from www.tamarinnorwood.co.uk
If you missed me making it sound like I was making art for fifteen minutes on Resonance FM the other week, you can hear it again below. It was originally broadcast on November 16th as part of the antepress art writing programme Digestives.
My next Digestives programme isn’t until early February. In the meantime here’s a sneak preview of what I’m looking at in preparation: Read the rest of this entry »
On Saturday I presented a new work at the Stanley Picker gallery during the Writing Exhibitions symposium. Here’s an outline of my work, which I called Genuine Smiles:
A sheet of paper is attached to one wall of the gallery, and attached just below it is a long piece of string with a sharpened pencil fixed to the other end. Visitors are invited to hold a pencil and do whatever they need to do to muster a genuine smile. Read the rest of this entry »
Resonance fm is broadcasting a new audio work of mine this afternoon as part of Digestives, the ongoing art writing radio series from antepress. It’s going to be be aired on today at 4:30pm and repeated Friday 20 November at 7:30pm.
You can listen live by clicking the ‘Listen Now’ mp3 stream at www.resonancefm.com, or tune in to 104.4fm inside London. Afterwards it will be available to download as a podcast at www.antepress.co.uk/digestives.php.
Allan Kaprow again. One characteristic of the lifelike art that was emerging in the sixties:
The Real Experiment (1983)
The picture below shows the framework of a discussion we held last night at the Vyner St space. We talked about LIKE WHEN YOU in connection with Claire and Altair’s Empty Studio Interviews project, as a way to think more about correspondences between studio and gallery spaces.
A number of practising artists came along and talked about how they use their studios, and many of them didn’t feel the space of the studio presented any specific problems. Read the rest of this entry »
Here’s my globe reference guide as it approaches my work. Two earlier posts about the Guide are here and here.
The globe reference guide gives instructions for determining the date of a globe
“by comparing it to the listing of cartographic changes below. [...] As an example: If your globe shows the Philippines as independent (1946); but India is a British colony and not yet independent (1947); then the approximate edition date for your globe is 1946 or 1947. The general area of change is shown in brackets [ ].”
I write a diary every day, usually in biro, always in some kind of a hardcover A5 book. I’ve been writing them since 1995 with about ten books each year, so now I’ve got shelves of them. They take up quite a lot of space, and as physical things they’re very important to me. If there were a fire in the house I’d throw them out the window first and jump after them. I stick things in, I monitor my handwriting for mood, I put new covers on them, I shelve them, I browse their spines, I leaf through them.
Rather than writing about what’s happened every day, the important thing is that there’s something there to mark my participation in each day, or my presence during it. The days in the books have to bear witness to the living days. When I was working with Nick the other day trying to treat things like words and vice versa, I started to wonder how I could produce a diary by making daily things instead of writing them.
My father phoned from the car while I was on the bus to tell me about an old friend he’d met today. His friend has begun to paint religious icons, using traditional methods in every measure. To paint an icon is something like prayer, she said; the bringing together of the marks, the gathering of the image in anticipation of the prayers to be said before it, asks for a certain preparation of mind. The iconographers are only people, and the people praying are only people too, but there is an understanding between them.
