tag:blogger.com,1999:blog-31509535541552271192012-01-30T23:21:51.866ZForum Programmeshttp://www.blogger.com/profile/01213826091209707760noreply@blogger.comBlogger401100tag:blogger.com,1999:blog-3150953554155227119.post-79138358707394071182009-01-18T11:39:00.061Z2009-01-20T12:51:05.158Z

The INS take the stage, All photos © Miranda Gavin, 2009The INS Chief of Propaganda Anthony Auberach issues me with a pass and a manila folder containing the press briefing. Minutes later, one of the officials, suitably dressed in a grey suit, offers the following instructions:You have a seat reserved and can move freely around the auditorium to take photographs. And flash, yes, feel free to use

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-52571785795441812242008-11-04T16:46:00.007Z2008-11-22T09:53:10.962Z

As blog mechanisms usually load up the most recent post first, so I have chosen to write this report in a manner to reflect that: to report backwards through a packed two-day conference at Tate Modern, centred on the idea of the landmark exhibition.Fittingly, Saturday ended with Reesa Greenberg on memory as replica, riff and reprise, and a call for greater use of the internet to act as a

Alexnoreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-37339433696531576042008-10-16T08:18:00.016+01:002008-10-17T11:51:36.148+01:00

Hans Haake (photo Miranda Gavin, 2008)Welcome to a new contributor Oli Harris, a London Consortium student, who was at the Tate's symposium Landmark Exhibitions – Contemporary Art Shows Since 1968 to cover the first day of the two-day event for The Forum.When does an exhibition become a landmark? Well, if people are still talking about it twenty-three years later, the chances are it deserves some

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com2tag:blogger.com,1999:blog-3150953554155227119.post-27325333956098618762008-09-25T14:07:00.017+01:002008-09-26T13:56:26.271+01:00

Noah Purifoy's place, Joshua Tree, Inland Empire, All photos © Miranda Gavin 2007In what will become a series of free-form conversations, I'm hoping to take some discussions further afield and use cyberspace to connect across continents with artists of all persuasions and backgrounds.For the first in the series, I would like to welcome Johnette Napolitano to The Forum. Johnette was the lead

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-50929249431035416052008-08-05T12:52:00.015+01:002008-08-07T19:06:42.981+01:00

Photography © Kevin LinnettKatherine Leedale, a participant in the no.w.here Photography in Film & Film in Photography workshop, displays the piece she developed over the 2-week course.

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-28751006516663603002008-07-29T15:22:00.020+01:002008-07-31T10:18:21.844+01:00

Photo credit: JJ Charlesworth, 2008 Photo credits, all above: JJ Charlesworth, 2008Thanks to JJ from Art Review for allowing us to post the photos he used in his presentation at the Tate's Collecting Street Art talk (see earlier posts). Since the talk, I keep coming across street art, for example, the work below which is outside the National Union of Journalists HQ in King's Cross. The woman

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com2tag:blogger.com,1999:blog-3150953554155227119.post-87590768035755595882008-07-28T16:00:00.004+01:002008-07-28T16:20:44.795+01:00

Street ArtInstallation View 2 2008© Tate PhotographyCan the art that was commissioned by Tate Modern to adorn the river facade of the building displayed until the 25th of August be considered “street art”? Well, it's not in the street, it's not the result of a spontaneous initiative, it didn't appear overnight without permission. The works might have been assembled under the name Street Art, but

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-80496507450297732472008-07-27T23:27:00.004+01:002008-07-28T00:23:00.657+01:00

Cy Twombly Wilder Shores of Love (Bassano in Teverina), 1985. Cy Twombly Collection © Cy Twombly.As I recently wandered around the Cy Twombly retrospective, my eye was caught by a series of 24 drawings called Poems to the Sea. Executed on small squares of white paper whilst Twombly was staying in Sperlonga, a tiny fishing village perched on the coast between Rome and Naples, these works are at

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-27186444291141733862008-07-26T15:14:00.005+01:002008-07-26T19:20:22.341+01:00

There are some clear no-nos when chairing a talk and wearing shorts (call me old fashioned) is one of them, whether you are male or female. Unless there's a point in drawing attention to your legs, it just distracts from the conversation. I couldn’t help it. I was sitting in the front row of the Starr Auditorium at Tate Modern trying to keep focused on the guests (who were either wearing jeans

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-6962331037823447052008-07-22T14:24:00.005+01:002008-07-22T14:46:14.139+01:00

Still from The Last Silent Movie. Susan Hiller, 2007. Courtesy of Matt's Gallery.Languages are our most common, yet our most complex and codedmode of communication. Some, such as English, are used by many people the world over and others are secret or extinct, decimated with the people who had knowledge of them. Susan Hiller's work tends to explore the latter, often via various forms of recording

