Terror

Open publication - Free publishing - More art

Featuring Beverley Bennett, Charley Peters, Gudrun Filipska, Laura Davidson

12 - Pages Issue 9 : Terror

Introduction by Laura Davidson

“For reasons that should by now be self-evident, bearing witness does not imply special access to the essential meaning of critical events. Nor does being in a position to see those events with one’s own eyes privilege the testimony of any individual, no matter where they stand in relation to the presumed center of the drama, since so many other eyes are trained on it from so many uniquely revelatory positions. Logically, this observation is elementary, but as soon as discussion moves from the abstract to the concrete, agreement vanishes in the so-called “fog of war”, that atmosphere of crisis and ambiguity in which opposites confront each other only to lose their bearings, that moment of truth in which sharply defined antagonists begin to resemble each other in their confusion and desperation and truth vaporizes and indiscriminate death has the final word.”

Robert Storr September: A History Painting by Gerhard Richter (2010)

On September 11th 2001, Gerhard Richter was en route from Cologne to his opening at Maria Goodman Gallery in Manhattan. He was due to arrive at 12.30pm, almost 4 hours after the first plane hit the World Trade Centre. Richter and his wife were diverted to Halifax, Nova Scotia and like the rest of the world, became restricted to watching the unedited narrative stream continuously from TV screens. For those who count themselves amongst the most cynical disbelievers in fate, it must be hard not to concede it was Richter’s destiny to be thrust somehow into the sublime horror of one of the defining moments of the early 21st Century. 

The events of that September day are accompanied by a very specific and saturated imagery. It was a horror of an intensity not witnessed on the American homeland since colonial times. Ironically in the latter half of the 20th Century, it was America that had been responsible for creating the subject of such sublime imagery. The H-bombs over Hiroshima and Nagasaki during World War 2 are a subject matter not unfamiliar to Richter. Unlike the atrocities committed in Japan in 1945, images of what happened in Lower Manhattan were unveiled in real time and then replayed continuously to a worldwide audience. 

The string of words “nine eleven” has a meaning so intense in Western nations that it obliterates all that defined it before. Primarily it marked an increased aggression in US and European foreign policy. Retrospectively it is coming to represent a turning point in how media captures our memory of an event. What occurred in New York, Washington and Pennsylvania on the 11th of September 2001 is etched into the collective memory of North American and Western European culture. When discussing the event, the attempt at grasping a meaning behind it often begins with a personal account, as if ‘we’ were all there. As if we all saw it played out in reality. The relentless media coverage for almost two weeks after the event placed us in a 360-viewing platform. We were fed images that gave us the impression of being in Manhattan above all, when everything unfolded across the ubiquitous clear blue skyline. 

Over a decade later, we have become more accustomed to taking part in collective events that we are not physically a part of. Nine eleven was a trigger of this phenomenon. The removal of physical self in the Web 2.0 era has somehow come with a natural ease. It seems logical to concede that there has always been a concealed science fiction desire to be in two places at once. A strong trend has emerged in which major news stories are broken on Twitter by amateurs, often more rapidly than the conventional broadcasters. Major news events are also increasingly made out of something minor. The continual stream of news that is attached to each person through personal computers and smartphones maybe gives us more of a physical sense of being somewhere when we are in fact completely absent.

An absence of physical presence is what defines North America’s 9/11 as equally as an inability to articulate the true terror of those who did witness the events unfold in real time, without constant replay. On Gerhard Richter’s painting September, the art historian Robert Storr remarked that he himself finds it difficult to separate his personal account of the day and the images he saw on the television. In fact, a continual question that arises is how to begin the task of staging the representational on something already so represented? On something so concrete yet buried in the effervescent nature of the photograph? The occurrences in the aftermath of the event in particular, the whole of Lower Manhattan buried in a Pompeii-esque ash of office papers, seemed in themselves a poetic legacy that no artist could ever create. The political fall out has agitated some artistic response but, the decade of the War on Terror seems eerily quiet in contrast to, for comparisons sake, the Vietnam War. It is curious that an event that was so staged and so visual has barely any visual response to it. 

