playtime

Bradford School of artS and media

2011

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Hibrida Press 2011isbN 0 567783 98 8

art is tHe sigN of tHe fault

WORKERS PLAYTIME

An exhibtion of work by

Fine Art Academic Staff

at Bradford School of

Arts and Media:

The Bradford Gallery

Yorkshire Craft Centre

Bradford

14th January 2010 -

17th February 2011

HOWARd EAGLESTOnEMARTIn HEARnEHELEn BIRCHMAnYA dOnAquEROBERT GALETAAMAndA BLAKECLARE BOOKERHEATHER BOxALLSIMOn FORdwith catalogue essays

by Robert Galeta and

Steve Hanson

www.bradfordcollege.ac.uk/about-us/yorkshire-craft-centrewww.artdesign.bradfordcollege.ac.uk/

concept and design

Simon Ford

Alan Marks

printing

Inprint and design Ltd.

university of Bradford

copyright 2011

Hibrida Press

and the artists

©

all rights reserved. no part of this book may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without permission of the publisher.

published by

Hibrida PressISBn 0 567783 988

this is more than catalogue - it is an idea. It puts the exhibtion in a wider terrain, a terrain of possibilities.

acknowledementsStaff of the Yorkshire Craft Centre:Claire Lamkin, Helen Farrer, Shelagh Ward, Jasmin Abbasi, deeon Pryce. For their continuing dedication to cultural activity at Bradford College and the wider community. Paul Singh and the staff of Inprint and design Ltd., for their patience and adviceand to Alan Marks for his pertinant input into the editing and design of this catalogue.

COnTEnTS

Essay by Robert Galeta: Realistic bare cupboards

containing some post-its............................1

Helen Birch.........................................4

Clare Booker........................................6

Manya donaque.......................................9

Amanda Blake........................................12

Essay by Steve Hanson: Language, dissent and

the classed art school..............................15

Simon Ford..........................................22

Martin Hearne.......................................25

Howard Eaglestone...................................27

Robert Galeta.......................................30

Heather Boxall......................................31

1REALISTIC BARE CuPBOARdS COnTAInInG SOME POST-ITSRobert Galeta

Ideology, hegemony, agency: difficult words you have to give attention to..? ‘no ifs no buts fuck off with your cuts’, one among several posters waiting in our BA painting studio for a march this december.

Raymond Williams on education in The Long Revolution:

‘Yet we speak sometimes as if education were a fixed abstraction, a settled body of teaching and learning, and as if the only problem it presents to us is that of distribution: this amount, for this period of time, to this or that group. [...] Yet to conduct this business as if it were the distribution of a simple product is wholly misleading. It is not only that the way in which education is organized can be seen to express, consciously and unconsciously, the wider organization of a culture and a society, so that what has been thought of as simple distribution is in fact an active shaping to particular social ends. [...]

The teaching of skills prepares a rising generation for its varieties of adult work, but this work, and all the relations governing it, will be found to exist within the given “social character”; indeed one function of the “social character” is to make the available kinds of work, and the valuations and relations which arise from them, acceptable.’ (1)

Reproducing ideology, ‘where social meaning is created’

In The social production of art Janet Wolff looked partly to Anthony Giddens for a nuanced view of agency; these are some of her points ‘by way of introduction’:

‘(1) Human agency is situated in and determined by a complex of structures. [...](2) Structures enable human practices, by providing the conditions of action and offering choices of action.(3) Agents are therefore “free” not in the sense of being undetermined, but in their ability to make situated choices and perform situated practices (as well as in an existential sense), and in their conscious and reflexive monitoring of their actions.’ (2) (There are four more points.)

