Peter Suchin
Curriculum Vitae
Born England, 16 October, 1959
Studied Fine Art at Leeds Polytechnic, 1979-1982, 1988-2000
Critic and artist.
Publications
Contributions to Books
Text on Steven Wong's Cinema City, Hoor Al-Qasimi/Peter Lewis (Eds.), Sharjah International Biennale 6, May 2003
Contribution to MSDM, Outsourcing, London, 2002.
Contribution to Octavi Comeron (Ed.), Work and Beauty, London, 2002.
"Ghosting and Greasing: Terry Atkinson's "Disaffirmative" Art", in Nigel Whiteley (Ed.), De-Traditionalisation and Art: Aesthetic, Authority, Authenticity, London, 2001.
Contribution to seminars as documented in Rainer Ganahl, Reading Karl Marx, London, 2001.
"An Aesthetics of Dissent: Cornelia Hesse-Honegger", in Julian Stallabrass et al, Locus Solus: Site, Identity and Technology in Contemporary Art, London, 2000.
"The Rise and Demise of the "yBa": Reference and Revolt in Recent British Art", in Krzysztof Knauer and Simon Murray (Eds.), Britishness and Cultural Studies: Continuity and Change in Narrating the Nation, Silesia, 2000.
"Forces of the Small: Painting as Sensuous Critique", in Marketta Seppala et al (Eds.), Animal.Anima.Animus., Pori (Finland),1998. (Book accompanying Pori Art Museum exhibition, touring, 1998 - 2000, to Museum voor Moderne Kunst (Arnhem, Holland), PS 1 (New York, USA), and Winnipeg Art Gallery (Winnipeg, Canada)).
"After a Fashion: Regress as Progress in Contemporary British Art", in D. McCorquodale et al (Eds.), Occupational Hazard: Critical Writing on Recent British Art, London, 1998.
"The Destruction of Art as an Institution: The Role of the Amateur", in Stewart Home (Ed.), The Art Strike Handbook, London, 1989.
Catalogue Essays/Exhibition texts
"Artemis Potamianou's Museum Series", Artemis Potamianou, White Cube, The Hellenic Centre, London, November 2003.
"Open to Translation, in Tabatha Andrews, Gloucester Cathedral, September 2003.
"Artemis Potamianou's Museum Series" (Greek translation), Artemis Potamianou, White Cube, Hellenic American Union, Athens, July 2003.
"Entering the Exchange: James Chinneck's Trust me, I'm an artist", James Chinneck, Trust me, I'm an artist, Leeds Metropolitan University, June 2003.
"A Sense of Silence: John Cage's 4'33''", in Matthew Thompson (Ed.), 4'33'' by John Cage, Compton Verney House Trust, May 2003.
"Selector's Statement", 3.10, The Mall Gallery, Johnson City, USA, March 2002.
"New Paintings" (Geoff Mowlam), Vortex Gallery, London, November - December 2001.
Text for the exhibition The Individualist City (2nd series) (J & M Grant), Edinburgh Print Gallery, Edinburgh, May - June 2001.
"Theme and Variation in the Work of Thorsten Knaub" (German translation), Thorsten Knaub, Between Fast Food and Eternity, Stadtisch Galerie, Erlangen, Germany, April 2001.
Text for the exhibition The Individualist City (1st series) (J & M Grant), Thornton Mill Gallery, Bradford, September - October 2000.
"Avian Translations", Wider View 2000, Wysing Arts, September 2000.
"Politics in the Paint: Word and Image in the Work of Margaret Harrison", in Jane E Neidhardt (Ed.), Unpacking: A Ten-Year Survey of the Work of Margaret Harrison, Atlanta College of Art Gallery, Atlanta, USA, October 1999.
"Resonate: Some Markers for the Memory", Resonate, Belfast, August 1999.
"Resonant Fields: a Context for Magnetic", Magnetic, St Louis, USA and tour, October 1998.
"Legends of Plenitude: The Work of Keith McIntyre", in Keith McIntyre, Legends of Plenitude (CD-ROM), Cumbria, 1997.
"Forces of the Small: Painting as Sensuous Critique", in Cornelia Hesse-Honegger, The Future's Mirror (Locus+, Newcastle upon Tyne), November 1997.
"Painted Words: Shane Cullen's Fragmens sur les Institutions Republicaines lV", Collectible 3, Centre for Contemporary Arts, Glasgow, September 1997.
