STUART BRISLEY

70sText

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  • STUART BRISLEY, Fine Art and Prejudice, 1970s, Page 1

    Fine Art and Prejudice

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  • STUART BRISLEY, Proposal for 'Celebration for Institutional Consumption', 1970

    Proposal for 'Celebration for Institutional Consumption'

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  • STUART BRISLEY, Celebration for Institutional Consumption – Script, 1970, Page 1

    Celebration for Institutional Consumption – Script

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  • STUART BRISLEY, Celebration for Institutional Consumption – Speech, Fourth Course, 1970, Page 1

    Celebration for Institutional Consumption – Speech, Fourth Course

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  • STUART BRISLEY, Factory and Artist: The Industrial Context, 1970, Page 1

    Hille Fellowship – Factory and Artist: The Industrial Context

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  • STUART BRISLEY, You Know It Makes Sense – Correspondences, 1971–72

    You Know It Makes Sense – Correspondences

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  • STUART BRISLEY, You Know It Makes Sense – Press Release, 1972

    You Know It Makes Sense – Press Release

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  • The Incidental Collection – Stuart Brisley's Peterlee Project (by Marc Crinson, Mute Magazine)

    The Incidental Collection – Stuart Brisley's Peterlee Project With an eager hoovering up of community memory now a built in part of every self-respecting regeneration project, the exhibition of Stuart Brisley’s pioneering 1970s archival project in the New Town and former mining district of Peterlee is not only timely but inspiring, says Mark Crinson.The Peterlee Project, 1976-2004, Vardy Art Gallery, University of Sunderland, 9 March to 2 AprilIn 1976 the performance artist, Stuart

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  • STUART BRISLEY, The Artist and Artist Placement Group / Studio International, 1972

    The Artist and Artist Placement Group / Studio International

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  • Peterlee Report

    THE ARTIST PROJECT PETERLEE JANUARY 1976-SEPTEMBER 1977 The Artist Project Peterlee came about through an initiative that Artist Placement Group (APG) made to the Peterlee Development Corporation in 1974. Stuart Brisley was one of several artists approached by APG to consider the possibility of working in Peterlee. Eventually He was engaged by the Corporation to make a month’s feasibility study in Peterlee in July 1975. The result in the form of a proposal were presented to the

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  • 16mm film

    16mm filmI had been making performances and actions for five years or so before I thought about using film in the early 1970s. When I began I was not interested in making recordings of what happened on the grounds that the performance was the thing in itself. Visual records of whatever kind were irrelevant. I was not interested in trying to perpetuate a performance or prolong its life. It was sufficient for the performance to remain in the mind as memory for as long as it did. I assumed it

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