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201-MA ECP Milly Brown
Plymouth Art Weekender
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Alan Quantrough calls for interested participants for group show-I reply (24/05/17)
timeline
I asks Alan for plans and if I can help (28/65/17)
Alan sends images of space- We arrange publication entries and arrange to meet at space -Aan coulnt make it b
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Meet with Alan, finalise hanging and details (13/09/17)
e m t e i lin Install work (21/09/17)
Show opens! (22/09/17) 7.
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MA Group Show...
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my work 13.
Some comments where left
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201-MA ECP Milly Brown 17.
cupcakeificakation!
Folk art or Cupcakification? 19.
Sabbat Magazine
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Ghost Box is a record label for a group of artists exploring the misremembered musical history of a parallel world. “Buying one of its releases feels like stepping into another world” The Guardian “...what’s most impressive about Ghost Box is the aesthetic consistency and sheer quality of the material, recalling the heydays of labels such as Factory, 4AD and Warp.” Quietus
Part fabrication, part reminiscence Violet Meek is the girl in the woods. It’s possible that she was killed by a bear. It’s certain that she was damned by her reputation and with this Cherer draws on, at times, awkward memories of his own youth living inside The Forest of Dean “rumours and fumbling, burgeoning sexuality in the woods between the rivers Wye and Severn” “There is a true story, about the hounding of some travelling entertainers and their dancing bears and how the bears were killed by a mob in revenge for an invented attack on a local girl in the woods between Cinderford and Ruardean. This is at the heart of the whole record.” writes Cherer.
Ghost Box Independan record label 23.
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‘In the early 1980s Richard Prince began to exhibit examples from his Cowboys in which he rephotographed Marlboro cigarette ads, cropping out all text and framing them like fine art. In doing so he had identified a rich symbol in American culture that embodied adventure, self-reliance, and rugged individuality. Beginning in the 1950s Marlboro ads featured cowboys riding through the wideopen terrain of the Wild West. The cowboy was instantly recognizable in denim, leather chaps, boots, spurs, and Stetson hat. Almost exclusively white, he is portrayed as handsome, weathered, and fit. Both a role model and sex symbol, the cowboy appeals to men and women alike.’ SOURCE: guggenheim
Richard Prince
Vi s ra ual t ro ion & A rs / T rt ria ist ls Ins an pi d er -
Where is our cowboy?
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John Baldessari
Fissures (Orange) and Ribbons (Orange, Blue): With Multiple Figures (Red, Green, Yellow), Plus Single Figure (Yellow) in Harness (Violet) and Balloons (Violet, Red, Yellow, Grey), 2004 The Duress Series: Person Climbing Exterior Wall of Tall Building / Person on Ledge of Tall Building / Person on Girders of Unfinished Tall Building, 2003 Bloody Sundae, 1987 Planets (Chairs, Observer, White Paper), 1987
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Throughout his career, Gonzalez-Torres’s involvement in social and political causes fueled his interest in the overlap of private and public life. From 1987 to 1991, he was part of Group Material, a New York-based art collective whose members worked collaboratively to initiate community education and cultural activism. His aesthetic project was, according to some scholars, related to Bertolt Brecht’s theory of epic theater, in which creative expression transforms the spectator from an inert receiver to an active, reflective observer and motivates social action. Employing simple, everyday materials (stacks of paper, puzzles, candy, strings of lights, beads) and a reduced aesthetic vocabulary reminiscent of both Minimalism and Conceptual art to address themes such as love and loss, sickness and rejuvenation, gender and sexuality, Gonzalez-Torres asked viewers to participate in establishing meaning in his works.
Felix-Gon zales Tor res 35.
Ryan Gander
On using art to reflect on its own labour
Within academic art history, failures, disappointments, crises and rejections can seem chronically absent. Lately, I’ve found myself attracted to artists who work against this flattening by using the process and convolutions of making art as subject matter. It was Ryan Gander’s new video, Portrait of a Blind Artist Obscured by Flowers (2016), which got me thinking about this. The piece, shown in Gander’s recent exhibition at Esther Schipper, Berlin, teases viewers with a voyeuristic glimpse into the psychological and emotional undercurrents of art-making. Fetish
and voyeurism can haunt this kind of disclosure, of course: We want to see what happens behind the curtain Mitch Speed in Frieze
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Steve Dilworth
‘... on being asked for proof that one of his throwing objects really did contain a bird, Dilworth replied “destroy it and see”.
Steve Dilworth
Dilworth’s art has beauty in it’s traditionally crafted, totemic form and owes it’s potency to the very power of mythology itself. In recent years his use of once living material, and the mythological purposes he ascribes to his objects, has prompted association of his work with the growing interest in shamanic cultures’
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Just as Scarfolk Council demanded control over cultural memories and the historical narrative taught in schools, it also wanted to control individuals’ memories. To ensure a docile, compliant populace, Scarfolk promoted the idea of clumsy townsfolk forever stumbling into situations and seeing and hearing things they shouldn’t, and proposed that measures be taken so that citizens only retained information that reflected the official party line at any given time.
Scarfolk
Building on the success of the Black Spot Card campaign, potent, neurotoxic chemicals (and, in some cases, a steel truncheon) were employed, according to one leaflet, to: “cleanse unnecessary or redundant memories, so as to unclutter the mind”.
Since 2013 I’ve been working on my black humour blog “Scarfolk Council,”(http://www.scarfolk. blogspot.com), as well as the various spin-offs, including a book ‘Discovering Scarfolk’published by Ebury Press. Other Scarfolk-related projects are currently in development: Retort productions have optioned the blog and book to develop a TV series.-
Richard Littler.
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Magda Archer
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Corn dolly
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trials and errors 49.
Cupcakification
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The original, hand of the artists
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Formatted for digital interaction?
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Found and treated
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revisited...
Digital ghosts
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Digital Doppelgangers
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New corners
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ripe for haunting
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Prayer cushion folk art
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rebound magazines/church
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Key Journals and Articles
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Key Books and Publications Camera Lucida (Barthes, Roland) The Society of the Spectacle (DeBoard, Guy) The Work Of Art In The Age Of Mechanical Reproduction (Benjamin, Walter) Beyond Populism, Understanding Society (Ipsos MORI Social Research Institute)
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Key passages and extracts.... 85.
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