"Introduction" to the University of Northumbria MA in Fine Art Degree Show catalogue, September 1997.
"Modes of the Heroic" (in Amanda Beech, Heroes..., Buddle Arts Centre, Newcastle upon Tyne, July/August 1997).
"Lexical Vessels", in Peter Suchin (Ed.) "Located"/"Lexical Vessels" Globe Gallery, North Shields, March 1997.
"Fable and Fantasy: Six Realists of the Unreal" (essay for Vicarage Cottage Gallery, North Shields), May 1996.
"Somewhere Near the Northern Edge: The Sense and Nonsense of the Centre", in Brian Ord (Ed.), Artlanta: 32 Artists from the North of England, Hatton Gallery, Newcastle upon Tyne, April 1996/King Plow Arts Center, Atlanta, June 1996.
"A Note on Meaning Not to Mean" (text for the exhibition Spectres of Distress/Spirits of Decision (Mick Stubbs/Peter Suchin)), University of Salford, March/April 1994.
"Triggers and Targets: Recent Paintings by Mick Stubbs" (extended version) (text for Spectres of Distress/Spirits of Decision (Mick Stubbs/Peter Suchin)), University of Salford, March/April 1994.
"Triggers and Targets: Recent Paintings by Mick Stubbs", (Wakefield Arts Centre, October 1993.
"Introduction", Yorkshire and Humberside MA in Art and Design Degree Show catalogue, May 1991.
"Regions of Representation: The Work of Rosalind Furniss" (in Rosalind Furniss, Posterngate Gallery, Hull, June 1990.
"Jeff Clarkson's Recent Work: Some Introductory Remarks" (in Jeff Clarkson, Scarborough Art Gallery, May 1990.
"Transformation and Metaphor: Recent Works by Alice Morgan" (extended version, Woodlands Art Gallery, London, July 1989.
"Transformation and Metaphor: Recent Works by Alice Morgan", Arts Council of Northern Ireland Gallery, Belfast, February 1989.
Articles
"Interrogating the Work of Art", included in the exhibition 15/1 (2), 1,000,000 MPH, London, July 2003.
"Reinvention without End: Roland Barthes", Mute, No. 26, Summer/Autumn 2003.
"The Critic Never Sleeps", Art Monthly, No. 266, May 2003.
"Notes on Noise", Noisegate, No. 10, 2003.
"Campus Capitalism", Art Monthly, No. 259, September 2002.
"Brian Eno and the "Quiet Club": Subtle Beauty as Social Critique", Two Nine Two, No 3, April 2002.
"To Punctuate the Picture: Words upon Words in the Visual Arts", Point, No. 10, Autumn/Winter 2000.
"Impurely Academic: a Prickly Problem called Research", AN, July 2000.
"Aspects of Art Criticism", Variant, Vol. 2, No. 6, Autumn 1998.
"Oppositional Art": Three Examples", Portmanteau, No. 1, Summer 1997.
"Imperative Pleasures", Artists Newsletter, April 1997 ('Round Midnight 5 supplement).
"Visible Business, Invisible Art", Artists Newsletter, February 1997 ('Round Midnight 4 supplement).
"Visual Literacy: Notes on a Quaint Cliche", Muses, Winter 1996 - 1997.
"Literacy, criticism and fine art", Artists Newsletter, December 1996 ('Round Midnight 2 supplement).
"From Art to Culture", Artists Newsletter, November 1996 ('Round Midnight 1 supplement).
"Defining Culture", Artists Newsletter, November 1996 ('Round Midnight 1 supplement).
"Remarks on the Category "Avant-Garde"", Here and Now, No. 10, March 1990.
"Blend and Clash: Theories of Discretion", Variant, No. 7, Winter 1989.
"The Destruction of Art as an Institution: The Role of the Amateur", Variant, No. 5, Summer/Autumn 1988.
"Post-Modernism and the "Post-Modern Debate" in Britain: An Introduction", Variant, No. 4, Winter/Spring 1988.
"Art and Fashion in the Age of Exchange", Here and Now, No. 5, Summer 1987.
"The Treasure of the Perplexed: Ignorance as "Bliss" in Fine Art Education", Art Monthly, No. 98, July/August 1986.
Exhibition and Events Reviews/Writings on Artists
"Common Wealth" (Tate Modern, London, October - December 2003), Art Monthly, No. 272, December - January 2002 - 2003.
"The Saatchi Gallery, London", Untitled, No. 30, Summer 2003.
