Daniel Silver: Openings

MUCH OF LONDON-BASED SCULPTOR Daniel Silver’s work occupies an in-between state—between complete and incomplete, between handmade and mass-produced, between artistic object and castoff. For an exhibition at Ibid Projects in London this past winter, for example, Silver acquired several discarded marble copies of Roman and Greek statuary, recently carved in Carrara, Italy, that had been tossed aside by local artisans because the sculptures were cracked, chipped, or rendered crooked during their making. Whereas the Italian craftspeople had deemed the work too crummy to bother finishing, Silver took these fragments in idiosyncratic directions, pursuing the “failures” further, in fact, and often to antiquarian effect: A limb might be amputated under Silver’s hands, or a semi-polished surface chipped and rendered rougher. In turn, the status of these rejected sculptures, presented by the artist in a gallery exhibition, demanded some reassessment. As Silver’s title for the show, “Making Something Your Own,” implies, these objects were no longer unfinished copies but rather works existing in an ambiguous, liminal zone between quarry reject, antique simulation, and Daniel Silver original

It Was What It Was: Modern Ruins

Cover/feature article on contemporary artists using ruins in their work, among them Jeremy Deller, Ulla van Brandenburg, Teresa Margolles, and Dominique Gonzalez Foerster and the modified, 21st century meaning of this Romantic staple, the depiction of the ruin in art

Jonathan Wateridge: Being Seen, In Between

Monographic essay on new series of paintings by emerging UK artist

Catherine Yass

Text on Turner-prize nominated artist Catherine Yass for '100 Video Artists' boo

Giorgio Sadotti: Live at Milton Keynes

Museum catalogue essay for exhibition at Milton Keynes Gallery in July 2010 for mid-career UK artist Giorgio Sadott

Making Monsters: Gothic Processes and Themes in Contemporary Art

Notes to a lecture given on 28 October, 2009 at the University of Westminster, Londo

Towards a 21st Century Definition of Gothic Art

Synopsis of the paper I gave at the Ninth Biennial International Gothic Association conference held at Lancaster University in July 2009, on the meanings associated with the term 'Gothic' in art and its possible broader and more informed usage in contemporary art. My paper has been accepted for the publication 'Monstrous Media/Spectral Subjects' (scheduled publication date: 2011) in conjunction with the 2009 conference. Both set out to gather the response and practice of 'Gothic' in both the popular and the academic arenas, across many disciplines among them literature, music, fashion, art and film

'Are We Post-Critical?', book review, 'Bad New Days: Art in an Emergency, by Hal Foster', frieze blog

Listed as the no. 1 "Must-Read Essay' in Nov 2015 by Ben Davis, artnet.com, https://news.artnet.com/market/must-read-essays-from-november-2015-39183

'Breaking Up is Hard to Do: Men Women and Punctuation in Warhol's Novel a'', afterword to a: a novel, an erased novel by poet Derek Beaulieu

a, A Novel is an erasure-based translative response to Andy Warhol’s eponymous novel. Beaulieu carefully erases all of the text on each page of the original work, leaving only the punctuation marks, typists’ insertions and onomatopoeic words. This visual poetry is accompanied by an essay by Gilda Williams, “Breaking Up is Hard to Do. Men, Women, and Punctuation in Warhol’s Novel a,” which explores the complicated history of the original novel and highlights the urgent and precise spirit of Derek Beaulieu’s work