Sarah Lucas (born Holloway, London, 1962) is an English artist. She is part of the generation of Young British Artists who emerged during the 1990s. Her works frequently employ visual puns and bawdy humour, and include photography, collage and found objects.

Life and work[link]

Education[link]

Lucas left school at 16; she studied art at The Working Men's College (1982–3), London College of Printing (1983–4), and Goldsmith's College (1984–7), graduating with a degree in Fine Art in 1987.^[1]

Work[link]

Lucas was included in the 1988 group exhibition Freeze along with contemporaries including Angus Fairhurst, Damien Hirst, and Gary Hume.^[2] In 1990, Lucas co-organized the East Country Yard Show with Henry Bond, in which she also exhibited. Her first two solo exhibitions in 1992 were titled The Whole Joke and Penis Nailed to a Board. It was in in the early 1990s when Lucas began using furniture as a substitute for the human body, usually with crude genital punning.^[3] Created for a show organised by fellow artist Georg Herold at Portikus, Au Naturel (1994) is an assemblage of objects—a mattress, a bucket, a pair of melons, oranges and a cucumber—that suggest male and female body parts.^[4] For six months in 1993, Lucas and fellow artist Tracey Emin rented a retail space in east London, The Shop, where they made artworks, ranging from printed mugs to T-shirts with slogans, and put them on sale. In works such as Bitch (table, t-shirt, melons, and vacuum-packed smoked fish, 1995), she merges tabloid culture with the economy of the ready-made. In earlier work, she had displayed enlarged pages from the Sunday Sport newspaper. Through her career, Lucas has continued to appropriate everyday materials (including, for example, freshly made fried eggs) to make works that use humour, visual puns and sexual metaphors of sex, death, Englishness and gender.

Sarah Lucas is also known for her self-portraits, such as Human Toilet Revisited, 1998, a colour photograph in which she sits on a toilet smoking a cigarette. In her solo exhibition The Fag Show at Sadie Coles in 2000, she used cigarettes as a material, as in Self-portrait with Cigarettes (2000).

Writing in the The Guardian, in 2011, Aida Edemariam said that "Lucas was the wildest of the Young British Artists, partying hard and making art that was provocative and at times genuinely shocking."^[5] In 1996, she was the subject of a BBC documentary, Two Melons and a Stinking Fish.

Exhibitions[link]

Lucas had her first solo exhibition in 1992 at City Racing, an artists' run gallery in south London, and her first solo show in New York at the Barbara Gladstone Gallery in 1995.^[6] One-person museum exhibitions at Museum Boymans-van Beuningen in Rotterdam, at Portikus in Frankfurt, at Museum Ludwig in Cologne and at Kunsthalle Zurich, Kunstverein am Hamburg and Tate Liverpool have accompanied exhibitions in less conventional spaces—an empty office building for The Law in 1997, a disused postal depot in Berlin for the exhibition Beautiness in 1999, and an installation at the Freud Museum called Beyond the Pleasure Principle in 2000.

Lucas’s work has been included in major surveys of new British art in the last decade including Brilliant!—New Art From London at the Walker Art Center, Minneapolis, in 1995, Sensation (Young British Artists from the Saatchi Collection at the Royal Academy in 1997), and Intelligence—New British Art, 2000, at Tate Britain. In 2003, Sarah Lucas participated in the 50th International Biennale of Art in Venice, Outlook: Contemporary Art in Athens, and In-A-Gadda-Da-Vida, a three person exhibition for Tate Britain with Angus Fairhurst and Damien Hirst in 2004. From October 2005 to January 2006, Tate Liverpool presented the first survey exhibition of Lucas's work.

Personal life[link]

In the mid-2000s, Lucas was in a relationship with fellow YBA Angus Fairhurst.^[7] Lucas now lives with her partner Julian Simmons, in the former residence of Benjamin Britten near Aldeburgh; a home which is "tucked away down a long country lane, behind a Baptist church in Suffolk."^[8]

Art market[link]

Lucas is represented by Sadie Coles HQ, London, Barbara Gladstone, New York, and Contemporary Fine Arts, Berlin (CFA).

