Ruth Kinna and Gillian Whiteley (eds) Cultures of Violence: Visual Arts and Political Violence, Routledge Interventions series with Introduction essay by Kinna & Whiteley
Re-so[u]rceries and Re-sonations at Treignac Projet, France – installation and three performances: 1. Mouvement et commande variateur: Circlips 10E 2. Amplification: Rondelle Z8 U 3. Ensemble de memoire 16 August 2019
Les Petroleuses multimedia performance at Cupola Gallery, Sheffield, 12 July 2019
Book and archive exhibited at Palazzo Mora, European Cultural Centre, Venice Biennale May to November 2019
Les Petroleuses multimedia performance at University Arms, Sheffield, 25 March, 2019
Performance Matters, A Journal about the Materiality and Consequentiality of Performance (Vol 4.3, Winter 2018)From Being One to Being-in-Common: Political Performativity, Proxemics, and the Joys of Provisional Unity’ in special issue ‘Performance and Bodies-Politic’, in
Nieuwe Vide magazine (Winter 2018)For a contemporary counter-cultural partisan practice!’ in
Edinost, an online and printed free newspaper, a laboratory where artists, academics and citizens can create collectively a framework for a new antifascism, hosted and edited by Alessio Mazzaro, 15 November 2018Re-sounding a partisan (micro)politics?’ in ‘Partisan Chants’,
Alchemy/Schmalchemy – Rhodiacéta (Re-)Response. An improvised sonic performance and discussion at the Re-Imagining Citizenship exhibition in Martin Hall Exhibition Space, 17 October 2018
A sculptor for our time: bringing Peter Peri into the light’ in Eustace K, Stocker M and J Barnes (eds) Sculpting Art History, Public Monuments and Sculpture Association, 2018
• July 2017 – Presented live art multimedia performance as part of Alchemy/Schmalchemy– ‘Onto-epistemological hoodoo: Putting a Barad text to work in intra-active-improv!’ at Summer Institutute in Qualitative Research: Putting theory to workat Manchester Metropolitan University
• For & Against! The Art of the Pamphlet, Charnwood Museum, Loughborough, 26 May 2017 – 26 Jun 2017 (Exhibition)
• ‘Subject(ive) positions. Thinking about thought positions in sculpture’ in Rotor, University of Huddersfield, 2016
• ‘Schm]alchemy: Magical sites and mischievous objects – episodes in a performative inquiry into the transformative and disruptive potency of stuff’ in Body, Space, Technology Journal (2016)
• ‘Welfare State International’ in John Bull & Graham Saunders (eds) British Theatre Companies: From Fringe to Mainstream Vol 1 1965-1979 (3 vols publication) Methuen, 2016
• Alchemy/Schmalchemy Manifestation 5 (performance) at Provocations, Improvisations: Encounters between Art, Sciences and Qualitative Research at the 4th Summer Institute of Qualitative Research, July 2015 at Manchester Metropolitan University
• Whiteley, G(2015) Junk: Art and the Politics of Trash. In Lange-Berndt, P (ed) Materiality, Whitechapel Gallery & MIT Press, 2015 pp.107-110
• Harland, RG, Loschiavo dos Santos, MC, Whiteley, G(2015) Dreaming sustainability, realising utopia: ‘convergence’ and ‘divergence’ in art and design practice. In Unmaking Waste 2015: Transforming Production and Consumption in Time and Place, Adelaide, South Australia, pp.607-616, ISBN: 978-0-9943360-7-1. Full text: http://unmakingwaste2015.org/?page_id=2865.
