Approved: 16.08.2006

Matthew Cort

Artist

Approved: 16.08.2006

My use of media and techniques is determined by the idea I am exploring at a given time, although the apparently divergent outcomes of this practice generally have the same starting-point: the appropriation of pre-existing artefacts and their re-presentation with some aspect altered significantly through operations such as: recombination; recontextualisation; casting; systematic modification of proportions etc.

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Merchandise

     

    Artist Statement

    My use of media and techniques is determined by the idea I am exploring at a given time, although the apparently divergent outcomes of this practice generally have the same starting-point: the appropriation of pre-existing artefacts and their re-presentation with some aspect altered significantly through operations such as: recombination; recontextualisation; casting; systematic modification of proportions etc.

    I am interested in the ways that such 'carnivalesque' gestures complicate meaning through generating works functioning as multiple propositions, and subvert or generate humour from otherwise sober objects and images. Examples of this include: Car, Height 1:1 (2008) - an object as sculpture/car/biomorph/'customisation' of a car stylist's design; Parapet (1998) - an assemblage of found and fabricated objects that work simultaneously as sculpture/row of sandcastles/extension of 'readymade' building (Screen on the Green Cinema, London); imaginary pages from a book of birds (2008 to date) - watercolour/digital images presented as 'objective' wildlife illustrations that are actually parodies/montages of found images/fantasy bird images.

    Through being translated into new artworks, the original artefacts (cars, buildings, instructive illustrations etc.) are liberated from their original functions, gaining new meanings along with reminders of their old ones, thus for example: on being compressed horizontally by a factor of 16, car wheels become 'legs', but still retain their details in compressed form. To varying degrees my use of pre-existing artefacts celebrates the inherent multiplicity of all artworks' authorship. In this, my influences include: industrial design, popular culture, architecture, the historical and neo avant-gardes.

    CV & Education

    EDUCATION

    2007-10: Extra-Mural Diploma in History of Art & Architecture, Distinction, Birkbeck, University of London

    2003-07: Extra-Mural Diploma in Philosophy, Distinction, Birkbeck, University of London

    1997-98: MA Fine Art, Goldsmiths, University of London

    1978-81: BA Graphic Design, 1st Class Honours, Central St.Martin's School of Art

    1976-78: Art Foundation, Buckinghamshire College of Higher Education

     

    GROUP EXHIBITIONS

    2018: 'Insider Perspective', Tate Exchange, Tate Liverpool (collaboration with prisoners of HMP Wormwood Scrubs)

    2015-21: ‘Oli Bennett Secret Cards’, Westminster School, London

    2008-18: ‘RCA Secret’, Gulbenkian Gallery/ Dyson Gallery, Royal College of Art, London

    2015-16: ‘RCA Secret Dubai’, Madinat Jumeirah/ Art Dubai, Mina A'salam/ Alserkal Avenue, Warehouse 46, Dubai           

    2013: ‘Age UK Barnet Secret Postcard Show’, London

    2013: ‘ArtWest Open Studios’, ArtWest Studios, London   

    2011-12: ‘Forgotten Spaces’, Somerset House, London

    2009: ‘Exemplar’, Hortensia Gallery, Kensington & Chelsea College, London

    2005: ‘Marked Men’, HMP Ley Hill, Gloucester

    2004: ‘Tattoo Banner Project’, HMP Wormwood Scrubs, London

    2004: ‘Surfaces’, Business Design Centre, London

    2002: ‘Riverrun', Star & Garter House, London

    2001: 'Telling Tales', Islington Museum Gallery

    2000: 'Artville', Candid Arts Gallery, London

    2000: 'Globularisation', Star & Garter House, London

    1999: 'Rooms For All!', Jersey Galleries, Osterley Park House, London

    1999: ‘Chainstore', Trinity Buoy Wharf, London

    1998: 'Flashpoint', Globe Gallery, North Shields

    1997: ‘The King Onion' (collaboration with prisoners of HMP Wormwood Scrubs), Hayward Gallery Pavilion, London

    1997: ‘Sugar Rush', The Tannery, London

    1994: Screening of ‘The Pink Hotel’, Queen Elizabeth Hall, South Bank Centre, London (collaboration with inmates of HMP Wormwood Scrubs/London Sinfonietta)

    1990: 'Just In Time' (collaboration with prisoners of HMP Wormwood Scrubs), Centre 181 Gallery, London

    1987: ‘Christmas Art Draw’, Diorama Gallery, London

    1987: 'The Hidden Truth', St. James's Church Gallery, Piccadilly, London

    1986: Untitled show, Lamont Gallery, London

    1983: 'Neon Twilight', Galleria Neon, Bologna, Italy

    1981: British Association of Illustrators Exhibition, 7 Dials Gallery, London

     

    PRIZES, AWARDS & OPEN SUBMISSIONS

    2022: 2022 Summer Exhibition, Royal Academy of Arts, London

    2018: 166th Open Exhibition, Royal West of England Academy, Bristol

    2018: Shortlisted, 250th Summer Exhibition, Royal Academy of Arts, London

    2015: Shortlisted, 247th Summer Exhibition, Royal Academy of Arts, London

    2011: Shortlisted, The National Open Art Competition, Chichester

    2010: ‘Art of Giving’, Saatchi Gallery, London (judging panel: Christian Furr, Terry O’Neill, Vic Reeves)

