Jamie ReidE?s status as the principal user of Rogue Materials in British Art is undisputed. Taking base images that cement the foundations of JamieE?s reputation and covering them with symbols and glyphs that represent the wider spectrum of his visual register is a confounding yet liberating technique a€“ itE?s a celebration and a cathartic trashing at the same time.
As well as these unique works Jamie will also be exhibiting a series of diamond dust editions that parody the most famous Reid image of all.
Here follow a sequence of appropriately rough installation shots of the Peace Is Tough installation at London's Bear Pit October 27th - November 20th 2011. Isis Gallery and Merge Festival are extremely pleased to announce the opening of Jamie Reid a€“ a€?Peace Is Tougha€™. Hot on the heels of Reida€™s wonderful Ragged Kingdom installation for Isis Gallery at Londonewcastle Depot in June, Peace Is Tough revolves around two polarities a€“ one being principal elements of the Jamie Reid Archive which has recently been exhibited at the CCBB in Rio and MoCA in Los Angeles. Reida€™s Archive spans the decades, from college plotting through punk to protest graphics. The 365 small gouache paintings (each a uniform 100 x147mm) that compromise the core of Reida€™s Eightfold Year Project represent an exposure of an intensely private endeavour. Jamie Reid's unique vision articulates and gives form to some of the key issues of our times.
Isis Gallery would like to thank Illuminate Productions, Merge Festival and ita€™s sponsors - Tate Modern, Better Bankside, The Denis Rosen Memorial Trust, Land Securities, Bankside Mix, Commercial Art and the London School of Economics. Here also follow some shots I took of Rowan practicing with her mate Ross outside Ragged Kingdom and performing at the afterparty at the Strongroom.
There's a new hand-pulled screenprint available from December 3rd through the London Print Club's Blisters Blackout project. Including three archive pieces from the Pistols era, Decadence Now opens 30th September 2010 and runs until 2nd January 2011. There is a selection of posters included in this exhibition at the beautiful Schunk building in Heerlen in The Netherlands.
In Poster Park, SCHUNCK* explores the interface between visual art and popular culture, and in so doing, goes in search of the crossover between music and art.
The strategy for this exhibition (Jamiea€™s first solo showing at the L-13 Light Industrial Workshop) is to present Reida€™s smaller paintings on paper and canvas using a traditional a€?painting exhibitiona€™ format. Jamie Reid's practice as an artist sits firmly within a tradition of English radical dissent that would include, for example, William Blake, Wat Tyler and Gerrard Winstanley.


Although Reid is known primarily for the deployment of Situationist strategies in his iconic work for the Sex Pistols and Suburban Press, the manifold strands of his art both continue that work whilst showing us other ways in which we can mobilise our energy and spirituality. This exhibition will be accompanied by an L-13 publishing project deploying Reida€™s iconic and infamous graphics. Jamie is currently working with Rebels In Control on the development of a website for his series of pictures specially created for the Eight-fold year. Copyright © 2010 - MillondeLooks - Privacy policy This blog is licensed under a Creative Commons.
In an increasingly visual world the power of the graphic image to define a moment is clear. Tightly conceived and powerfully articulated, ReidE?s artwork has always displayed a willingness to seize upon and develop whatever is to hand to create work of energy and immediacy a€“ newspaper cuttings, a cheap photocopier, paint splashes, degraded photographs a€“ images misaligned, contrast pushed and mistakes embraced. The symbols themselves include Boudicca shaking her spear at the Houses of Parliament, the Hare a€“ symbol of free thinking, the Oak Leaf representing our heritage and the cycle of the year, DelacroixE?s Liberty Leading the People in revolt, framed by the towers of Croydon (symbol of oppression by self-serving governments both local and national). In acknowledgement of this, 50% of the artistE?s profits from the sale of these works will go directly to support the work of the Occupy London movement. The second being a presentation of the 365 paintings that comprise the core of Reid expansive and delightful Eightfold Year project. This presentation includes original collage work, drawings and paintings, bromides, proof prints and photographs. He responds to the ever-increasing attacks on our civil liberties and shared common spaces with passionate anger and savage humour, and shows us ways in which we might re-organise our political and spiritual resources. There are forty artists each producing an artwork with a luminescent element (that means glow-in-the-dark to the rest of us), in editions of forty, for sale at forty quid each. Curator Otto Urban writes 'Exhibitions presenting works of decadent art evoke enthusiastic reactions, just as they provoke public scandals.
Functionally designed, these posters also incorporate a high degree of individuality, expressing the artista€™s own vision. A minimal number of works will be isolated, framed and hung sparingly, so the viewer can be focused in on the intense worlds they portray. Like them, the work of dissent must offer, out of necessity, other social and spiritual models and Reid's practice is no exception. It is this dialectic between gnosticism and dissent that lies at the heart of Reid's practice and makes him one of the great English iconoclastic artists.


Para reproducir la musica que tendra que actualizar su navegador o actualizar el Plugin de Flash. As political and social reform movements undermine and confront moribund systems of fiscal and cultural entrapment it seems the time is now for artists to step forward. Of course thereE?s a broader story that involves druids, spies, crofting on Lewis, protest movements and allotments in Liverpool. This last image predates JamieE?s flash point with the Pistols and comes from the visually prescient Suburban Press period (1970-1975). Elements of the archive are present in extremely important international collections, including that of Tate, acknowledging Reida€™s importance in the narrative of 20th and 21st century culture.
This is the role of the shaman and Reid's art acts like a lightning rod, returning us to the earth so that we might share the work of healing. In addition to their autonomous work, artists are applying themselves to the design of gig posters, frequently on the basis of their own personal interest in music.
Despite this fetishisation (and commodification) of the paintings it must still be remembered that that isna€™t necessarily what they are. Indeed there has been precious little response from the art community to the crises that surround us. Boudicca was used principally for the ten year installation cycle at the Strongroom Studios in Shoreditch (1989-1999), and the oakleaf refers to a lifelong association with the Druid movement (his great uncle George Watson Macgregor Reid was the chief druid of the British Isles. These posters, often hand-made screen prints, have become collectors items for music aficionados.
The individual works are just a miniscule part of a longstanding and ongoing creative process that embodies the spiritual, political and creative beliefs of the artist, and as such, can only be properly understood within that wider context. The Hare is a direct signal to Joseph Beuys and the aims and objectives of the Free International University.




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