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-48203531163145037042008-07-17T22:15:00.012+01:002008-07-18T17:16:09.539+01:00

I picked up a couple of useful pointers during Friday’s Street Art talk. First of all: if you’re ever seized with sudden yen to slap a subversive poster on a billboard, tape over a road sign, rip up a few paving slabs or set fire to a CCTV camera, hang fire until Sunday morning. According to Brad Downey, one of the two artists speaking, this is the prime time for committing acts of street art

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-77624095789591847942008-07-16T00:45:00.009+01:002008-07-18T17:18:52.946+01:00

Photography in film and film in photography workshop ; a journey in two parts led by Karen Mirza and Brad Butler of No.w.here The relationship between the still and the moving image has never been a simple or linear one. It is not that the invention of photography at point A led slowly but inexorably to point B where cinematic moving film was invented at which point (um, C?) the two happily

Katherine Leedalehttp://www.blogger.com/profile/01992620506565096009noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-74785478939847069702008-07-09T21:02:00.008+01:002008-07-18T17:16:52.552+01:00

Actor Holly Strickland tells The Forum about what it was like to be involved with Combatant Status Review Tribunals pp.002954-003064: A Public Reading, recently held at Tate Modern: "To coincide with the opening of 9 Scripts from a Nation at War, a collaborative work by Andrea Geyer, Sharon Hayes, Ashley Hunt, Katya Sander and David Thorne currently showing in the Level 2 Gallery, the artists,

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-75170071893779698192008-07-05T09:36:00.004+01:002008-07-06T16:56:41.938+01:00

The Forum is now on Facebook! Join the group and invite your friends hereAnd here is the rest of it.

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-1608025359939475652008-06-29T19:31:00.016+01:002008-06-29T22:32:24.142+01:00

Ironically, Shami Chakrabarti’s last job before she left the Home Office saw her drafting anti-terror legislation. This institutional-insider’s perspective, together with her legal background and front-line human rights activism as the current Director of Liberty, made her a particularly apposite speaker to lead a talk and discussion in relation to 9 Scripts From a Nation at War, currently

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-46965881543947370442008-06-23T17:00:00.005+01:002008-06-25T23:26:41.758+01:00

Editing is often an act of extreme violence that should never be exercised upon oneself. That's why professionals are hired to wield the ax that cuts through the redundant sentences or the not-quite-right photographs that, as the author or the artist, you've grown attached to in spite of their shortcomings.The leader of the Urban Portraiture workshop, Melanie Manchot , summed it best when she

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-77948447134258082102008-06-11T22:20:00.009+01:002008-06-12T13:46:00.774+01:00

Cornelia Parker is obsessed with things: old things no-one wants any more, things salvaged from the dump, things unearthed in pawnshops, fleamarkets and dingy antique shops, things tarnished with a thick patina of accumulated history – things that have the ability to ‘make the hair on the back of your neck stand up’ with their sense of presence and past.Throughout her talk, the joyous and

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-54254256045500209532008-06-06T22:03:00.007+01:002008-06-06T22:23:52.942+01:00

Joel SternfeldAttorney with laundry, corner Bank and West 41 street, NYC 1988Museum Folkwang, Essen © Joel Sternfeld courtesy Pace/Mac Gill Gallery, New YorkC-Print138 x 111 cm“Photography is truth.” once said the French director Jean-Luch Godard , but who owns this truth? The photographer? The subject? The image itself? Why have we come to expect truth from photography in the first place?

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com1tag:blogger.com,1999:blog-3150953554155227119.post-17680056492453949512008-06-01T13:19:00.024+01:002008-06-05T14:03:55.645+01:00

Pound for Pound, © The Forum, May 2008 Shoot London offered the chance to get snapping in a fun way but it is also a commercial venture and teams were offered the opportunity to submit their work to its online photo library website Shoot Bank which is currently in production.If you sign a contract make sure you understand all the terms. Thankfully, the Shoot London team provided an A4 sheet

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-64705398179344842182008-05-27T23:09:00.020+01:002008-07-09T20:43:05.901+01:00

Well, that of the photographic, rather than the Dick Whittington variety at least. As the Tate Modern’s current exhibition Street and Studio amply demonstrates, the camera and the street have a longstanding affiliation, with many photographers deriving their inspiration from the highways and byways of metropolises the world over.Shoot London, organised in collaboration with Shoot Experience,

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com1tag:blogger.com,1999:blog-3150953554155227119.post-56844911869509206962008-05-23T21:36:00.006+01:002008-05-23T22:32:55.676+01:00

