Pre-Pop to Post-Human: Collage in the Digital Age

PRE-POP TO POST-HUMAN:
COLLAGE IN THE DIGITAL AGE
EDUCATION PACK
Pre-Pop to Post Human: Collage in the Digital Age
Curated by Isobel Harbison.
Organised by Chelsea Pettitt, Assistant Curator, Hayward Touring.
Education Pack
Edited by Chelsea Pettitt.
Texts written by Isobel Harbison and Katrina Schwarz.
Researched and compiled by Charlotte Baker, Exhibitions Intern, Hayward
Touring.
Copyright
Eduardo Paolozzi images courtesy of The Eduardo Paolozzi Foundation and
Hayward Touring, Southbank Centre, London. Licensing from DACS (Design and
Artists Copyright Society), London.
Unless stated, all other images are courtesy of the artist.
Please note that this research pack is intended as a private resource, to be
used for education purposes internally. As such, images included in this pack
are for internal use only and may not be copied or used for other purposes.
Cover image:
Adham Faramawy, Wet Look/Dry Wall 2 (2013)
© the artist, courtesy of Hayward Touring, Southbank Centre, London
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CONTENTS
Pre-Pop to Post-Human: Collage in the Digital Age
Essay by curator Isobel Harbison
Eduardo Paolozzi and the BUNK Lecture
Artists
- Pio Abad
- Marie Angeletti
- Helen Carmel Benigson
- Gabriele Beveridge
- Steve Bishop
- Bryan Dooley
- Adham Faramawy
- Anthea Hamilton
- Nicholas Hatfull
- Eloise Hawser
- Jack Lavender
- Harry Meadows
- Berry Patten
- Peles Empire
- Samara Scott
Further Reading
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PRE-POP TO POST-HUMAN:
COLLAGE IN THE DIGITAL AGE
Pre-Pop to Post-Human: Collage in the Digital Age invites fifteen artists to
make prints that take on board the ideas behind Eduardo Paolozzi’s BUNK
portfolio. The artists selected are Pio Abad, Marie Angeletti, Helen Carmel
Benigson, Gabriele Beveridge, Steve Bishop, Bryan Dooley, Adham
Faramawy, Anthea Hamilton, Nicholas Hatfull, Eloise Hawser, Jack Lavender,
Harry Meadows, Berry Patten, Peles Empire and Samara Scott.
Thirty-seven new commissions are shown alongside some of Paolozzi’s BUNK
prints from 1972 featuring images of scientific advancements, planes,
motorcars and ammunition merged with food, art and seductive human forms,
foreshadowing the fusion of technology and life.
Each artist in Pre-Pop to Post-Human draws on imagery from popular culture
to create works reflecting on ways in which our bodies respond to technology,
and on our social lives within this new cosmology. Some offer up new,
surrealistic landscapes, fusing popular icons or images into entirely new vistas,
while others use familiar iconography from video games, high street
advertising slogans and popular magazines.
These artists are the first ‘native’ generation of Internet-users, image uploaders for whom quick-touch modification is common practice, rather than
the niche technique of avant-garde Dadaists and early Pop artists. Their desire
to fuse foreign bodies in new, alternative or synthetic landscapes creates a
contemporary counterpoint to Paolozzi’s futuristic visions from the past.
A Hayward Touring exhibition curated by Isobel Harbison
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ESSAY BY CURATOR ISOBEL HARBISON
‘Pre-Pop to Post-Human: Collage in a Digital Age’ is an exhibition that begins
with Eduardo Paolozzi’s series of collages, ‘BUNK’. These famous works began
as tear sheets from magazines, kept in scrapbooks and glued onto paper from
various sources. They were made during Paolozzi’s time in Paris immediately
after World War II, from 1947 to 1949. Here, he was introduced to magazine
collages by conceptual artist Marcel Duchamp and surrealist Max Ernst (among
other contemporary collagists1). Impressed, he too cropped images from
diverse sources, including glossy magazines brought to Europe by American
servicemen, like Charlie Marks, a painter and ex-GI who gave Paolozzi several
copies of the popular journal ‘View’. Other sources included ‘Ladies Home
Journal’ and ‘Life International’, and the annual photography catalogue ‘US
Camera’. His collages merged images of scientific advancements, planes,
motorcars and ammunition with those of food, art and seductive human
forms. Here, on Paolozzi’s many pages, curvaceous pin-ups and burlesque
dancers appeared beside military warplanes (‘Jazz Has a Future’), space suits
alongside their toy counterparts (‘Merry Xmas With T I Space suits’), high-tech
prostheses rub against cartoon characters, surrealist paintings are flecked with
details of glossy advertisements.
The collages were first projected for his contemporaries, the ‘Young Group’
(and later ‘Independent Group’) on an epidiascope at London’s Institute for
Contemporary Art in 1952. According to his contemporary Nigel Henderson,
Paolozzi’s approach at the time was quite new and instinctive, ‘What I thought
uniquely valuable in Eduardo’s contribution was sheer drive and virility, the gut
reaction, which was missing in the English scene’. BUNK met with a mixed
1
According to John Paul Stonard however, ‘there is no guarantee that the collage was made
at this early date, and even so, the use of the word ‘Pop’ (taken, as Paolozzi later recalled,
from the packet of a toy gun) was fortuitous, and was by no means understood at this time
as it was from the mid-1950s by those associated with the Independent Group.’ Stonard,
John Paul, ‘The BUNK collages of Eduardo Paolozzi’, Burlington Magazine, April 2008,
Number 1261 – Volume 150, p. 241, Frank Whitford has recorded the importance of
Duchamp and of an exhibition of works by Max Ernst at Raymond Duncan’s gallery in Paris
on Paolozzi. F. Whitford: ‘Eduardo Paolozzi’, in idem, ed.: ex. cat. Eduardo Paolozzi, London
(Tate Gallery) 1971, pp.6–29, esp. p.10. Whitford’s text is based on a series of conversations
with Paolozzi from January to June 1971.
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response though in 1952 and Paolozzi only showed them formally twenty years
later, at his Tate Gallery retrospective in 1971. Then, in the accompanying
catalogue beside ‘I Was a Rich Man’s Plaything’, Paolozzi inscribed the note,
‘The First Use of Pop? Collage, 1947’, challenging the Richard Hamilton as the
first Pop artist.2 The following year Paolozzi created 150 editioned print series
out of the original BUNK collages, as if to formalise this statement once more.
These were not prints in the traditional sense, but his compositions were made
of printed pieces collaged together, maintaining the jagged lines and adhesive
markings of the originals.
In the original collage and later print series, Paolozzi’s BUNK vibrantly merges
organic and inorganic matter within his images. He did this first through
observation of source material that already combined organic and inorganic,
magazine spreads that he observed and treated as individual ‘ready-mades’, as
in ‘New Life for Old Radios’ where the cover of a magazine depicting a
bespeckled young man testing a small robot, or ‘Man Holds The Key’, which
shows the cross section of a human form as a working digestive factory using
industrial machinery and employing scaled down workers, or ‘Windtunnel Test’
where the face of a man blasted with wind at high velocity is captured at
various stages of his odd and changing expression. Equally, there are numerous
compositions where images are collaged together and where Surrealist
reproductions provide hospitable landscape for absurdity, technology and
invention. Jean Miro’s vibrant landscape was thus expropriated and
bombarded with advertising images of Oscar Mayer’s Wieners and images of
military aircraft in ‘Sack-O-Sauce’. Elsewhere, in the image from which BUNK
gets its title, ‘Evadne in Green Dimension’, Jack Bilbao’s eponymous painting
and autobiography provides base for this collage of a strong man lifting a
Cadillac, as if weightless, with his right arm, beside another seductive pin-up
pasted on top of a cranial diagram, angled to look like the outline of a phallus.