In a section in Chapter 3, ‘Art as Ideology’, she sets out Raymond Williams’ take on alternative ideologies:

‘The so-called “dominant ideology” of a society is never monolithic or totally pervasive. A number of sociologists have investigated the various ways in which subordinate classes have “negotiated” the dominant ideology, or operated with an alternative ideology. Raymond Williams makes a useful distinction between dominant ideology and its co-existing alternatives. Alternative ideologies may be either residual [...], or emergent [...]; they may also

2be either oppositional (challenging the dominant ideology), or alternative (co-existing with it). These refinements in terminology prove to be extremely useful in dealing with the complexities of actual cultural analysis. [...] The conditions under which alternative ideologies may persist or arise are always a matter for historical investigation; this is to say that the extent of penetration of the dominant ideology cannot be decided a priori.’ (3)

Again Keith Moxey, with the help of Althusser, advocating broadening Marx’s view of a repressive state to look at specific groups where ideology is contested and specific institutions which carry ideology forward:

‘...a semiotic conception of ideology [...] in relinquishing Marxist epistemology [...] empowers us to expand the notion of ideological struggle beyond the concept of class to incorporate notions of race, gender, sexual preference, ecological concern, and any other interest that may figure among the discourses that constitute cultural life. [...] Althusser [...] posits the operation of “ideological state apparatuses”, social institutions [...] such as religion, education, the family, law, politics, trades unions, communications media and culture [...which] disseminate the values of the dominant classes [...] In other words, the dominance of the dominant classes is not immediately referred to their ownership of the means of production but to their control of the institutions where social meaning is created.’ (4)

MEdIA IROnY Re-reading Victor Burgin’s survey of british cultural studies in the Introduction to In/different spaces then Tom Steele’s history of its beginnings after the Second World War underlines the transformations in a working class, from its diverse make up to its imaginative world as penetrated by the mass media. (5) The latter are very much working with all eyes on the former ‘there in the juncture of the sign... [where] is located a thinking intent on reformulating the kernel elements of our culture.’ (6) The signifier-personae re-invented in the terms and formats of these technologies have consolidated a place in our imaginative and evaluative life seemingly on a par with our personal-community ones; in Burgin’s words: ‘Television presents itself as if it “covers” life itself.’(7) As such their prompts and formulations constitute a kind of parallel to the functions of instruction and evaluation in formal education. Furthermore, as pointed out in a recent essay by Vladimir Safatle, they have developed a powerful tone which belies their formative importance: irony (for me, think Strictly Come dancing). Proposing that the sophistication of mass media is of a different order than when the Frankfurt School started looking at it in the 1930’s he says,

‘If Adorno was still then insisting on the possibility of freedom thanks to [the] distance of the spectator in relation

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to belief in the ideological contents of the cultural industries, we can say that this “belief devoid of belief” has henceforth become the supportive frame of ideology. The contents are already ironised and this is what allows them to circulate in the social fabric.’

He concludes,

‘A critique of ideology aiming to make sense of the modes of functioning of contemporary power and of their origins in a cynical rationality must thus first be a critique of irony.’ (8)

THE MARx LOunGEThis is the title of an installation by Alfredo Jaar at this year’s Liverpool Biennial and also used for a series of talks hosted during the event. In one of many exhibition spaces in a former department store on Renshaw Street the installation comprises a very large table piled full of cultural studies books- as if you were in that part of a bookshop- surrounded by red sofas and tables with subdued lights on them.The talk on Friday 12th. november was by thinker and teacher Chantal Mouffe. Introducing her, Alfredo Jaar said that organising or contributing to such a talk and discussion was part of his practice as an artist and that an event like this was one of the few places left where something critical can take place. He also said that he asks himself everyday why there is such a gap between academic work and what happens in the world. Chantal Mouffe talked about, and lamented, the drift to the centre of left-wing parties in Europe. She discussed various current thinkers on the left, whose books were indeed on the table upstairs in the Lounge. She ended by emphasising the importance of art because it actually is a multiplicity of practices where hegemony can be challenged; and she used the term deliberately as a call to re-read the writings of Gramsci.

notes(1) Hogarth Press 1992 pp.125-6.(2) London 1981 p.21.(3) ibid. p.53.(4) The practice of theory, Cornell 1994 pp.44-5.(5) London 1996; The emergence of cultural studies, London 1997.(6) Julia Kristeva ‘The semiotic activity’ in Screen, Special double issue Spring/Summer, Volume 14 number 1/2 1973 p.28; reprinted from Signs of the Times: Introductory Readings in Textual Semiotics, Cambridge 1971.(7) 1996 p.34.(8) ‘On a laughter which doesn’t reconcile’ in Fresh Theorie III. Paris 2007 pp.121-3 my trans.

*A short version of this eassy appeared in the Pamphlet for the MA Visual Arts graduation show at The Bradford Gallery, September 2010.