Commodity:1. Something useful that can be turned to commercial or other advantage.2. An article of trade or commerce, especially an agricultural or mining product that can be processed and resold.3. Advantage; benefit.4. (Obsolete) A quantity of goods.If you were anywhere near the South Bank on the afternoon of the 10 May, you might have seen two figures shrouded in black plastic bags carrying a

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-47668965804712705472008-05-06T21:56:00.010+01:002008-05-06T22:32:47.248+01:00

‘I'm fairly literal as opposed to literary’Glen Ligon at Talking Art, Tate Modern, 24 April If you don't know the work of Glenn Ligon, a New York-based artist known for his work around language, then now is the time to get acquainted. At the latest in the Tate's Talking Art held in collaboration with Art Monthly Ligon was a candid and entertaining interviewee as he spoke to Art Monthly editor

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-87110004399295644762008-04-16T18:39:00.007+01:002008-04-16T19:25:47.623+01:00

Workers filling the Shibboleth with concrete.The creation of the Shibboleth, the infamous Doris Salcedo contribution to the Unilever Series, was shrouded in mystery. In the eyes of sporadic visitors, it just appeared as if one day the Turbine Hall cracked open. Speculations as to how the 548ft crack had been built spread like wild fire in the media as well as in the conversations of people

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-34153740863141371562008-04-13T17:11:00.012+01:002008-04-21T16:30:30.381+01:00

Gustav Metzger, Wolf Vostell and Al HansonPhoto credit: Tom PictonLent by the artist's familyImage taken from Tate Britain's website Have you ever seen about 200 people simultaneously bending forward in their seats, literally straining to try and hear every word uttered by someone sitting on a stage meters away? It's quite a sight and you would have witnessed this had you attended the Talking Art

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-91347184916187406652008-04-11T15:15:00.005+01:002008-04-11T15:33:36.742+01:00

Thinking of self portraits, the assumption is that they are usually human self portraits and there are countless examples of the genre. But animal self portraits?Follow this link for a surprise... Perhaps the Tate will debate this new art trend?

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-32621890348161478712008-04-07T12:02:00.010+01:002008-04-07T22:27:48.701+01:00

Participatory art as a concept and practice is a slippery notion. It is a shifting and constantly renegotiated conceptual framework which is used to define a variety of activities and practices residing in specific cultural and historical contexts. It has been linked to theories of participatory democracy, it has multiple histories, and its political, social and ethical dimensions are variously

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com1tag:blogger.com,1999:blog-3150953554155227119.post-53315659564182836122008-04-03T01:53:00.049+01:002008-04-03T09:37:26.760+01:00

At about a quarter past 11 on a slightly overcast Saturday morning, a white truck materialises outside Tate Modern's River Entrance. From the back of the truck, a bright orange forklift begins unloading several wooden palettes laden with rather large blocks of ice. The palettes are deposed at the four corners of an ad-hoc performance space demarcated by the sort of aluminium barricading one might

Marcus Galen Mitchellhttp://www.blogger.com/profile/03774333078222831435noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-76673690562311223482008-03-28T19:05:00.005Z2008-03-28T22:59:54.826Z

This image used to represent Supernatural Presents... Digital Dreams was created by Zissou, founder of Supernatural Studios.The very red Seminar Room of the Tate Modern's Starr Auditorium is littered with laptops and screens on which the most fantastic scenes of Hollywood blockbusters are projected in a loop. A number of media types - recognizable by the impeccable choice of designer denim - and

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-47161583753940063212008-03-13T16:47:00.007Z2008-03-17T11:08:38.926Z

I attended Against the Avant-garde? a study organised by Tate Modern and the Open University on the 8 March with a bit of resistance and a lot of curiosity. By doing a post-graduate degree in the fringes of art, I'd already encountered so many uses of the term 'avant-garde' that I had started to doubt its etymological origins. In French, my first language, 'avant' means before and 'garde' means

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com2tag:blogger.com,1999:blog-3150953554155227119.post-55586800630651920272008-03-12T10:40:00.029Z2008-03-12T12:35:28.567Z

News FlashLast Saturday (8 March) a group of around 10 men and women joined the artist activist THE VACUUM CLEANER to whisper, clean, lay their scars across, and bandage Doris Salcedo's art work Shibboleth at the Tate Modern in London as visitors looked on. The Forum team recorded the event.Photos: © Miranda Gavin, 2008

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-4180208305787224692008-03-11T23:04:00.008Z2008-03-17T11:10:28.391Z

It’s week five of the Surreal Art, Magical Poetry course, and, flanked by the appropriately bizarre productions on display in the Duchamp, Man Ray and Picabia exhibition, the group are reading out the fruits of last Monday’s class. This previous session, it seems, was hard work – although you wouldn’t be able to tell from the poems that emerged from it. The pieces are strikingly experimental and

