Press Information
Deadness is an exhibition of three parts: multiple 35mm slide projections with sound, the film The Last Walk (2011) and February 09 2013, a series of new photographic works.
Deadness is derived from Baseman’s creative non-fiction and interview-based practice, exploring the historical, cultural and sociological relationship between photographic portraiture and embalming, a theme investigated by Dr John Troyer, sociologist and Deputy Director of the Centre for Death and Society at the University of Bath.
Dr Troyer grew up around funeral homes prior to his academic engagement with the subject of embalming, witnessing first-hand from a young age through his father’s work as a Funeral Director. Deadness presents his professional and personal connection to embalming combined with orphaned images collected through online auctions: casual snap shots and more formal portraits of individuals in their coffins from the early Victorian era to the present day.
The embalmer’s attention focuses on preparation for the moment relatives and loved ones view the deceased; this moment defines the core function of contemporary embalming: to leave the bereaved with a peaceful image and memory of the deceased. No matter how debilitating the trauma or the circumstances of a person’s death, this viewing is when the embalmer’s art is most clearly expressed.
Deadness acts as an experimental portrait of contemporary embalming, processes of reconstruction, preparation for burial (on land and sea) and cremation; providing insight into these private practices and the debates surrounding them. The exhibition partially focuses on the embalmer’s attempts to make the deceased appear to be at peace - as if asleep - thus prolonging the image of being alive and promoting positive final memories. The hope is that these memories will replace images of seen (as well as unseen or perceived) trauma, lingering death and/or prolonged disease. The processes of physical restoration and cosmeticising the deceased are perhaps the most crucial elements of embalming, making the main focus of this series of processes the return of the cadaver to its ‘natural’ appearance for viewing. Deadness explores the philosophical thrust of these processes as ideas and their meanings within our culture today.
February 09 2013 is a series of images captured at the base of wildfires in Tasmania, Australia on the 9th of February 2013. Although there were no deaths recorded on this date, the constant threat was ever-present.
The Last Walk features British artist Stuart Brisley. What starts as an ordinary walk in the park for Brisley and his dog soon ends in a dark discovery. The film, recorded on the final day of a Christmas fair in central London depicts fragments of reflected fairy lights suspended in winter trees.
In The Last Walk, the colour negative was hand-processed using the most rudimentary techniques possible: chemicals were housed in buckets in a simple, totally blacked out space to encourage visual breakdown, fragmentation and distortion- pushing the unpredictable nature of the materiality of film itself at its most fundamental level. The combination of filmed information and hand - processing create a mixture of abstraction and representation.
Deadness is supported by
Matt’s Gallery,
Wellcome Trust,
Arts Council England,
and
The CCW Graduate School, University of the Arts London
The Wellcome Trust is a global charitable foundation dedicated to achieving extraordinary improvements in human and animal health. It supports the brightest minds in biomedical research and the medical humanities. The Trust's breadth of support includes public engagement, education and the application of research to improve health. It is independent of both political and commercial interests. www.wellcome.ac.uk
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Jordan Baseman in conversation with Dr John Troyer
Thursday 4 July, 7pm at Matt’s Gallery
Admission free but spaces are very limited, to book email
info@mattsgallery.org
On the occasion of his current exhibition, Deadness, Jordan Baseman invites Dr. John Troyer for a discussion event at Matt's Gallery.
Investigating themes present in Baseman's new work, Dr.Troyer will provide fascinating insights into issues including new and near-future dead body disposal technology and necrophilia laws.
Dr. John Troyer is the Deputy Director of the
Centre for Death and Society at the University of Bath, he is also a theatre director and installation artist with extensive experience in site-specific performance across the United States and Europe.
Troyer is the co-founder of the
Death Reference Desk website, the
Future Cemetery Project,
and a frequent commentator for the BBC. His forthcoming book Technologies of the Human Corpse will be published by the University of North Carolina Press in late 2013.
