Thursday, March 29, 2012
Wednesday, March 21, 2012
Friday, March 16, 2012
Monday, March 5, 2012
Field Report 2010: Journal of Field Study International. Field Study, 2011
ReSite: Manual of Scores, Manifestos & Radical Actions. No 2. Vol 2. Field Study, 2011
You did not ask to have a Gideon Bible in your hotel room! ReSite No1. Vol 2. Field Study, 2010
Book Art Action. Field Study, 2010
KART 30. David Dellafiora, 2011
WIPE No. 60. Field Study, 2011
WIPE No. 47. Field Study, 2010
Field Day: a Compendium of Scores. Field Study, 2011
From the Penal Colony. Field Study, 2011
Fluxus Is No Brand Name! Field Study International, 2010
Fluxus Is No Brand Name! Photographer Alan Turner, 2011
Post Nation: a Stamp Album of Postal Psychogeography. Field Study in collaboration with Geelong Arts Alliance, 2008
S”Hell” stamp sheet. David Dellafiora. Field Study, 2008
Field Study First Day Covers 2007. Field Study, 2008
I Know My Place. Artist Badge Edition. Field Study in collaboration with Geelong Arts Alliance, 2007
Flicker Box: Cinematic Ephemera in an Obsolescent Format. Field Study, 2006
Gothic Style. Field Study, 1999
Prostitution. Photographer Eamonn Kirwan. Field Study, 1996
Vices & Virtues. Reprint of edition produced by David Dellafiora 1993. Field Study, 2011
Liber 000. Reprint of edition produced by David Dellafiora 1993. Field Study, 2011
Friday, March 2, 2012
KART Magazine Of Multiplicity
Welcome to the 33rd issue of KART, an instant art collection in a box!
The cover of this issue is based on Alan Moore & David Lloyds’ V for Vendetta, Guy Fawkes mask as adopted by the Occupy movement.
KART magazine is an assembling publication created to promote artistic and cultural diversity. KART is an ongoing project with no deadlines, and work is accepted on a continuing basis. KART is produced in limited editions of 40, each box containing works by 15 artists. This edition has 16 artists!
Australia: David Dellafiora • Rose Jobling • Mirjana Margetic • Marianne Midelburg Zoe Snyder Belgium: Thierry Tillier Germany: Angela Behrendt • Uli Grohmann Italy: Tiziana Baracchi • Claudio Romeo Mexico: Emilio Carrasco UK: Sue Vallance Ukraine: Lubomyr Tymkiv • TARAS USA: John M. Bennett • Andrew Topel
All artists included will receive a copy in the post in the next week or so. A limited number of spare copies are available for $20 US which includes all international P& P. Please email interest at: firstname.lastname@example.org , remember numbers are very limited.
University of the West of England, Bristol, UK
Tom Trusky Exhibition Cases, Bower Ashton Library
Field In A Box - Publications, assemblings and artists’ ephemera by Field Study
Curated by David Dellafiora, Geelong, Australia
2nd March - 11th April 2012
Field Study was formed in 1993 though networks made in the postal art community by Benedict Phillips, Eamonn Kirwan and David Dellafiora as a means of exchanging artworks, developing correspondences and establishing meetings that result in performances and group shows.
Influenced by the surrealist and fluxus art movements, Field Study could also be considered a continuation of the free press movement of the 1960s. Since its formation, Field Study has issued manifestoes, published assembling books, limited edition works and collaborated with community-based organisations and artists’ groups.
Philosophically Field Study sees work by individual artists participating in its activities as Field Study emanations and collective or collaborative work as Field Study manifestations. Field Study’s artistic output is centred on the annual ‘Field Report’, an assembling book that commenced in 1996. Since then new assembling editions have been created, including WIPE, ReSite and KART.
The assembling books have an intentionally hand made quality, with an emphasis on readily available means of reproduction such as photocopying and rubber-stamping. This distinguishes Field Study publications as artist books from the highly aestheticised work produced by print makers. This lo tech approach is not just an aesthetic decision but a means of challenging the aura of the artist book as art object by making works that are meant to be handled, disseminated and used as tools, resources and sites for action.
Artists are invited to contribute multiples of their work for the assembling publications and these are included in the editions with minimal editorial control or censorship. The principle that everyone is an artist is fundamental Field Study’s ethos. Field Study’s networks are international and no distinction is made between professional and non-professional artists or individual artistic practices.
Field Study activities are diverse, from performances, interventions in public spaces, to collaborations with other groups. The postal theme is recurrent, from subversive First Day Covers to the issuing of stamps from imaginary countries.
Field Study disseminates its works by multiple means, from artist markets, the Internet, specialist artist bookshops to local galleries and community events. The effort made to distribute the work widely is part of Field Study’s democratic activism, the principle that everyone has the right to access the arts and participate in artistic activity.
The Field Report encourages participating artists to create an emanation informed by their activities, actions and observations from the current year. Contributions could include documentations of performances, actions and exhibitions, tracts, rants, instructions, manifestoes, reflections and experiments. As such the Field Report becomes an archive of alternative artistic, social and political documents.
KART is described as a magazine of multiplicity, a regularly produced edition of postcard sized original artworks in a handcrafted folio box. Published as a collaboration between Karingal Participate, a disability service, and Field Study, each box contains works by 15 artists. KART is open themed.
ReSite, a Manual of Scores, Manifestos and Radical Actions, is an assembling publication where the pages have an element of audience participation or interaction. ReSite is part of the tradition of Fluxus editions where anyone can perform an action or score. In addition to this performance-based approach, ReSite taps into the rich tradition of the avant-garde with contributions of manifestos and documentation of art actions.
WIPE exhorts artists to transform everyday toilet paper, which might be considered scatological, into a fine art material in livres d’artiste. WIPE is now in its 66th edition, testament to the ubiquity of its base material and the challenge it presents to artists. The fragility of the material encourages a different approach to the other assembling publications.
Field Study also produces ephemeral and one-off works, instigated by members or David Dellafiora, Field Study’s coordinator. These one-offs can include artist stamps, small publications, small sculptural works and occasionally performances and installations.
Field Study publications are included in international artist book collections such as the V&A, Museum of Modern Art New York, State Library of Victoria and the Ruth & Marvin Sackner Archive of Concrete & Visual Poetry. As well as producing publications, Field Study networkers meet biannually at the Tate Britain or Tate Modern.
For further information about Field Study contact:
PO Box 1838
Geelong VIC 3220