Cockney Rejects: Part 1
For about a year in 2008-9 steve hines visitied charity shops around London, mainly in ‘Zone 2’, and purchased items that he believed would have been considered as art by the previous owner, and which would have been desired and valued. The resulting collection comprised of original paintings, prints or reproductions. There were also two small sculptures.
Hines attempted to be objective in his choices and he also endeavoured to curate a range of artworks. Cockney Rejects: Part 1 constituted a conventional-style exhibition with the works hung and displayed in the white-wall gallery space. Each work was titled and its source indicated: the name of the charity shop, its location and the artist, (where known). This allowed visitors to make possible connections, and the exhibition raised other questions around class and community make-up for example. Was an artwork purchased in Hampstead very different from one purchased in Whitechapel?
At this point there was no artwork on show that had been physically created, by steve hines, and so the exhibition was concerned with popular art tastes, the status of the works on display and with the work of other artists.
Cockney Rejects: Part 2
After one week the exhibition changed. The gallery was closed whilst all the artwork on display was destroyed by the artist in a private performance, witnessed only by a video camera. The resulting installation and video artwork then constituted Cockney Rejects: Part 2. This new exhibition was then presented for public viewing and it also allowed visitors who had not seen Cockney Rejects: Part 1 to view the before, middle and after elements of the show.
For about a year in 2008-9 steve hines visitied charity shops around London, mainly in ‘Zone 2’, and purchased items that he believed would have been considered as art by the previous owner, and which would have been desired and valued. The resulting collection comprised of original paintings, prints or reproductions. There were also two small sculptures.
Hines attempted to be objective in his choices and he also endeavoured to curate a range of artworks. Cockney Rejects: Part 1 constituted a conventional-style exhibition with the works hung and displayed in the white-wall gallery space. Each work was titled and its source indicated: the name of the charity shop, its location and the artist, (where known). This allowed visitors to make possible connections, and the exhibition raised other questions around class and community make-up for example. Was an artwork purchased in Hampstead very different from one purchased in Whitechapel?
At this point there was no artwork on show that had been physically created, by steve hines, and so the exhibition was concerned with popular art tastes, the status of the works on display and with the work of other artists.
Cockney Rejects: Part 2
After one week the exhibition changed. The gallery was closed whilst all the artwork on display was destroyed by the artist in a private performance, witnessed only by a video camera. The resulting installation and video artwork then constituted Cockney Rejects: Part 2. This new exhibition was then presented for public viewing and it also allowed visitors who had not seen Cockney Rejects: Part 1 to view the before, middle and after elements of the show.
Duration (minutes)
21
What is needed
Video/data projector
DVD player
I have the sculptural, broken/smashed artworks but I think it will be too expensive to transport this to create the full installation. Therefore I propose to show just the final video work.