Catherine Spencerhttp://www.blogger.com/profile/16409899582466862340noreply@blogger.com3tag:blogger.com,1999:blog-3150953554155227119.post-31336897168726403142008-03-09T19:50:00.018Z2008-03-12T12:27:15.061Z

Photos: © Miranda Gavin, 2008The gentle art of haiku and senryu poetry and their potential in art practice was explored in two workshops led by Japanese artist Hana Sakuma, who once divided the letters R and L into two separate piles from a bag of alphabet-shaped pasta for her work Diffelence (2002).The sounds R and L are notoriously difficult for Japanese people to form as they don’t exist

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-35753200177768430512008-03-07T21:18:00.010Z2008-03-09T15:25:38.826Z

Here is the eagerly awaited avant-garde self-portrait by Richard DeDomenici.A man called Anthony drawing over a picture of radical American labour organiser Lucy Parsons, so it more closely resembles me.Photograph: Richard DeDomeniciA picture of radical American labour organiser Lucy Parsons drawn over by a man called Anthony so it more closely resembles me.Photograph: Richard DeDomenici

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-45752869000848133852008-03-07T15:35:00.015Z2008-03-11T11:09:25.638Z

Doris Salcedo Shibboleth 2007 Photo: TateImage from the Tate Modern WebsiteIt's amazing the things you can find at the end of something else: home at the end of a journey, a fish at the end of your line, a pot of gold at the end of a rainbow. Yesterday, I found artist Richard DeDomenici at the end of the Tate Modern's crack. Equipped with a coffee and a hot chocolate, we headed for one of the

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-81564768760422518522008-03-05T16:44:00.010Z2008-03-13T17:42:19.602Z

It’s week five of the Seven Ways of Thinking About Art course at the Tate Modern and I catch the tail end of the class. Some of the work of Mark Rothko is being discussed in the dimly-lit Rothko Room, which is ideal for contemplative appreciation, while Giacometti’s impossibly slender Bronzes stand to attention in the brighter Material Gestures room.Giacometti’s sculptures are like a group of

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com2tag:blogger.com,1999:blog-3150953554155227119.post-37425892015306112582008-03-01T13:08:00.030Z2008-03-10T14:41:23.572Z

Alfredo Jaar, Muxima, 2005, digital video, 36'. Courtesy the artist and Galerie Lelong, New York. Chilean-born artist Alfredo Jaar’s latest solo exhibition Politics of the Image opened at the South London Gallery last week and runs until 6 April. At the opening, Alfredo took the press on a tour of his solo show which presents six works born of his 25-year long engagement with Africa. A talk with

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-71877383501010813762008-02-25T08:29:00.048Z2008-03-10T14:38:55.424Z

It’s a building, it looks like a church… there’s a lot of orange - hot colours - and the brush strokes; there are big splodges of colour…'A student discussing one of Piet Mondrian’s paintings using an anti-intentionalist approachNigel Warburton’s seven-week course at the Tate Modern is aptly titled Seven Ways of Thinking About Art and to get a feel for the course I’ve parachuted in for the second

Miranda Gavinhttp://www.blogger.com/profile/08589139708551755433noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-79858074102792002582008-02-24T16:15:00.019Z2008-03-11T16:33:50.747Z

Marcel Duchamp Fountain 1917 Tate © Succession Marcel Duchamp/Paris and DACS, London 2007When visiting Tate Modern's Duchamp, Man Ray, Picabia exhibition up until the 26th of May 2008 , it occurred to me that there is something mind-boggling about encountering an iconic work of art in the flesh. It is indeed flesh that we are referring to because the combination of paint, marble or any other

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-10165761098010305162008-02-23T18:45:00.005Z2008-03-04T09:43:27.469Z

Last Monday, I danced in front of a Pollock, moved around a stark room as if I was melting and attempted to embody the matte maroon of a Rothko by rolling around on the floor of a gallery. That was quite a start to the week! Why was I not unceremoniously thrown out of the museum for aberrant behavior?Long gone are the days when I could get away with that kind of conduct in public with a gap

Martine Rouleauhttp://www.blogger.com/profile/11821254208462120973noreply@blogger.com0tag:blogger.com,1999:blog-3150953554155227119.post-3127035212314430282008-02-22T16:31:00.003Z2008-03-04T09:46:43.396Z

A very long time ago, I used to take Life Drawing instruction at the National Academy Museum of Fine Arts in New York. The course followed the traditional atelier method; students arranged their easels and drafting boards in a wide semi-circle or ring around the periphery of the room, like the audience of an enclosed, miniature amphitheatre. Attentions were affixed to the center of the room,

Marcus Galen Mitchellhttp://www.blogger.com/profile/03774333078222831435noreply@blogger.com0