•‘Situating junk: Art, Garbage and Trash Ontologies’ in Loschiavo dos Santos, MC (eds) Design, Waste and Dignity, Social and Environmental Perspectives, Sao Paulo, Brazil, 2014, pp 130-145
•Animate objects, Articulate Things, What Next? in Julie Shiels, As Long as it Lasts, M33 Blaclava, Melbourne, 2014, pp 73-76
• ‘Aleatory Encounters: A Rumination on Trash and New Materialist Ontologies’ in editied book on Mexican artists’ collective TRES (Spanish and English in 2013)
•‘Regimes of Value: Sensuous Stuff, Entangled Objects, Undoing the Order of Things’ in Regimes of Value (exhibition catalogue) in relation to two exhibitions at Margaret Lawrence Gallery, Victoria College of the Arts, University of Melbourne and The Substation, Newport, Melbourne, 14 March – 13 April 2013 www.regimesofvalue.com
• ‘Political Pranksters, Provocateurs and Pan-Ic: Re-Connecting Countercultural Practices Trickster Strategies in the Artists’ and Curatorial Practice’ – essay in book from Tricksterconference, University of Wroclaw, Poland, 2013
• ‘Kitsch as cultural capital: Black Eyes and Lemonade, populist aesthetics in Fifties’ Britain’, in M Kjellman-Chapin (ed), Kitsch: History, Theory, Practice (Cambridge Scholars Press, 2013)
• ‘Jeff Nuttall’s Carnival of Discord’ in Geraldine Monk (ed) Cusp, recollections of poetry in transition, Shearsman, Bristol, 2012
•‘The Knowledge (Factory) Farm: Biomimicry on Campus, Afterthoughts on contagion, community and conatus’ in Green Days, 2012
• ‘A thousand lines of flight – postanarchism and contemporary art’ in Sanat Dunyamiz, Winter 2012 – introductory essay for published selected papers I co-convened (with Kuba Szreder) at the Anarchist Studies Network Conference, Loughborough University, September 2012
• ‘Sewing the ‘subversive thread of imagination’: Jeff Nuttall, Bomb Culture and the radical potential of affect’ in peer-reviewed journal, The Sixties: A Journal of History, Politics, and Culture, Winter 2011, Volume 4, Issue 2
• ‘Re-presenting reality, recovering the social: the poetics and politics of social realism and visual art’ (working title) in David Tucker (ed) British Social Realism in Film, Literature and Visual Art since 1940 (Palgrave MacMillan, June 2011)
• ‘Scavenging from margins to mainstream; artist as bricoleur’ in Stéphanie Jamet-Chavigny et Françoise Levaillan (eds) Retour sur l’art de l’assemblage, actes du colloque international (Les Presses Universitaires de Renne, 2011)
• Junk: Art and the Politics of Trash (IB Tauris) – single authored book (2011) (see www.ibtauris.com)
• ‘Greasepaint Guerrillas: Clowning as a Subversive Strategy’ (www.stimulusrespond.com) in online cultural onzine Stimulus-Respond, 2010
• bricolagekitchen/oneoftheroughs – Preposterous Encounters Out-bye selected for online publication/exhibition (2009/2010) selected by Centre of Attention – in response to their call for proposals for the Pavilion of Postcontemporary Curating – ‘The Re-Imagining of Sutton Scarsdale Hall, Derbyshire’ – available at http://www.thecentreofattention.org/exhibitions/sutton3.html
• ‘New Age Radicalism and the Social Imagination: Welfare State International in the Seventies’ in Laurel Foster and Sue Harper (eds) The Lost Decade: 1970s and British Visual Culture(Cambridge Scholars Press, 2010)
• ‘Hidden Noise: The Voice Haunts the Object’ in The Art Book, Vol 17, Issue 2, May 2010, pp. 8-9
• ‘Quad, Derby’ in The Art Book, Vol 17, Issue 2, May 2010, pp. 29-30
• Pan-demonium, exhibition catalogue and exhibition project I curated at AC Institute, New York, September-October 2009 (see www.bricolagekitchen.com and http://www.artcurrents.org/gallery/id11.html )
• Jane Tormey/Gillian Whiteley (eds), Telling Stories: Countering Narrative in Art, Theory and Film, (Cambridge Scholars Press, 2009)
• 1968: “The Artschool Revolution” in The Sixties Journal, Vol 2, Issue 1, June 2009
• Sensual, savage, social: the sculpture of Ralph Brown, (Sansome & Co, 2009) (monograph and Pangolin exhibition catalogue essay)
• ‘Locating a temporary common space: Colab and Cultural Exchanges in Weedpatch’ in H. Crawford (ed) Artistic Bedfellows: Histories, Theories and Conversations in Collaborative Art Practices (2008)
• Radical Mayhem – Welfare State International and its followers – essay in catalogue for exhibition which I curated at Mid Pennine Arts Burnley, April – June 2008.