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HELEn BIRCH

‘I’ve had alot on’

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Helen Birch‘I’ve had alot on’

photographs, paper, elastic bandssizes vary 2009 - 2010

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CLARE BOOKER

My practice is an ongoing investigation using painting to explore the transitory relationship between the individual and the built environment.

The city presents us with a constantly changing fluid environment demanding constant re-orientation, where the non-linear relationship between behaviour and form interact. different cultures and nationalities coincide and interact within the same space, arriving from and departing to different destinations.

The paintings’ aim to depict this collision of real and virtual space through the process of collaging elements and layers from different locations. Each building, landscape, figure, is independent of the other and yet, by placing the elements in the same pictorial space a larger reality is constructed enabling the various environments to coincide and interact, creating a fusion of utopias and heterotopias.

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Clare Bookernew Grand Tourmixed media on canvas. 20cm x 20cm2010

8

Clare BookerVia Valencia and Venicemixed media on canvas. 20cm x 20cm2010

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MAnYA dOnAquE

I am interested in issues surrounding life and death. For this exhibition I have focussed on the traumatic eventsthat have taken place in recent years in various parts of the world such as: kidnapping, hostages being taken, torture and in some events death.I am particularly interested in violent and inhumane behaviour and how we get used to or how we remained untouched by these actions. I am trying to portray feelings of disorientation, anxiety, exhaustion and fear.

Are you looking for me?

Are you looking for me? I am in the next seat.My Shoulder is against yours.You will not find me in the stupas, not in the Indian shrine rooms,nor in the synagogues, nor in cathedrals: nor in masses, nor kirtans, not in legs windingaround your own neck, nor in eating nothing but vegetables.When you really look for me, you will see me instantlyYou will find me in the tiniest house of time.Kabir

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Manya donaqueMysterium tremendumVII, consequences of war

Silkscreen50cm x 66cm2010

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Manya donaqueMysterium tremendumII, consequences of war

silkscreen50cm x 66cm2010

12

AMAndA BLAKE

13

materiallight

surface, its depth

(lucida grande, grey)

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Amanda Blake3 short pieces

fresco on panel 3 panels 76cm x 76cm2009

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LAnGuAGE, dISSEnT And THE CLASSEd ART SCHOOLSteve Hanson

To begin with a personal note, as we shall see, is far from only that.Two members of Bradford Art College staff were the first educationalists to put me, at the age of thirty-one, on the right path. It is no coincidence this happened at Bradford, an institution which evolved through the late-1960s coming together of all kinds of different moments, intellectual, technological, ideological, eventually underwritten by state-funded education programmes. I now lecture in an art college myself, and I’m working on a Phd at Goldsmiths. I would not be doing either of these things without the guidance of those two members of staff. I come from a working class background. My father was employed in textile factories and my mother in sewing shops. I was the first person in my family to engage with higher education. Last year I reviewed a book called Higher Education and Social Justice, written by Andy Furlong and Fred Cartmel (1). It was published in 2009, pre-crisis, but post-crash. Both the book and my review seem historicised already. Furlong and Cartmel were arguing for a fairly stratified graduate tax, and the Browne Report advocated a one-system-fits-all approach. The magazine and institution I wrote that review for, networks, and the HE Academy Art, design and Media Resource Centre, have already been shut down in the first wave of cuts.

This is just a poetic precursor of what is to come. The real ‘violence’ has not yet started, and this is why protest is still necessary. Marketisation creates ghettoes, and the ground in this country is already shaping up to be very uneven, with Wales now announcing an Assembly-subsidised model for its citizens. Of course, that’s a state decision, but one formulated in response to an attempt to push the whole sector onto the market.

Yet many people around me still seem to think it is ‘sensible’ to disclaim direct action, saying that it isn’t the fault of the institutions after all, and therefore it is inappropriate to occupy buildings, withhold labour, or throw things at the limousines of meddlesome, publicly-funded princes. The ‘art thrives in a recession’ argument limped out recently too, in zoetrope images of garrets, blocks of cheese and half empty burgundy bottles, stuttering and struggling to remain animated, un-hooked as that argument is from class and circumstance.