This sense of the intangible is what the brief for the Terror issue was based upon. In the years leading up to the Iraq War, the apocalyptic visions of September 11th were pulsing through the veins of the world media when the Invasion of Afghanistan was announced. These representations were continually recycled to justify the War on Terror. The world had become a place saturated with hyperactive illustrations, replayed over and over, filling the citizens of predominately western nations with a fear of this unknown, slippery, indefinable enemy known as Terror. The Invasion of Afghanistan was only the beginning of this stretching decade of conflict. The War on Terror left in its wake a trail of imagery, of spectacle, of war and of the sublime that is so dense in it’s recording (coinciding with the new digital era) that grasping the concept of the conflict: Terror, is still difficult a decade later.

Contextualising these events within the realm of art has not been forthcoming –Richter began working on September in 2004 and even he struggled to grasp how to proceed with his initial drawings. In order to allow a basis for response to the Terror brief, 12-Pages directed the respondents to consider wide resources from the imagery of war to the poetic mechanisms of the sublime, to begin to render a dialogue that describes the preceding decade. 

Terror will be published on 12-Pages, Thursday August 16th. Featuring new work by Beverley Bennett, Charley Peters, Gudrun Filipska and Laura Davidson.

12-Pages Online Project Space Call for Submissions: Issue 9

Tacita Dean Chère petite soeur (2002)

12-Pages Online Project Space invites submissions from creative practitioners in response to the theme of ‘Terror’. The release of this brief has been directed to coincide with the 10th anniversary of the Invasion of Afghanistan. 12-Pages is committed to promoting contemporary drawing practice and requests that submissions demonstrate the drawing process in some way. 12-Pages additionally asks that new works be made in response to the brief. In order to inspire critically engaged responses a rough introduction to the thinking behind the brief is provided.

Submissions deadline: 29th February 2012
E-mail responses to: laura.davidson@tbcartistscollective.org
Submissions guidelines: viewed on our website

Outlining Terror

The Guernica myth was established on the 15th of February 2003, when rumors began circulating from the UN Security Council Chamber that a tapestry copy of Picasso’s seminal painting had been draped with a blue cloth to shield it from view. It became apparent that Guernica was an inappropriate backdrop for the impending announcement. When America’s intention to invade Iraq was announced by Colin Powell, viewers from around the world saw him framed by the UN’s pale blue, rather than the disjointed horrors of Guernica. It has been said that the UN was put under considerable pressure to conceal the tapestry as screen tests before the live announcement showed the horse’s head rear up above the person talking. The concealing of an artwork on the eve of such an historical announcement would inevitably be perceived as a gagging of free speech. The covering up of this artwork during the early stages of the War on Terror would come to represent metaphorically the lack of government response to the mass protest of their citizens (in the US and UK) against the impending invasion. The concept of an enemy named ‘Terror’ seemed somehow mythological. How is it possible to wage war against a verb? In a cultural context, how does the art community put such an elusive concept into a critical framework? In other words; if art cannot have Guernica to represent sheer terror, then what is it entitled to claim?

In the years leading up to the Iraq War, the apocalyptic visions of September 11th were pulsing through the veins of the world media when the Invasion of Afghanistan was announced. These representations were continually recycled to justify the War on Terror.  The world had become a place saturated with hyperactive illustrations, replayed over and over, filling the citizens of predominately western nations with a fear of this unknown, slippery, indefinable enemy known as Terror. The Invasion of Afghanistan was only the beginning of this stretching decade of conflict. The War on Terror left in its wake a trail of imagery, of spectacle, of war and of the sublime that is so dense in it’s recording (coinciding with the new digital era) that grasping the concept of the conflict: Terror, is still difficult a decade later. 