• Revisiting Psychedelia- Summer of Love, Psychedelic Art, Social Crisis and Counterculture in the Sixties, The Art Book, Volume 14, Issue 4, 2006, pp. 15-16
• Sixty Years of Sculpture in the Arts Council Collection, Longside Gallery, Yorkshire Sculpture Park, West Bretton, Wakefield, 18 March – 25 June 2006 (forthcoming in The Sculpture Journal)
• ‘Keinholz’ in The Art Book, Vol 13, Issue 2, May 2006, pp. 20-21
• ‘Surveying the Century : Art Since 1900’, interview with Rosalind Krauss, Hal Foster and Yve-Alain Bois and review of Art Since 1900 published in The Art Book, 2006
• Exhibition catalogue essay for sculptor, Steve Hurst. Retrospective show at Bedlam Gallery, Brunel University 2006.
• ‘Adding value or valuing risk? A report on Hidden Agendas: Art in the Public Realm’ held at Axis, Round Foundry, Leeds 20th May 2005’ in Art & Architecture, 64, December 2005
• ‘Adding value or valuing risk? A report on Hidden Agendas: Art in the Public Realm’ held at Axis, Round Foundry, Leeds 20th May 2005’ – commissioned by Axis as part of ‘Situation Leeds’, festival of art in public realm – available on www.axisweb.org
• ‘The Art of Rachel Whiteread’, in The Art Book, Vol 12, Issue 3, August 2005, pp. 40-41
• Articles on ‘Assemblage’, ‘George Fullard’ and ‘Jim Dine’ for the Encyclopedia of Sculpture, Fitzroy Dearborn Press, Chicago, 2005
• New catalogue/essay on sculpture in Harlow for Harlow Art Trust with research grant from Henry Moore Foundation – published 2005.
• Articles on ‘Peter Péri’ , ‘George Fullard’ and ‘Betty Rea’ for the New Dictionary of National Biography, Oxford University Press, 2004.
• ‘On common ground: sculpture and the viewing subject 1950-75’, in P. Curtis, (ed.), Vol I Sculpture in 20th-century Britain, Henry Moore Institute, 2003
• ‘George Fullard’, in Vol II A Guide to Sculptors in the Leeds Collections, Henry Moore Institute, Leeds, 2003
• ‘Sculpture and palingenesis – Scultura Lingua Morta’, The Sculpture Journal, Autumn 2003.
• ‘Form and Flux’, exhibition catalogue introduction, InForm, Crossley Gallery, Dean Clough, Halifax, 13-28 September 2003
• A context of commitment : the sculpture of Betty Rea, Henry Moore Institute, August 2003, stand-alone essay published in conjunction with an exhibition A Fine Tomorrow – on socialism and sculpture.
• Contested monuments – contested memories : a report from the Association of Art Historians’ annual conference in Liverpool, UK, April 5th-7th 2002, in Sculpture magazine, December 2002, Vol 21, No. 10, p. 8
• Review of exhibition, Second Skin, in Sculpture magazine, October 2002, Vol 21, No. 8, p. 88.
• Review of exhibition, Vitalism, in Sculpture magazine, July/August 2002, Vol. 21, No. 6, p. 77
• ‘Art for Social Spaces : Public Sculpture and Urban Regeneration in postwar Britain’, Designing Britain 1945-75, launched September 2002, www.designingbritain.org
• An essay for the exhibition catalogue for show of work by sculptor, Steve Hurst, held at Christ Church Picture Gallery, Oxford, May – June 2001
• ‘Metal, Fire and Magic: Welded Sculpture of the Twentieth Century’ in The Sculpture Journal, Vol. VI, 2001.
• ‘Monuments and Cultural Memory after the End of the Confrontation between East and West’, in Chicago Art Journal, Spring 1999.
• Assembling the Absurd : the Sculpture of George Fullard 1923-1973, The Henry Moore Foundation/Lund Humphries, 1998. Major monograph and complete catalogue of sculpture.
• Playing with Paradox : George Fullard 1923-1973, Sheffield Hallam University/Mappin Art Gallery, Sheffield, 1998 (exhibition catalogue).
• George Fullard – A Fastidious Primitive, exhibition catalogue, Yorkshire Sculpture Park, 1998
• ‘The Impact of the Survivor : the Sculpture of George Fullard, A.R.A. (1923-1973)’ in The Sculpture Journal,Vol.1, 1997
• Un siècle de sculpture anglaise, Jeu de Paume, Paris, 1996 (exhibition catalogue). Biographical articles on British sculptors Robert Adams, Adrian Hill, Kenneth Martin, Mary Martin and Eduardo Paolozzi.