References[link]

Further reading[link]

• Amna Malik, Sarah Lucas: Au Naturel (London: Afterall), 2009
• Michele Robecchi, Sarah Lucas (Milan: Electa Mondadori), 2007
• Yilmaz Dziewior & Beatrix Ruf (eds.), Sarah Lucas: Exhibitions and Catalogue Raisonné 1989–2000 (Osfildern-Ruit / London: Hatje Cantz Verlag / Tate Publishing), 2005
• Sarah Lucas and Olivier Garbay, God is Dad (London: Sadie Coles HQ and Koenig Books), 2005
• Matthew Collings, Sarah Lucas (London: Tate Publishing), 2002
• Jan van Adrichem, Angus Fairhurst, Sarah Lucas (Rotterdam: Mus. Boymans—van Beuningen) 1996
• Jerry Saltz, Jan van Adrichem, Collier Schorr and Carl Freedman, "Sarah Lucas", Parkett, no. 45, 1995, pp. 76–115

External links[link]

• Sadie Coles HQ: Sarah Lucas
• Gladstone Gallery: Sarah Lucas
• Tate Liverpool Sarah Lucas survey show (2006)
• Sarah Lucas feature on BBC Collective (2005)
• Sarah Lucas on the Tate web site
• Artist portrait / spike art quarterly
• Sarah Lucas on Artcyclopedia
• Brooklyn Rail In Conversation Sarah Lucas with William Corwin

This article's citation style may be unclear. The references used may be made clearer with a different or consistent style of citation, footnoting, or external linking. (November 2010)

Sarah (right) and Abraham hosting three angels in a Children's Bible illustration

Sarah or Sara ( /ˈsɛərə/;^[1] Hebrew: שָׂרָה, Modern Sara Tiberian Śārā ISO 259-3 Śarra; Latin: Sara; Arabic: سارة) was the wife of Abraham and the mother of Isaac as described in the Hebrew Bible and the Quran. Her name was originally Sarai. According to Genesis 17:15 God changed her name to Sarah as part of a covenant after Hagar bore Abraham his first son, Ishmael.

The Hebrew name Sarah indicates a woman of high rank and is translated as "princess".

In the Hebrew Bible and rabbinic literature[link]

Abram’s Counsel to Sarai (watercolor circa 1896–1902 by James Tissot)

Sarah was the wife of Abraham, as well as being his half-sister, the daughter of his father Terah (Genesis 20:12). The Talmud ^[2] identifies Sarai with Iscah, daughter of Abraham's deceased brother Haran (Genesis 11:29), so that Sarah turns out to be the niece of Abraham and the sister of Lot and Milcah. She was also the mother-in-law of Rebecca, her successor. She was considered beautiful to the point that Abraham feared that when they were near more powerful rulers she would be taken away and given to another man. Twice he purposefully identified her as being only his sister so that he would be "treated well" for her sake.^[3] It is apparent that she remained attractive into her later years. Despite her great beauty, she was barren for an unknown reason.^[4] She was originally called "Sarai" which is translated "my princess." Later she was called "Sarah" i.e., princess."^[5] In Biblical times, the changing of one's name was significant and used to symbolize the binding of a covenant. In this case, God promised to put an end to her barrenness and give her a child (Isaac).^[6][7]

Pharaoh's harem[link]

Sarah, as depicted on Promptuarii Iconum Insigniorum

On the journey to Egypt, Abraham instructed Sarai^[8] to identify herself only as his sister, fearing that Pharaoh would kill him in order to take his wife, saying, "I know what a beautiful woman you are. When the Egyptians see you, they will say, 'this is his wife.' Then they will kill me but will let you live. Say you are my sister, so that I will be treated well for your sake and my life will be spared because of you."^[9] When brought before Pharaoh, Sarai said that Abraham was her brother, and the king thereupon bestowed upon the latter many presents and marks of distinction.^[10] As a token of his love for Sarai the king deeded his entire property to her, and gave her the land of Goshen as her hereditary possession: for this reason the Israelites subsequently lived in that land.^[11] It is likely that she acquired her Egyptian maidservant Hagar during this stay. Sarai prayed to God to deliver her from the king, and He thereupon sent an angel, who struck Pharaoh whenever he attempted to touch her. Pharaoh was so astonished at these blows that he spoke kindly to Sarai, who confessed that she was Abraham's wife. The king then ceased to annoy her.^[10] According to another version, Pharaoh persisted in annoying her after she had told him that she was a married woman; thereupon the angel struck him so violently that he became ill, and was thereby prevented from continuing to trouble her.^[12] According to one tradition it was when Pharaoh saw these miracles wrought in Sarai's behalf that he gave her his daughter Hagar as slave, saying: "It is better that my daughter should be a slave in the house of such a woman than mistress in another house"; Abimelech acted likewise.^[13] Sarai treated Hagar well, and induced women who came to visit her to visit Hagar also. Hagar, when pregnant by Abraham, began to act superciliously toward Sarai, provoking the latter to treat her harshly, to impose heavy work upon her, and even to strike her ^[14]

