STUART BRISLEY

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  • STUART BRISLEY, Approaches to Learning, 1980, Ikon, Birmingham

    Approaches to Learning

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  • STUART BRISLEY, Inside/Outside/In, 1981, Krakow, Poland, Muzeum Sztuki w Łódzi

    Inside/Outside/In

    Inside/Outside/In 1981 I remember being in my hotel before the performance in Krakow. Bells were ringing which set the mood in concert with the centre of the city as in many cities across Europe. I remember thinking about the schism between good and bad as perceived between Western Europe and the Eastern Bloc as known in the West. In this circumstance positivity into negativity can be seen to be interchangeable in the presentation of a contradiction splitting European culture. From the

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  • STUART BRISLEY, Touching Class , 1981, Acme Gallery, London

    Touching Class

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  • STUART BRISLEY, Leaching Out at the Intersection, 1981, ICA, London

    Leaching Out at the Intersection

    Please go to the Text section for the related document, 'Three Cases Suitable for Rottweil'. Retrospective, ICA, London 1981Duration of performance and installation: 30 days This was part of a larger project, at that time uncompleted and named as The Georgiana Collection. I lived in Georgiana Street  London NW1. At the corner of the street was a piece of wasteland covered in rubbish. I had watched a cardboard suitcase slowly disintegrate over an 18 month perod which gave me the idea

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  • STUART BRISLEY, 1=66,666, 1983, Arts Council England Collection

    1=66,666

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  • STUART BRISLEY, Being and Doing, 1984, Arts Council England Collection / British Film Institute

    Being and Doing, a film by Stuart Brisley and Ken McMullen

    Being and Doing Click here to watch the video For a transcript of the film text, please go to the text section. Performance art is a term used to describe a live art activity that fits uneasily into critical categories. It is ephemeral and often dangerous. In ‘Being and Doing’ filmmaker Ken McMullen and artist Stuart Brisley collaborate to search out the origins of performance art, connecting it not to modernism but to ancient folk rituals in England and Europe. These rituals

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  • STUART BRISLEY, Nul Comma Nul, 1984, Tate

    Nul Comma Nul

    Nul Comma Nul  1984  Camden Art Centre London   Nul Comma Nul came about in response to an invitation from artist and curator Deanna Petherbridge to take part in a group exhibition entitled 1984 in 1984 at the Camden Art Centre. I had read 1984 by George Orwell, and reacquainted myself with it. Camden Art Centre at that time had a book section running parallel at ninety degrees to the main entrance.  At the right hand end obscuring a doorway leading to a gallery was a free

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  • STUART BRISLEY, Food as Metaphor, 1985, Cameraworks, London

    Food as Metaphor

    Tate archive

    Draft document

    Annotated notes

    Annotated draft

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  • Minus One (The Georgiana Collection)

    Sound work {audio:14}

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  • STUART BRISLEY, The Georgiana Collection, 1979-86

    The Georgiana Collection

    From 1978 I worked under the broad heading of The Georgiana Collection. The exhibition The Georgiana Collection was eventually a travelling exhibition conceived and shown at the Serpentine Gallery, London in 1986.

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979-86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979-86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979-86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979-86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86

    The Georgiana Collection

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  • STUART BRISLEY, Georgiana Collection, 1979–88

    The Georgiana Collection

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  • STUART BRISLEY, The Georgiana Collection, 1979–86, The Isle of Dogs

    The Georgiana Collection

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  • STUART BRISLEY, Georgiana Collection, 1979–88

    The Georgiana Collection

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  • STUART BRISLEY, From the Fourth World to the Third World, 1985, Sao Paolo Biennale

    From the Fourth World to the Third World

    Tate archive : Hand written diagram showing installation requirements

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  • STUART BRISLEY, Against the Wall (The Georgiana Collection), 1985

    Against the Wall (The Georgiana Collection)

    Having seen an industrial building supported by temporary wooden buttresses, this work invokes the human presence through the placement of clothing underneath the buttresses.      The work was made with the Troubles in mind. It refers to the outside, the external and the sheltering of

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  • STUART BRISLEY, It Can Be Done, 1986

    It Can Be Done

    It Can Be Done, 1986  It Can Be Done photographic triptych. The left hand image is of Karl Marx taken from a poster advertising an annual Marxist Summer school at the University of London .  The centre image is of the same poster which was pasted over a pop poster, singer Feargal Sharkey where some of the Marxist poster has been torn away revealing a part of Sharkey’s face underneath. It appears as though the partly torn image of Karl Marx acts as a mask partly covering

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  • STUART BRISLEY, X Comma X (The Georgiana Collection), 1986, Third Eye Centre, Glasgow

    X Comma X (The Georgiana Collection)

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  • STUART BRISLEY, Untitled Work, 1987, in <em>4 Days</em><br />
University of Krakow<br />
Krakow, Poland, Muzeum Sztuki w Łódzi

    Untitled Work

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  • STUART BRISLEY, The Cenotaph Project, 1987-91

    The Cenotaph Project

    The Cenotaph Project  1987-1991Stuart Brisley and Maya Balcioglu in January 1987 Stuart Brisley was appointed to a six months residency at the Imperial War Museum in London. IWM collection contained a model of the Whitehall Cenotaph in a glass case. Complete with flags the model displays all the precision and intensity peculiar to architectural models. It slowly came to mind that the Cenotaph could become the subject of work. Subsequently Brisley discussed the idea with Maya Balcioglu,

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  • STUART BRISLEY, Bourgeois Manners – Brute Force and Bloody Ignorance, 1988, Edge 88, London

    Bourgeois Manners – Brute Force and Bloody Ignorance

    Tate archive: Typed document

    Tate archive: An account of Stuart Brisley's work "Bourgeois Manners"

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988-91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988-91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, Cheshire Street, 1989

    Cheshire Street

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  • STUART BRISLEY, Brick Lane, 1988–91

    Brick Lane

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  • STUART BRISLEY, East End, 1988–91

    East End

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  • STUART BRISLEY, Small Obscenities in Relation to Big Tragedies, 1989, Prague

    Small Obscenities in Relation to Big Tragedies

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  • STUART BRISLEY, Red Star and Black Crown, 1989, The Showroom, London

    Red Star and Black Crown

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  • STUART BRISLEY, Dead Heads Drifting, 1989–96

    Dead Heads Drifting

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