According to art historian John Paul Stonard;
It is clear that Paolozzi’s intention in pasting in figures from other
advertisements was not to create collage-like discrepancies of scale or
Surreal juxtapositions of foreign bodies, but rather to create a new,
2
Stonard, John Paul, Burlington, p.242
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seamless image. This effect may be seen in a number of the Bunk works.
Whereas photographic images, or at least magazine spreads, were
selected on the basis that they were already collage, a sort of pre-collage
perhaps, Paolozzi’s manipulation of the material often ‘de-collages’ the
material, in the sense of creating new naturalistic scenarios.3
Bringing what Stonard calls ‘foreign bodies’ together within a seamless image
was possibly Paolozzi’s interest and certainly his talent. His syntheses,
exuberant, inquisitive and visually indulgent, inspire this exhibition of work by
younger artists. Just as Paolozzi’s work seemed to sense the future impact of
science, engineering and technology on the human body, the new ‘Young
Group’ in this exhibition refer to their own heavily mediated encounters, albeit
in an entirely new digital age. Paolozzi’s enthusiasm or interest in the
advancements of science might have been consistent with his peers, but he
was perhaps uniquely fascinated by the fusion of technology and life, of
machine and man. The term ‘cyborg’, a fusion of ‘cybernetic organism’ had yet
to appear in scientific and common parlance, but Paolozzi surely put a
catalogue of images to the term decades in advance of its arrival.4
‘Cyborg’, a term now used in science, medicine, technology, engineering,
science fiction and popular culture, has, like Paolozzi, haunted this exhibition
from its inception. Its original working title was ‘Cyborgs, Hybrids and
Chimeras’, borrowed from Donna Haraway’s, ‘Cyborg Manifesto’. In the early
1980s, this ‘second wave’ feminist, scientist and philosopher proposed that
‘we are all chimeras, theorized and fabricated hybrids of machine and
organism: in short, we are all cyborgs’. She believed that considering ourselves
cyborgs would help us to deconstruct gender stereotypes and debunk
patriarchal hierarchies. To imagine oneself as always a constructed hybrid
would allow for an expanded notion of equality. There is no one image of a
‘natural’ person, she suggested, instead we come in all combinations of colour,
shape and sexual preference. So whereas Paolozzi’s cyborgian images were
3
Stonard, Burlington, p 247
It became common parlance some years after scientists Manfred Clynes and Nathan Kline
wrote about the employing ‘human-machine systems’ or ‘cyborgs’ in outer space. Published
in the American journal Astronautics, September 1960
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intuitive and exuberant (and etymologically, ‘pre-cyborg’), Haraways’ posthumans were playful, political and perfectly aware of their sources. Today, as
every kind of internet-user depends upon computing devises of all sizes and at
all hours for work and play, this post-human ontology seems less of a political
thought experiment and more of a constant reality.
So, beginning with BUNK and haunted by the ‘cyborg’, fifteen London-based
artists were commissioned to make ‘prints’ considering both icons. They were
selected on their interests as much as their collagist approach for many of
them typically works across a range of media from photography, assemblage,
installation, video, sculpture, painting or print. Consistently, each artist draws
on imagery, icons and aspects of popular culture to create unique and visually
compelling works that reflect on the new ways in which our bodies respond to
technology, and our social lives within this new cosmology. These artists are
the first native generation of Internet-users, image up-loaders for whom quicktouch modification is a common practice, rather than a niche technique of an
avant-garde Dadaists or early Pop artists. Their desire to fuse foreign bodies in
new, alternative or synthetic landscapes seems an interesting point of
connection to Paolozzi’s futuristic version of the past.
Works differ greatly in what subjects and methods artists have chosen to
articulate their own cyborgian views. Some offer up new, surrealist landscapes,
fusing popular icons or images into entirely new vistas. Pio Abad’s ‘Soft Power
(Thrilla) I & II’ schematise a boxing match between two of history’s sporting
icons across a Hermes style silk scarf, the boldly coloured squares of the rings a
background for detailed, ornate patterns of familiar objects, carefully drawn
and printed by the artist, suspended on these unique, narrative pieces. Berry
Patten was inspired by the rich, diverse output of cook Ruth Rogers and
architect Richard Rogers, building the surface layers of her photographs with a
range of ingredients, objects, paints, ingredients, so that her work looks like
something that might taste. Adham Faramawy’s photographs also experiment
with new surface textures, colour qualities and special effects of digital image
editing, as he pictures himself within neon coloured lunar landscapes, wet and
dry, hot and cold. Peles Empire equally obscure our perspective point and
challenge our reading of the pictorial plane with their ‘25B’ and ‘25F’, prints of
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a photographic installation based in a Romanian castle. The mirroring effect
they achieve asks us, what space are we actually looking at here?
In Nicholas Hatfull’s trilogy of work, he adapts the familiar (if still surreal) icons
from high-street café franchise Pret-A-Manger marketing posters, of animals
made of raw vegetables. Hatfull recreates and reprints them for us in what he
calls ‘rudimentary landscapes with eerie animals’. Bryan Dooley considers the
printed newspaper as an area that brings together disparate and often jarring
images, and plays with that incongruity in his collages mounted on aluminium
where a baseball cap and an unorthodox priest might be unapologetically
typeset together. Jack Lavender’s collaged works ‘Yesterday’s Man’ crops
details of page 3 girls’ bodies from magazines as well as those of stars within a
darkened solar system. To these constellations of breasts and stars, he adds
cartoon characters eyes, so that these shredded compositions appear like new
hybrids, blinking back at us from a different time, strange, funny and absurd.
The commercial treatment and postures of female form so evident in Eduardo
Paolozzi’s prints appears again here in the works of several artists. Samara
Scott goes to work ‘treating’ a women’s magazine with lots of different
domestic substances from toothpaste to snow spray, sanitising and obscuring
these model bodies. Marie Angeletti also regards the aggressive posturing of
high-end female models. Photographing a mannequin in a Danish design
museum she highlights the impact of its pose by teaming it with photographs
of other disconcerting objects she has taken or found. Helen Carmel Benigson
has a very different approach, showing us some female protagonists from her
own video-game style animated works, active and adventuring in foreign
landscapes. Upon their images are suspended various images from emoticons
to sushi pieces. These icons of speedy living and instantaneity sit in stark
contrast to her treatment of the photographic prints, which have been
carefully sewn by hand. The male form is treated here too, in Gabriele
Beveridge’s extraordinary collage made of a vintage barbershop poster
partially obstructed by a mirror, inlaid within the frame, its effect quite
disorientating. Anthea Hamilton has also partially obscured the image of her
male subject, John Travolta, with an opulent black and red striped print, or
curtain, and the movement of a kimono clad performer.
