The innovative audio cassette-magazine Audio Arts was established by Bill Furlong in 1973 until 2007. This is Volume 14 No 2 includes contributions from Barbara Kruger, Simon Patterson and Michael Craig-Martin, relating to an exhibition curated by Maureen Paley in 1994

Audio Arts: Volume 14 No 2, Side A – Douglas Gordon, Graham Gussin, Angela Bulloch, Craig Wood, Lily van der Stokker, Robert Barry, Julie Roberts

Audio Arts Volume 14 No 2, Inlay 1
Inlay for Audio Arts Volume 14 No 2, Inlay 1, published in 1994
Archive reference: TGA200414/7/3

Side A

  • 00:00:01: An interview with Douglas Gordon in a city centre bar close to Leeds City Art Gallery
  • 00:05:13: An interview with Graham Gussin in a city centre bar close to Leeds City Art Gallery
  • 00:11:19: An interview with Angela Bulloch recorded in Leeds City Art Gallery
  • 00:17:10: An interview with Craig Wood recorded in Leeds City Art Gallery
  • 00:22:35: An interview with Lily van der Stokker recorded in Southampton City Art Gallery
  • 00:28:11: An interview with Robert Barry recorded in Southampton City Art Gallery
  • 00:35:52: Julie Roberts is interviewed in a bar close to Southampton City Art Gallery

Side B

  • 00:00:01: An interview with Daniel Buren recorded in Southampton City Art Gallery
  • 00:10:05: Simon Patterson is interviewed in London about the exhibition at Southampton City Art Gallery
  • 00:16:19: Lawrence Weiner is interviewed in Fountains Hotel near The Serpentine Gallery
  • 00:17:10: An interview with Craig Wood recorded in Leeds City Art Gallery
  • 00:24:57: Lothar Baumgarten is interviewed in The Serpentine Gallery
  • 00:31:17: Barbara Kruger is interviewed in an office in The Serpentine Gallery
  • 00:38:39: Michael Craig-Martin is interviewed in his studio about the work for The Serpentine Gallery

Please note that Audio Arts: Volume 14 No 2, Side B has not been cleared to be published online

Wall to Wall

Wall works are inextricably linked to a recent tradition of transgressive and challenging art. They have been used in arguments for portability, adaptability and as a challenge to the commodity status of the art object. Yet the significance of bringing together a group of artists who work in this way cannot be located within a single or even tightly bracketed set of concerns. Wall workers embody an awareness of architecture, a desire to travel light; they decorate and deconstruct the sites for art, the gallery, museum and public space. Wall paintings and drawings can be executed by works, assistants or art collectors under instruction from the artist. They can be used to display the written word and to undermine language. The decision to work on the wall can be an irresponsible reaction to an apparently settled art world. There is potential for elegance and the possibility to operate discreetly a near invisibility through sensitive response to the gallery space.

This show brings together people from a time when using the wall was a direct challenge to the hegemony of mute art objects and places their activity in a new context. Conversely it also allows us to reassess current activity in the light of earlier conceptual approaches exposing the debt that many owe to those who made the initial moves away from the canvas and onto the wall.

Styles are varied, personal marking and subtle interventions act as a corollary to refined graphic, relational sensibility, all using a basic formal language that has been refined and debated yet rarely presented across generations in this way. The wall work has performed an important function through its ability to call into question the fixed nature of most art activity. It remains a way of working that, despite everything, is resistant to marketing and allows artists to produce work on a large scale without needing to raise large sums of production money. It encourages situations where artists meet during the actual process of making the work rather than turning up to install something that already exists. It offers the opportunity to work directly and employ a lightness of touch that allows for the revelation of effects that might otherwise go unnoticed. The interviews on this tape expose something of the range of work and ideas discussed during the exhibition. Liam Gillick, July 1994.

Wall to Wall – Curated by Maureen Paley

Serpentine Gallery, London: Lawrence Wiener, Barbara Kruger, Lothar Baumgarten, Michael Craig-Martin. Recorded January 1994.

Southampton City Art Gallery: Lily Van Der Stokker, Robert Barry, Julia Roberts, Daniel Buren, Simon Patterson. Recorded April 1994.

Leeds City Art Gallery: Douglas Gordon, Graham Gussin, Angela Bulloch, Craid Wood. Recorded May 1994.

Other artists in Wall to Wall were: Jessica Diamond, Ntele Toroni, Sol Lewitt, Ernst Caaramelle, Franz Graf and David Tremlett.

Interviews by Simon Patterson and Michael Craig-Martin recorded July 1994.