Relations with Hagar[link]

Banishment of Hagar, Etching. À Paris chez Fr. Fanet, Éditeur, Rue des Saints Pères n° 10. XVIIIth century. Sarah is seen on the left side, looking

Some believe Sarai was originally destined to reach the age of 175 years, but forty-eight years of this span of life were taken away from her because she complained of Abraham, blaming him as though the cause that Hagar no longer respected her.^[15][16] Sarah was sterile; but a miracle was vouchsafed to her^[17] after her name was changed from "Sarai" to "Sarah".^[15] According to one myth, when her fertility had been restored and she had given birth to Isaac, the people would not believe in the miracle, saying that the patriarch and his wife had adopted a foundling and pretended that it was their own son. Abraham thereupon invited all the notabilities to a banquet on the day when Isaac was to be weaned. Sarah invited the women, also, who brought their infants with them; and on this occasion she gave milk from her breasts to all the strange children, thus convincing the guests of the miracle.^[18] None of this is Biblical, however, except for the fact that Abraham organized a celebration when Isaac was weaned. It was during this banquet that Sarah happened upon the then teenaged Ishmael "mocking" her son^[19] and was so disturbed that she requested that both he and Hagar be removed from their company.^[20]

Death[link]

Legends connect Sarah's death with the attempted sacrifice of Isaac,^[21] there being two versions of the story. According to one, Samael came to her and said: "Your old husband seized the boy and sacrificed him. The boy wailed and wept; but he could not escape from his father." Sarah began to cry bitterly, and ultimately died of her grief.^[22] According to the other legend, Satan came to Sarah disguised as an old man, and told her that Isaac had been sacrificed. Believing it to be true, she cried bitterly, but soon comforted herself with the thought that the sacrifice had been offered at the command of God. She started from Beer-sheba to Hebron, asking everyone she met if he knew in which direction Abraham had gone. Then Satan came again in human shape and told her that it was not true that Isaac had been sacrificed, but that he was living and would soon return with his father. Sarah, on hearing this, died of joy at Hebron. Abraham and Isaac returned to their home at Beer-sheba, and, not finding Sarah there, went to Hebron, where they discovered her dead.^[23] According to the Genesis Rabbah, during Sarah's lifetime her house was always hospitably open, the dough was miraculously increased, a light burned from Saturday evening to Saturday evening, and a pillar of cloud rested upon the entrance to her tent.^[24]

New Testament references[link]

The First Epistle of Peter praises Sarah for obeying her husband.^[25] Other New Testament references to Sarah are in Romans,^[26] Galatians^[27] and Hebrews.^[28] In Galatians 4, she and Hagar are used as an allegory of the old and new covenants:

"For it is written that Abraham had two sons, one by the slave woman and the other by the free woman. His son by the slave woman was born in the ordinary way; but his son by the free woman was born as the result of a promise. These things may be taken figuratively, for the women represent two covenants. One covenant is from Mount Sinai and bears children who are to be slaves: This is Hagar. Now Hagar stands for Mount Sinai and corresponds to the present city of Jerusalem, because she is in slavery with her children. But the Jerusalem that is above is free, and she is our mother...Now you, brothers, like Isaac, are children of promise...Therefore, brothers, we are not children of the slave woman, but of the free woman." ^[29]

Islam[link]

