BETH FLYNN

To me, the relationship between chance and intention in Jessica Warboy's work Sea Painting, Birling Gap, 2017 is bridged by a faith in her method. When Warboy submerges her work, there is no certainty as to what the final piece will be. Whilst Warboy has control over w...

Link: Grayson Perry’s Reith Lecture ‘Democracy Has Bad Taste’. Listen here: http://www.bbc.co.uk/programmes/b03969vt#play

Are 'good' taste and popularity mutually exclusive? To put these two factors in the same category would be condemning us to all think the same, quit...

We often view the artist in a solitary nature. It is them, their easel and the universe before them. Yet no individual can wholly capture the essence of the society or world they live within. We are all subject to our own innate bias, the core of which comes from the i...

Life is absurd. We are wibbly double-fist sized grey matter conductors encased within and driving around a skeleton which is itself held together by sinew and muscle, insulated by fat and flesh and hair and standing on the surface of a four-and-a-half billion year old...

Reading: Dickie, G. (1974) What Is Art? An Institutional Analysis, Cornell University Press, NY (pp19-52)

In this theoretical model an artwork is defined by its presence, as an artefact or as a documented idea. As an example; if you were to create an installation and th...

From Marcel Duchamp, The Creative Act. 1957. https://www.brainpickings.org/2012/08/23/the-creative-act-marcel-duchamp-1957/

In his speech, ‘The Creative Act’, Duchamp challenges conventional perspectives on the significance of the artist by outlining the struggle hidden...

From Michel Foucault, Preface to The Order of Things: An Archaeology of the Human Sciences. 1970. New York: Vintage, 1994. xv-xvi, xix-xx.  

Like the classification on art, Foucault talks about how we as humans try to make sense of the world we live in, the constant ins...