    2009: Shortlisted, 241st Summer Exhibition, Royal Academy of Arts, London

    2008: Shortlisted, 240th Summer Exhibition, Royal Academy of Arts, London

    2002: Work auctioned, ‘Cowparade London 2002 Gala Auction’, Sotheby's Olympia, London

    2002: Awarded 'Outstanding', Annual Koestler Awards, St. Anne's Court, London (for Tattooed Cow, collaboration with inmates of HMP Wormwood Scrubs)

    1998-99: Exhibited, ‘Smalls: an Exhibition of Very Small Artworks', Upstairs at the Clerk's House, London

    1997: Awarded 4 prizes, Annual Koestler Awards, Whiteleys, London (for The King Onion, collaboration with inmates of HMP Wormwood Scrubs)

    1996: Exhibited, 228th Summer Exhibition, Royal Academy of Arts, London

    1996: Shortlisted for 1st Prize, 'Art and Architects', Society of Architect-Artists 32nd Annual Exhibition, Royal Institute of British Architects, London                 

        

    COMMISSIONS

    2015: Birds No. 4, watercolour (private)

    2013: Birds No. 5, pen and watercolour (private)

    2005: Installation of video works from Küba by Kutlug Ataman in HM Prisons Wormwood Scrubs and Pentonville (Tom Dingle/Artangel)

    2003: Limited edition of scale porcelain replicas of ‘Tattooed Cow’ (CowParade)

    2002: Tattooed Cow, paintings on readymade sculpture (Cowparade London 2002/Childline)

    1998: Creation of sculptural installations for ‘Beachlife', Islington International Festival, London (Clive Sall/ Robert Wilson at FAT Architects)

    1994: Curation of Wormwood Scrubs Perimeter Wall-Paintings: 8 monumental paintings on prison wall by Julian Opie (The Governor, HMP Wormwood Scrubs/Hayward Gallery/Lisson     Gallery)

    1994: Animation for video ‘The Pink Hotel’ with inmates of HMP Wormwood Scrubs, London (London Sinfonietta/South Bank Centre, London)

     

    BIBLIOGRAPHY

    2014: ‘Con Artists’, Lucy Fisher, Sunday Times Magazine, 6 April (feature article)

    2014: ‘Constructing Meaning in a Destructive Place’, Matthew Cort, Not Shut Up, Issue 25 (essay)

    2013: ‘Prisoners find a Release in Art’, Poppy Bradbury, Fulham & Hammersmith Chronicle, 27 September (press interview)

    2011: Forgotten Spaces London, RIBA, London (catalogue)

    2010: Matthew Meadows, Insider Art, A&C Black, London, (interview and images in book)

    2010: Art of Giving, Art of Giving/Saatchi Gallery, London (programme/catalogue)

    2005: ‘Events: Küba on the move’, Time Out London, 18-20 May (listing)

    2002: Cowparade London 2002, Cowparade/Sotheby’s, London, (catalogue)

    1999: Matthew Arnatt, Sali Gia, David Mollin, 100 Reviews, Black Dog, London (review)

    1998: Beachlife is FAT, Islington International Festival, London (catalogue)

    1997: Hayward Education: Hayward Gallery, National Touring Exhibitions, Arts Council Collection, The South Bank Centre, London, (catalogue)

    1997: ‘From Grand Tour to Small World – The Package of Art & Tourism’, Miriam Reik (unpublished essay)

    1996: 228th Royal Academy of Arts Summer Exhibition 1996 (2nd Edition), Royal Academy of Arts, London (catalogue)

    1996: 'Clean and Pleasant Lands', Claire Melhuish, Building Design magazine, 8 November (review)

    1994: 'Her Majesty's Pleasure', Richard Dorment, Daily Telegraph, 2 November (review)

    1994: 'Pleasure at Her Majesty's', 'Astragal', Architect's Journal, November Issue (news article)

    1994: 'Julian Opie at the Scrubs', Nell Wendler, Art Monthly, November Issue (news article)

    1987: A3 Magazine (gallery-magazine project)

    1983: 'Neon all'ombra di Francesca', Leopoldina Pallotta, La Repubblica, Bologna edition, Dec. (review)

     

    TV

    2009: ‘The Culture Show’, BBC2, 17 June  (review of Car, Height 1:1 by Lauren Laverne & Andrew Graham-Dixon)

     

    COLLECTIONS

    Works held in private collections in the UK, Germany, Australia and Dubai

     

    OTHER RELEVANT WORK/TRAINING

    2016-present: Tutor in Art, Morley College, London

    1985-present: Tutor in Art, HMP Wormwood Scrubs

    2005-08: Member of Judging Panel, Annual Koestler Arts Awards

    1998-2008: Tutor in Art, HMP Pentonville, London

    1994-98: Tutor in Art, Hounslow Community Education, London

    1993: Co-Ordinator of Art workshops in HMP Wormwood Scrubs with Aboriginal Australian artists from Hayward Gallery exhibition 'Aratjara' (in association with Hayward Gallery Education)