Sarah (Arabic: سارة, Sara), the wife of the patriarch and Islamic prophet Abraham and the mother of the prophet Isaac, is an honoured woman in the Islamic faith. According to Muslim belief, she was Abraham's first wife. Although not mentioned by name in the Qur'an, she is referenced and alluded to via the story of her husband. She lived with Abraham throughout her life and, although she was barren, God promised her the birth of a prophetic son, Isaac. Muslim tradition holds that Sarah and Abraham had no children. Abraham, however, prayed constantly to God for a son. Sarah, being barren, subsequently gave him her Egyptian handmaiden,^[30] Hājar (Hagar), to wed as his second wife. Hagar bore Ismā'īl (Ishmael), when Abraham was 86,^[31] who too would become a prophet of God like his father. Thirteen years later, God announced to Abraham, now a hundred,^[32] that barren Sarah would give birth to a second son, Isaac, who would also be a prophet of the Lord. Although the Qur'an does not mention Sarah by name, it mentions the annunciation of the birth of Isaac. The Qur'an mentions that Sarah laughed when the angels gave her the glad tidings of Isaac, which is perhaps why the name Isaac has the root meaning of 'laughter'.^[33]

There came Our messengers to Abraham with glad tidings. They said, 'Peace!' He answered, 'Peace!' and hastened to entertain them with a roasted calf.
But when he saw their hands went not towards the (meal), he felt some mistrust of them, and conceived a fear of them. They said: "Fear not: We have been sent against the people of Lut.
And his wife was standing (there), and she laughed: But we gave her glad tidings of Isaac, and after him, of Jacob.
She said: "Alas for me! shall I bear a child, seeing I am an old woman, and my husband here is an old man? That would indeed be a wonderful thing!"

—Qur'an, Sura 11 (Hud), ayat 69-72^[34]

There is a necessary clarification that Sara was not annoyed with Hagar but it was the only order from Allah that Abraham bring them in the Arab Desert, there was no water and nothing to eat and the baby Ismael was very thirsty Hagar ran over the Al-Safa and Al-Marwah hills in search of water but she returned to see Ismael again, then ran over the hills again and return again,Hence she rounded ups and down seven times and at last she saw an miracle of Allah that where the baby Ismeal rubbed his feet on the sand a fountain was seeping out from the ground. That was the fountain of Zam-Zam. The second thing is the sacrifice was given by Ismael not Issac and the Ismael was not sacrifice by his soul but a sheep was sent by Allah. It was the symbolic sacrifice that Ibraham was fully ready to kill his son as per Allah s' order, but Allah wanted the spirit of true sacrifice and obedience not the killed body of Ismael.

Tomb of Sarah[link]

Mausoleum of Sarah, 1911.

Sarah is believed to be buried in the Cave of the Patriarchs (known by Muslims as the Sanctuary of Abraham). The compound, located in the ancient city of Hebron, is the second holiest site for Jews (after the Temple Mount in Jerusalem), and is also venerated by Christians and Muslims, both of whom have traditions which maintain that the site is the burial place of three Biblical couples: Abraham and Sarah, Isaac and Rebecca, and Jacob and Leah. According to the book of Genesis, Abraham purchased the plot of land for her tomb from a man named Ephron the Hittite.^[35] Although some Jews alternatively also believe this to be the burial place for Adam and Eve, this is a view not usually adopted by Christians or Muslims.

Notes[link]

Luke Haines
Luke Haines, performing at the 2005 Summer Sundae
Background information
Born	(1967-10-07) 7 October 1967 (age 44), Walton-on-Thames, England
Origin	England
Genres	Alternative rock, Electronica
Occupations	Singer-songwriter
Instruments	Guitar, piano/keyboard
Years active	1985–present
Labels	Degenerate
Associated acts	The Servants The Auteurs Baader Meinhof Black Box Recorder
Website	www.lukehaines.co.uk

Luke Haines (born 7 October 1967) is an English musician, songwriter and author, who has recorded music under various names and with various bands, including The Auteurs, Baader Meinhof and Black Box Recorder.

History[link]

'New Wave'[link]

Haines formed numerous bands when he was at school. At college he joined The Servants who recorded two commercially unsuccessful albums. It was only when Haines formed The Auteurs with his girlfriend Alice Readman (who had also been drafted into The Servants from time to time) and Glenn Collins in 1990 that he began to achieve some success.