Biography
Studied
1986–1988 MA Fine Art, Goldsmiths College, University of London;
1979–1983 BA (hons) Fine Art, Tyler School of Art, Temple University, Philadelphia, Pennsylvania, USA
Solo Exhibitions
2017
1977, House of St. Barnabas, London
2016
2 22 92, Dolph Projects, London;
Veil, Temporary Arts Projects, Southend
2015
Tape 1 Tape 2, PS1, University of Lincoln;
July the Twelfth 1984, Matt’s Gallery at Hospital Club, London
2014
Nobody Likes Us But We Don’t Care, Kunstverein Freiburg
2013
Deadness, Matt’s Gallery, London;
A Cold Hand on a Cold Day, Fabrica, Brighton
2012
Green Lady, Modern Art Oxford at Story Museum, Oxford
2011
1973, Matt's Gallery at Genesis Cinema, London;
Nasty Piece of Stuff, Aberdeen Art Gallery, Aberdeen
2010
The Most Powerful Weapon in this World, Baltic Centre for Contemporary Art, Gateshead;
Nature's Great Experiment, Modern Art Oxford and Catalyst Arts, Belfast
2009
Blue Movie, Matt's Gallery, London;
Dark is the Night, Artsway, Hampshire & The Photographers' Gallery, London;
a hypnotic effect, Collective Gallery, Edinburgh
2008
Inside Man, Aberystwyth Arts Centre, University of Wales;
The Documentary Imperative, Manchester Museum, Manchester
2007
Joy on Toast, Manchester Museum, Manchester;
(I Can't Get No) Satisfaction, Hatton Gallery, Newcastle;
Nature's Great Experiment, Wellcome Collection, London;
Tape 1 Tape 2, Monash University Gallery, Melbourne, Australia
2006
luv is gonna get you someday, Maus Habitos, Porto, Portugal;
Sunday Morning, Site Gallery, Sheffield
2005
don't stop 'til you get enough, Matt's Gallery, London
2004
July The Twelfth 1984, Kaliman Gallery, Sydney, Australia
2003
City of Angels, Triskel Arts Centre, Cork, Ireland;
EF103 603, University of Dundee, Dundee, Scotland
2002
1 + 1 = 1 / Under the Blood, Art Gallery + Museum, Royal Pump Rooms, Leamington Spa;
Under the Blood / 1 + 1 = 1, Wysing Arts, Cambridge
2001
Raceway Queen, The Collective Gallery, Edinburgh;
Lonesome Town, The Laing Gallery, Newcastle;
The Comedians, The Newman Rooms, Oxford
2000
here, Grizedale Forest, Cumbria
1999
the history of existentialism, Wigmore Fine Art, London
1998
SHUP a screenplay/Performance, The Agency, London;
more lies, Mario Flecha Gallery, Girona, Spain
1997
The Party and other things, Richard Salmon Gallery, London;
blunt objects, Galerie Eugen Lendl, Graz, Austria;
Births, marriages, and deaths, The Serpentine Gallery @ Marylebone Town Hall, London
1996
vox humana, Galerie 5020, Salzburg, Austria
1994
F is for love, Mario Flecha Gallery, London and HeberPercy Gallery, Warwickshire
1993
Galerie Guy Ledune, Brussels
Group Exhibitions & Screenings
2017
Out of Body, Irish Film Institute, Dublin;
Fargo Film Festival, Fargo;
School of the Damned Screening, SuperNormal, Oxford;
London Short Film Festival, Picture House Central, London;
Montclaire Film Festival, New Jersey
2016
Experimental Animation, Close-Up Cinema, London;
Cork International Film Festival, Cork;
Aesthetica Film Festival, York;
Melbourne Underground Film Festival, Melbourne;
New Orleans International Film Festival, Portland;
Edge of Frame, DSFL, London;
Stories in the Dark, Whitstable Biennale;
Flat Death, Open Eye, Liverpool
2015
Essex Road 2, Tintype, London;
FUSO International Video Art Festival, Lisbon;
Aesthetica Film Festival, York;
FILMadrid, Madrid International Film Festival, Madrid;
Sequences 7, The Living Art Museum, Reykjavik;
London Short Film Festival, Hackney Picture House, London;
Freedom Lies, The Collection, Lincoln;
Strangelove Film Festival, University of the Arts London, London;
Big Muddy Film Festival, Southern Illinois University, Carbondale;
MAC International, MAC, Belfast;
Seville International Film Festival, Seville;