And education institutions are complicit. On Wednesday the 24th of november, many of them threatened to revoke student EMA money for the week if they attended a walk-out which was partly a protest over the planned EMA cuts. The senior management in education institutions have as much to lose as students and lecturers, and their failure to give some reverse-advocacy illuminates the exhaustion of their imagination and lack of a longer view. With

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most ‘advocacy’ coming from the very top and very bottom, they are the barrier. If they simply put in place these stringent measures, and yes they are demands made by the EMA agreement to some extent, they are not only choosing sides, but attacking the worst-off students under their care for engaging with democratic protest. If these people are simply shackled to EMA rules, I think they need to get a whole lot braver, and the kids just did.

In 2009 Furlong and Cartmel argued that, despite the neoliberal widening of access to higher education, class divisions remain entrenched. In fact, the working classes may even be worse off. Loans, and more importantly their repayments, are a big factor. But older cultural barriers remain, to access, to moving on after education. I hardly need point out that this will only get worse.

Pierre Bourdieu knew that ‘culture’ is a form of currency in post-industrial labour markets, that the securing of that gallery show or design agency position are dependent on ‘culture’ – as a verb – but that this ‘doing’ of culture is often very subtly, invisibly, walled-off from certain groups and people (2). Some horrific statistics leer out of Furlong and Cartmel’s book: London Metropolitan university has more black and minority ethnic students than the top twenty ‘Russell Group’ of elite universities put together. The class statistics by institution roll out like a geographical poem: Oxford, Cambridge, followed by Wolverhampton, Bradford, and Sunderland. Equally damning were the drop-out rates by institution. We moved from the stability of Oxford, to whole swathes of young people falling off the educational world in Bolton. Furlong and Cartmel were unequivocal, the language of education has been replaced by the language of the market, for the worse. After the epic collapse of new right theologies, belief in ‘self-correcting’ markets, neoliberalism should not be considered the only game in town, and yet that is the only game the Tories will playLet me just remind you again that Furlong and Cartmel were talking about the educational landscape of 2009 and before. I am writing this article the day after the tripling of student fees was passed through parliament, by a narrow margin, without a white paper to consider the ramifications of the changes. In my book review I said that the politician’s soundbite is often located in the utopian, contingent mode of ‘we are going to’, drawing on an imaginary ‘what we have lost is’. It should be clear to all but citizens of Mars that this rhetorical mode is now redundant. But still the nauseating bluster about students not paying anything as they enter institutions intermingles with straightforward lies about how they will pay less. Bradford Art College staff taught me how language works, textual and visual, and how we should be suspicious of it. They taught me about rhetoric, and they showed me how to use it, but in a much more sophisticated way than this, because the mode of address this crisis demands is not fancy music. What those members of staff did to me literally altered the

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way I perceive my environment. Listening to Radio 4 over the last two weeks I heard about ‘trousered’ bankers’ bonuses, a gendered term. ‘The age of austerity’ was repeatedly declared, as if it were a straightforward matter of fact, like ‘it’s winter’, as though there were apples on the trees and now they are gone, but they will always return. Actual facts, for instance ‘capital inevitably collapses’, did not appear. ‘We’re all in it together’ might be lifted out of its context and dropped into a socialist speech, were it not screamingly inappropriate to do so after its Tory hijacking. We need to understand language in order to emancipate ourselves from this baggy-faced, nationalist rhetoric.And the linguistic horrors just keep on coming. Last night I heard that by voting for the fee changes the Liberal democrats were ‘keeping faith’ with the coalition. Faith! That irrational clinging which starts when people become suddenly, deeply desperate, because they are living on nothing but dust. Even the ‘Liberal democrat’ party name now operates as a critique. Simply uttering it against the context of the last two days ‘détourns’ it, a word the situationists used for the practice of inverting existing meaning. Again, I learned these wonderful theories and practices at Bradford College of Art. Earlier this week, I created a badge which simply read ‘Austere’. I made forty or so, before handing them out, mainly to the people I work with. Because when the coalition attack the public sector, it inevitably creates rather austere public sector workers. It was another ‘détournement’, and a little joke I thought, which might cheer people up for five minutes.