As perhaps suggested in the Guernica myth, art’s engagement with terror is a relationship defined through centuries of academic discourse. Most famously, the epic engagement of the sublime by J.M.W Turner and Casper David Freidrich distills to us the intangible qualities of terror and fear. The sublime could be an art historical tool to represent the elusive contemporary conceptualisation of Terror. Turner and Freidrich use painting to render the panic of the human condition to something with, of course, a peculiar aesthetic contradiction we recognize as the sublime. This contradiction was inevitably echoed in the rhetoric of the War on Terror during the ‘Shock and Awe’ campaign. Had this phrase not been coined in earnest by the Bush Administration it could easily be applied to Freidrich’s painting The Chalk Cliffs on Rügen (1818). Taken out of context, shock and awe is in so many ways a concise description of the sublime. In Freidrich’s painting, the man stumbling towards his renegade top hat on the edge of a cliff frames the ultimate power of the natural world over the small stature of man. For a humble man, the fear of nature is awe-inspiring. With a media so full of pseudo apocalyptic imagery it comes as no surprise that an interest in the sublime has come to the fore of art thinking once more.

The 2009 exhibition Compass in Hand at MoMA, New York, presented newly acquired works from the Judith Rothschild Contemporary Drawing Collection. The exhibition meant that MoMA’s Curator of Drawing, Christian Rattemeyer, could concede a small victory as keeper of the medium. For the first time MoMA’s history a drawing was displayed in the public areas of the museum. Tacita Dean’s Chère petite soeur (2002), a colossal diptych measuring 243.8 x 487.7 cm, was hung in a space normally reserved for the departments of painting and sculpture. Dean’s chalk on blackboard piece had staged an insurrection of the curatorial hierarchy.

Chère petite soeur (2002) is a replay of a Marcel Broodthaers film based on a postcard he found of a boat being tossed around in a storm. The interest in the piece lies in the year of production, a year after September 11th and the Invasion of Afghanistan and a year before the Iraq War. The immersion of the viewer in a dusty, churned sea instantly brings Turner to mind.  One observes the boat’s futile attempt to triumph over the inevitable terror of nature. In retrospect the work serves as a cultural talisman, produced in advance of any announcements of ‘Shock and Awe’ by the previous American government. The apocalyptic wind depicted in the drawing was perhaps capturing the atmospheric terror experienced in the west. The reference of the sublime in Chère petite soeur evidences the growing engagement with Terror in contemporary practice.

Rattemeyer would later comment on the selection process for Compass in Hand. The exhibition, curated by conceptual and aesthetic relationships instead of chronology, revealed drawings depicting severed limbs and collaged bodies. However, what these works unveiled to him was a drawn response to the Iraq and Afghanistan wars, which he had not considered previously. It came as no surprise that these works were produced around the 2002-2004 period. These comments were made during a panel discussion at the conference Travelling Lines: Drawing as an Itinerant Practice, 22-23 September. Co-Curated by the Drawing Room, London and TrAIN, University of the Arts, London

The contrast of the collage on paper works with Dean’s chalk board diptych, should hopefully give you, a potential respondent of the brief, an insight into the far reaching context of terror in relation to contemporary drawing practice. Responses to ‘Terror’ can be plotted anywhere from the imagery of war to the poetic mechanisms of the sublime.

Further Research

• John Martin, Apocalypse, at Tate Britain until 15th January 2012
• Tate Papers on the sublime
• Compass in Hand online catalogue
• Goshka Macuga, The Nature of the Beast, Whitechapel, London (featured the Guernica tapestry)

A Message To... Houston

Charley Peters: A Message To... Paul Neal 'Red' Adair

Peters' piece of work is inspired by the legendary firefighter 'Red' Adair (1915-2004) who, during his career extinguished and capped oil well blowouts, both on land and offshore. The project involved collaboration between Peters and TBC's Laura Davidson, based on Davidson's interpretation of a set of instructions supplied to her with relating to a series of drawings made for the project. The instructions to Davidson and Peters' drawings - made from folded paper, reminiscent of flame forms - are below.

Instructions

• I have made six drawings out of folded paper.

• The drawings are now on the wall of my studio in London.

• On sheets of white paper I have recorded each fold as a line, thereby producing six new line drawings.

• I have given these line drawings to you and they are to be taken to Houston, Texas.

• In Houston the lines should be turned into folds and the original drawings recreated.

• The six recreated drawings should be burned and their ashes scattered on Houston Heights, the area where Red Adair spent his childhood, to commemorate his career extinguishing hazardous oil well fires until his retirement at the age of 77.

