Richard Kirwan

• The art market is much like a supermarket.
• 'The american supermarket' Warhol.
• Brillo Boxes, all the things you don't see in the perfect art gallery.
• Romanticism over the older objects, how objects change in our environment.
• Values of artworks, original object versus sculptures he made (Brillo Boxes 1968 Warhol)
• How we occupy/use artwork: Wearing dresses (Suzanne Moss) cardboard boxes to rich woman's dress.
• Lack of care (Warhol Gesture) people tripping over the sculptures.
• Imposter lecturer 1967, pretended to be Warhol at Warhol's own request.
• Got to show his work alongside Warhol's (Eggs painting), 'Depth of Field' 2011 Kirwan. Loss of control over the work when you exhibit, no control over what it is next to.
• John M Armleder: Painting lobster wall with glitter painting on it, contaminating the pure gallery space.
• What does clever look like?
• Exhibition based on Warhol's 'Painting for Children' called 'Tell the Children'. Transfered his paintings into more of an installation, digital print on vinyl and works hung on-top of that he didn't know about. Interested in the visual impact on the senses (optical illusions).
• 'Interventions and Paintings' London 2015, work particular to the space: revisited the idea of digital print, very precise paintings, relates to 1960's pop art and graphics/design. Interpreting work in his own way 'Renaissance'.
• All artists are obsessive in some way whether it comes across in the work or not.
• 'From A to B and back again' Warhol book.

Source

Lee Triming

• Anti-social thesis: Queer Identity
• Image is an object

Source

Theo Price

• COBRA RES project (cabinet office briefing room A): Emergency politics and aesthetics.
• How do you represent something that is hard to be seen/grasped.
• Repulsed yet fascinated by these images.
• Don't need a physical thing for it to have power.
• Whenever COBRA meets he gets a group of artists together.
• Study for a head XI - liked this!
• Pandemic snap.
• 'Blanc' Clare Potter 2015

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Doug Fishbone

• A sounds has no fixed meaning without context.
• 'Elmina': What happens when the white artist steps into a black film. Conventional film in one sense but putting inappropriate actor in the lead role. What happens when you flip the conventions of race and representation. Is everything dependant on perspective?
• 'Hypno-project': Hypnotised people then showed them images, respond to certain images. Two audiences looking at the same stimulus, triangular. Investigating propaganda and advertising.
• 'Made in China': How to make idea a reality. Village of artists in China that reproduce famous paintings. Providing cheap aesthetic products. Switched a real painting in a museum with a fake, audience had to spot it. How do we know that we are shown is real? What a piece of art is to different cultures, western (considered bad to make/sell fakes). Crazy notion of replica: copycat cities in China.
• Tips for project description: Make them interesting, make them visual, go easy on artspeak and remember you are trying to sell them something.

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Ben Judd

"Ben Judd’s work examines his relationship to specific individuals and groups; recently the choreographic and the rhythmic has been used as a method of constructing temporary communities. The work explores how the ritualistic activities of marginalised groups and individuals can be extended into an action realised by actors (one that itself hovers on the border between immersion and a more self-conscious, knowing state), and how, in turn, this action can be interpreted in a moving image work. Positioning himself and the audience as both participant and observer, he engages the grey area between ritual and performance, searching for an unreachable and idealised state of community."

http://benjudd.com/biography/

http://benjudd.com/video-and-performance/a-deep-and-tenebrous-unity/

"A performance at Bloc Projects, Sheffield, which further explored themes of closeness/distance and revealed/hidden. Performers used text taken from conversations with Icelanders during Judd’s residency in Seyðisfjörður in December 2014. Seyðisfjörður is in a remote part of eastern Iceland surrounded by mountains, and his conversations there focussed on its location, the community, the winter darkness and the Icelandic mythology of ‘hidden people’. This text was combined with selected phrases from William Morris’s diary of his trip to Iceland in 1871. Judd also incorporated original Victorian photographs in a roving magic lantern projection."

http://benjudd.com/video-and-performance/a-deep-and-tenebrous-unity/

Savinder Bual

"My practice is driven by my fascination with the illusory qualities inherent in cinema. Imagining myself as a film pioneer I explore the interplay between the moving and the still creating works that sit between the pre-cinematic and the digital.

By discovering low-fi ways to add movement to single images and commonplace objects/materials my intent is to ignite an element of wonder at the illusion of cinema, giving the everyday enough of a twist to allow the imagination to run free."

http://www.savinderbual.com/about.html

Flight from Bual on Vimeo.

http://www.savinderbual.com/about.html

• Moving image - Both subject and medium within her work.
• Early films - About movement which is something she explores in her work.
• Traditional film - Half of the films are in darkness caused by the interruption of the shutters inside the projectors.
• Interested in what happens in black space between imagery - Sees black space as room for imagination. 
• Believes in living in the now and in the moment.
• The themes of flight play a large part in her practice.

Ian Kiaer

"Ian Kiaer is an artist based in London. Kiaer received his MA in Painting from the Royal College of Art, London in 1998 and his BA in Fine Art from Slade School of Fine Art, University College London, in 1995."

http://en.wikipedia.org/wiki/Ian_Kiaer

http://www.fkv.de/english/press.html?id=9&year=2011

http://www.domusweb.it/en/art/2011/06/06/ian-kiaer-at-the-venice-biennale.html

https://sashamorris.wordpress.com/2013/02/07/ian-kiaer-2

• Studio space - space of thinking before making [in relation to time].
• Most important when we are inactive?
• Laying down is a different view [in relation to his yoga mat piece].
• What is production?
• So close to the ground it is passive [yoga mat].
• Monochrome - Death of painting? "First full stop" [where do I go from here]
• Started thinking about architecture - Melnikov
• Kiaer's work - Shiny black material: After the exhibition became limp and powerless [Reused it half a painting].
• Melnikov - First works are death beds.
• Kiaer's work - Hospital work [shezlong] work for quiet spaces: Modernist hospital based.
• Thinking about painting through paintings death.
• Kiaer's work - Based on monochrome and the painting.
• The model is a pragmatic form.
• Mike Web: 'Inflatable suit'.
• Istanbul work - Various proposals based around models.
• Idea of models relationship to the [written] fragment: Philosophical form.
• Talks about autonomy.
• The way he presented was fragmented.

Livia Martin

• Studio based practice - works with everyday objects.
• First few years spent walking markets and collecting objects.
• Interested in shape and form and the interaction between the object and the subject (person).
• Special attention to the everyday object.
• “That which is overseen becomes visible”.
• Like the material - looks very tactile and mouldable ( ‘ Untitled’ Silicone rubber casts).
• Like the presentation in the exhibition space (have to go closer to see what it is).
• ‘Fictions of use II’, 2007 - lipsticks shape differently for everyone. Relates to personal identity, mass produced but made personal.
• Moved on (to different work) - how do we relate to objects once they become broken (started to work with ceramics).
• ‘Broken things’, 2012 - fragmented objects filled gaps with golden thread.

http://uk.complex.com/style/2013/08/livia-martin-ceramics