Regular gigging in the London area and an NME sponsored gig brought them to the attention of Hut Records. They released their first single, "Showgirl" in 1992, and their debut album New Wave a month later. Haines was later to claim that this was the album that started Britpop, though he later showed disdain towards the movement, stating in a 2003 interview that Britpop consisted of "a bunch of bands who weren't good enough to exist in their own right, like music's equivalent of the Bloomsbury Group." Certainly it was ahead of its time in turning back from the acid house then popular to more traditional songwriting in the vein of The Kinks or The Small Faces. It is arguable that more commercially successful bands (such as Suede) owed much to Haines' vision. In any case, the album sold only 12,000 copies but was nominated for a Mercury Prize although the eventual winners were Suede

The band toured the UK and the USA, gaining generally good reviews: however it is the opinion of the NME that the band were better in the studio than live.

A brush with fame[link]

Their second album, Now I'm a Cowboy (1994) featured "Lenny Valentino" one of their most famous songs. By now the band were touring Europe and the States regularly, and were gaining a reputation as one of the best new British bands.

However, just as the band looked like achieved mainstream success (as other British bands, such as Oasis and Blur were then doing), Haines broke both of his ankles, resulting in the cancellation of much of their 1994 European tour. At the time he claimed "I jumped off a fifteen-foot wall (while) touring, ... to finish the tour and get the insurance" but later, in the sleeve notes to Das Capital, he denied that it was deliberate, writing "I merely drank too much wine and fell over. It happens." In a wheel chair for most of 1995, Haines wrote the very different songs that would end up becoming the Auteurs' third album, After Murder Park. Even bleaker and more introspective than previous Auteurs albums, this was just as English as his previous work but now showed very different influences: the downbeat folk of Richard Thompson, the aggression of My Bloody Valentine, the pared down experimentalism of Wire, and the caustic lyrics of The Fall. It was produced by Steve Albini and recorded at Abbey Road studios in North London.

After 'After Murder Park'[link]

The Auteurs recorded a session for John Peel on 20 February 1996.^[1]

At this point, Haines created a solo side project called Baader-Meinhof. Haines released one eponymous album under this moniker in 1996, which is named after the Baader Meinhof terrorist group. The sound was similar to that of The Auteurs, but more sparsely produced and with elements of funk and electronica, with lyrics, typically for the ever-contrary Haines, about terrorism.

After this, Haines disbanded the Auteurs, only to bring them back together again for their fourth album How I Learned to Love the Bootboys. This sounds like an amalgamation of Haines' previous styles: it is electronic, but has the same concern for pop hooks as his first two albums: on the other hand, the lyrics are brooding and obsessive, in a similar way to those on After Murder Park. From this point on, The Auteurs became merely a name for whatever musicians Haines chose to bring together for specific projects.

Black Box Recorder[link]

After this album Haines created another side project with John Moore (formerly of The Jesus and Mary Chain) and Sarah Nixey: Black Box Recorder. The band produced three commercially successful albums, England Made Me, The Facts of Life, and Passionoia. There is also a B-sides collection, The Worst of Black Box Recorder. The Facts of Life produced the eponymous single, which has been the biggest hit of Haines' career so far.

Although no official split announcement was made, the band was on hiatus during the mid-2000s.

Going solo[link]

Haines has branched into film music, writing the music for Christie Malry's Own Double Entry, a British film based on the novel by B.S. Johnson. Director Paul Tickell had originally expressed a wish to license How I Learned to Love the Bootboys as the Soundtrack for the film but couldnt afford the sync rights from Virgin Records which allowed Luke to write a soundtrack more tailored for the film. Unfortunately reception for the film was lacklustre as a result of the film being released post-Twin Towers attack in America, as Luke put it "Back in 2000, this celluloidal genocide just seemed like logical fictitious denouement to a film about a deranged, avenging angel, but in the heightened state of paranoia of the post Twin Towers world, it seems less far-fetched. The upshot of all this is that no distributors will go anywhere [the film]".