Aesthetica Film Festival, York;
See it This, Forde Space, Geneva;
Hey, Im Mr. Poetic…, Wysing Arts, Cambridge;
Sites of Collective Memory, Animate Project London
2014
Between Subject and Object, University of Cape Town, Cape Town;
Art (After) Death, Royal Academy Schools, Lauderdale House, London;
2013
Oxford Film Festival, Oxford (Mississippi);
3AM: Wonder, Paranoia and the Restless Night, Bluecoat, Liverpool;
Atlanta Underground Film Festival, Atlanta;
Imagina Animation Festival, Lima;
971 horses + 4 zebras, MADA Gallery, Melbourne;
Athens International Film Festival, Athens (Ohio);
Kansas City International Film Festival, Kansas City;
Independent Filmmakers Showcase, Hollywood;
Berlin Independent Film Festival, Berlin;
Fargo Film Festival, Fargo;
971 horses + 4 zebras, Contemporary Art Spaces Tasmania, Hobart
2012
971 horses + 4 zebras, Tate Modern and Wimbledon Space, London;
Light Assembly, Miami Art Basel, Miami;
Made in Three Mills Film Festival, London;
I Would Breathe Water, Sarah Scout Gallery, Melbourne;
COMPASS, Beacon Art Project, Lincolnshire;
Audio: Jordan Baseman y Susan Hiller, Fundacio Tapies, Barcelona;
Animasivo Festival, Mexico City;
Oaxaca International Film Festival, Oaxaca;
San Francisco Short Film Festival, San Francisco;
Tokyo Story, Tokyo Wonder Site, Tokyo;
Independent Filmmakers Showcase, Hollywood;
London Short Film Festival, Institute of Contemporary Art, London
2011
Lone Star Film Festival, Fort Worth, Texas;
Edinburgh Documentary Film Festival, Edinburgh;
Dark Matters, Whitworth Art Gallery, Manchester;
Among the Nightingales, Castlefield Gallery, Manchester;
When the Dead Help the Living, Light Projects, Melbourne;
Volta + Armory, Artprojx Cinema, SVA Theater, New York;
London Short Film Festival, London;
Moving Portraits, De la Warr Pavilion, Bexhill on Sea;
Coming of Age, Great Northern Museum, Newcastle
2010
Los Angeles Animation Festival, California;
San Francisco International Short Film Festival, California;
ResoVision, Resonance FM @ Frieze Art Fair;
The All Sided Game, Edinburgh Film Guild Cinema, Edinburgh;
Among the Nightingales, Tatton Park Biennial, Tatton Park;
Adding Complexity to Confusion, Late at Tate, Tate Britain;
Melbourne Underground Film Festival, Melbourne, Australia;
Fools in Print, Berkley Art Museum, California;
Voice/Under, Sixes and Sevens, White Box Studio, Nottingham;
Glimmer, Hull International Film Festival, Hull;
Gstaad Film Festival, Gstaad, Switzerland;
Film, Video, Performance, Wimbledon College of Art, London
2009
New Forest Pavilion, 53rd Venice Biennale, Venice, Italy;
Leading Lights, Several Pursuits Gallery, Berlin, Germany;
Talk Show/Speakeasy, Institute of Contemporary Art, London;
Ways of Living, Guest Room, London;
Fool Me, drift, New Media Scotland, Edinburgh ;
Salon S1, S1, Sheffield
2008
Stop.Watch., British Film Institute, London ;
Reading Experimental Film Festival, Rising Sun Art Centre, Reading;
Folie A Plusiers, MCO Arte Contemporanea, Porto, Portugal;
Drawn Encounters, Wimbledon College of Art, London;
Parallel, Salamanca Art Centre, Hobart, Tasmania, Australia;
Multi-Channel, ArtSway, New Forest;
Art and Strangers, Turnpike Gallery, Wigan ;
Alchemy, Manchester Museum, Manchester;
Grain, Isle of Grain, Kent
2007
Grain, Isle of Grain, Kent;
Heart, Wellcome Trust, London;
The Sun Always Shines on the Righteous, Purescreen, Manchester;
Alchemy Artists, Manchester Museum, Manchester
2006
Open Video Library, Zaim, Yokahama, Japan;
Hospitality, Accademia Tedesca, Villa Massimo, Rome;
No Place Like Home, Beacon Art Project, Boston, Lincolnshire;
Arcade, ACAVA Studios, London;
Vox Pop, Star and Shadow Cinema, Newcastle;
Contingency Plan, C.A.S.T., Tasmania, Hobart, Australia;
