Archive for March, 2014

Congratulations on the book launch Deb (a.k.a Baarbara Sheep)

Essay Subject

The Capitalist paradigm (a neo-feudal culture derived from advanced capitalism) and mass schizophrenia.

Introduction (just some highlights)

The proposed contextual study will relate to my praxis and the links between the capitalist paradigm (a neo-feudal culture derived from advanced western capitalism) and mass schizophrenia or, dualistic version of reality. This is expanded upon in Chapter 2.

I have chosen three contemporary works of art to discuss by Marcus Harvey (b. Leeds, England, 1963-) and, the collaboration kennardphillipps consisting Peter Kennard (b. London, 1949-) and Cat Picton-Phillipps (b. Scotland, 1972-).Each artist creates very different artworks to one another but observed together they reflect a response to the controversy surrounding social manipulation by corporate media and also portray iconic figures of British society of the late twentieth century. The artist’s responses are executed through large-scale reproductions of appropriated images and attempt to provoke political impact, strong emotions, or outrage in the viewer and to get the viewer to think about corporate and media power over society and advanced capitalist culture.

In the 2013 budget speech, Chancellor George Osbourne (b. England, 1971) repeatedly used the phrase aspiration nation. This idea comes from the conviction politics, economics and social policy of Thatcherism and is a pivotal ideology of Conservative politics.

This aspiration nation is a society that values and fetishizes commodities above all else, as predicted by Karl Marx (b. German, 1818 – 1883, Das Kapital Vol.1, 1867). I expand upon this in Chapter 1.

I chose Myra (fig.2., 1995), as an example of a shocking subject matter that for some has become blasé, for others has become an iconic image to be fetishized and for others still, it holds the power to provoke violent reaction and shock. Harvey produced Myra as a commentary and a means of provoking the obsessive nature of British tabloid media as he thought that the photograph was used irresponsibly. Harvey said, “I would actually like it to fuck their day up.” (Hattenstone S., The Guardian, Saturday 21 February 2009 (see Appendix 1, Appendix 6 and fig.6.).

My third chosen artwork also features Tony Blair and also relates back to twentieth century British politics, culture, history and identity. Photo-Op (fig.3., 2006) is a digital photomontage by kennardphillipps that combines a picture of the grinning former Prime Minister Tony Blair taking a self-portrait on a mobile phone, originally from the 2005 general election campaign, with a separate image of a blazing oilfield during the Iraq war in 2003. The satire of this image works because it juxtaposes the shock and awe of the second invasion of Iraq in 2003 with the modern cultural selfie phenomena. Shock and awe (technically known as rapid dominance) is a military doctrine based on the use of overwhelming power and spectacular displays of force to destroy and paralyze an adversary’s will to fight. The doctrine was devised in 1996 by Harlan K. Ullman and James P. Wade and is a product of the United States National Defense University.

Photo-Op (fig.3., 2006) has previously been exhibited at Tate Britain and was recently described by The Guardian (Jones, October 2013) as “the definitive work of art about the Iraq war”. It is currently shown at The Imperial War Museum (IWM) in Manchester in Catalyst: Contemporary Art and War exhibition (2013) where two exhibition corporate sponsors controversially withdrew it as the main publicity image. This action by CBS OUTDOOR links into my proposition concerning neo-feudalism and is argued in Chapter 3.

Another key aspect of this essay is the use of art as a weapon for activism, influenced by artist George Grosz (b. German, 1893 – 1959) of the 1920s Neue Sachlichkeit and German Dadaist art movements. Grosz said:

I consider any art pointless if it did not put itself at the disposal of political struggle […] my art was to be my gun and my sword. Pens without purpose are empty straws! (Gayford, 1997, Spectator, 45 (

As an example of Grosz’s work I have chosen Pillars of Society (fig.4., 1926) because I find the artist’s statement very powerful. Grosz was known for his acidic caricatures of political figures featuring priests, politicians, lawyers and soldiers (a paradigm of the powerful) of the 1920s German Weimar republic and he was pressurised and threatened with death by the Nazis (Zeller, Grove Art Online, Oxford University Press, 2009). The historical root of both Maggie (fig.1., 2009) and Photo-Op (fig.3., 2006) may be traced to the use of acidic political caricatures. Grosz’s statement also links to “the visual arm of protest” and the support of the use of art for activism by kennardphillipps. Maggie itself became a centre of a scandal because of, among other reasons, the Harvey’s use of casts of dildos that are meant to symbolise “the cocks that surrounded her” (Hattenstone, 2009).

Maggie (fig.1., 2009) visualizes the morbid fetishism of contemporary iconography. It reveals itself in two stages – at a distance and up close, when it literally reveals new dimensions. The dildos become reminiscent of cruise missiles. The artwork becomes a sexualised, machine-like, totem of the surreal power of libido.

This contextual study also links the findings of philosophers, sociologists and psychologists who have written about advanced capitalist culture effecting mental health.

Carefully researched passages from Das Kapital Vol.1 (Marx, 1876) are a basis of this essay, along with the books; Walter Benjamin (b. German, 1892 – 1940) The Work of Art in the Age of Mechanical Reproduction (1934), Herbert Marcuse (b. German, 1898 – 1979), Eros and Civilisation: A Philosophical Inquiry into Freud (1955) and, Herbert Marcuse, One Dimensional Man: Studies in the Ideology of Advanced Industrial Society (1964).