He has also produced a solo album under his own name, The Oliver Twist Manifesto. After the purchase of Virgin Records by french company Fnac, Hut Records' (The Auteur's erstwhile label) boss David Boyd decided before the dissolution of the company he built that Luke should do The Auteurs 'Best of' album ' but gave him a budget to re-record the songs as he saw fit. Luke speculated in his book Post Everything that this was partly as a thanks to Luke but primarily a parting shot at Fnac for dissolving the company he'd built up for over ten years. Das Capital: The Song Writing Genius of Luke Haines (sic) consisted mostly of Auteurs songs rerecorded by Luke most notably with the inclusion of a string quartet and a couple of new original songs thrown in.

In 2001 Haines called for a "National Pop Strike".^[2]

A box set covering his career to date, Luke Haines is Dead, was issued in 2005, and two new albums were expected in 2006: 'Off My Rocker At The Art School Bop', and the soundtrack to the abandoned musical 'Property', which like his Black Box Recorder work, also features Sarah Nixey.

Cherry Red Records released a "Best of The Servants" compilation, with sleeve notes by Haines, early in 2006.

New album Off My Rocker at the Art School Bop was released in October 2006. Haines worked with maverick pop producer Richard X (Sugababes, Liberty X, Rachel Stevens) on some tracks. The album was preceded by a double A-sided single 'Off My Rocker At The Art School Bop (Richard X version) b/w I Am The Best Artist/Skinny White Girls.' There is currently no news on a release date for the 'Property' soundtrack.

Haines toured the UK and Ireland during November 2006. John Moore guested on bowed saw and backing vocals at some gigs.^[3]

On 16 November 2006 Haines played a live session for BBC Radio 6 Music's Gideon Coe show.

On 13 December 2006 Haines played a live session (three songs) for BBC Radio 2's Janice Long show. During an interview on the same show Haines said that he may play some gigs in early 2007 in support of a E.P. release of Leeds United.

Haines has played at book signings for David Peace who was promoting The Damned United, a book on Brian Clough's brief tenure at Leeds United in the 1970s. Leeds United relates to this, and with the reference to the Yorkshire Ripper, to Peace's earlier Yorkshire/Red Riding Quartet. The refrain "The North! The North!" advances on the earlier Auteurs track The South Will Rise Again, itself a response to The N.W.R.A. by The Fall. The phrase "The North! The North! Where we do what we want! The North! The North! Where we do what we like" is also a quote from a character in the Red Riding Quartet.

In issue four of the comic book Phonogram, Haines appears as a spirit guide leading the main character through a metaphorical land representing Britpop.

Black Box Recorder reformation[link]

In December 2007, Black Box Recorder teamed up with Art Brut to create the single Christmas Number One under the collaborative title of The Black Arts.^[4]

In October 2008 Black Box Recorder appeared at the Nick Sanderson (Earl Brutus) tribute concert.

It was subsequently announced on Luke Haines' web site that the band would play their first headlining gig for five years at The Luminaire, Kilburn, London in February 2009.

Author[link]

Haines' memoir Bad Vibes: Britpop and My Part in Its Downfall was published on 1 January 2009 by William Heinemann Ltd. The book covers Haines' experiences during the Britpop era 1991 to 1997.

In May 2009 a novel about Haines by author Tim Mitchell Truth and Lies in Murder Park: a book about Mr Luke Haines was published by benben press.^[5] The book includes material based on interviews with Luke, and explores the themes of his music.

Post Everything: Outsider Rock and Roll, Haines' second book of memoirs, was published in July 2011 by William Heinemann Ltd.

Discography[link]

Studio Albums[link]

• New Wave, 1993 (The Auteurs)
• Now I'm a Cowboy, 1994 (The Auteurs)
• After Murder Park, 1996 (The Auteurs)
• Baader Meinhof, 1996 (Baader Meinhof)
• England Made Me, 1999 (Black Box Recorder)
• How I Learned to Love the Bootboys, 1999 (The Auteurs)
• The Facts of Life, 2000 (Black Box Recorder)
• Christie Malry's Own Double Entry OST, 2001 (Luke Haines)
• The Oliver Twist Manifesto, 2001 (Luke Haines)
• The Worst of Black Box Recorder, 2001 (Black Box Recorder)
• Passionoia, 2003 (Black Box Recorder)
• Das Capital, 2003 (Luke Haines)
• Luke Haines is Dead, 2005 (Luke Haines)
• Off My Rocker at the Art School Bop, 2006 (Luke Haines)
• 21st Century Man/Achtung Mutha, 2009 (Luke Haines)
• 9½ Psychedelic Meditations on British Wrestling of the 1970s and early '80s, 2011 (Luke Haines)