Et Tu Tribute, Embassy Rooms, Edinburgh
2005
Variety, De la Warr Pavilion, Bexhill on Sea;
Crossing Borders, Berwick Film Festival, Berwick upon Tweed;
Our Surroundings, Dundee Contemporary Arts, Dundee;
Size Matters, Yorkshire Sculpture Park, Yorkshire
2004
Six Thousand Chairs, Crystal Palace, London;
Bad Behaviour, Yorkshire Sculpture Park, Yorkshire;
AGORA, Transition Gallery, London;
Feast of Silenus, Embassy Rooms, Edinburgh;
Island Art Film/Video Festival, UGC Cinema, Docklands, London;
Wonderful/Visions of the Near Future, Arnolfini, Bristol (National Touring Exhibition);
Volume, Moving Pictures, St. Georges, Bristol;
Brides of March, Embassy Rooms, Edinburgh
2003
La Mostra, British School at Rome, Rome;
Radio Radio, The International 3, Manchester;
In Good Form, Yorshire Sculpture Park, Yorkshire;
Animality, Blue Oyster Gallery, Auckland, N.Z.;
The Human Zoo, University of Newcastle, Newcastle;
Further Up In The Air, Linosa Close, Liverpool;
Spike Open, Spike Island, Bristol;
Don’t Look Down, The Nunnery, London;
Infallible: In Search of the Real George Elliot, ATP, London;
CHOCKERFUCKINGBLOCKED, Jeffrey Charles, London Turpentine, Studio Voltaire, London
2002
Medicate, Art Gallery + Museum, Royal Pump Rooms, Leamington Spa;
Somewhere, Angel Row Gallery, Nottingham;
Telling Lies, Forde Gallery, Geneva;
Going Continental, University of Applied Arts, Vienna;
Hygiene, THRILLER, London School of Hygiene and Tropical Medicine;
TV Swansong, THE LAST BROADCAST: www.swansong.tv;
Regards..., Galerie Alain le Gaillard, Paris;
it rocks, but gently... Folly Gallery, Lancaster;
Second Skin, Henry Moore Institute, Leeds;
file sound art, City Space, Birmingham;
No Sleep ‘Til Hammersmith, Central Space, London
2001
Interstanding 4:End Repeat, Estonia Center for Contemporary Art, Talin;
Project: Film and Video, Pittville Room, Cheltenham;
The Great Escape, Grizedale Forest, Cumbria;
things are not what they seem to be, Galway Arts Center, Galway
2000
a different kind of show, Whitechapel Gallery, London;
...not enough, Velan Contemporary Art, Turin;
The Grizedale Show, Grizedale Forest, Cumbria;
Conversation, Milton Keynes Gallery, Milton Keynes;
Now Festival, Angel Row Gallery, Nottingham;
Brief Encounters Film Festival, Bristol;
Visions, City of Westminster Arts Council, London;
Art in Motion Film Festival, University of Southern California, Los Angeles;
SelfService, 5 Years, Underwood Street, London;
John, I’m Only Dancing. Collective Gallery, Edinburgh
1999
The Anagrammatical Body, New Museum, Graz, Austria;
East Wing Collection, The Courtauld Institute of Art, London;
The Passage, Lincoln’s Inn Fields, London;
Saatchi at Sheffield, Mappin Art Gallery, Sheffield;
Tension, Greene Gallery, Geneva;
Passion, Gasworks, London
1998
Fun de Seicle, Walsall Art Gallery, Walsall;
Art Futures, Royal Festival Hall, London;
Whitechapel Open, Whitechapel Art Gallery, London;
fly, work for the eye to do/King Mob, London;
Personal Effects, Spacex, Exeter
1997
Pictura Britannica, Museum of Contemporary Art, Sydney;
Craft, Richard Salmon Gallery, London;
Oak Repels Lightning, Science Museum, London;
The Look of Love, Rear Window, the approach, London
Recent Acquisitions, University of California, Berkeley
1996
A Cloudburst of Material Possessions, Purdey Hicks Gallery, London;
Young British Artists VI, Saatchi Gallery, London;
Plastic, Richard Salmon Gallery, London + Arnolfini, Bristol;
Whitechapel Open, Whitechapel Art Gallery, London;
love and death and all that, Galerie H S Steinek, Vienna;
The Gas Station, The Ruskin School, Oxford;
Love at Firstsite, Firstsite, Colchester;
British Art Show 4, South Bank Centre, National Touring Exhibition
1996 [95???]