I have further referred to pages dealing The Culture Industry: Enlightenment as Mass Deception, from the final chapter of the book co-written by Theodor Adorno, (b. German, 1903-69) and Max Horkheimer (b. German, 1895–1973) in Dialectic of Enlightenment (2002). References to other literature have emerged during research for my practice that include; the notion of the commodity trap by Guy Debord (b. France, 1931-94) in The Society of the Spectacle (1967) and, the explanation of contemporaneity (see Chapter 2) inJean Baudrillard’s (b. France, 1929 – 2007) book Simulacra and Simulation (Simulacres et Simulation, 1994).

I have chosen all of these texts to inform my overview of Marxism and social history of art in the period. They work as references to my introductory statement that advanced western capitalism is a neo-feudal economic pyramid, whose policies and ideologies have lead to a form of mass schizophrenia (see Chapter 2) within society. Western culture is dominated by mass production and subsequent fetishism of commodities Marx (1876). I will describe commodity fetishism and it’s origins next in Chapter 1.


a flow chart displaying migrations (over 50,000 people).
Science magazine: a team of geographers used data snapshots to create a broad analysis of global migrations over 20 years.

Brandalism by kennardphillipps

Two of the contemporary artists I really respect and have found inspiration from are the collective known as  kennardphillipps.

The link shows their work on subverting well known brands and advertising hoardings – Brandalism!

Critical Appraisal of Liberate Tate WordPress Site

Ian Pritchard – critical appraisal of – Liberate Tate WordPress Site

Liberate Tate is a network dedicated to taking creative disobedience against Tate until it drops its oil company funding.
Liberate Tate tries to respond positively to academics and institutions in relation to conference, symposium and other speaking invitations.
In addition, Liberate Tate try to meet requests for articles in journals or interviews for research and other purposes where capacity allows.

a diversion to visual arts

Posted: March 27, 2014 in Uncategorized

A thought provoking blog on the historic utilisation of art for the purposes of Activism and radicalism.

Floss Manuals – Using WordPress | Tech Tools for Activism: tools to help reclaim the future


The manual is an in-depth look at how to use WordPress in a community setting. 
It doesn’t seek to replace the help on the official WordPress codex pages, 
but is intended at a step by step guide to lead you through each stages. 
It covers amongst other things;
how to install and configure WordPress
add posts, images, audio & video
adding users to your site and setting permisison levels
change the look of your site with themes and widgets
add to the functionality of your site with extra plugins
how to set up or administer a WordPress network or community

L.H.O.O.Q, Marcel DuChamp (1919)

Artist: Marcel Duchamp (1887- 1968), whose sense of humour first came to attention in 1917, when he submitted, under the name R Mutt, a urinal to a New York art exhibition. Duchamp anonymously defended R Mutt in a magazine, and gave a definition of his new art of the readymade: whether or not Mr Mutt made it with his own hand has no importance. He chose it. He took an everyday article, placed it so that its usual significance disappeared under the new title and point of view – and created a new thought for that object.

Subject: The Mona Lisa, painted in the 16th century by Leonardo da Vinci (1452-1519), and the most celebrated portrait in the world.

Distinguishing features: The Mona Lisa’s deep-set eyes and round face do not conflict with Duchamp’s act of violence. The beard and moustache seem a completion. Duchamp said the Mona Lisa becomes a man – not a woman disguised as a man, but a real man. This hints at a different meaning from vandalism, for all the crudeness of those letters, L.H.O.O.Q., which sound out the French sentence: “She has a hot arse.” This is not simply an attack on the mass-produced tourist icon the Mona Lisa had become, but rather an inter-pretation of it. Sigmund Freud had psychoanalysed Leonardo’s art and related the artist’s inability to finish his works to the sublimation of his sexual life to art. He also argued that Leonardo was homosexual.

Duchamp’s Mona Lisa is a Freudian joke. Duchamp reveals, in a simple gesture, that which the painting conceals. But this is not merely an allusion to Freud. Duchamp uncovers an ambiguity of gender at the heart of Leonardo’s aesthetic – that Leonardo sees the male form in the female.

This kind of hidden self- portrait is what Duchamp discovers in his rectified readymade. His Dadaist intervention redeems Leonardo’s masterpiece from the banality of reproduction and returns it to the private world of creation.

A version can be seen at Tate Modern, London SE1 (020-7887 8008).

Inspirations and influences: Andy Warhol also did several versions of the Mona Lisa.

The media are corporations that have a market: other businesses that advertise through the media. The media are selling their advertisers a product, namely readers and audiences.
From an institutional point of view that is what the corporate media are: enterprises out to make money, like other businesses.
Their behavior is rational. They reflect the interests of their owners.

The media are a tool for constraining political debate within limits that serve the interests of the ruling elite by controlling our understanding of what is politically possible.
Noam Chomsky


This video is connected to the above quote.

Mark McGowan – Artist Taxi Driver – £41k for man who carries John Bercow’s coat



Fostering Creativity in Cymru: Ten Great Contemporary Art Galleries in Wales

Renowned for its lush valleys and beautiful shores, Wales is also home to some of the United Kingdom’s leading contemporary art galleries. From independent artist led spaces to the country’s National Art Museum, here are ten of the best galleries dedicated to promoting Welsh artistic identity and forming international and cultural exchanges.