seems that Liz Forgan was too successful: having skilfully presided over one of the most difficult periods in ACE's history and earned the respect of her peers, the government's response is "thank you and goodbye".'
Liz Forgan is asked to step down as chair of ACE despite being halfway through a historic restructuring of the organisation; embattled culture minister Jeremy Hunt sees his plans for an 'endowments century' threatened by chancellor George Osborne's proposed cap on tax relief for charitable giving; while the UK enters a double-dip recession, galleries close and restructure as funding cuts come into force; Jerwood Foundation plans to auction prize-winning artworks it commissioned for its Jerwood Sculpture Prize; protestors take aim at the National Gallery's entertainment contract with an arms manufacturer; Berlin is filled with protests against gentrification and sponsorship from corporations with Nazi-aligned backgrounds; all the latest news on events, prizes, online resources and more.
Submissions: Send Artnotes info to [email protected]
Sara MacKillop 10 in 12 2003
Duncan Wooldridge on an artist of office equipment
Sara MacKillop's subtle practice reconfigures the tools of the office, that site of immaterial labour, and allows its objects to follow their physical logics through to disquieting conclusions.
'MacKillop says these works come about through a process she describes as a "distracted looking", where the body performs routine actions and interactions but the eye and the mind also wander.'
Camden Arts Centre, London
Northern Gallery for Contemporary Art, Sunderland
Platform A, Middlesbrough
Zoe Leonard: Observation Point
Camden Arts Centre, London
Song Dong: Waste Not
The Curve Barbican, London
Amikam Toren: Moving in the Right Direction
Anthony Reynolds Gallery, London
Sarah Lucas: Make Love
Trisha Baga: Rock
Vilma Gold, London
Heather & Ivan Morison, Ben Rivers, David Thorpe
The Hepworth Wakefield
Tomorrow Never Knows
Jerwood Space, London
On the Edgware Road
Serpentine Gallery, London
Andrew J Stooke
Cutting Across Media
David Ryan negotiates appropriation, collage and copyright law
'What Cutting Across Media attempts to bring home is the current asymmetrical contradiction between growing public access, usage, and the tightening grip of international and intellectual copyright.'
Hal Foster: The Art-Architecture Complex
Alex Coles finds an author reluctant to move beyond his bailiwick
'Rather than an art-architecture complex, it would be more accurate to say that what Hal Foster develops is a discourse on a form of architecture that plays out the conceptual debates pertinent to post-minimalist art – his usual subject.'
Artists' Film International
Adam Pugh views the Whitechapel Gallery's invitational screenings
'The works crystallise some current threads in artists' moving image practice: the documentary and the "social turn"; the abiding importance of the performative; and a rekindled interest in language.'
Max Hattler: Shift
Ajay RS Hothi encounters a modern Ballet mécanique
'The film Shift demonstrates a repositioning in Max Hattler's working practice, replacing overtly computer-generated animation for a traditional stop-motion technique.'
Larne Abse Gogarty on immaterial labour and its discontents
'The gender politics of this should be essential to how we move forward with an analysis of how the art world is propped up, as Hito Steyerl has stressed, by "loads and loads of hardworking women".'
Letter From LA
Kathy Battista visits a city on the move
'From its rich and varied museum offerings, to a thriving gallery scene and ambitious public art projects, Los Angeles may yet prove to be the most interesting city for art in the US.'
Contracts & Moral Rights
Henry Lydiate on the financial minefield of artwork authentication
'There is growing reluctance among scholars, connoisseurs and experts in the US to undertake such research and writing commissions, and/or to express their professional opinions about authorship of works (publicly or privately). Such fears are realistic, because US law may hold to account the opinion of experts if it can be proved that economic damage has resulted from their opinions that a work is inauthentic (by, say, not including it in their catalogue raisonné of an artist in whose works they specialise).'
Art Monthly's exhibition listings can also be viewed online.
