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"Louise Bourgeois' Legs": Stuart Brisley's Anatomy of Art Garry Sherbert It has been over a year now since I saw Stuart Brisley at the University of Regina's Shu-Box Theatre, and although the context has changed since October 28, 2000, the abiding context for the delightful irony and satire of "Louise Bourgeois' Legs" has been Legs, the written text that accompanied the performance. In fact, I was encouraged by Brisley to discuss the
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Performance duration: 5 hours a day for 2 weeks Legs was conceived as a performative work discoursing on the question of identity regarding two sculptures of legs the focus of the work. The question concerned whether one or either of both legs were those of Louise Bourgeois. Aspects of Bourgeois’ own poetic interpretation of her early life were brought into the discourse. However the focus of the work concerned the identity of the legs. Were they those of Louise B.? Or of the Soviet
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Please go to the Text section for further documentation and for Danny Birchall's MA dissertation on Institution and Intervention: Artists’ Projects in Object-Based Museums. Since 2000 I have been working under the heading The Collection of Ordure, founding the immaterial Museum of Ordure with two others in 2002. The recent paintings all sit within the concept of The Collection of Ordure.The Collection of Ordure began in the middle 90s when I was living in Spitalfields. The first
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‘Dirt is universal, a-historical even. Homogeneity at ground level, mediated by the universal glue of sputum and excreta. Differentiated at the surface by the droppings of local and global consumption, the deposits of fast food, broken furniture, news media debris, plastic bags, condoms, sanitary towels, cigarette butts, betting slips, syringes etc.’ − Stuart Brisley This is a book about ordure in all its manifestations − shit, dirt, trash, waste, pus, pollution and
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See text section for 'Stuart Brisley: Crossings', Art Monthly review by Colin Perry, April 2008
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Obvious things first. Drawing can be the most simple and direct means of expression. It can be the most economic medium. And at the same time it offers complexity as a means of expression. I have long been interested in working with economic forms of expression, hence the use of the body as a vehicle devoid of other aids or most other aids. I have at times thought of the body as a vehicle for drawing where the pencil has been withdrawn into the body and where subsequent bodily
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Click here to watch the video Cut is the last of a series of works which were made in response to the notion of 'The Last Breath' In this the last work the subject has become an expression of the relationship between acts of destruction and its inevitable interrelationship with its other, as in the Hegelian thesis/antithesis of the dialectic. Sound has been envisaged as the constructive element running through the procedures. It is an alternative voice where materials in contact with each
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When works lie around in my studio they act on what I think about and are often temporari[y adapted in one way or another. They risk being contingent to circumstance and fortune. Bloody House is no exception. That is not to say that the first intention and meaning is undermined or that the motivations in the first place are abandoned or forgotten. But when in the studio they are part of the ongoing debate I have with myself about making art. Bloody House is no exception. I have shown it four
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