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And beyond the surreal landscape and the tampered post-human forms,
appear the exhibition’s more spectral cyborgs. Steve Bishop’s series of six
photographs show light refracting onto his sketchpad, having managed to
catch this fleeting, colourful apparition in shot. Harry Meadows’ two hands
define the parameters of his extraordinary diptych, his fingertips extended
over a sheet of silk printed with leaves, the outline of his hand marked by
corresponding holes in bright coloured Perspex through which the silk has
been plugged. How can we feel or actually touch the boundaries between
organic and inorganic, Meadows works ask, as do those of Eloise Hawser. Her
prints fuse images of ‘phantom’ objects designed for the medical industry for
specialized 'imaging processes' such as MRI, CT, Ultrasound, PET and
radiography. These ‘phantom objects’ images are set upon different
backgrounds, a pixilated photograph of a human body, the distinct skin tone of
a white plastic mannequin, so that these ‘phantom’ objects correspond with
the body part for which they were intended.
The exhibition began with Paolozzi in many respects. All of the newly
commissioned artists were invited to visit the open archive at the V&A where a
mix of original collage and 1972 prints of BUNK are held. Although he is by now
a historical figure, many were surprised and influenced by the immediacy and
contemporary feel to his vibrant, cyborgian works and empathized with his
treatment and exuberance. And while the collage is a well-known artistic
method and now very common and accessible method for anyone with access
to easy digital editing software, we hope that this exhibition provides a unique
perspective on collage in the digital age, showing the new drive and virility of
works by another ‘Young Group’, alongside those by the original cyborgian and
progenitor of British Pop.
- Isobel Harbison
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EDUARDO PAOLOZZI AND THE BUNK LECTURE
Eduardo Paolozzi
Eduardo Paolozzi (1924-2005) was born in Edinburgh on March 7, 1924, the
first child of Italian immigrants who ran a confectionary and ice-cream shop in
the port of Leith. Working after school in his parents’ shop, Paolozzi used
sweet wrappers as drawing paper and stockpiled a large collection of movie
posters, cigarettes cards, and magazines – which he would trace or cut up and
paste into scrapbooks.
He studied at the Edinburgh College of Art and at the Slade, in Oxford and
London, between 1944 and 1947. At the end of his studies, in the same year,
Paolozzi moved to Paris. This proved to be an inspirational trip and Paolozzi
met many of the most interesting artists of the day, including Fernand Leger,
Jean Arp, Constantin Brancusi and Alberto Giacometti. Paolozzi was also
exposed to and greatly influenced by the Surrealist and Dada use of collage, by
their experiments with chance and their use of found material and readymade
objects.
Paolozzi returned to the UK from Paris in the autumn of 1949. In London he
found a platform and a peer group within a loose association of young artists,
architects and critics. Gathering at the Institute of Contemporary Art (ICA) in
the early 1950s, they became known as The Independent Group.
The Independent Group, in addition to Paolozzi, comprised the artists Richard
Hamilton, Nigel Henderson and William Turnbull; architects Alison and Peter
Smithson, James Stirling and Colin St John Wilson and critics Lawrence
Alloway and Reyner Banham. In 1956 The Independent Group came to wider
public attention through participation in the exhibition This Is Tomorrow at the
Whitechapel Gallery, London.
They were interested in how art might be transformed by mass production,
popular culture and the impact of technology, introducing mass culture into
debates about high culture and making use of found objects.
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The BUNK Lecture
In 1952, at the first meeting of The Independent Group, Paolozzi presented the
pages of his ‘intimate diary’ – the magazine cuttings, science-fiction journals,
comics and packaging labels he had accumulated over decades, including
material collected from American servicemen during the artist’s two years in
Paris. Given the gleeful title BUNK, this was an unlikely kind of lecture or slide
recital, with Paolozzi using an epidiascope –
a predecessor of the overhead projector – to
show images in rapid succession, without
explanation and without pause. For Paolozzi
BUNK was a palpable demonstration of how
the modern individual is bombarded with
images and visual stimulus.
Paolozzi’s BUNK lecture is often heralded as
the moment POP Art bloomed in Britain.
In 1972, two decades on from Paolozzi’s
haphazard lecture, the artist re-presented
the BUNK material as a series of
screenprints. Of particular interest is the
collage from 1947, I Was A Rich Man’s
Plaything. Now considered a standard
Eduardo Paolozzi, I Was a
bearer of POP Art in Britain - with the very
Rich Man’s Plaything (1972)
word ‘POP’ emerging, in a puff of smoke,
© The Eduardo Paolozzi
from the barrel of a gun – the importance of
Foundation, courtesy of
Hayward Touring, Southbank this work belies the fact that it looks very
much like a scruffy page torn from a teenage
Centre, London
boy’s scrapbook; the various collaged
elements stuck onto cheap, rough, discoloured pulp board.
POP Art in Britain
British POP Art is generally esteemed to be less brash, and more romantic,
than its American counterpart. It was chiefly nurtured by the Independent
Group and although Richard Hamilton’s 1956 collage Just What is it That
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Makes Today's Homes so Different, so Appealing? is often cited as the first
fully-fledged POP art image; a reassessment of Paolozzi’s work – the 1952
BUNK Lecture, the 1947 collage I Was a Rich Man’s Plaything – might suggest
an even earlier genesis.
Collage
As an artist Paolozzi was an
experimenter and a dabbler – he turned
his hand to a variety of mediums and
techniques: he was a consummate
printmaker, he worked with
watercolours and charcoal, he made
animated films, wrote poetry, and is
revered as a sculptor, in particular for his
large-scale public commissions. If there
is one approach – one form of imagemaking – that unites the different
strands of Paolozzi’s practice it is collage,
and the juxtaposition of unlikely objects.
Collage also provides an important link
to his artistic forebears: the Surrealists
and Dadaists.
Eduardo Paolozzi, Evadne in
Green Dimension (1972)
© The Eduardo Paolozzi
Foundation, courtesy of
Hayward Touring, Southbank
Centre, London
Collage describes a type of image (and
also the technique employed to create
such images) in which magazine and
news cuttings, photographs and other
visual material are pasted onto a flat surface. Appropriated elements are often
used in combination with painted surfaces. Once thought of a children’s
pastime activity, collage was first acknowledged as a serious artistic technique
in the early twentieth century. For the Cubists, collage was a systematic and
vital device and Pablo Picasso first used the technique in 1912, incorporating a
piece of oilcloth in his work Still Life with Chair Caning. Collage was also
extended to three dimensions in the works of artists such as Robert
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Rauschenberg, Picasso and Paolozzi who crafted sculptures from scrap
materials.
Printmaker
For Paolozzi, the print was not a secondary outcome – it was a major medium
of expression and, in later years, it almost came to dominate his oeuvre. He
was an artist preoccupied with the mechanical world, with the debris of
industrial society and the march of technology.
- Katrina Schwarz
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ARTISTS
Pio Abad (b. 1983, Manila, Philippines)
For his new work, Abad says, ‘I've started looking at the history behind the
1975 Thrilla in Manila fight between Muhammad Ali and Joe Frazier. It was
their final match and is considered one of the best fights in boxing history. The
match was sponsored by Imelda Marcos to divert attention from the
declaration of martial law two years before, which resulted in a suspension of
civil rights and subsequent human rights abuses. I used a pair of
commemorative scarves to mark the occasion since the idea of Imelda,
Muhammad Ali and Joe Frazier sharing a silk surface seems like an appropriate
companion to the Paolozzi prints.’