Later, I met with a friend who is involved in the running of a fashion course in a big university and tells me that ‘post-austerity chic’ is the new thing there. I told him about some of the young skate kids I have seen, who have begun to wear Barbour jackets, two sizes too big in some cases, along with their skinny black jeans and Vans trainers, creating a clash of conservative and street-culture styles. Here is another inversion of meaning operating through context.

My friend and I had also been talking about Bourdieu and ‘habitus’, as he is undertaking research underpinned by the concept. We discussed how the really bad uses of Bourdieu were the ones which just go with ‘habitus’ as a kind of amalgamation of biography and where you live. The things they usually elide are the body, which is really important to Bourdieu, and the unconscious. Basically, habitus is a much bigger assemblage of concepts than just life story and region.

In post-austerity chic, we have the ages-old commodity fetish, of use-value being subsumed, turned inside-out, as exchange value migrates to the surface, via the fetishization of aesthetics. The example of the skate kids

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wearing over-sized Barbours can be tracked back to John Lydon and Jah Wobble wearing too big, off-the-peg suit jackets, rolling the sleeves up, and of course to hip hop x-large style. Hip hop also sought to amalgamate emblems of conspicuous consumption into its fashions.

But what we also have here is a key moment where the cultural unconscious is doing its work. Bourdieu’s ‘habitus’ is applicable to this example, but so are some of Fredric Jameson’s insights (3). The skate kids seemed, unconsciously, to be providing (‘making’ is the wrong word) a critique, right at the point where social mobility has vanished forever, if it ever existed for them, like Caduveo women, their body markings suddenly pointing to a lost age, and therefore demanding a different future. The symbol and boundary-making is fascinating, across all these narratives, although again, I hardly need point out that basing this year’s fashion theme around a series of politicised attacks on the state and working class life is, or certainly should be, controversial.

Banging the table isn’t the point though, what is happening is dialectical. At the moment when student protesters are targeting Top Shop and occupying stores because of their tax evasion, sums which would pay for their education, the fashion industry starts to occupy a cloth-capped history, and scruffy kids begin to buy jackets associated with the landed gentry and rural life.

Two weeks ago I went up to Manchester university to deliver a lecture for a research group which was celebrating the 190th birthday of Friedrich Engels (4). I explained some of Helen Hills’ work to the audience, the way that ‘working-classness’ is occupied in post-industrial architecture, channeled into consumerism for profit. I also described Hegel’s idea, that history empties itself into system. As I delivered this material, the Roscoe building was occupied by students.I talked about Marxism. As capital sucks in more and more surplus value, and therefore increases its power to do more sucking in the short term, culture re-distributes around it, un-concealing the nature of power and desire. But this short term sucking of surplus value contains internal contradictions which will always lead to the systemic collapses we have just witnessed. Capitalism does not simply allocate resources, it extracts value and transfers it from one class to another. You don’t have to be in The City or Wall Street anymore, in a globalized world, you can see it anywhere, but you need to have your eyes focused right, and your imagination tuned-in.

It should also be clear by now that art schools are not always straightforwardly ‘the good guys’, particularly when they begin mining disasters for their aesthetic capital. The Tories know that the arts have been coloured pink for generations, but there is nothing natural or inevitable about this, it can and possibly will disappear.

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It is no coincidence that the arts and humanities are now under attack, despite recent statistics describing how ‘the cultural industries’ generate more money than motor manufacturing in Britain. Bradford Art College staff peeled my eyeballs and re-calibrated my antennae, but will they be around in five years to do the same for others? Will I be around to do it for my future students? The landscape we are moving onto is very dark, and the only available light is coming from the renewal of direct action and protest.What we are seeing is a little return of the 1968 moment. There is a direct link between people like Antonio negri, the Lotta Continua movement from Italy in the late 1960s, and the new, interconnected, anti-capitalist movements. I have concerns about the meshing of capital and consumerism in the use of resources such as Facebook and Twitter, but david Harvey, at a recent LSE public lecture, said that we need a coming-together of all kinds of moments, intellectual, technological, ideological. He is interested in particular footnotes from Marx’s Capital on large-scale machinery, which highlight the assemblage nature of revolutionary process (5).

