To view a selection of works and texts from the 90s please click in the links on the right hand side.

  • STUART BRISLEY, Black Crown, 1990-96

    Black Crown

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  • STUART BRISLEY, Kars, 1990

    Kars

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  • STUART BRISLEY, Prenzlauerberg, 1990, East Berlin

    Prenzlauerberg

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  • STUART BRISLEY, TSWA Four Cities Project, 1990, Govan, Glasgow

    TSWA Four Cities Project

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  • STUART BRISLEY, Untitled, 1991

    Untitled

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  • STUART BRISLEY, Cinema Parrocchiale, 1992, Olle, Arte Sella

    Cinema Parrocchiale

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  • STUART BRISLEY, Incidents in Transit, 1992, Sala Montcada de la Fundacao La Caixa, Barcelona

    Incidents in Transit

    Performance takes its title from an earlier visit by Brisley to Barcelona in March 1974 when the last 2 executions of the Franco regime took place while he was there. The Catalan activist Salvador Puig Antich and a common criminal Heinz Chez were executed by the use of the garrote.

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  • STUART BRISLEY, Dirty Protest, Armagh, 1993–96, British Museum Collection<br/>
© The Trustees of the British Museum

    Dirty Protest, Armagh

    Please go to the text section for Stuart Brisley's notes.

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  • STUART BRISLEY, Beware of Agents, 1993–96, Collection: The British Museum<br/>
© The Trustees of the British Museum

    Beware of Agents

    Please go to the text section for Stuart Brisley's notes.

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  • STUART BRISLEY, Members of the IRA in Dirty Disguises: Heads of Sean Hick, Paul Hughes, Donna Maguire, 1994, Collection: The British Museum<br/>
© The Trustees of the British Museum

    Members of the IRA in Dirty Disguises: Heads of Sean Hick, Paul Hughes, Donna Maguire

    Please go to the text section for Stuart Brisley's notes.

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  • STUART BRISLEY, South Sea Island Landscape with Black Holes, 1994

    South Sea Island Landscape with Black Holes

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  • STUART BRISLEY, Monarch at Bay, 1995

    Monarch at Bay

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  • STUART BRISLEY, Seeing Red, 1995

    Seeing Red

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  • STUART BRISLEY, Study for 'Semenal Sequences', 1995–96, Collection: The British Museum<br/>
© The Trustees of the British Museum

    Study for 'Semenal Sequences'

    During the 1990s the monarchy and the press became persistent themes in the work of Stuart Brisley, the British painter, sculptor and performance artist. The image of Diana Princess of Wales, as seen through a bespattered car window, is based on a press photograph. Brisley questions the media's dual power to idolize and vilify and its voyeuristic obsession with royal celbrity. This is a study for a painting which Brisley completed a few months before Diana's tragic death in a car accident while

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  • STUART BRISLEY, Semenal Sequences, 1995-96

    Semenal Sequences

    This work is derived from a common view that the fortunes of the  Princess of Wales were influenced by the press. The portrait is derived from an image of Diana on the front page of the Daily Mirror in 1994, 1995 or possibly 96. She is sitting in the driving seat of a car with the window up in the rain. The drips of rain are caught running  down the window of the drivers door. She is looking into the night. She appears as passive and isolated inside the metal box and yet  at the

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  • STUART BRISLEY, After Pandemonium (Canary Wharf), 1995-96, Diptych, Private Collection

    After Pandemonium (Canary Wharf)

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  • STUART BRISLEY, Chair, 1996

    Chair

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  • STUART BRISLEY, Dirty Hand and Bloody Hand<br />Made to Measure, 1996

    Made to Measure

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  • STUART BRISLEY, Helsinki Vanitas, 1996, Kiasma Helsinki Museum of Contemporary Art Collection

    Helsinki Vanitas

    Performance duration: 3 Days

    Objects used: 1 print of an xray of my skull after a car crash in 1979. 1 painting of a skull. A prefabricated hut of plywood.

    Actions involved induced relationships between the above elements finally culminating in the assembly of the hut. Performance involved speech relating to the elements.

    A permanent work was to be assembled incorporating the two skull images. A video of the performance would be placed inside the hut.

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  • STUART BRISLEY, Royal Ordure, 1996

    Royal Ordure

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  • STUART BRISLEY, Luxemburg (Rose), 1997, No. 2 of a series of 8

    Luxemburg (Rose)

    A group of five paintings of roses represented upside down as an homage to Rosa Luxemburg, anticipating a series of flower paintings made between 1999 and 2005.

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  • STUART BRISLEY, Sweating the Hole, 1997-2009, Sandra Gering Gallery, New York

    Sweating the Hole

      Click here to watch the video As with some of my work Sweating the Hole comes from an everyday event. In the winter of 1995/6 we were plagued by an invasion of mice in our 300 year old house in east London. We had a large dog at the time, a Turkish Kangal, traditionally used in Turkey as a guard dog. Its diet was simple, and evidently attractive to mice. The situation rapidly deteriorated as the mice must have been breeding apace. Unfortunately all the hardware stores in the local

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  • STUART BRISLEY, Giving Raspberries to the Big Bananas, 1998, Bern

    Giving Raspberries to the Big Bananas

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  • STUART BRISLEY, Black Red and White, 1997-2009

    Black Red and White

    Click here to watch the video Black Red and White takes place in a small room in which are displayed prints of opera singers. Its materials and tools are an easel on which a board is placed and attached to it is a circular unframed mirror in the centre of which is a black painted circle the size of a small dinner plate. By the side is a table containing cans of black red and white  water soluble paint and one or two brushes. The floor is covered with newspapers. The protagonist

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  • STUART BRISLEY, YDOOLBBLOODYSUNDAYYADNUS, 1999, Diptych, Arts Council of Northern Ireland

    YDOOLBBLOODYSUNDAYYADNUS

    This work is comprised of two images one derived from the other.   One refers to the overall subject Bloody Sunday, and utilises the  naming of that day. I took the names of the days of the week and repeated them on the grounds that the aftermath of Bloody Sunday resonates from day to day. By turning the letters and words upside down , inside out and back to front I tried to express how rationality in crisis can be turned on its head.  The drawing repeats the words of the week

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