The match was widely
considered a public relations
coup to increase the country’s
‘soft power’, or international
reputation, but the match
disguised much internal conflict
in the Philippines at the time.
Abad’s scarf also features other
cultural signifiers such as the
‘salakót’, a traditional widebrimmed hat from the
Philippines.
Pio Abad, Dazzler (2013)
© the artist
Pio Abad has recently shown at the Silverlens Gallery, Manila, Philippines,
Zabludowicz Collection, London, the Whitechapel Gallery (open) and the
Glasgow International Festival of Visual Art. He was a finalist for the Dazed and
Confused Emerging Artist Award in 2012.
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Marie Angeletti (b. 1984, Marseilles)
Marie Angeletti’s combinations of photographs are often found and exhibited
outside the gallery space, where she adapts and re-orders readymade images.
For example, in Hotel 11a Ibis (2012), stock images mounted in the hotel
corridors became her source material. Again in Fabricantes Couleurs, Pébéo
Factory, Gémenos (2013), a paint factory in Marseilles’ own art collection was
the source material for her project. Her work is as much about the alien images
that we as a society produce through our blatant advertising methods, as it is
about their effect on the spaces in which we display them.
She says of her series here, ‘I was thinking a lot about hybrids. The image of
the woman showing her back was taken at the design museum in Copenhagen.
It's a mannequin, which is supposed to be sexy to model this designer dress. So
by taking the photo and blocking the background, I was interested in
foregrounding her attitude and position and showing the relations between
the objects that surround her. The leather top was from an Alaia fashion book.
I took it just after seeing the
Alaia dress in Musée d'Art
Moderne, next to Henri
Matisse. It has this same
frontal attitude, sexy but
aggressive. The final image
was sourced from an archive
at the Weltkulturen Museum
in Frankfurt. I chose these
photographs because of the
‘communicative’ objects
Marie Angeletti, Fabricantes Couleurs, Pébéo
they depict, evidence of the
Factory, Gémenos (2013)
overt advertising culture in
© the artist, courtesy of Carlos/Ishikawa,
which we live.’
London
Marie Angeletti has had recent solo exhibitions at Carlos/Ishikawa, London,
and has been part of group shows at the Weltkuturen Museum, Frankfurt, and
PSM gallery, Berlin.
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Helen Carmel Benigson (b. 1985, London)
Helen Carmel Benigson creates videos and performances, often with music by
her alter ego rapper ‘Princess Belsize’. Her videos use animated sequences
from video games and DIY animations where a female protagonist must make
her way through challenging, foreign landscapes. Popular symbols and
emoticons, usually downloaded on camera phones or computers and
exchanged via text or email, are often digitally rendered by Benigson and
suspended on the image surface.
In her series for Hayward Touring, Benigson borrows several images from her
most recent videos, Travelling to Africa via a Machine Called a Sunbed (2013)
a digital animation based on the biography of South African artist Irma Stern
and set in her home, and The Future Queen of the Screen (2012), where two
female hip hop dancers compete against one another in ‘real’ and online dance
battles, based on the shores of the Dead Sea.
The artist says of her prints for the show, ‘there is an idea of exchange running
through all three prints – which I think really related to the Paolozzi prints –
the exchange of bodies between and within different mechanical, online,
digital, porous spaces and the exchange of bodies, bodily fluids and gender
roles. Paolozzi’s very fragmented elements are synthesized to make new
bodies in his reinvented collage spaces.’ Prints are on vinyl and then stitched in
concentric circles... I have often used stitch in my work, I guess another way to
physically layer something, but also love the physical action of stitching. The
stitching becomes like road-markings or some kind of mapping formula.’
Of Cervix Opening (2013), the artist says, ‘The print is layered with the cyber
image of the head of Irma Stern in a potential moment before the weight is
lifted. The border images superimposed are brightly coloured stills from my
film Always On, made up of a section of a road in Tel Aviv with sushi overlaid.’
Of Breathing Harder (2013), she explains, ‘The avatar of Irma Stern is standing
on the edge of the sea – the moment before entering a different space. Licking
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Helen Carmel Benigson, Travelling to Africa
via a Machine Called a Sunbed, video still
(2013)
© the artist
Road’s (2013) central image
is of a cyber desert with
avatar girls on computers.
There is a road going
through the desert, like the
road in Cervix Opening. The
extra layer of stitching on
each work becomes like
road-markings or some kind
of mapping formula.’
Helen Carmel Benigson has had recent solo exhibitions at Site Gallery,
Courtesy of the artist
Sheffield, Meantime Project Space, Cheltenham, and the Irma Stern Museum,
Cape Town. She has performed at Performa 13 in New York and been screened
at Tate Modern, London.
Gabriele Beveridge (b. 1985, Hong Kong)
Beveridge’s works consist of several found images, which she adapts and
frames within installations hanging on the wall, or more recently in sculptural
form of relief, where miscellaneous objects are mounted on top of or around
her pictures.
The work here takes a 1980s barbershop poster of a young man’s head, shot
from a side profile and partially obscured by a mirror, which in turn reflects our
own gaze. Beveridge often covers part of the image so as to highlight the
unnatural or unusual poses of her subjects. She says that she is drawn in
particular to hair advertisements because they are photographed at ‘an angle
to the camera to show their hair cut so their gaze is away.’
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Beveridge’s collages and assemblages ask,
how did these vintage advertisements
promote an idealized image of the body
and face, and how has that changed? She
also questions the commercial strategies
for making these images sell, wondering
how her appropriation of them can elicit a
different feeling.
Gabriele Beveridge has had solo shows at
Zabludowicz Collection, London, and Van
Horbourg, Zurich, been in group exhibitions
at Cell Project Space, London, and Ceri
Hand Gallery, London, and was a finalist for
the Dazed and Confused Emerging Artist
Award in 2011.
Gabriele Beveridge, Lucid
Dreaming Hangover (2013)
© the artist
Steve Bishop (b. 1983, Toronto)
Steve Bishop works in different media, making sculptural installations and
images with waste or discarded materials that might seem otherwise
unappealing or architectural features that have been fabricated to go
unnoticed. Using these as starting points, his installations reference both the
artist’s own bodily experience relative to these discrete objects, and his time
spent working with them, often leaving a ghostly or spectral essence behind.
In As If You Could Only Kill Time Without Injuring Eternity III (2011) the artist
tucked an old tie dye t-shirt within a box frame to make a series of intricate
contours. Between the material and glass he then poured mercury, which sat
amongst the folds, emphasizing their form. Both mercury and temperature-
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sensitive fabric respond to the body’s natural temperature and record it even
when it has vanished or disappeared.
For his work in this exhibition, Bishop has framed a series of photographs of
the changing light hitting a
page of his sketchbook. He
recalls the place and time he
made the work, in 2013. ‘It
was a moment on a train
while trying to think of
something to write in my
notebook, that I noticed the
sunlight being spilt across
the page with an arcing
intensity. I thought of these
images as sketches and tried
Steve Bishop, As If You Could Only Kill Time
to re-create them several
Without Injuring Eternity III (2011)
times but it never worked
© the artist, courtesy of Carlos/Ishikawa,
out, which I think says
London
something about chance and
also ideas.’