Care and Control, Rear Window, Hackney Hospital, London;
Real Time, London;
composite, adj., Arnolfini, Bristol;
Fetishism, South Bank Centre, National Touring Exhibition
1996 [94/93???]
Whitechapel Open, Whitechapel Art Gallery, London;
The Curator’s Egg, Anthony Reynolds Gallery, London;
Vitrines, Galerie Guy Ledune/Acte, Brussels;
Miniatures, The Agency, London;
1992
With Attitude, Galerie Guy Ledune/British Council, Brussels;
Whitechapel Open, Whitechapel Art Gallery, London;
Double Vision, Anderson O’Day Gallery, London;
EAST/SOUTH, Norwich Gallery, Norfolk Institute of Art and Design
1991
EAST, Norwich Gallery, Norfolk Institute of Art and Design
1990
Whitechapel Open, Whitechapel Art Gallery, London
Commissions & Awards
2017
Visual Arts Residency, Cove Park, Scotland;
Research Development Fund, Royal College of Art, London
2016
Best Experimental Short Film, Oregon Independent Film Festival;
Artist in Residence, HIAP, Helsinki;
Research and Development Fund, Royal College of Art, London
2015
Best Experimental Film, Big Muddy Film Festival, Illinois;
Leverhulme Trust, Artist in Residence, University of Lincoln, School of Law;
Wellcome Trust Arts Award, Research and Development for
Marked; Teton ArtLab, Artist in Residence, Jackson, Wyoming
2014
Visiting Fellow, University of Cape Town, Cape Town;
Sites of Collective Memory, Animate Projects, London;
Artist in Residence, Bemis Center for Contemporary Art, Omaha
2013
Artist in Residence, Yarat Contemporary Art Space,
Baku; Best Experimental Documentary, Atlanta Underground Film Festival;
Best Experimental Film, Kansas City International Film Festival, Kansas City;
Best Experimental Film, Fargo Film Festival;
ArtSouth Commission, Aspex Portsmouth
2012
971 horses + 4 zebras, Grants for the Arts, Arts Council England;
COMPASS, Beacon Art Project, Lincolnshire;
Best Experimental Film, Independent Filmmakers Showcase, Hollywood;
Research and Development Award, Animate Projects, London
2011
Best Short Film, Lone Star International Film Festival, Dallas;
Deadness, Wellcome Trust Arts Award, London;
Artist in Residence, Tokyo WonderSite, Tokyo;
1973, Grants for the Arts, Arts Council England;
Artist in Residence, St. John's College, University of Oxford
2010
Rough Machine Commission, Animate Projects, London;
Best Film (Dangerous Experiments), Los Angeles Animation Festival;
Best International Short Film, Melbourne Underground Film Festival
2009
Identity Project Award, Nature's Great Experiment, Wellcome Trust;
Blue Movie, Grants for the Arts, Arts Council England, Henry Moore Foundation and Matt's Gallery London;
Commonwealth Suite, a hypnotic effect, Collective, Edinburgh
2008
Dark is the Night, ArtSway and Photographers' Gallery, London
Stop.Watch., Animate Projects and RSA Film Commission;
2007
Perfume Disco Coma, Widnes Waterfront Commission, Widnes;
(I Can't Get No) Satisfaction, Hatton Gallery, Univ. of Newcastle;
Tape 1 Tape 2, Monash University Gallery, Melbourne, Australia
2006
Alchemy Fellowship, Manchester Museum, University of Manchester
I Hate Boston, Boston Hates Me, Beacon Art Project, Lincolnshire;
