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Number of items: 9.

Art & the Web
Justin Bradley . 08 Dec 2010 11:39

A introduction to how artists and designers and using the web and adapting to the web

GCPH Seminar Series 2013-14: The Power of Cultural Disruption - Full Video
Justin Bradley . 25 Jan 2016 15:24

In Lecture 5 of this series, Helen Marriage, co-founder of Artichoke, discusses her experiences of getting art forms into the larger community rather than limiting art to a small percentage of the population. Artichoke is a creative company that works with artists to invade public spaces and put on extraordinary events that live on in people's memories. She discusses how through art, whole communities can be engaged and bridges built in disenfranchised local communities. She talks about her experiences at Canary Wharf and Salisbury, about putting the work of local artists in front of the population and using art to disrupt people’s expectations, learning to understand other people’s point of view and getting endorsement for projects from someone the community trust. She talks about various events Artichoke has produced, shows a video of the Elephant Story delivered in London, discusses the problems, challenges and assumptions made about inserting an event into the everyday life of a city, about not getting dissuaded but remembering that these are our streets, our public services, the responsibility that comes with producing these events. She presents other events and talks about the lasting effect these experiences have on people, communities, the happiness, joy and pride people have, the legacy and cultural changes that result due to spectacular, provocative and ephemeral events and argues that cuts to arts and culture funding are not the easy option they may be perceived as.

IAS Lies: Art & Lies
Justin Bradley . 05 Dec 2018 13:59

In The Waiting Country: A South African Witness, published in 1995, Mike Nicol arrives at the core of this paper. ‘We lie to accommodate’, he says. ‘We lie because we think it does not matter. We lie because we think that in the face of so many years of misery, a lie that is for the good is not a lie at all. And we lie because we have no self-respect. We lie because we are victims. We lie because we cannot imagine ourselves in any other way’. Nicol wrote these words in the immediate aftermath of South Africa’s first free election, intuiting then, as we all do now, the era of post-truth, and the subsequent bankruptcy of global democracy. It is all the more ironic, therefore, that it is now, in this era of fakery, that South African art, or ‘Contemporary African Art’ more generally, should assume its global ascendancy. I will deliver this paper at the same time as 1-54, the largest trade fair committed to African Art in the northern hemisphere, is underway in London. What does this fascination with African art mean today? How real, or how cynical is its current appropriation and commodification? And what relevance does it possess today? Is it merely a new-fangled fetish, profoundly disingenuous in its inflation of the Idea of Africa? Is it a new cool exercise in miserabilism? Or is it a genuine attempt to overcome an inherited pathology? Ed Young’s barbed word-works – BLACK IN FIVE MINUTES and ALL SO FUCKING AFRICAN, exhibited at Frieze in New York in 2016 – suggest the fake instantaneity of a new consciousness, at the root of which lies a smug inflation of identity politics. Smug because – despite Pankaj Mishra’s just observation of ‘a widening abyss of race, class and education’ – it has assumed an unthinking, inviolable, and declamatory righteousness as it modus operandi. Art is not an exercise in art direction, it is not the sum of a problem but its displacement and overcoming. Art does not mirror existing pathology, it re-configures the possibility for its understanding. The best African art, therefore, rewires prevailing prejudices and needs, it alters the state of play and conditions for being – it emphatically refuses to lie. To do so it must challenge its relevance, refuse its commodification, rout out its cynical neo-liberal accommodation, junk its victimhood, and radically re-imagine itself differently. Lungiswa Gqunta’s exhibition, ‘Qwitha’ – first shown at Whatiftheworld in Cape Town in 2018 – is a brilliant instance of this shape-shift. For while it reflects the on-going fatal South African human condition, it asks us to distance ourselves from pain and suspend inflammatory rage. Aberrant and chilling, hers is the kind of conceptual-and-visceral art which institutes a radical moment in this corrupt time. For Gqunta the black body in pain is not, perforce, the oracle of truth. Hers, therefore, is precisely the kind of art which refuses the ubiquitous and unscrupulous persistence in lies.

Patrons and painters in Elizabethan and Stuart England - question sheet
Justin Bradley . 31 Aug 2018 10:22

Questions related to referencing and citation from the 'Art and visual culture in early modern England' course. These questions aim to teach students how to correctly cite and reference different material types.

Physics video for AS/A Level Science & Art Competition
Justin Bradley . 21 Jun 2012 12:16

A video made by physics for the AS/A Level Science & Art Competition

RISE TATE Dissemination
Justin Bradley . 27 Jun 2018 14:48

Socialweb
Justin Bradley . 21 Oct 2011 11:58

The web and how designers and artists should embrace services that enable social connections and a little on the impact this has on business models and society.

VADS: free art and design images for education
Justin Bradley . 13 Dec 2010 13:19

VADS is the online resource for visual arts. It has provided services to the academic community for 12 years and has built up a considerable portfolio of visual art collections comprising over 100,000 images that are freely available and copyright cleared for use in learning, teaching and research in the UK.

Vulnerability, Viability and the Life of AIDS
Justin Bradley . 05 Dec 2018 14:00

The Institute of Advanced Studies hosted a conversation with Elisabeth Lebovici to discuss her new book Ce que le sida m'a fait: art et activisme à la fin du XXe siècle (‘What AIDS has done to me. Art and Activism at the End of the 20th Century’, Zurich: JRP Ringier, 2017).

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