Steve Bishop has had recent solo shows at Carlos/Ishikawa, London and Frieze
Frame, New York, been part of group exhibitions at Supportico Lopez, Berlin,
David Dale Gallery, Glasgow, and No Format, London, and was a finalist for the
Converse/Dazed Emerging Artist Award 2010.
Bryan Dooley (b.1987, Leeds)
Dooley works most often with photography. In the past he has used editing
software to play with photographic special effects, mirroring, doubling or
repeating particular icons, and thereby distorting the impact of familiar logos
19
or brands. More recently, he has begun to collage these images and
photographs manually.
He says of the series To the HI ground (2013) ‘the work
uses the baseball cap as an index, an image that requires
very little of the viewer, relying on their understanding
of that iconography – where does a baseball cap come
from? Who wears them? What do they signify? Its
simplicity and isolation, suspended upon the white
background suggests an advertising or catalogue
composition. I wanted the image to feel as though it was
culled from its original context, as though it was pulled
from a National Geographic magazine where images
from a lost tribe might sit across from animated
advertising of a Tag Heuer watch or Land Rover... It’s
quite a surrealist landscape of foreign objects, but you
might find them together occupying the same space in
publication formats.’
Bryan Dooley, part of
series To the HI
Ground (2013)
© the artist
Bryan Dooley has shown recently at Cell Project Space,
London, in 2013, been part of Bloomberg New Contemporaries in 2012 at ICA,
London, was shown at Rod Barton Gallery, Cologne and London, and won the
AkzoNobel Photography Award in 2011.
Adham Faramawy (b. 1981, Dubai)
Faramawy‘s work in sculpture, video and photography emphasises the new
surface textures of digital animation and special visual effects software. He
says of his works, ‘they attempt to destabilize the gaze by distorting
commercial forms.’
20
In Wet Look/Dry Wall (2013), different surface effects rub against one
another; the effect of wet against dry, the surface of human skin against plastic
cover, digitally modified neon
colours revealing earthy, telluric
patina. The artist himself appears
wearing a mask (by designer Tessa
Edwards) across the lower part of
his face, obscuring his nose and
mouth. He says, ‘I am inserting
myself into the image. It is
important to me that I am
complicit with the aesthetics,
techniques and ideologies I
describe and even criticize. I've got
no wish to be detached from, or
Adham Faramawy, Wet Look/Dry Wall 2 objective about the work itself, but
(2013)
rather to plunge into the images. I
© the artist, courtesy of Hayward
see it as embedding myself in the
Touring, Southbank Centre, London
surface.’
Adham Faramawy has had a recent solo exhibition at Cell Projects, London, as
well group shows at the David Roberts Art Foundation, London and Galerie
Sultana, Paris. He was part of Brinks Helm at the Cork Midsummer Festival
2013 and was screened at the Oberhausen Film Festival 2013.
Anthea Hamilton (b. 1978, London)
Hamilton works across a range of media, from photographic installation, to
video and performance. In many of her works, images are blown up and
configured within a space to resemble a tableau vivant. Playing with scale and
style, these human figures - often of attractive, athletic males - confront us,
appearing newly restricted, frozen or confined.
21
In her recent work, Hamilton has extended her attention to the limits of
representational photography with her characters ‘coming to life’ in a
performance of Kabuki theatre (Kabuki, Tate Modern, 2012). Kabuki is a
traditional and highly choreographed form of Japanese theatre, where
performers’ movements, costumes, sets and score are linear, minimal and
often quite graphic.
The series here reproduces some of the elements from that performance. A
Kabuki character dressed in a Kimono appears at the bottom right hand corner,
as if from beneath the
striped fabric of a stage
curtain which unfurls
upwards. Behind the curtain
appears a small detail of a
young John Travolta, famous
for his early dance moves in
films ‘Saturday Night Fever’
(1977) and ‘Grease’ (1978).
The red and black vertical
lines and the animated
Anthea Hamilton, Kabuki, performance
Kabuki character obscure his
documentation (2012)
athletic physique, concealing
© the artist, courtesy of Wysing Arts Centre,
and channelling the energy
Cambridgeshire. Photo: Michael Cameron
of his moves.
Anthea Hamilton has recently shown at Bloomberg SPACE, London, Galerie
Perrotin, Paris and Studio Voltaire, London. She has been screened at
59th International Short Film Festival, Oberhausen, Germany, and performed
at Wysing Arts Centre, Cambridgeshire, and The Tanks, Tate Modern, London.
22
Nicholas Hatfull (b. 1984, Tokyo)
Often using familiar graphic icons from high street outlets in the form of logos,
coffee cup lids and menus, Hatfull combines disparate elements to create his
own graphic and cartoon-like landscapes.
For this exhibition he has customized three sandwich cartons
(unassembled/flat packed, consisting of carton board laminated with
polypropylene) from Pret-A-Manger. The original ‘Pret’ images (of animals
composed of familiar vegetables) had been designed by Jörgen Ahlström. The
artist says, ‘I wanted to try working in a way that my own appropriations
become part of the printing process, rather than directly co-opting images.
Where there is a fennel teapot on a cinnamon
and chilli campfire, I was recreating and
combining two separate Pret images, although
choosing more elegantly shaped fennel.’
Nicholas Hatfull, Black
Rose Personaggi (2012)
© the artist
He continues, ‘the aubergine animal, however,
was my invention so instead of endowing it
with facial features, I decided to carve designs
into it that echoed other motifs in the prints –
namely, a stylised sunset and a caution ‘hot
liquids!’ symbol. Over the three prints, I wanted
something between a layout of sandwich pack
design, and a kind of rudimentary landscape,
populated by twee or eerie animals, sunsets
and symbols of steam.’
Nicholas Hatfull was shown at Art Los Angeles Contemporary 2013, Museum
of Contemporary Art, Rome, and the Saatchi Gallery, London. He was the
Sainsbury Scholar in Painting and Sculpture for 2011-12 at the British School at
Rome.
23
Eloise Hawser (b. 1985, London)
Hawser makes work across diverse media, often focusing on tiny and
seemingly incidental details of industrial building materials or newly developed
fabrication techniques. She uses these as starting points for her large
sculptural installations which emphasize and showcase them. Recently she has
begun to look at how 3-D printers might newly – and very peculiarly –
represent the human form.
For this exhibition, Hawser tells us she ‘decided to work from some images of
‘imaging phantoms’, which are objects developed for medical research to
simulate organs or parts of the body so that they can be tested reliably. In
particular, I worked from a catalogue
of a company that makes ‘phantoms’
and shows gloved hands holding
plastic ones. When I saw the BUNK
collages I was reminded of them.’
She continues, ‘I thought it could be a
good juxtaposition to have the
'phantom' images set on a diffused
background of a torso and a
mannequin to reiterate the
seamlessness of skin next to these
odd cubic parts. In some cases the
'phantoms' are actually designed and
textured to simulate the behaviour of
human tissue, so they have beautiful
arterial channels and holes!’