Nature's Great Experiment, Research and Development Award, Wellcome Trust and Arts Humanities Research Council;
Visiting Artist Fellowship, University of Tasmania, Australia;
Sunday Morning, Site Gallery, Sheffield
2005
don't stop 'til you get enough, Matt's Gallery, London;
Grants to Artists, British Council, London;
Life All Over It and More Than Religion, DCA, Dundee, Scotland
2004
Visiting Artist Fellowship, Monash Univ., Melbourne, Australia
2003
Henry Moore Sculpture Fellow, British School at Rome, Italy;
CACTASIA! Eden Project, Cornwall;
City of Angels, National Sculpture Factory, Cork, Ireland
2002
How to Hover, Further Up In The Air, Liverpool;
1 + 1 = 1 and Under the Blood, Papworth Hospital, Cambridge;
THRILLER, London School of Hygiene and Tropical Medicine
2001
TV Swansong, THE LAST BROADCAST: www.swansong.tv
2000
The Comedians, Arts Council of England Film and Video Awards Commission for DA2, Bristol/The Laboratory, Oxford;
Film/Video Bursary, Westminster Arts Council, London;
Artist in Residence, Grizedale Forest, Cumbria
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Bibliography
Selected Publications & Catalogues
2012
971 horses + 4 zebras, Lilly Husbands, www.animateprojects.org;
2011
Jordan Baseman, 1973, Matt's Gallery Publication;
2010
Tatton Park Biennial, Danielle Arnaud, Jordan Kaplan
2009
The Body in Contemporary Art, Sally O'Reilly, Thames and Hudson;
Adding Complexity to Confusion, Jonathan Griffin, Adam, Sutherland, Grizedale Arts, Cumbria;
Dark is the Night, David Barrett, Gemma Seltzer, Jordan Baseman, ArtSway and The Photographers' Gallery publication;
Nasty Piece of Stuff, Sally O'Reilly, ArtSway's New Forest Pavilion, 53rd Venice Biennale Exhibition Catalog;
Jordan Baseman, Ilsa Colsell, MAP Magazine, issue 17, Spring 2008
Inside Man, Jonathan Griffin, University of Wales, Aberystwyth;
4 Films, Bryony Bond, Jordan Baseman, Manchester Museum 2007
Sunday Morning, David Barrett & Jordan Baseman, Site Gallery and C-I Arts;
Human Behaviour, Kit Wise, Monash University, exhibition catalogue 2006
Sotiris Kyriacou, John Plowman, Beacon Art Project, exhibition catalogue;
Contingency Plan, Philip Watkins & Kit Wise, C.A.S.T., Tasmania, exhibition catalogue;
Responding to Rome,Jacopo Benci & Jenni Lomax, British School at Rome, exhibition catalogue 2005
Crossing Borders, Marcus Coates & Huw Davies, Berwick Upon Tweed Film Festival Catalogue;
Size Matters, Natalie Rudd & Marius Kwint, Hayward Gallery Publishing, exhibition catalogue 2004
British School at Rome, Jacopo Benci, BSR Publications, exhibition catalogue;
Wonderful: Visions of the Near Future, Maria Fusco, BKD Special Projects, exhibition catalogue 2002
BRUNO a short story, Jordan Baseman, Grizedale Arts, Cumbria;
Second Skin, Stephen Feeke, Henry Moore Institute, exhibition guide;
Hygiene, Polly Gould, exhibition catalogue: www.lshtm.ac.uk 2000
The Comedians (DVD) Da2 Digital Arts Development Agency, Bristol and The Laboratory, Oxford;
Art in Motion, Janet Owen, University of Southern California, exhibition catalogue;
Going Continental, Gudrun Bieltz, University of Applied Arts, Vienna, exhibition catalogue 1999