Singles/EPs[link]

• Showgirl, 1992 (The Auteurs)
• How Could I Be Wrong, 1993 (The Auteurs)
• Housebreaker, 1993 (The Auteurs)
• New French Girlfriend, 1993 (The Auteurs)
• Lenny Valentino, 1993 (The Auteurs)
• Chinese Bakery, 1994 (The Auteurs)
• The Auteurs vs Mu-Ziq EP (remixes), 1994 (The Auteurs/Mu-Ziq)
• Back With the Killer EP, 1995 (The Auteurs)
• Kid's Issue, 1996 (The Auteurs)
• Light Aircraft on Fire, 1996 (The Auteurs)
• Child Psychology, 1998 (Black Box Recorder)
• England Made Me, 1998 (Black Box Recorder)
• The Rubettes, 1999 (The Auteurs)
• The Facts of Life, 2000 (Black Box Recorder)
• The Art of Driving, 2000 (Black Box Recorder)
• These Are the Things, 2003 (Black Box Recorder)
• The School Song, 2003 (Black Box Recorder)
• Off My Rocker at the Art School Bop, 2006 (Luke Haines)
• Christmas Number One, 2007 (The Black Arts - collaboration between Black Box Recorder and Art Brut)
• Leeds United EP, 2007 (Luke Haines)

Bibliography[link]

• Bad Vibes: Britpop and My Part in Its Downfall, 2009 (Published by William Heinemann Ltd)
• Post Everything: Outsider Rock and Roll, 2011 (Published by William Heinemann Ltd)

References[link]

External links[link]

• Luke Haines's MySpace profile
• Luke Haines Website
• 2011 Luke Haines interview on musicOMH
• 2001 National Pop Strike interview on Yahoo
• 2005 Interview
• 2003 Interview
• Leeds Today article on Leeds United song

Rirkrit Tiravanija is a contemporary artist residing in New York. He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.

Early work[link]

Tiravanija's installations of the early-1990s involved cooking meals for gallery-goers.^[1]

Exhibitions[link]

Tiravanija's work has been presented widely at museums and galleries throughout the world including solo exhibitions at Musée d'Art Moderne de la Ville de Paris (2005); Serpentine Gallery, London (2005); Secession, Vienna (2002); and The Museum of Modern Art, New York (1997). He has participated in such notable group exhibitions as the Sharjah Biennial 8, United Arab Emirates (2007); 27th São Paulo Biennial, Brazil (2006); Whitney Biennial 2006: Day for Night, New York (2005), and the 50th Venice Biennale (2003).

Tiravanija has had numerous solo shows including those at The Drawing Center, New York (2008), The Museum of Modern Art, New York (1997); Los Angeles County Museum of Art (1999); Center for Contemporary Art, Kitakyushu, Japan (2000); Portikus, Frankfurt (2001); Secession, Vienna (2002); Galerie für Zeitgenössische Kunst, Leipzig (2003); Ikon Gallery, Birmingham, UK (2003–04); and Gavin Brown's Enterprise (1999).^[2]

"It is not what you see that is important but what takes place between people."^[3]

Curatorial projects[link]

He was the co-curator of the Station Utopia project at the 2003 Venice Biennale together with Hans Ulrich Obrist and Molly Nesbit. He is also a co-founded The Land with Thai artist Kamin Lerdchaiprasert, a collaborative project in Chang Mai, Thailand, which combines contemporary art interventions and agricultural traditional values.