Eloise Hawser, Untitled (2013)
© the artist, courtesy of VI, VII, Oslo,
Norway
Eloise Hawser (b. 1985, London) has had recent exhibitions at VI, VII, Oslo,
Norway, Museum für Moderne Kunst, Frankfurt, Germany, and Kunst Raum
Riehen, Basel, Switzerland. She took part in LISTE18, Basel 2013.
24
Jack Lavender (b. 1983, London)
Typically, Lavender exhibits sculptural installations made up of popular or
kitsch objects collected from markets, second hand shops and thrift stores.
These objects include a collection of his crystal animal figurines, inflatable toys,
action figures and branded glassware. As such his works are like 3D collages
but their assorted objects often have
anthropomorphic details, which he draws
together so that his curious assemblages
have an alternative but life-like human
form.
Jack Lavender, Yesterday’s Man
1 (2013)
© the artist, courtesy of
Hayward Touring, Southbank
Centre, London
In Yesterday’s Man (2013), his collages
combine magazine cuttings with images
of constellations from outer space, as
well as pornographic images of nude
women. Upon these highly woven images
are ‘cut-out’ cartoon eyes. These diverse
rounds, with hugely different
connotations, come together here with
cartoonish whimsy. These are like
fabricated bodies, eyes blinking at us like
those of invisible men, suspended upon
other worlds. Lavender’s Yesterday’s Man
blinks back at us from a different time –
strange and absurd.
Jack Lavender has had a recent solo exhibition at The Approach, London and at
Independent 2013, New York as well as group shows at Mihai Nicodim Gallery,
Los Angeles, Van Horn in Dusseldorf, Germany and V22, London.
25
Harry Meadows (b. 1980, England)
Meadows makes videos and prints which look at the changes to the landscape,
how it is inflected by design elements, inorganic materials and ecological
contaminants, and how these in turn affect the people living in it.
For his commission Splayed (2013), Meadows has produced two
complementary works of leaves printed on silk with the demarcation of an
outstretched hand. Their contrasting framing method and use of bright orange
creates a sense of energy between them.
He says of the works, ‘in my prints, the silk willows have several dynamics
jostling for position. Silk has a familiar touch and flow and the willows are a
picturesque icon made from polygons’ [a 3D aesthetic used in architecture and
computer graphics]. ‘I wanted to explore what it feels like to be in an
environment that has a fluid surface. In order to engage it is also necessary for
my body to undergo a
transformation. My fullscale hand span is
splayed across the willow
leaves, but it is
represented by foam ear
plugs. I wanted to create
Harry Meadows, Splayed (2013)
confusion between them
© the artist, courtesy of Hayward Touring,
as negative prosthetic ear
Southbank Centre, London
holes and also prosthetic
finger tips.’
Harry Meadows has shown in group exhibitions at Charlie Dutton Gallery,
London, [space], London, and The South African Print Gallery, Woodstock,
South Africa. He has also exhibited at Aberystwyth Arts Centre, Wales and The
Barbican, London, and had a residency at Spike Island, Bristol, in 2013.
26
Berry Patten (b. 1986, Essex)
Berry Patten uses photographic collage to explore sensory understandings of
the digital image. In *D (2012) she created images of exotic reefs at the bottom
of a deep blue sea, stretching to the periphery of her own computer screen as
the frame. Her works echo our distorted material perspective when
encountering ‘reality’ through its representation on a computer screen.
Patten says of her work for this exhibition, ‘I fabricated a narrative that I
imagined between the work of cook Ruth Rogers and her husband, architect
Richard Rogers. I'm interested in how, whilst Ruth and her River Café were
bringing Italian ingredients and combinations to Britain, shaping and changing
British palettes, simultaneously Richard was changing the physical landscape
through architecture.’ She goes on, ‘I was thinking about the food recipe as an
actual physical structure, an architectural foundation. In the same way, there is
a performance involved. Building a recipe demands turning a flat text into
colours, texture, movement, taste, memory and creating sensory associations.’
She explains that ‘collage is a process of adding and subtracting authenticity,
movement and performance. I cook recipes from the classic River Cafe book,
take photographs of the food and cooking process, crudely paint over these
images and
then collage together the
various ‘performances’. Then
for the next recipe, I
photograph those original
prints with new scattered
ingredients and add digital
layers; balancing
composition as if it was
flavour, importing references
as if exotic ingredients. I
Berry Pattern, *D (2012)
hope the lines begin to blur
© the artist
between art and food.’
27
Berry Patten was invited to show at the Zabludowicz Collection, London in
2013 and has exhibited in group exhibitions at the Jonathan Viner Gallery,
London, the Embassy Gallery, Edinburgh and Les Urbaines festival, Switzerland.
Peles Empire (c. 1980, Germany and Romania)
Peles Empire has adopted the interior of ‘Peles’, a Romanian castle built
between 1893 and 1913, as the subject of their ongoing collaboration. Situated
at the foot of the Carpathian Mountains in Romania, the rooms of the castle
copy various architectural styles - Art Deco, Orientalism, Renaissance and
Rococo. The collaborative pair has photographically reproduced ten of the
rooms in the castle since their partnership began in 2005. As the project has
evolved, the artists have become more concerned with the distortion or loss of
the ‘original’ within the photographic images
of the castle. They ask, ‘How pixilated or reorientated must a photograph be to lose its
subject and become something abstract, or
new?’
For this exhibition, they continue to explore
this idea. Pasted directly onto the gallery
wall, the images depict the process and
results of pasting photographs of the castle’s
hallway onto a prior gallery installation. Here
the photographs are not of the original
(itself a huge architectural reproduction,
anyway), but are rather pasted installation
shots of an installation itself pasted with
images. These works create a clever ‘miseen-abyme’, an image that contains a formal
copy or mirroring effect within itself.
28
Peles Empire, Cabana II
(2012)
© the artist
Peles Empire has shown recently at the Glasgow Sculpture Studios,
Kunstmuseum Stuttgart, Germany and The Moving Museum, London. They
have also participated in exhibitions at the ICA and Cell Project Space, London,
and Temple Bar Gallery, Dublin.
Samara Scott (b. 1984, London)
Scott often works with diverse materials like glue, chewing gum, body lotions,
and toothpaste in ways that might be described as sculptural. She is fascinated
by the substances that we apply everyday to our bodies which induce feelings
of being ‘smothered in pleasure and nausea, comfort and itchiness, sex and
vomit, artificial and natural.’
For this exhibition, the artist cut-out pages of fashion and gossip magazines,
upon which ad-hoc adhesives have been sprayed or laid, and in some cases
more images have been added. Scott says, ‘I have an attraction and fascination
particularly with this kind of girly matter. I'm excited by both the sense of
fluidity as you flick from image to image, page to page, and the momentum
created by these commercial swatches. Then, in contrast, there is the rankness
as you look beneath the surfaces, the tones of the images and the products
being displayed - there’s turbulence between all these clichés.’
Scott says, ‘I like the specificity of this object [the magazine] with this target
audience-a particular fashion season, colour shades, age groups and social
class. And then braising through it, bruising it, attacking it. So rather than
making a collage out of different magazines, and a storyline mashing up glossy
moments I preferred to carve into this relic like graffiti and cut into it like a
relief that suggests the 'thinness' between the images. Adding the ‘snow’
intended to create a sense of “smotheredness”, so the images became less
legible or infected. And it has this peculiar effect of dust, loose skin,
camouflage or even foundation cream, creating an instant festivity that is quite
unnatural. All of the works have this sensual relationship between sight, smell
and touch.’