Some of these new assemblages could be seen at the Millbank Tower riot, which I attended. The smashed window of Millbank foyer, hanging off, looked like a blanket of winter spider’s webs. A metaphor for the interconnected nets of dissent which traced the air, before crystallising into a livid, physical form. Accounting for what happens in extreme situations like these is not easy. Chris Jenks, who has written extensively on transgression, gives the most convincing account:

‘To return to Foucault’s account of transgression: the relationship between transgression and limit is both blindingly simple, like the lightning flash, but also overwhelmingly complex, like the spiral… The event of their intersection cannot therefore stand within a code, it is essentially outside, it is amoral.’

A lightning flash, coming out of the dark, at night, will illuminate, briefly, the landscape around it. The landscape does not illuminate the flash. But lightning has changed over the last few decades. Its luminous power does not necessarily wane the further we travel from the point where it strikes, and chain lightning is on the increase. This is miraculous, because the laws of physics have not altered. Objects dropped from above still inevitably make their way down, rapidly. Yet I am utterly baffled by the reactions of those who think there’s a ‘floor’, a single objective set of assumptions against which they can morally judge events like the smashing of Millbank Tower, as both Foucault and Jenks knew and know (6).

When people say ‘you’ll never change anything by protesting’, it is never an analysis of a situation, but a self-fulfilling prophecy. It is an abdication of power,

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operating through language. But some people are clearly waking up. The murky pond of inaction and ennui which characterised the last decade seems to be clearing. Slavoj Zizek analysed the French riots of 2005, saying there were no demands there, no utopian narratives, like May ’68, and that the protesters only wanted to be ‘recognised’, in light of a vague sense of stigma:

‘…the 2005 revolt was an outburst with no pretence to vision. If the much repeated commonplace that we live in a post-ideological era has any sense, it is here.’It seems to me that situation, if it ever existed in the first place, has been inverted completely, five years on (7). Zizek’s own description of utopia is a place which we have no choice but to go towards. The Independent’s front page after Millbank was the only one with any measure of this situation, describing how ‘the new politics’ marked the end of the Coalition’s era of consensus. It seemed to be announcing the start of something interesting, rather than the end of something horrible.

At Bradford College of Art, I got the sense that it was always the start of things, and the staff proved that to me by fostering my urge to begin decoding some of the narratives I have explored here. One of those Bradford staff members, now a good friend, once said to me, over a drink:‘Here’s to the even longer revolution!’

We were sat in a yard only a couple of miles from the birth and burial place of the writer Raymond Williams, the landscape he covers in his novel Border Country. Williams published this book almost back-to-back with The Long Revolution, a work also concerned with language, power and radical change. The Long Revolution is the theory and Border Country provides some exemplification. I have to admit that I stole my friend’s toast to conclude an essay on Hereford after the crash of 2008, and I’m also going to conclude with it here. Because all the issues which run through both of those books are still highly relevant today - class, language, power, media and production (8).

What we need are our own coalitions of meaning, hooked up to outsider educational practices. If these people can’t take care of what we have, we must take it off them. We must also align ourselves to deal with the sickening representational practices of some mainstream media and government commentators. We need to pay attention to what david Harvey tells us about the ‘assemblage’ nature of revolutionary process, and then proceed with caution. Maybe what we are seeing is similar in some ways to those late-1960s comings together of different moments, which I opened the essay with. But nobody should be in any doubt about the scale of the unprecedented changes being effected, which are pushing the arts and humanities into capitalism, or oblivion. At the start of Border Country, the character who is a thinly-veiled Raymond Williams decides that all the

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statistics in the world are not going to allow him to fully quantify his research subject of population movements from agriculture to coal mining. He thinks about his statistics as ice cubes, but what he needs to quantify is the change of substance which occurs when big historical shifts happen: From solid to liquid, and again, from liquid to steam.

notes(1) Hanson (2010) a review of ‘Higher Education and Social Justice’ by Andy Furlong and Fred Cartmel, Open university Press, in networks, the Art, design and Media Subject Centre publication, issue 9. download from: HYPERLInK “http://www.adm.heacademy.ac.uk/resources/publications/networks-magazine” http://www.adm.heacademy.ac.uk/resources/publications/networks-magazine.

(2) Bourdieu (1988) distinction. London: Routledge.

(3) Hardt and Weeks (ed., 1999) The Jameson Reader. Oxford: Blackwell.

