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Gareth James

Posté par admin
jeudi 22 décembre 2005 [n° 928]

Professor James is an artist and writer based in New York . He has exhibited extensively in museums and galleries in the United States and Europe. He is a frequent collaborator with Storm van Helsing. His writing has appeared in Texte zur Kunst (Berlin), Made in USA (New York), and Purple (Paris). Professor James teaches ARCH 205, Advanced Concepts.

Recent exhibitions of his work have been held at Kunst Werke (Berlin), PS1 (New York), The ICA (London), The Wolfsonian (Miami), and is represented by American Fine Arts gallery in New York. His most recent publication is an anthology of essays I said I love. That is the promise. The tvideo politics of Jean-Luc Godard (2003)

The teacher

“When talking to James about his work, you get the sense that he’s a great teacher. First, there’s his ability to segue from a normal conversation, about the weather or soccer scores, into a discussion of how conceptual art deconstructs its subjects.

He attributes his conversational versatility to his student days in London. Because the school he attended offered few art theory classes, James would get together with friends for impromptu study groups.

“That’s how I learned all about French philosophers Michel Foucault and Giles Deleuze,” he says, adding that he encourages his students to become comfortable with talking about theory rather than seeing it as “an external discourse” they have to learn to get a degree. “Theory is how you understand your life and your work,” he asserts.

Gareth James Takes Visual Arts Department by ‘Storm’ By Ginger Otis; Columbia News Published: Nov 14, 2005 [pdf file]

Education theory

Oleanna 1
By David Mamet
Directed by Farley Richmond
Scenic Designer: Dunsi Dai
Stony Brook Theatre, NY
1995

Often enough, thinking on the subject tends to remain imbedded at the level of how the teacher should teach, and as such, given that the teacher is already inside the institution, always remains circumscribed by institutional negotiation. More rarely is there discussion of how to be taught. In the rare moments that we do so, the relational category of the alternative is more often than not supplanted by the category of opposition. Or how to not be taught. That we generally don’t want to hear about this can be seen in a relatively recent example: the much maligned play by David Mamet, Oleanna 2. Mamet’s play is a deeply incisive observation of education (and therefore society) in crisis, and is far more interesting than its reception at the time would suggest: a vitriolic diatribe against political correctness that had supposedly liberal audiences jumping up from their seats, pumping their fists and cheering when the beleaguered professor violently strikes out in frustration at the difficult student. Mamet combined the contemporaneous pedagogical problem (how to teach society to stop being so damn bigoted) with the unfinished question of 60s student radicalism (how to not be taught in order to participate in the question of how to teach). Ultimately, Mamet’s play won’t be included next to John Stuart Mill in any reader on the philosophy of education because it finally declines to get its hands dirty by proffering any program, even provisional, of its own.

The same could not be said of the Situationists. Putting aside for the moment, their own problems with authority (both internal and external), their “On The Poverty of Student Life” (1966) suggests an elision between the problems of education and the problems of revolution. Citing Lukás approvingly on the question of revolution, the S.I. together with “the students of Strasbourg” note that ‘If they are to be realized in practice, “theoretical” tendencies and differences must immediately be translated into organizational questions.’ (1). I am certainly not advocating that all distinction between student and teacher ought to be abolished, though I’m happy to consider it. Neither do I think that the problem of the student-consumer, first felt in the United States but rapidly proliferating, is enough to advocate a reluctant acceptance of the flow of power in that relation (such reactions strike me as an illicit fusion of the problems of value under capital in general with the specific problems of power relations in education). What must change, in my view, is that organizational questions can no longer be detotalized to answer to the problems of how to teach one day, and of how to be taught the next, as the options above tend to do. The theoretical tendencies and differences of students and teachers must be translated in the same organizational questioning. Or to put it another way, to recognize in this translation, that the question of how to not be taught, is not the question of how not to be taught, as though the student’s agency is useful only in assisting teachers to teach better rather than a demand, however appalling to the teacher, to teach oneself.

Gareth James’ reply to a text “From: Texte zur Kunst” sent: 1/9/2004 Isabelle Graw Clemens Krümmel, eds. Esther Buss

David MERMET

David Mamet : j’écris pour vivre mes pulsions criminelles 7 janvier 1998.