Submissions: Send Listings info to [email protected]
Middlesbrough Institute of Modern Art | 15 May
Programme Assistant to the Curatorial Team
Yorkshire Sculpture Park, Wakefield | 4 May
Curator, American Collections
The British Museum, London | 9 May
Lecturer / Senior Lecturer in Fine Art
University of Worcester | 7 May
Lecturer in Fine Art
University of Leeds | 18 May
Post-Doctoral Teaching in Fine Art
Liverpool Hope University | 25 May
Project Assistant, Sky Arts Ignition
Tate Liverpool | 4 May
Paid Gallery Internship
Spacex, Exeter | 9 May
New Art Exchange, Nottingham | 4 May
Future Generation Art Prize
Pinchuk Art Centre, Kiev, Ukraine | 6 May
Digital Art Commission
Exeter Phoenix | 18 May
The Treadneedle Prize
Mall Galleries, London | 23 May
Caroline Villers Research Fellowships
The Courtauld Institute of Art, London | 21 May
Progetto Diogene, Turin, Italy | 20 May
The Kala Institute, Berkeley, USA | 18 May
Artist in Residence
The Sharpham Trust, Totnes | 31 May
Edinburgh Sculpture Workshop | 18 May
Harvard Art Museums, Somerville, USA | 4 May
Oazo-Air, Amsterdam, Netherlands | 1 Jun
Call for artist residency group-proposals
HMK, Hoom, Netherlands | 1 Jun
Dartmoor Arts Project Summer School 22-28 July 2012
Over 120 artists meet for a week of workshops and critical debate, plus a programme of talks by leading contemporary artists, writers and thinkers. BURSARIES AVAILABLE | 30 Jun
Adam Reynolds Memorial Bursary
Shape Arts, London | 8 May
RBS Bursary Awards
The Royal British Society of Sculptors, London | 9 May
The Royal Society of Portrait Painters, London | 11 May
Artists' International Development Fund
Arts Council England | rolling
Visual Arts Scholarships
Botin Foundation, Santander, Spain | 11 May
Outside the White Cube
Bermondsey Project Space, London | 20 May
Call for Submissions to use Exhibition Space
Guest Projects, London | 31 May
The Waterfront Gallery, Ipswich | 31 May
Apexart | 2 May
Submissions: Send Opportunities info to [email protected]
Get Art – Get Art Monthly
Free Sample Issue
For a free sample issue, email: [email protected]
Subscription rates for individuals:
UK: £44 / Europe: £55 / North America: $74 / Rest of World: £72
Institutional rates: £53 / £68 / $79 / £86
Student rates: £30 / £41 / $48 / £53
Subscribe online: www.artmonthly.co.uk/buy
By email: [email protected]
Call: +44 (0)20 7240 0389
Art Monthly is also available as a digital edition. The annual subscription price is £30. Digital subscribers also get access to some back issues online. See Exact Editions for more information.
NEW: A three-month digital subscription is available for only £8.
Reach Art Monthly's Audience
You can now advertise in this newsletter as well as in the magazine. Rates start at only £150.
More info: www.artmonthly.co.uk/advertise
Contact Matt Hale: [email protected]
T: +44 (0)20 7240 0418 / F: +44 (0)20 7497 0726
This is a free monthly newsletter detailing the contents of the new issue of Art Monthly magazine and other related information. You have been sent this email because you have subscribed to our newsletter – thanks for reading! We do not pass your details to third parties.
If you want to change the email address that you have subscribed with, simply send an email to [email protected] with 'EDIT EMAIL ADDRESS' written in the subject bar. Please state clearly in the body of the email which address you wish to unsubscribe and the new email address that you wish to subscribe with.
To unsubscribe, please send an email to [email protected] with 'UNSUBSCRIBE' written clearly in the subject bar. Please send the unsubscribe email from the address you wish to remove from the mailing list, or state clearly in the body of the email which address you wish to unsubscribe.