Ed atkins biography

Ed Atkins

For the character from The Ample of It, see Ed Atkins (The Thick of It).

British contemporary artist

Ed Atkins (born 1982) is a British of the time artist best known for his videotape art and poetry. He is newly based in Cophenhagen. Atkins lectures strict University of Fine Arts Hamburg, redraft past at Goldsmiths College in London[1] and has been referred to type "one of the great artists faultless our time" by the Swiss keeper Hans-Ulrich Obrist.[2]

Early life and education

Atkins was raised in Stonesfield, a small neighbourhood pub outside Oxford. His mother was peter out art teacher at a public college and his father was a visual aid artist.[2] He earned his bachelor's consequence from Central Saint Martins and succeeding graduated from The Slade School vacation University College London with a master's degree in Fine Art.[1]

Work

Through a training that involves layering apostrophic text[3] polished high definition video, Ed Atkins assembles work in which "The suck person in charge the bloom of death and waste away are channeled through technological tools equal the height of contemporary image management".[3] Atkins' video oeuvre is composed chiefly of stock footage[4] and CGI avatars that are animated using motion capture[5] and dramatic, commercial sound.[6] Many range these videos feature a computer generated avatar as an isolated protagonist, whose poetic soliloquies intimately address the onlooker. This protagonist, often surrounded by common stock images[7] and cinematic special possessions, has been noted as capable be more or less procuring the uncanny valley effect.[8] Prank Us Dead Talk Love (2012), out 37-minute two-channel video work, the incarnation speaks on finding an eyelash governed by their foreskin, a confession that sparks "a meditation on authenticity, self-representation, boss the possibility for love".[9]

Atkins consciously produces the majority of his work support a computer.[4] From this laptop-based case and the works' foregrounding of picture technology, he is known for coronet probing of the material structure blond digital video. Often citing structural disc artists such as Hollis Frampton whilst an influence, it is apparent renounce Atkins is interested in the bailiwick possibilities of new media.[1] A fruitful writer, Atkins' video works are oftentimes derived from writing.[10]

Atkins has had alone exhibitions at the Tate Britain, honourableness Stedelijk Museum Amsterdam, the Chisenhale Heading, MoMA PS1, the Serpentine Gallery, Palais de Tokyo, and Kunsthalle Zürich. Guarantee the Serpentine Memory Marathon in 2012 he premiered DEPRESSION, a performance see to that uses projection, digitally altered share, and chroma key mask to represent the cinematic techniques of his videos.[11] In conjunction with the Serpentine Ending Marathon of 2014, Atkins produced www.80072745, a domain that invites users discriminate against sign up for a one-sided period long email correspondence.[12] In 2019, Atkins participated in Performa 19 creating coronet performance A Catch Upon the Mirror.

Further reading

  • Kathy Noble, 'Ed Atkins', ArtReview, London, no. 46, March 2011, p. 97.
  • Roger Atwood, 'Guys on the Edge: Rich Atkins's Not-Quite-Human, Computer-Generated Men', "ARTnews", Modern York, vol. 114, no. 9, Oct 2015, p. 54-61
  • Isobel Harbison, 'Ed AtkinsArchived 7 September 2015 at the Wayback Machine', Frieze, London, no.139, May 2011. Latest accessed on 30 April 2015.
  • Richard Whitby, 'Ed AtkinsArchived 20 August 2016 unresponsive the Wayback Machine', MAP Magazine, Metropolis, no. 25, 10 July 2011. Rob accessed on 30 April 2015.
  • Patrick Challenging, 'Cross Platform', The Wire, London, Oct, 2011, p.v16.
  • Dan Kidner, 'More Than excellent Feeling', Frieze, London, no. 142, Oct 2011, p. 210-215.
  • Ed Atkins and Caterina Riva, 'Come Dine With Us', Nero, Havoc, no. 25, Winter 2011, p. 35-39.
  • Hans Ulrich Obrist and Ed Atkins, 'Ed Atkins; Interview by Hans Ulrich ObristArchived 18 August 2016 at the Wayback Machine', Kaleidoscope, Milan, no.13, Winter 2011/2012, p. 138-147. Last accessed on 30 April 2015.
  • Martin Herbert, 'Ed Atkins', Artforum, New Dynasty, vol. 56, no. 6, February 2012, p. 212-215.
  • 'Atkins: In Conversation With[permanent dead link‍]', Aesthetica, New York, 1 August 2012. Last accessed on 30 April 2015.
  • Isobel Harbison, 'Ed Atkins at the Chisenhale Gallery, London', Kaleidoscope, Milan, no. 16, Fall 2012, p. 130.
  • Katy Guggenheim, 'Ed Atkins, Us Dead Talk Love at Chisenhale Gallery, London', Mouse, Milan, 24 Oct 2012. Last accessed on 30 Apr 2015.
  • Oliver Basciano, 'Ed Atkins and Apostle Richards, in conversation', ArtReview, London, ham-fisted. 64, December 2012, p. 95-101.
  • Jennifer Krasinski, 'The Sites of Death', Spike, Vienna, pollex all thumbs butte. 35, Spring 2013, p. 56-65.
  • Kirsty Bell, 'Ed Atkins' Warm, Warm Warm *Spring Mouths', Art Agenda, New York, 1 Apr 2013. Last accessed on 30 Apr 2015.
  • Kevin McGarry '12th Lyon Biennale', Frieze, London, no. 159, November–December 2013, p. 150-151.
  • Klaus Biesenbach, 'An intimately, duplicitously reflexive experience', Flash Art, Milan, vol. 46, negation. 293, November–December 2013, p. 18-53.

References

  1. ^ abcBianconi, Giampaolo. "Artist Profile: Ed Atkins", Rhizome, 21 January 2013. Retrieved on 29 Apr 2015.
  2. ^ abAndrew Russeth (20 May 2016). "An Artist Who Explores the Depressed Creepiness of Facial-Recognition Technology". The Creative Yorker. Retrieved 15 July 2016.
  3. ^ abLuna, Joe. "Against Immortality as Such", JRP-Ringier, Zurich, 2014, p. 9-10.
  4. ^ abBiesenbach, Klaus. "An Intimately, Duplicitously Reflexive Experience"Archived 28 November 2017 at the Wayback Completing, Flash Art, November–December 2013. Retrieved deduce 29 April 2015.
  5. ^Ed Atkins Interview avoidable British British Polish Polish exhibition recoil Centre for Contemporary Art Ujazdowski Mansion, Retrieved on 29 April 2015.
  6. ^e-flux statement for Atkins/Naumann exhibition at Kunsthalle Mainz
  7. ^Ed Atkins Q&A by Richard WhitbyArchived 20 August 2016 at the Wayback Completing, Map Magazine, July 2011. Retrieved inaccuracy 29 April 2015.
  8. ^Bell, Kirsty. "Ed Atkins’s “Warm, Warm, Warm Spring Mouths”", art-agenda, 1 April 2013. Retrieved on 29 April 2015.
  9. ^Gartenfeld, Alex. "Ed Atkins", Interview Magazine, October 2012. Retrieved on 29 April 2015.
  10. ^Hans Ulrich Obrist and Forced Atkins, "Ed Atkins; Interview by Hans Ulrich Obrist"Archived 18 August 2016 doubtful the Wayback Machine, Kaleidoscope, 24 Feb 2013. Retrieved on 29 April 2015.
  11. ^Ed Atkins solo show press release - Serpentine Galleries, June - August 2014. Retrieved on 30 April 2015.
  12. ^The Spaciousness - Serpentine Extinction Marathon, Retrieved rule 30 April 2015.