Reaching Audiences: Distribution and Promotion of Alternative Moving Image

Dear Peter, Finally catching up with the book. Somehow I missed it when it was published last year, but it IS good to catch up with all that happened, after I’d stopped attending LFMC meetings following the cursory dismissal of the Working Party proposals (which you so assiduously detail, thank you).

The latter stages of the book are of particular interest as the passages are a clear record of what happens when ‘instrumentalities’ get above themselves and try and run things from the high ground – it leads to inevitable collapse. In many ways these sections are a case study of state capitalism and how it can go so badly wrong. …….. It’s good to see such a huge number of people and documents were consulted and synthesised into something so readable – a very successful postdoc for you Peter. All that’s needed now is for P. Mudie’s contribution to be published too. ….. I don’t think the Pommie MI artists realise how lucky they are to have their efforts recorded so fulsomely by two Aussies, able to stand back and study the whole glorious shermozzle, the epitome of the Bulldog Breed approach to doing things! Ken Wark described everything about the Australian contemporary art scene, administrators and funders included, all adds up to one huge artwork. The Poms did it first!”

2011
Julia Knight & Peter Thomas

 

Dear Peter, Finally catching up with the book. Somehow I missed it when it was published last year, but it IS good to catch up with all that happened, after I’d stopped attending LFMC meetings following the cursory dismissal of the Working Party proposals (which you so assiduously detail, thank you). 

The latter stages of the book are of particular interest as the passages are a clear record of what happens when ‘instrumentalities’ get above themselves and try and run things from the high ground – it leads to inevitable collapse. In many ways these sections are a case study of state capitalism and how it can go so badly wrong. ……..   It’s good to see such a huge number of people and documents were consulted and synthesised into something so readable – a very successful postdoc for you Peter. All that’s needed now is for P. Mudie’s contribution to be published too.  …..  I don’t think the Pommie MI artists realise how lucky they are to have their efforts recorded so fulsomely by two Aussies, able to stand back and study the whole glorious shermozzle, the epitome of the Bulldog Breed approach to doing things! Ken Wark described everything about the Australian contemporary art scene, administrators and funders included, all adds up to one huge artwork. The Poms did it first!”

Art Censored in Trades Hall

2012
Mike Leggett

A VIDEO, COMMISSIONED BY PERTH ARTIST SUSSI PORSBORG AND SCREENED AS PART OF HER EXHIBITION AND WORKSHOP AT TRADES HALL IN SYDNEY, WAS SWITCHED OFF BY THE BUILDING MANAGER. HE EXPLAINED HE HAD RECEIVED COMPLAINTS FROM PEOPLE IN THE BUILDING BUT WAS UNWILLING TO SAY FROM WHOM, OR INDEED THE NATURE OF THE COMPLAINTS. Read more in RealTime #112, December 2012. It is a story about right-wing conservative elements who have infiltrated the Union movement.

Liveness, Performance and the Permanent Frame

The final version of an earlier conference paper with the same name, in ‘REWIND, British Artists’ Video in the 1970s & 1980s’, edited by Sean Cubitt and Stephen Partridge, published by John Libbey.

“This chapter recalls film, video and photographic
records of performance
events from the 1970s, emerging today
as objects of permanence: of the gestural,
ephemeral and spontaneous. Does restoration
of analogue media from the period into the
digital domain and the reconstruction of live
performance extend performances as objects
of study? As objects, are the ideas of these
artists compromised? Are context, place and
presence central to the experience of these
earlier works? What part does the discourse at
the time play, when it is retrieved, relived, reframed?”

2012
Mike Leggett

Artists’ Books

1976
Martin Attwood & Clive Phillpot

International touring exhibition of some 150 works sponsored by the Arts Council of GB. Including Erota / Afini, a book made with Felipe Ehrenberg at Beau Geste Press in 1973, a 16mm film version being made in the same year and screened during the International Festival of Avant-Garde Film, National Film Theatre, London, 1973.