Critical reception[link]

Tiravanija's artwork, which explores the social role of the artist, has been regularly cited by French curator Nicolas Bourriaud as exemplary of his conception of relational art.^[4]

Awards[link]

In 2004, he was awarded the Hugo Boss Prize by the Guggenheim Museum, "in recognition of his profound contribution to contemporary art."^[5]

Academic career[link]

Rirkrit Tiravanija is a Professor at the School of the Arts at Columbia University.^[6]

Filmography[link]

• Lung Neaw Visits His Neighbours (2011) The film was shown at the Orizzonti section of the 68th Venice International Film Festival. http://www.lungneawvisitsfilm.com

Personal life[link]

Tiravanija was married to noted painter Elizabeth Peyton in 1991. They separated in the late 1990s and divorced in 2004. They are both represented by Gavin Brown's Enterprise gallery.^[7]

References[link]

External links[link]

• Rirkrit Tiravanija on IMDb

This article has multiple issues. Please help improve it or discuss these issues on the talk page. Its citation style may be unclear. The references used may be made clearer with a different or consistent style of citation, footnoting or external linking. Tagged since September 2011. It may require cleanup to meet Wikipedia's quality standards. Tagged since September 2011. It may have been edited by a contributor who has a close connection with its subject. Tagged since September 2011.

Ryan Gander (born 1976) is an English artist. He is a native of Chester.

Personal Background[link]

Ryan Gander is a wheelchair user with a long-term disability. He is married to the director of the Limoncello gallery, Rebecca May Marston, with whom he has a daughter.^[1]

Education[link]

Gander trained in Interactive Art at Manchester Metropolitan University receiving a First Class Degree in 1999. He then spent a year at the Jan van Eyck Academie in Maastricht, The Netherlands as a Fine Art Research Participant before completing his post graduate studies in 2002, at the Rijksakademie van Beeldende Kunsten in Amsterdam.

Artistic practice[link]

Gander's work is formally diverse and has included, "a chess set, a new word, a children's book, jewellery, customised sportswear, glass orb paperweights and maps," as well as photography, films, and drawings.^[2] Considering Gander’s work, "Appendix", art critic Mark Beasley said: "It’s an unwieldy yet fascinatingly open account, somewhat like lucid dreaming, which shows the artist at his most arch, open and revealing ... an attempt to discuss practice in a form sympathetic to the work in discussion."^[3]

Exhibitions[link]

From 2002 - 2003, early presentations of Ryan Gander's work were in the form of lectures which he delivered to the public in many venues: 'Loose Associations Lecture 1.1' and 'Loose Associations Lecture 2.1'. These encapsulated his position as an interactive artist. Gander's recent solo exhibitions include The Happy Prince for the Public Art Fund in New York, USA in 2010 and more recently Now there’s not enough of it to go around, Amsterdam, The Netherlands and Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, an illustration of the physicality of an argument between Theo and Piet regarding the dynamic aspect of the diagonal line and attempting to produce a chroma-key set for a hundred cinematic scenes at Taro Nasu Gallery, Tokyo, Japan in 2011.

Disability-related works[link]

His work for the 2011 Venice Biennale exhibition featured an action-figure sized sculpture that represents him while he falls from a wheelchair. "It is a self-portrait in the worst possible position".^{[4] [5]} In 2006, his installation at the old Whitechapel Library, 'Is this guilt in you too?', was part of the Art Council's 'Adjustments' exhibitions whose aim was 'to address transitional thinking on disability equality and inclusion'.^[6] His other works are normally not related to disabilities.

Works[link]

• Loose Associations Lecture 1.1, 2002
• Loose Associations Lecture 2.1, 2003
• This Consequence, 2005
• A Future Lorem Ipsum, 2006
• Didactease Necklace, 2006
• My Family Before Me, 2006
• The Neon Series, several neon works, 2006–2011
• As it presents itself – Somewhere Vague, 2008
• A sheet of paper on which I was about to draw, as it slipped form my table and fell to the floor, 2008
• Degas Ballerina Series, several bronze sculptures, 2008–2011
• Man on a bridge - (A study of David Lange), 2008
• The New New Alphabet, 2008
• Associative Templates Series, #1 – #31, 2009
• The Happy Prince, 2010
• The book of ‘The Sitting’, 2009
• Ftt, Ft, Ftt, Ftt, Ffttt, Ftt, or somewhere between a modern representation of how a contemporary gesture came into being, an illustration of the physicality of an argument, 2010