---

On the 25th of August the works were recreated and scattered along the park in the middle of Heights Boulevard, which divides the lanes of traffic travelling across town. 

Beverley Bennett: A Message To... Ima Hogg

 

Some persons create history.

Some record it.
Others restore and conserve it.
She has done all three.

Allan Shivers former Governor of Texas

Ima Hogg (1882 - 1975) known as "The First Lady of Texas" was an American philanthropist, patron and collector of the arts and one of the most respected women in Texas throughout the 20th century. Hogg donated pieces of  avant-garde European art to the Museum of Fine Arts Houston (MFAH) during the 30s and 40s. Additionally she donated the Bayou Bend property to the MFAH in 1957 and it now showcases American decorative and fine arts from the 17th to 19th centuries. Even in death she is a key figure of art patronage in Houston, which the home of some of America's most important collections. Works donated by Hogg and other collectors during her time are still loaned to museums and galleries internationally. Evidently Hogg's role in giving Houston a rich cultural heritage impacts on the popularity of the Museum District today. 

Bennett based her drawing on the Eastern Massachusetts Easy Chair, (1760-1800) a gift from Ima Hogg to the MFAH. The geometric needlework cover served as an inspiration for Bennett's drawing. The crosswalk beside the MFAH also touches on the Glassell School of Art and the Contemporary Arts Museum. This was an ideal location to install Bennett's work as often the lamp posts here are used to promote other cultural events in the city.

Laura Davidson: A Message To... Terry Hershey

Terry (Therese) Hershey (1922- ) is a well known and celebrated American conservationist. In the Houston area she is most closely associated with 6 miles of Texas parkland that bear her name. The Terry Hershey Hike and Bike Trail would not exist if it were not for her relentless campaigning to stop the Buffalo Bayou from being paved. In the 1960's the bayou was to be stripped of vegetation, straightened and filled in with concrete, a government sponsored project that set to use this method of engineering as a flood prevention measure. Hershey, who lived in the area at the time, campaigned with the proposition that this would lead to flood transference rather than flood prevention. Her fight was eventually taken to the then Congressman George H. W. Bush who eventually succeeded to Hershey's hypothesis that there is a better way to control flooding than destroying the natural habitat. She would then go on to establish environmentalist groups throughout the Houston area and become a founding member of the National Wildflower Center in Austin, Texas. She is still actively involved in conservation to this day.

For A Message To... Davidson constructed a small paper boat to be floated along the Buffalo Bayou, buoyed by the natural meander and current of the river. Prior to folding up the boat, a drawing was produced on the paper. Drawing and the botanical have a long history together and with that in mind Davidson undertook research into the endangered plants of Harris County the area, which the Buffalo Bayou dissects. The geometric shapes of the Texas Trillium were chosen to be imprinted on the boat, which glided down the Buffalo Bayou in homage to Hershey.

Project News: A Message To... Houston

 Location map of installed works in Houston, Texas

 

TBC Artists' Collective have been working on a long-term project called 'A Message To...' The project has previously taken members of TBC to Oxford in January 2011. At the end of August 2011, TBC member Laura Davidson travelled to Houston, Texas and installed works by Beverley Bennett, Charley Peters and herself. Each artist made a new artwork in homage to someone linked to Houston who has in some way contributed to state and national culture.

With guidance from Bennett and Peters, Davidson situated the works around Houston in relevant locations. The sites were as follows:

Beverley Bennett: Crosswalk of Bissonnet and Montrose next to the MFAH
Charley Peters: Heights Boulevard
Laura Davidson: Buffalo Bayou in Terry Hershey Park at Eldridge Parkway

The work will be posted on 12-Pages in the next coming days.