29
Samara Scott recently exhibited at Rowing
Projects and Almanac, London, The Royal
Standard, Liverpool, and the Peckham
Palazzo at the Venice Biennale 2013. She is
the most recent recipient of the
Converse/Dazed and Confused Emerging
Artists Award 2013.
Samara Scott, Dreamcatcher
(2012)
© the artist
30
Isobel Harbison
FURTHER READING
Eduardo Paolozzi
BUNK and Paolozzi collage:
Judith Collins; Eduardo Paolozzi, Eduardo Paolozzi: Artificial Horizons and
Eccentric Ladders - Works on Paper 1946-1995, The British Council, London,
1996.
Alex Kitnick, ‘Another Time’, Art Journal, College Art Association, New York,
2012, pp.32-43.
Miranda Harrison, Eduardo Paolozzi: Collaging Culture, Pallant House Gallery,
Chichester, 2013.
Julian Myers, ‘The Future as Fetish’, October, MIT Press, Cambridge: MA 2000,
pp. 62-88.
Fiona Pearson, Paolozzi, Trustees of the National Galleries of Scotland,
Edinburgh, 1999.
Matthew Sperling, ‘Top Bunk!’, Apollo, London, 2013. (Exhibition review of
Eduardo Paolozzi: Collaging Culture, Pallant House Gallery, Chichester, 6 July13 October 2013).
John-Paul Stonard, ‘Eduardo Paolozzi’s Psychological Atlas’, October, MIT
Press, Cambridge: MA, 2001, pp. 51–62.
John-Paul Stonard, ‘The ‘Bunk’ Collages of Eduardo Paolozzi’, The Burlington
Magazine, London, 2008, pp.238-249.
Frank Whitford, Eduardo Paolozzi, Tate Publishing, London, 1971.
Paolozzi Studio
On the National Galleries of Scotland website you can dive into the amazing
Paolozzi Studio, which is permanently recreated in the Modern Art Galleries'
31
Dean Gallery. You can search through the material scattered around the
studio, and use the objects to piece together some of Paolozzi's favourite
themes.
http://www.nationalgalleries.org/education/activityPopup/paolozzi_studio.sw
f
Paolozzi in the collection of the National Galleries of Scotland:
http://www.nationalgalleries.org/index.php/collection/online_az/4:322/result
s/
Paolozzi in the British Council Collection:
http://collection.britishcouncil.org/collection/artist/5/18250
Paolozzi at the Venice Biennale
http://venicebiennale.britishcouncil.org/people/eduardo-paolozzi
‘I was a Rich Man’s Plaything’; Paolozzi on Tate I-map
http://www.tate.org.uk/imap/imap2/pages/paolozzi.html
Paolozzi in the collection of Tate
http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=17
38&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio
The Independent Group
http://www.independentgroup.org.uk
Krazy Kat Archive
In 1986 the National Art Library, London acquired the Krazy Kat Archive of
Twentieth Century Popular Culture, named after George Herriman's strip
character. The Archive consists of nearly 41,000 items amassed since the 1950s
by Paolozzi. The Krazy Kat Archive includes about 4200 comics: 255 titles from
the USA, 157 from Britain, and a handful from Europe and Japan. The great
majority of titles are from the 1960s and 1970s. The collection is housed in the
Victoria & Albert Museum’s Archive of Art and Design.
http://www.vam.ac.uk/resources/archives/index.html
32
Pio Abad
Artist’s Website:
http://cargocollective.com/pioabad
Publications/Interviews:
Pio Abad. ‘Insert by Pio Abad’, in KALEIDOSCOPE, Issue 19 (2013).
Stephanie Bailey. ‘Pio Abad and Joselina Cruz in Conversation’, in Whitewall
Magazine online, May 2013. Available at: http://whitewallmag.com/art/pioabad-and-joselina-cruz-in-conversation
Ellen Mara De Wachter. ‘Zabludowicz Collection Invites: Pio Abad’, for
Zabludowicz Collection online, March 2013. Available at:
http://www.zabludowiczcollection.com/assets/downloads/ABAD_POSTER_AR
TWORK.pdf
Kirsty Ogg, Patricia Vickers, Iwona Blazwick. ‘Pio Abad’, in The London Open, Ex.
Cat. (London: Whitechapel Art Gallery, 2012).
Anon. ‘Converse Emerging Artists Award: Pio Abad’, interview with Dazed
Digital online, 2012. Available at:
http://www.dazeddigital.com/artsandculture/article/14312/1/converseemerging-artists-award-pio-abad
Marie Angeletti
Artist’s Website:
http://marieangeletti.com/
http://www.carlosishikawa.com/artists/marieangeletti/
Publications/Interviews:
Marie Angeletti. Fabricants Couleurs (Zurich, Switzerland: Edition Patrick Frey,
2013).
Marie Angeletti. HOTEL 11a 1bis (London: Mörel Books, 2012).
33
Martin Herbert. ‘Marie Angeletti’, Frieze, Issue 150 (2012).
Helen Carmel Benigson
Artist’s Website:
http://www.helenbenigson.com/
http://rolloart.com/helen_carmel_benigson_princess_belsize_dollar
Publications/Interviews:
Paul Carey-Kent. ‘Helen Carmel Benigson: The Future Queen of the Screen‘, in
Saatchi Online Magazine, November 2011. Available at:
http://magazine.saatchiart.com/articles/artnews/helen-carmel-benigson-thefuture-queen-of-the-screen
Yvette Gresle. ‘Helen Benigson aka Princess Belsize Dollar’, interview in FAD
Magazine online, October 2012. Available at:
http://www.fadwebsite.com/2012/10/04/helen-benigson-aka-princessbelsize-dollar/
Ali Gunn. ‘Interview: Helen Benigson’, in Corridor 8 online, February 2014.
Available at: http://www.corridor8.co.uk/online/interview-helen-benigson/
Emily Mulenga. ‘Helen Benigson Interview’, in Kolekto Magazine online, June
2013. Available at:
http://www.kolektomagazine.com/HTMLFiles/ArtArticles/HelenBenigson.html
Bethany Rex. ‘Palm Trees and Poker Players’, in Aesthetica Blog, February
2012. Available at:
http://aestheticamagazine.blogspot.co.uk/2012/02/palm-trees-and-pokerplayers-james.html
Lily Silverton. ‘Pop Tube: Princess Belsize Dollar’, POP Magazine Special Edition,
Issue 29 (2013).
34
Gabriele Beveridge
Artist’s Website:
http://www.gabrielebeveridge.com/
Publications/Interviews:
Alex Bennet. ‘Interview: Gabriele Beveridge’, in Modern Matter online, June
2013. Available at: http://amodernmatter.com/2013/07/interview-gabrielebeveridge/
Amy Leach, Matthew Ferguson, Isabel Gylling and Gabriele Beveridge.
‘Gabriele Beveridge: In a Normal World I'd Be There’, conversation in This Is
Tomorrow online, 2013. Available at:
http://www.thisistomorrow.info/viewArticle.aspx?artId=1487
Josephine New. ‘Gabriele Beveridge’, in Frieze, Issue 153 (2013).
