Dr Susi Arnott
Ellie‽ (Radio Edit)Listening to the Acid Brass album, a collection of acid house tunes played by a brass band. It really works. One of these was in the end credits of Four Lions.
#NowPlaying #AcidBrass #TheWilliamsFaireyBrassBand #JeremyDeller
slowforwardhal foster: “fail better. reckoning with artists and critics”
Sandro Ricaldone
HAL FOSTER
Fail Better
Reckoning with Artists and Critics
The MIT Press, 2025
(forthcoming)
“Serious art anticipates the future as much as it reflects the present,” Hal Foster remarked in a 2015 interview. “By the same token serious art history is driven by the present as much as it is informed by the past.” In Fail Better, Foster, an art critic and historian whose influential work spans disciplines and decades, brings this peripatetic perspective to contemporary art, art criticism, art history, and his own work over the past 50 years.
In these 40 texts, Foster reviews artists from Richard Hamilton and Jasper Johns to Gerhard Richter and Ed Ruscha; considers contemporaries from Louise Lawler and Cindy Sherman to Jeremy Deller and Adam Pendleton; and traces the development of criticism since the early 1960s, with essays on such influential figures as Susan Sontag and Rosalind Krauss and institutions like Artforum magazine and the Whitney Museum Independent Study Program.
Taking his title from Beckett—“try again, fail again, fail better”—Foster notes that, etymologically, an essay is always an attempt, more or less failed. Critics fail artworks, because there can never be a definitive reading; art fails its historical moment, because it cannot resolve the contradictions that prompt it. But in these failures Foster finds historical consciousness, and with it the promise of future work, future illumination. In his “reckonings” he turns his own long history of criticism to account, and succeeds in conveying shifting concepts of art and criticism, the work of key artists and critics, and the relationships between criticism, theory, history, and politics over the last six decades.
#AdamPendleton #art #arte #ArtforumMagazine #artists #CindySherman #criticism #critics #EdRuscha #GerhardRichter #HalFoster #JasperJohns #JeremyDeller #LouiseLawler #MITPress #RichardHamilton #RosalindKrauss #SusanSontag #WhitneyMuseum #WhitneyMuseumIndependentStudyProgram
IanMoore3000Jeremy Deller on BBC4 alert!
Cultural Freelancers Wales📢 Swydd ar gael!
❓ Curadur Cynorthwyol yng (Comisiwn Jeremy Deller) yng Nghymru
📍 Llandudno
💷 £29,700 y flwyddyn pro rata
⏰ Dyddiad cau 17/9/23
👔 Cyfweliadau 26/9/23
📜 28 awr yr wythnos am 22 mis
Am fwy o wybodaeth: https://tinyurl.com/2sccsvwe
#FreelanceJobs #JeremyDeller #Llandudno #Wales #jobs #ArtJobs
📢 Job Alert!
❓ Assistant Curator (Jeremy Deller Commission) in Wales
📍 Llandudno
💷 £29,700 per annum pro rata
⏰ Closes 17/9/23
👔 Interviews 26/9/23
📜 28 hours per week for 22 months
More info here: https://tinyurl.com/2sccsvwe
#FreelanceJobs #curatorial #JeremyDeller #Llandudno #Wales #jobs #ArtJobs
GareSudVu hier au Frac Bretagne dans le cadre de la rétro Jeremy Deller, son documentaire "Our Hobby is Depeche Mode" (2006, avec Nick Abrahams), "une réflexion bizarre, drôle, triste et souvent touchante sur la façon dont les gens embrassent et s’approprient intimement la culture pop dans leur propre vie à travers le monde."
Our Hobby is Depeche Mode
Day 3 of the 2022 Le Guess Who festival. Much of this post focuses on the film Everybody in the Place by Jeremy Deller, which looks at the history of acid house in Britain. But there is also discussion of live music performances by Cate Le Bon, Goat, and others.
taz (inoffiziell)Die Münchner Kammerspiele suchen die Reibung: mit postkolonialen, feministischen und deutschlandkritischen Themen.
Kammerspiele nach Corona: Ächzen unter der Stofffülle
Kammerspiele nach Corona: Ächzen unter der Stofffülle
Lewis Dexter Litanzios📺 "Everybody in the Place: An Incomplete History of Britain 1984-1992 (2019)" #BBCDocumentaries feat. #JeremyDeller [VIDEO https://trakt.tv/shows/bbc-documentaries/seasons/2019/episodes/163 ] #Activism #Art #Politics #Documentary #SpecialInterest #Media #Audio #Music #Video #TV
BBC Documentaries 2019x163 "Everybody in the Place: An Incomplete History of Britain 1984-1992"
Acid house is often portrayed as a movement that came out of the blue, inspired by little more than a handful of London-based DJs discovering ecstasy on a 1987 holiday to Ibiza. In truth, the explosion of acid house and rave in the UK was a reaction to a much wider and deeper set of fault lines in British culture, stretching from the heart of the city to the furthest reaches of the countryside, cutting across previously impregnable boundaries of class, identity and geography. With Everybody in the Place, the Turner Prize-winning artist Jeremy Deller upturns popular notions of rave and acid house, situating them at the very centre of the seismic social changes that reshaped 1980s Britain. Rare and unseen archive materials map the journey from protest movements to abandoned warehouse raves, the white heat of industry bleeding into the chaotic release of the dancefloor. We join an A-level politics class as they discover these stories for the first time, viewing the story of acid house from the perspective of a generation for whom it is already ancient history. We see how rave culture owes as much to the Battle of Orgreave and the underground gay clubs of Chicago as it does to shifts in musical style: not merely a cultural gesture, but the fulcrum for a generational shift in British identity, linking industrial histories and radical action to the wider expanses of a post-industrial future.