Exhibition News: Slice

TBC Artists' Collective, Still from Khoros (2011)

TBC have a newly commissioned piece of work in Slice, opening at Rich Mix, London E1 6LA on 1 September 2011. Appropriating the various and undulating spaces of Catherine Wheel Alley, E1, as a live studio, TBC applied the ideas of dance theorist Rudolf von Laban and the novelist Italo Calvino to a performative ‘drawing’, exploring and mapping the environment through a combination of lines and motion. White boiler suits homogenised the performers with the space and its architectural features, drawing attention to the symbolic red elastic lines and shapes generated as they moved together topologically. The resultant ‘drawing in space’, Khoros, plots the relationship between the artists’ physical encounters of the location and their shared experience of collaborative movement.

Slice is open 1-22 September at Rich Mix, London, and the National College of Arts, Lahore.
www.richmix.org.uk

More information about the Slice project and TBC's film, Khoros, can be seen on the Slice website:
www.london-lahore.com

Project News: A Message To... Houston

During August TBC Artists' Collective will be taking part in a project in Houston, Texas. A Message To... Houston will involve TBC members - Beverley Bennett, Charley Peters, Laura Davidson, Paul Mendez and intern James Tuitt - researching notable residents of Houston and creating a new piece of interventionist work inspired by their findings. The final works will be installed in locations around the city. The works and their placement in sites in Houston will be recorded and can be seen on the TBC Online Project Space at the end of August.

Radicals and Non-Conformists

Poster design by Shia-ying Wallis

Founding member, Co-Director and this year’s curator of the Staff Art Show at the National Portrait Gallery, Beverley Bennett, commissioned fellow creatives to follow the brief ‘Radicals’ in conjuction with the 12-Pages Online Project Space.

Exhibitors were asked to take inspiration from sitters within the collection located in Room 18, Art Invention and Thought: The Romantics, which features the likes of William Goodwin, Lord Byron, John Constable and Mary Shelley.

As the project evolved, participants began to move away from the chosen theme by selecting new or existing work. In doing so, individuals emerged to become Non-Conformists, free-thinking Radicals. For more information visit radicalsartshow.blogspot.com.

12-Pages Online Project Space Call for Submissions - Issue 8

Roger Hiorns, Untitled, 2008. Atomised passenger aircraft engine.

TBC Artists' Collective has now announced an open call for submissions to its July 12-Pages Online Project Space. Applicants are asked to make a new artwork in response to the theme of 'ALTERED STATES'.

The Avant-Garde was a crucial force in transforming the cultural landscape of Europe after the bloodshed of the First World War. Cultural production became an important element of social and political transformation. Art became a way to question and protest against the established powers. The artist became a revolutionary figure. Today artistic production is synonymous with  the world's most dominant ideology: capitalism. The artist is tied to the art world and the art market.

Taking inspiration from the events of the Arab spring and the reaction to the public spending cuts in the UK this year, July’s 12-Pages brief aims to focus on artistic practice as a catalyst for change. However, it is important to make clear that the work submitted does not have to be overtly based on political struggle. Work produced should evidence the process of art making as an agent of change, which leads to an altered state. This should be interpreted in the widest possible sense. As far as possible drawing should be evidenced in the final outcome.

SUBMISSION GUIDELINES

• Send all images as JPEGs, minimum 72-maximum 150dpi, min 400Kb, max 1Mb

• Send all text documents as .doc, unless presented as a 'drawing' or 'image' in PDF format. Limit  body text to 3,000 words

• If the contributing artist has a clear idea as to how their word should be displayed, the desired      layout should be submitted as a PDF. The editor's decision is final.

• Short artist biography of no more than 200 words

OWNERSHIP

• 12-Pages does not accept previously published material, and does not expect works commissioned for 12-Pages to be used elsewhere before publication of the issue concerned

• The contributing artist retains full rights to their work. If the artist wishes to reprint or publish the work in future, TBC Artists' Collective asks that the relevant issue of 12-Pages be credited

• Due to the high volume of submissions received, TBC Artists' Collective can only enter into correspondence with those whose works have been accepted, and cannot give critical feedback on submissions.

• Editor-in-chief has final say over all editorial decisions.

All responses should be sent to Laura.Davidson@tbcartistscollective.org by midnight on 30th June 2011 to be considered for inclusion in the 12-Pages Online Project Space. ALTERED STATES will be published online in July 2011.