Dans Oléanna, “L’auteur y met face à face une étudiante de 20 ans et son professeur (40 ans). Soit une chipie venue voir son maître cynique pour lui demander une explication à propos d’un cours qu’elle n’a pas bien compris. Le professeur, pressé, se montre peu disponible. La jeune élève, blessée, se vengera comme elle pourra en accusant l’enseignant de harcèlement sexuel.

«Oleanna» ou le sexe harcelé 17 novembre 2005 swiss-info, Ghania Adamo

____________________

Orchard Gallery

The new gallery Orchard, founded by artist Gareth James and eleven cohorts including Moyra Davey, Fraser, Christian Philipp-Müller, R. H. Quaytman, Karin Schneider, and Bennett Simpson, opened its doors to the public at 1:00pm on Wednesday, May 11, 2005

05.16.05 Group Effort New York artforum

Gareth James Spring 2003

In the May issue of the Internet publication Artkrush.com, New York artist Gareth James collaborates with curator and color theorist Storm van Helsing to interview Simon Bedwell, a founding member of the London artist group BANK, about their work during the 1990s. The interview examines the group’s various works in print, including their self-published tabloid The BANK (1996/1997) that parodied the 1990s London art scene and Press Release (Fax-back project), where BANK edited, then graded, gallery and museum press releases before faxing them back with their need-to-improve commentary. Through a layered dialogue that mixes fact and fiction, personae and caricature, BANK/Bedwell/James/van Helsing offer an alternative reading of how art history is perpetuated through art world literature, ranging from established formats like the “interview” to art periodicals and exhibition catalogues, through their critique.

Bank/ Gareth James Artkrush.com Spring 2003

Naming Tokyo (Baptiser Tokyo) Gareth James
_________________________

Ceci est la version HTML du fichier http://www.elizabethdeegallery.com/artists/james/jamesbio.pdf.

Gareth James


Born in London, 1970
Lives and works in Brooklyn

SOLO EXHIBITIONS

2005 Blue Movie (one more time. . . this time with feeling), Elizabeth Dee Gallery, New York
2004 Get Real Estate, American Fine Arts, Co., New York
2002 LARS VON TRIER, collaboration with Gardar Eide Einarsson, American Fine Arts, Co., New York
2001 wRECONSTRUCTION, American Fine Arts, Co., New York
1998 NEW WORK CITY, MWMWM, New York
The Department of Revolutionary Everlasting Material, The Wolfsonian, Miami Beach
Jamen, with Kristine Kemp, Overgaden, Copenhagen
1992
Abbreviation. Abbrev., W139 Gallery, Amsterdam
1991 Post Festum, with Tim Brennan, Hôtel du Ville, Béthunè, France

BIBLIOGRAPHY

2005 Scott, Andrea, “The new new things”, Time Out New York, June 2-8, 2005
Smith, Roberta, “The Many Shades of Now, Explored in 3 Dimensions,” The New York Times, May 27
2004 Edward Leffingwell, “Gareth James,” Art in America, December
John Kelsey, “Get Real Estate,” Artforum, September
Suzanne Hudson, “Establishing Shot,” Artforum, September
Johanna Burton, “Papierfluten,” Texte zur Kunst 55, September
Annett Busch, “Godard Nervt. Nervt Godard?,” Texte zur Kunst 53, March
Debra Singer, “First Take,” Artforum, January
2003 Emily Pethick, “Critics Pick: Put Out More Flags,” Artforum.com, July
Bennett Simpson, “Can You Work as Fast as You Like to Think?,” Texte zur Kunst 49, March
Animations, Berlin: Kunst-Werke, Institute for Contemporary Art
2002 Tim Griffin, “Lars Von Trier,” Time Out New York, July 4–11
2001 Tim Griffin, “Closed for Business,” Time Out New York, January 30–February 6
2000 Bennett Simpson, “Specific Spectacles,” Arttext 71, November–January
Tim Griffin, “Kool Aid,” Time Out New York, July 20–27
Gregory Williams, “Greater New York,” Frieze 53, July–August
Carol Kino, “The Emergent Factor,” Art in America, July
Bennett Simpson, “Gareth James in Real Time,” Greater New York: New Art in New York Now,
New York: P.S.1 Contemporary Art Center
Alan Moore, “Daniel Lefcourrt, Gareth James, Ricci Albenda, Mick O’Shea,”
Greater New York: New Art in New York Now, New York: P.S.1 Contemporary Art Center
Saul Anton, “The Production of Production,” Arttext 68, February–April
Jason Simon, “I Said I Love. That Is the Promise.,” Frieze 50, January–February
1999 Karen Emenhiser, “A Critical Intrigue,” Persuasion
Sarah Schmerler, “The Production of Production,” Time Out New York, September 30–October 27
Frances Richard, “Jean-Luc Godard,” Artforum, November
Rhea Anastas, “The Pleasure of Difference,” Feed Magazine, September 28
Caitlin Maisley and Elizabeth Cherry, “Hypervision,” Zing Magazine, Fall
Nancy Princenthal, “Artists’ Book Beat,” On Paper, May–June
“Overflow,” FAT Magazine 4
Roberta Smith, “Free Coke,” The New York Times, February 26
Page 3
1998 Nina Korman, “Part Paper, Part Celluloid, All White,” Miami New Times, August 27–September 2
Simon Sheikh, “Jamen,” Øjeblikket, Spring
Dave Beech, “New Art on the Block,” Billy Liar 2
Dave Beech, “New Art,” Hong Kong Standard, March 5