The Annagrammatical Body, Peter Weibel, New Museum, Graz, Austria, exhibition catalogue 1998
SHUP a screenplay, Jordan Baseman, Book Works, London;
Fun de Seicle, Paul Glinkowski, Walsall Museum, exhibition catalogue;
APersonal Effects, Alex Farquarson, Spacex Gallery, exhibition catalogue;
Jordan Baseman’s Hollywood Hell In a Forest of Furry Signifiers, Richard Dyer, Richard Salmon Gallery, exhibition catalogue 1997
Pictura Britannica, Bernice Murphy, Museum of Contemporary Art, Sydney, Australia, exhibition catalogue;
Craft, Joan Key, Richard Salmon Gallery / Kettle’s Yard, exhibition catalogue;
‘On the Edge of the Abyss’; blunt objects, JeanPaul Martinon, Galerie Eugen, Lendl exhibition catalogue 1996
British Art Show IV, Thomas Lawson, Richard Cork, Rose Finn Kelcey, South Bank Centre, exhibition catalogue;
Young British Artists VI, Sarah Kent, Saatchi Gallery exhibition catalogue;
Plastic, Neil Cummings, Richard Salmon/Arnolfini, exhibition catalogue
Selected Reviews
2016
Flat Death, Robert Clark, The Guardian, 8 January;
Blackout, David Barrett, Art Monthly, No.394, March;
Essex Road 2, Sophia Phoca, Art Monthly, No. 393, February;
Look at me, I said to the glass in a whisper, a breath, Alice Hattrick, The White Review, www.thewhitereview.org
2015
Essex Road 2, Oliver Basciano, The Guardian, 11 December
2014
New Realism, Mark Prince, Art Monthly, No. 376, May;
Das Leben der Anderen, Dietrich Roeschmann, Badische Zeitung, 24 March;
Jordan Baseman, Dietrich Roeschmann, Artline, May;
Erzahlungen von den Schockzustanden des Lebens, Annette Hoffman, Der Sonntag, 23 March
2013
Deadness, David Barrett, Art Monthly, No. 368, July – August;
Jordan Baseman, Mark Price, Art in America, October;
For Those Left Behind, Jennifer Good, Source, November;
Jordan Baseman, Haroon Mizra, Skye Sherwin, Free Range: the week’s art shows in pictures, The Guardian, 24 May;
The artist who tried to capture death, Dan Glaister, The Guardian, 29 May;
Jordan Baseman: Deadness, Gabriel Coxhead, Time Out, 7 June;
Jordan Baseman: Deadness, Ben Luke, Evening Standard, 24 June
2012
971 horses + 4 zebras, Lilly Husbands, www.animateprojects.org
2011
Nasty Piece of Stuff, Skye Sherwin, The Guardian, 5 February;
Masterclass on Ageing, Mark Brown, The Guardian, 13 January
2010
Jordan Baseman, Robert Clarke, The Guardian, 6 February;
Double Take, Susan McWilliam, www.naturegreatexperiment.com;
What’s Love Got to Do With It?, Peter Bonnell, www.naturegreatexperiment.com
2009
Dark in the Night, Jocelyn Bailey, Blueprint Magazine, April;
Jordan Baseman, Ilsa Colsell, MAP Magazine, issue 17, Spring
2008
Jordan Baseman, Rachel Withers, www.naturesgreatexperiment.com
2007
Tape 1 Tape 2, Penny Webb, The Age, 21 February;
Untimely Ripped, Tom Shakespeare, www.naturesgreatexperiment.com;
Nature's Great Experiment, Terrie Moffitt, www.naturesgreatexperiment.com;
Grain, Brian Dillon, The Wire Magazine, November
2006
Contingency Plan, Briony Downes, Photofile, Spring Issue 78;
Artist’s ‘race hate’ video divides troubled town, Andrew Norfollk, The Times, 19 August;
Art project showcases tale of town’s race hate, Catriona Davies, Daily Telegraph, 19 August;