Project News: Slice Project Documentation

TBC developing new work in Catherine Wheel Alley E2

Yesterday TBC Artists' Collective completed the first stages of their contribution to the international Slice project. Filmmaker Timothy Knights, Photographer Valerie De La Rochette and TBC Intern James Tuitt documented the work made on location in Catherine Wheel Alley, London E2. TBC members Beverley Bennett, Charley Peters, Laura Davidson and Paul Mendez are collaborating to create a new piece of work for Slice, a performative drawing responding to an area on the one mile stretch of London from Liverpool Street Station to Whitechapel Station.

Stay tuned to 12-Pages for more project news and check out lahorelondon.wordpress.com for ongoing developments on Slice from London and Lahore.

A Message To...

TBC Artists' Collective are working on a new long-term project called 'A Message To...' The project will take members of TBC to various UK and international locations to make ephemeral interventionist works based on the cities they travel to. On 22 January 2011 members of TBC Artists' Collective - Charley Peters, Beverley Bennett, Laura Davidson, Paul Mendez, James Tuitt - travelled to Oxford to complete the first part of the project. Each artist made a piece of work specifically as a message to a person linked to Oxford who has contributed to national cultural, creative or academic history. 

Charley Peters, A Message To… Ann Oakley (2011)

Installed in Pitt Rivers Museum and Modern Art Oxford

Peters' work pays homage to Ann Oakley, a writer and a sociologist who graduated from Somerville College, Oxford. She has written extensively and influentially around issues of sex and gender, housework, childbirth and feminist social science. Her 1974 book 'Housewife' inspired Peters work for this 'A Message To' project, in which she wrote, 'Housework is work directly opposed to the possibility of human self-actualisation'. Peters' drawing is made from dirt samples collected in her studio.

Peters installed one of her dirt drawings in a display cabinet in the Pitt Rivers Museum. The cabinet, on the first floor of the museum, is directly underneath a vitrine containing ethnographic objects relating to marriage, which seemed particularly relevant to the research concerns of Oakley. The second of Peters' drawings was installed in Modern Art Oxford, hidden in a rack of postcards representing artworks that have been shown in the gallery in past exhibitions.

Beverley Bennett, A Message To… Richard Baker (2011)

Installed in Blackwells Music, Broad Street, Oxford

Richard Baker (born 1972) is a British composer and conductor, known equally for his own highly charged and distinctive music and for his performances of contemporary music, especially the music of his contemporaries in the UK. Bennett chose Baker as her subject due to his connection to her place of birth in the West Midlands, and the striking rhythms of his compositions which complement the visual tones of her drawings. 

Bennett installed her drawing on a notice board in Blackwells Music store on Broad Street, Oxford.

Laura Davidson, A Message To… Maurice Bowra (2011)

Installed in a bicycle basket on Parks Road, Oxford

Maurice Bowra was an Oxford Don who was just as famous for his private life as he was for his academic career. He studied the classics and wrote several books on the subject. He wrote poetry based on his experiences of the First World War. He lived from 1898-1971. He attracted infamy when he was caught bathing nude at Parsons Pleasure in the River Cherwell by the police. Bowra apparently said to them "I don't know about you, gentlemen, but in Oxford I, at least, am known by my face."

Davidson left a message in a bottle for whoever came across her work first - a set of written instructions for how the recipient should undertake a recorded performance as a reference to Bowra.

Paul Mendez, A Message To… John Ruskin (2011)

Pad of Khadi papers deposited at the Western Computer Store, Broad Street, Oxford

‘John Ruskin was a generous man, and so am I…’

One of Oxford University’s most celebrated alumni, John Ruskin was a man who used his means for the benefit of progress, both as stern sage writer and philanthropist, evinced by the plethora of streets, schools, colleges and foundations named after him. His disciples included the likes of Mahatma Ghandi, Marcel Proust, Leo Tolstoy and Oscar Wilde.

Khadi paper is associated with Ghandi and the Khadi movement of 1930s India, where the focus was on decentralisation, taking work back to the villages and making things by hand. By installing a pad of Khadi papers at an Apple Authorised Retailer Mendez gave someone the opportunity to explore their own creativity through drawing or handwriting, thus invoking the generous spirit of John Ruskin.