SELECTED PUBLICATIONS AND WRITING BY THE ARTIST

“Dogs and Diplomacy,” Texte zur Kunst 54, June 2004
“No Guru No Method No Master,” Texte zur Kunst 53, March 2004
I Said I Love. That Is the Promise: The Tvideo Politics of Jean-Luc Godard (Copenhagen: Øjeblikket, and Berlin: b_books, 2003)
“Please Kill Me,” Texte zur Kunst 51, September 2003
“New York Black Out,” Héléne (Paris), Autumn 2003
“Shaggy Dogg,” Artforum, Summer 2003
“Between Ikea and the Südstadt,” Untitled 29, Winter/Spring 2003
“Departments of. . . ,” Corporate Mentality, John Kelsey and Aleksandra Mir, eds.
(New York: Lukas & Sternberg, 2003)
“BANK + Simon Bedwell + Storm van Helsing,” artkrush.com, 2003
Your Mental Health Survival, with Gardar Eide Einarsson (Oslo: Noe Kommer Til Å Skje, 2003)
“10-Buck Phonecard Zine,” Mutant (Denmark) 1, Mikkel Bolt and Jørgen Michaelsen, eds., 2002
“Generally Discredited Words,” with Storm van Helsing, Texte zur Kunst 44, December 2001
“Zeitgeist, Das Sein, De Land and Gesundheit,” Purple (Paris) 13, Fall 2002
“One Day in Appalachia,” MADE in USA (New York) 3, Spring–Fall 2001
“The Empty Place,” Purple (Paris) 8, Summer 2001
“Godard’s Birds,” Purple (Paris) 6, Winter 2000–01
“Torture,” with Roe Ethridge, Big Magazine (New York) 27, 2000
AWARDS
1997 Individual Artist Award, London Arts Board
1993 Award, London Borough of Havering Arts Bursary


  1. “This is a play about the issue of sexual harassment on the campus. The script asked for an office with two characters: a male professor with one of his female students. The Director wanted to emphases the universal tone of the topic. As the result, we decided to have three offices showing three different pairs of characters: male professor with female student, female professor with male student, and female professor with female student. To help to create the tension in the show, all of the offices were put in 45^ angle. And, the offices were set on different levels to make them stand out from each other. The set dressing for each office went with the director’s interpretation about what field that professor was teaching in.” [back]
  2. “Oleanna refers to a folk story about how a man (named Ole) and his wife (Anna) bought acres of swampland then sold it as farmland to those who were willing to invest their lives’ savings. Once the money had been collected, the pair vanished and the buyers were left with worthless property. This became known as the “Oleanna swindle.” For Mamet, higher education may be today’s “Oleanna swindle.”

    Faithfully adapted by the director from his own play (which began its worldwide run in 1992), Oleanna is a two-character piece. For the most part, the dynamics are played out in a series of rooms on an unnamed northeastern college campus. The only two speaking parts belong to William H. Macy as a middle-aged professor and Debra Eisenstadt as Carol, a student who comes to him to discuss why she’s failing his course. ” Oleanna
    A Film Review by James Berardinelli [back]

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