(4) This talk was organised by the urbis Research Forum and will eventually be available as a podcast, see http://urbisresearchforum.wordpress.com/.

(5) Harvey (2010) The Enigma of Capital LSE public lecture from HYPERLInK “http://www.lse.ac.uk/resources/podcasts/publicLecturesAndEvents.htm” http://www.lse.ac.uk/resources/podcasts/publicLecturesAndEvents.htm [06/12/10].

(6) Jenks (2003) Transgression. London: Routledge. Chris Jenks was initially registered as my Phd supervisor at Goldsmiths. We had a couple of initial meetings, which were fantastic (for me) and then he was offered a job at Brunel. My choice was to follow, or stay, and I stayed. When I got to Baker Street tube on the day of the Millbank riot I was passed by Brunel students making a right old racket and I smiled, thinking of Chris, not least because he is now Vice-Chancellor and Principal at Brunel. (7) Zizek (2008) Violence. London: Profile.

(8) Williams (1961) The Long Revolution. Harmondsworth: Pelican and (1960) Border Country. London: Chatto & Windus. See also Hanson (2010) ‘The Cathedral, The Bus Stop, Fifty Years On’, in the Centre for urban and Community Research publication Street Signs, Spring, 2010. Available to download from: http://www.gold.ac.uk/cucr/streetsigns%20publication/

*Steve Hanson is a writer and artist. He is a theoretical studies lecturer at Hereford College of Art & design and a Phd research student at Goldsmith university. Steve was a student of the postgraduate programme at Bradford School of Arts and Media from 2004 - 2005

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SIMOn FORd

Get directions - Car

From Sansbury’s, Keighley

to Asda, Keighley

dEPARTSainsbury’sBack Cavendish StKeighley, Bradford Bd21 3, uK

1. Head east on Back Cavendish St. 39 ft 3 secs2. Take the 1st right to stay on Back Cavendish St 72 ft 4 secs3. Turn left at Cavendish St/A6035 103ft 6 secs4. Take the first left onto Bradford Rd/A6035 0.1ml 18 secs

5. Take the 1st left onto Bradford St 0.1ml 10 secs

ARRIVEAsda, Pond StKeighley. Bradford Bd21 3, uK

Total distance 0.21mlsTotal Time 35 secs

These directions are for planning purposes only. You may find that construction projects, traffic, weather, or other events may cause conditions to differ from the map results, and you should plan your route accordingly. You must obey all signs or notices regarding your route.

23

Simon FordI, Banker

digital print120cm x 120cm2010

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Simon FordBombness

digital print121cm x 98cm2009

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MARTIn HEARnE

‘Two For Joy’ depicts a man in the absurd situation of doing the housework whilst encased a suit of gothic armour. He looks awkward in his unwieldy metal carapace while attempting to perform some domestic activities around the house. The film shows him as a conflicted figure trapped in a comical situation.

He spends the day alone, except for the dog, encased not only in the armour but an atmosphere of claustrophobia and boredom.

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Martin HearneTwo For Joy

duration: 10 minHd digital Film 2010

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HOWARd EAGLESTOnE

Painting simultaneously contains the material and the mind. I work and play on this..

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Howard Eaglestone

oil on canvas152cm x 123 cm2009

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Howard Eaglestone

oil on canvas91cm x 91cm2009

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Permanent war:The One Showand on 24

Untitled warComing up

Disallowed warExperimental warImpatient warManifest warInseparable warEaster warChalk warDumpling warElegiac warblahcuts/of what use is this information to me 2010

Robert GaletaPermanent War

digital print84cm x 56cm2010

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HEATHER BOxALL

‘......Heather Boxall starts from her experience of an aspect of the external world, specifically birds. This is explicit in her titles, so that you know when you have a Heron or a Kingfisher in front of you. But this is no literal transportation of colours and markings, neither is it simply an attempt to root out an essence of what each bird might mean to her; it is also a considered response to the work of other abstract painters, imbuing the paintings with complexity and a range of possible meanings...’

Emma Waker

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Heather BoxallTablecloth of Oyster Catchers

oil on canvas 162cm x 121cm2009

Heather Boxallugandan Bird Tally no.2

oil on canvas 162cm x 121cm2010