Steve Bishop
Artist’s Website:
http://stevebishop.org/
http://www.carlosishikawa.com/artists/stevebishop/
Publications/Interviews:
Alex Bennett. ‘Interview: Steve Bishop Part I and Part II’, in Modern Matter
online, 2013. Available at: http://amodernmatter.com/2013/07/interviewsteve-bishop-part-i/ and http://amodernmatter.com/2013/07/interview-stevebishop-part-ii/
Orit Gat. ‘Artists Profile: Steve Bishop’, in Rhizome online, 2011. Available at:
http://rhizome.org/editorial/2011/nov/21/artist-profile-steve-bishop/
Martin Herbert. ‘Steve Bishop and Dan Shaw-Town’, in Frieze, Issue 144 (2012).
Laura McLean-Ferris. ‘The Air Medium’, in Mousse Magazine, #36 (2012), pp.
148-151.
35
William Oliver. ‘Converse Shortlist: Steve Bishop’, interview with Dazed Digital
online, 2010. Available at:
http://www.dazeddigital.com/artsandculture/article/7886/1/converseshortlist-steve-bishop
Rob Sharp. ‘An Escalator Can Never Break’, in Modern Painters (2013), p.105.
Gilda Williams. ‘An Escalator Can Never Break’, in Artforum (April 2013),
pp.269-70.
Bryan Dooley
Artist’s Website:
http://www.bryandooley.com/
Publications/Interviews:
Ciara Moloney. ‘Bryan Dooley: Rabbit is Rich’, in This Is Tomorrow online, 2013.
Available at: http://www.thisistomorrow.info/viewArticle.aspx?artId=1831
Adham Faramawy
Artist’s Website:
http://adhamfaramawy.blogspot.co.uk/
Publications/Interviews:
Edwina Atlee. ‘Adham Faramawy: Hydra’, in This Is Tomorrow online, February
2014. Available at:
http://www.thisistomorrow.info/viewArticle.aspx?artId=2269
Adham Faramawy. ‘Five Videos: Adham Faramawy's Leave the Ordinary
Behind’, in Rhizome online, September 2012. Available at:
http://rhizome.org/editorial/tags/adham-faramawy/
36
Donna Tillotson. ‘Between History and Myth: Artist Adham Faramawy explores
the making of legends in his latest show on display at London’s Aubin Gallery’,
in Filler Magazine, Issue 4, Volume 4 (2013-2014).
Anthea Hamilton
Artist’s Website:
http://antheahamilton.com/
Publications/Interviews:
Anthea Hamilton; Alice Channer. ‘Full Frontal: Because We Can’t Think in Three
Dimensions’, in Mousse Magazine, #33 (April-May 2012).
Martin Herbert. ‘Anthea Hamilton – Body Image’ in Frieze, Issue 140 (JuneAugust 2011).
Coline Milliard. ‘Anthea Hamilton: Gymnasium’, in Frieze online, June 2008.
Available at: http://www.frieze.com/shows/review/anthea_hamilton/
Sherman Sam. ‘Critic’s Pick’, in Artforum (November 2012).
Skye Sherwin. ‘Artist of the Week 209: Anthea Hamilton’, in The Guardian (27
September 2012).
Gilda Williams. ‘Anthea Hamilton’, in Artforum (November 2006).
Nicholas Hatfull
Artist’s Website:
http://www.nicholashatfull.com/
Publications/Interviews:
Isobel Harbison. ‘Nicholas Hatfull', in Frieze, Issue 144 (January-February 2012).
37
Eloise Hawser
Artist’s Website:
http://www.eloisehawser.com/
http://vivii.no/Eloise-Hawser
Publications/Interviews:
Arve Rod. ‘Eloise Hawser’, in Artforum (2013).
Jennie Syson. ‘Splendid Bazaar’, in Nottingham Visual Arts online, October
2009. Available at:
http://www.nottinghamvisualarts.net/articles/200910/splendid-bazaar
Eloise Hawser. ‘Eloise Hawser: A Journey Through London Subculture’, in ICA
Blog online, 2013. Available at: http://www.ica.org.uk/blog/eloise-hawserjourney-through-london-subculture
Jack Lavender
Artist’s Website:
http://www.theapproach.co.uk/artists/lavender/
Publications/Interviews:
Isobel Harbison. ‘Jack Lavender, Oliver Osborne, Marco Palmieri’, in Frieze,
Issue 150 (October 2012).
William Kherbeck. ‘Jack Lavender: Dreams Chunky’, in Port Magazine online,
July 5. Available at: http://www.port-magazine.com/art-photography/jacklavender-dreams-chunky/
Lorena Munoz-Alonso. ‘Jack Lavender: Dreams Chunky’, in Art Agenda online,
July 2013. Available at: http://art-agenda.com/reviews/jack-lavenders-dreamschunky/
38
Harry Meadows
Artist’s Website:
http://harrymeadows.blogspot.co.uk/
Publications/Interviews:
Milly Ross. ‘Studio Visit: Harry Meadows’, in Jotta online, August 2010.
Available at: http://www.jotta.com/jotta/article/v2-published/962/studiovisit-harry-meadows
Berry Patten
Artist’s Website:
http://www.berrypatten.co.uk/
Publications/Interviews:
Anon. ‘Artist Berry Patten Answers FAD’s Questions’, in FAD online, June 2013.
Available at: http://www.fadwebsite.com/2013/07/04/artist-berry-pattenanswers-fads-questions/
Adam Burton. Bevel, Chamfer (London: The Two Jonnys' Project Space, 2010).
Ellen Mara De Wachter. ‘Zabludowicz Collection Invites: Berry Patten’, for
Zabludowicz Collection online, June 2013. Available at:
http://www.zabludowiczcollection.com/assets/downloads/BERRY_POSTER_AR
WORK.pdf
Peles Empire
Artist’s Website:
http://www.pelesempire.com/
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Publications/Interviews:
Rob Alderson. ‘Frieze Projects: Peles Empire’, in It’s Nice That online, October
2011. Available at: http://www.itsnicethat.com/articles/frieze-projects-pelesempire
Emily Burns. ‘Peles Empire: FORMATION’, in This Is Tomorrow online, February
2013. Available at:
http://www.thisistomorrow.info/viewArticle.aspx?artId=1701
Jac Mantle. ‘Peles Empire: Dissolving the Past’, in The Skinny online, April 2013.
Available at: http://www.theskinny.co.uk/art/features/304561peles_empire_dissolving_past
Amy Sherlock. ‘Focus Case Study: Peles Empire’, in Frieze, Issue 155 (May
2013).
Samara Scott
Artist’s Website:
http://www.samarascott.com/
Publications/Interviews:
Anon. ‘Converse/Dazed Emerging Artists Award: Samara Scott’, in Dazed
Digital online, 2012. Available at:
http://www.dazeddigital.com/artsandculture/article/14607/1/conversedazed-emerging-artists-award-samara-scott
Anon. ‘Samara Scott Wins Converse/Dazed Award’, in Dazed Digital online,
2012. Available at:
http://www.dazeddigital.com/artsandculture/article/14943/1/samara-scottwins-converse-dazed-award
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