Every 3 months (Spring, Summer, Autumn, Winter) I send out a brief newsletter that is funnily enough titled 'Alan Rutherford Art.

The news letter usually features some of the following things:

  • studio updates
  • exhibition news
  • a blog article that I've written that I think you should check out 
  • a review of an exhibition that I've written    
  • other exciting news!

 

You can access the past editions here via mail chimp:

 

Issue No 1  September 2019

Issue No 2  December 2019 

 

 

Re-evaluating Spectacular Society (1999) - Dissertation. available to read on SCRIBD

' Several perspectives - such as art, poststructuralism, postindustrialism andpostmodernism can be used to guide and direct the meaning of today's society towardsany number of desired locations. It is intended to therefore provide the reader with adebate that is both equally balanced with theoretical content and hypothetical analysis.The task of this essay will therefore be to discuss the major shift that has quickly takenplace from a society of industrial production during the situationists era of the 1960s, tothe information based networks of the 1990s. This shift has been described by FredricJameson, as the replacement of symbols which represent modernity, such as theautomobile and the freeway - for more technologically cultural icons, such as thecomputer and the Internet. It will therefore be attempted to explore today's information and media-based systems inrelation to previous models of production and manual dexterity. This will involve analyzingthe perspectives of Marx, the Situationist International (SI) and the work of Baudrillard.

'

 

 

 

 

Dear submissions panel, because the application is for a collaboration, the information for online portfolio and images of work can be found on this page here.

 

Alan Rutherford: 

 

Juliana Hoffmann:

To view work by Juliana Hoffmann, please use the links below.

Bio:

My practice involves exploring issues and urgenices that are brought about by the conditions of change, loss and disappearance within the broader context of cultural, environmental, historical or ideological settings. The philosophical themes of Hauntology and Historicity have been a constant source of impetus for me and have informed my practice.

I use a variety of mediums that include sculpture, video, photography, drawing and also make small interventions and performances that can address these issues and urgencies.

By accessing found texts and objects, I create pastiche re-creations of places, objects and scenes
through film and corollary sculptural ‘props’ that can re-animate and re-contextualise issues and urgencies through a combined synthesis of forms and subject that appear to layer the past with the present.

Sources can include local narrative knowledge, state propaganda, folklore and local legends. Looking at these sources, it is possible to analyse and create new theories and meanings that can construct new visual forms. By creating these new readings, my work creates an awareness that pushes the conversation of loss and disappearance in new directions.

I am interested in testing the possibilities of situating these new works in an outdoor setting in unexpected and unusual locations. This allows for the art work to be closer to the public and to maximise it’s message.
 
 
 

Artists Statement:

My practice involves exploring issues and urgenices that are brought about by the conditions of change, loss and disappearance within the broader context of cultural, environmental, historical or ideological settings. The philosophical themes of Hauntology and Historicity have been a constant source of impetus for me and have informed my practice.

I use a variety of mediums that include sculpture, video, photography, drawing and also make small interventions and performances that can address these issues and urgencies.

By accessing found texts and objects, I create pastiche re-creations of places, objects and scenes
through film and corollary sculptural ‘props’ that can re-animate and re-contextualise issues and urgencies through a combined synthesis of forms and subject that appear to layer the past with the present.

Sources can include local narrative knowledge, state propaganda, folklore and local legends. Looking at these sources, it is possible to analyse and create new theories and meanings that can construct new visual forms. By creating these new readings, my work creates an awareness that pushes the conversation of loss and disappearance in new directions.

I am interested in testing the possibilities of situating these new works in an outdoor setting in unexpected and unusual locations. This allows for the art work to be closer to the public and to maximise it’s message.  
 
 

Materials used:

Some of the materials that I am particularly fond of using and exploring are listed below. This list is by no means exhaustive:
 
Bamboo, Burlap, Cable, Cardboard, Casting, Concrete, Concrete, Earth, Electronics, Found objects, Galvanized Wire, Light
Neon, Paint, Photography, Plywood, Rope, Stone, String, Video, Wood
 
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