James Tuitt,  A Message To… Wilbert Vere Awdry (2011)

Installed at Oxford Station

Wilbert Vere Awdry OBE, (15 June 1911 – 21 March 1997), studied in Oxford, and was the creator of Thomas the Tank Engine. Tuitt produced his drawing for Awdry  as his stories were a part of his childhood.

The work Tuitt created came from his interest in pattern and repetition and the feelings (frustration, impatience etc.) that come from using these processes in drawing. He chose train tracks as a motif in direct relation to W.V.Awdry, and as it was also reminiscent of the time consuming drawings he did as a child of trains, train tracks etc., all because of his fondness of Awdry's story.

Using wrapping paper on which to produce a checked pattern inspired by the identity/fabrics of Burberry, Tuitt suggests its classic/traditional appeal, the iconic status of its pattern (much like the enduring strong status of Thomas among children), and also how this fascination with trains seemingly disappeared.

Tuitt left this piece of work in the only place he felt suitable; Oxford train station. He bound the work together with string, and wrote on the covering piece of card:

Dear Wilbert Vere Awdry, 

Thanks for helping to make me feel almost normal. 

I needed it back then.

The 'A Message To...' project will continue to develop as TBC travel to national and international locations and intervene, through drawing, where they visit. Updates will be posted on 12-Pages.

Project News: A Message To...

The locations of TBC's 'A Message To...' artworks in Oxford

Yesterday TBC members Beverley Bennett, Charley Peters, Laura Davidson, Paul Mendez and James Tuitt travelled to Oxford to take part in the first stage of a long-term project, 'A Message To'. Each artist made a new artwork in homage to someone linked to Oxford who has contributed to national culture. These works were then installed in various locations across the city, intervening in public spaces. The locations chosen by each artist were as follows:

Beverley Bennett: Blackwells Music store on Broad Street
Charley Peters: Pitt Rivers Museum & Modern Art Oxford
Laura Davidson: A bicycle basket on Parks Road
Paul Mendez: Western Computer store on Broad Street
James Tuitt: Oxford Station

More details about the 'A Message To...' project and the artworks created for it coming soon...

12-Pages: Do It Again, and Again, and Again

Smartphones - Follow this link:

http://issuu.com/tbcartcollectiv

Featuring: Charley Peters, Paul Mendez, Elizabeth Oniri, Beverley Bennett, Philip Weiner,
James Tuitt, Alex McIntyre, James Jeff Lindley
Editor: James Tuitt

Christmas Wishes from TBC

12-Pages Online Project Space: The Wrong Issue

 

Featuring: Paul Mendez, James Tuitt, Laura Davidson, Charley Peters, Elizabeth Oniri, Beverley Bennett
Editor: Charley Peters

Delineation Exhibition Pictures

Project News: 12-Pages Online Project Space

Charley Peters, Before the Wronging (2010)

As December approaches TBC artists are making new work for the 12-Pages Online Project Space. TBC members have been asked to 'Do Something Wrong', the results of which will be curated by this month's Blog Editor, Charley Peters, and will be online in early December. More news soon...

Delineation, Contemporary Dialogues with Drawing Closes

Selected works from Delineation

After a successful five-day run, Delineation closed its doors to the public today. The Delineation project however, continues to develop. A post-exhibition catalogue, featuring critical responses to the exhibition and essays exploring contemporary drawing practices, will be edited by TBC over the forthcoming months.

Anyone interested in being kept up-to-date with the progress of this and other TBC projects should join the TBC mailing list by emailing with the subject heading 'Mailing List' to: info@tbcartistscollective.org.

Delineation: Three Days Left

There are three days of Delineation left, and on Saturday 31st October artist John Timberlake will lead a panel discussion about the nature of drawing amongst TBC members. The event is free and begins at 2pm in The Crypt Gallery, NW1 2BA.

Work in Progress: Charley Peters

Compositional sketch for Xerox Drawing series, cut tracing paper and light.

For more current work from TBC artist Charley Peters, check out her blog, Carbon Particles: charleypeters.blogspot.com