Video work reveals racism of Lincolnshire community, Mark Brown, The Guardian, 19 August;
Five Best, Robert Clarke, Guardian Guide, 9 June
2005
Jordan Baseman, Sally O'Reilly, Frieze Magazine, Issue 93;
Jordan Baseman, Bill Furlong, Audio Arts, Volume 23, No. 3;
Found Material and Jordan Baseman, Kathy Kubicki, Filmwaves Magazine, Issue 28;
Our Surroundings, Duncan McLaren, MAP, Issue 3;
Jordan Baseman, Eliza Williams, Flash Art, Volume XXXVIII No.243;
I'm a Believer, Martin Herbert, Time Out, 25 May–1 June, No. 1814
2004
Wonderful: Visions of the Near Future, David Barrett, Art Monthly, No 275, April
2003
Jordan Baseman, Neil Mullholland, Flash Art, Volume XXXVI No. 231 July-September;
Sloughing the Human, Zoontologies: The Question of the Animal, Steve Baker, Minneapolis and London: University of Minnesota Press
2002
TV Swansong, Dan Fox, frieze magazine, issue 68, June, July, August;
TV Swansong, Michael Gibbs, Art Monthly, No 256, May
2001
Haunted by the Animal, Steve Baker, Tate Magazine, September
2000
Jordan Baseman, Roy Exley, Artpress, No. 255, April;
Jordan Baseman, James Lawrence, Untitled, No. 21, Spring;
the Holy Grail Doesn’t Rest in the Big Mac, Claire Callow, Pil Magazine, issue 4, April;
Jordan Baseman, Martin Coomer, Time Out, No.1533 January 512
1999
Jordan Baseman: The History of Existentialism, Susan Hubbard, The Independent on Sunday, 19 December;
Brief Encounter, Cathy Courtney, Art Monthly, No 224 March;
And here is the new, Nicholas Royle, Time Out No 1492 March 2431;
SHUP, Mario Flecha, Untitled, No 19, winter 1999;
Fun de Seicle, David Beech, Art Monthly, No 223 February
1998
Personal Effects, Max Andrews, Untitled No 17, autumn;
Personal Effects, John Tozer, Art Monthly, No 220, October;
...just a pack of jokers, Marina Benjamin, London Evening Standard, April 9;
Whitechapel Open, Martin Coomer, Time Out, No.1443, April 1522;
Whitechapel Open, Martin Herbert, Time Out No.1443, April 1522
1997
Jordan Baseman, Marc Currah, Time Out, No 1426;
Opening Lines New Contexts for Artists’ Projects, Alison Raftery, London Arts Board Publications;
Jordan Baseman, Sacha Craddock, The Times, 30 December;
Von Hosen und Haustieren, Walter Titz, Kleine Zeitung, 30 September;
Hundekopf, Phantasie, und das Unbehagen, Franz Niegelhell, Neue Zeit, 8 October;
The Look of Love, Izi Glover, frieze, October;
Young British Artists VI, James Hall, Art Forum January;
Distress signals from lonely hearts, Richard Cork, The Times, 1 October
1996
Young British Artists VI, John McEwen, The Sunday Telegraph, 29 September;
Young British Artists VI, William Feaver, The Observer Review, 15 September;
Plastic, Sarah Kent, Time Out, No 1358 Aug 28 Sept 4;
Best of the Six, Sarah Kent, Time Out, No 1360 September 1118;
Plastic, Adrian Searle, The Guardian 2, 27 August;
Plastic, Robert Garnett, Art Monthly, No 200 October;
Young British Artists VI, John Tozer, Art Monthly No 200, October;
Plastic, Jonathan Jones, Untitled, No 12, winter 1996/97;
Young British Artists VI, Mary Anne Francis, Untitled, No 12 Winter;
Profile: Based on a True Story, John Tozer, Art Monthly, No 197, June
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