"Independence/Peter Seddon" (South London Gallery, June - August 2003; Rochdale Art Gallery, May - June 2003), Art Monthly, No. 268, July - August 2003.
"Publicness" (ICA, London, January - March 2003), Mute, No. 26, Summer/Autumn 2003.
"Jake and Dinos Chapman" (The Rape of Creativity, Modern Art Oxford, April - June 2003), Art Monthly, No. 267, June 2003.
"Gustav Metzger" (100,000 Newspapers, T 1 & 2 Artspace, London, Februrary - March 2003), Frieze, No. 75, May 2003.
"Memories aren't made of this" (The Memory Men, ICA, London, 31 January 2003), mute@metamute.com, Spring 2003.
"Terry Atkinson" (Hellenic American Union, Athens, Greece, November - December 2002), Frieze, No. 74, April 2003.
"Phyllida Barlow" (New Sculpture, Richard Salmon Gallery. London, September - October 2002), Sculpture, Vol., 22, No. 3, April 2003.
"Matthew Thompson" (One Revolution for Every Person in Britain, 1,000,000 MPH, London, October - November 2002), Untitled, No. 29, Winter/Spring 2003.
"Fiona Banner " (Frith Street Gallery, London, September - November 2002), Contemporary, No. 46, December 2002.
"Rodney Graham" (Whitechapel Art Gallery, London, September - October 2002), Contemporary, No. 45, November 2002.
"Hayley Newman" (Icon Gallery, Birmingham, August - September 2002), Frieze, No. 71, November 2002.
"The Galleries Show: Contemporary Art in London" (Royal Academy of Arts, London, September - October 2002), Art Monthly, No. 261, November 2000.
"Andrew Dodds" (What can be imagined, can be created, Economist Tower, London, July - September 2002), Contemporary, No. 44, October 2002.
"At the Beginning of the Movement was a Scandal" (Kunstraum, Munich, Germany, June - September 2002), Frieze, No. 70, October 2002.
"Maria Marshall" (Fine Lines, Site Gallery, Sheffield, June - July 2002), Contemporary, No. 43, September 2002.
"Cesare Pietroiusti" (Things that are Certainly Not Art, Bloomberg Space, London, May - June 2002), Untitled, No. 28, Summer 2002.
"Frances Kearney: Playful Delays, Impassioned Distractions", Portfolio, No. 35, May 2002.
"Inventory" (Requiem for the Empty Quarter, The Approach, London, January - March 2002), Untitled, No. 27, Spring 2002.
"Atom Egoyan" (Steenbeckett, former Museum of Mankind, London, February - March 2002), Frieze, No. 67, May 2002.
"Willie Doherty" (Retraces, Matt's Gallery, London, January - March 2002), Frieze, No. 66, April 2002.
"Carey Young" (Business as Usual, John Hansard Gallery, Southampton, October - November 2001), Frieze, No. 64, January/February 2002.
"Surrealism: Desire Unarmed" (Tate Modern, London, September 2001 - January 2002), Untitled, No. 26, Autumn/Winter 2001.
"Katharina Fritsch" (Tate Modern, London, September - December 2001), Art Press, No. 274, December 2001.
"Work in Progress: Steven Wong's Cinema City" (commissioned for Berlin Art Fair), October 2001.
"Mappamonumentalis" (Tabatha Andrews, The Monument, London, 2 - 11 September 2000), Public Art Journal, Vol. 1, No. 5, April 2001.
""Muted Mirrors"": The Work of Mark Bynon", http:www.markbynon.com, June 2000.
Contribution to Johnny Spencer (Ed.), "Key Debates", Everything, Vol. 3, No. 2, 2000.
"Over Easy" (Richard Wilson, Arc, Stockton-on Tees, permanent installation), Public Art Journal, Vol. 1, No. 2, October 1999.
"Bleeding in the Heat" (Heatwave, University of Wolverhampton, May -June 1998), Everything, Vol. 2, No. 3, 1998.
"Stephen Lee" (Waving Tree, Saltburn Artists Gallery, Saltburn, September - October 1997), Art Papers, Vol. 22, No. 2, March/April 1998.
"Condensation?" (Sensation: Young British Artists from the Saatchi Collection, Royal Academy, London, September - December 1997), Everything, Vol. 2, No. 2, 1998.
"Geoff Weston", Pigeon (LMU Gallery, Leeds, October - November 1997), Art Papers, Vol. 22, No. 1, January/February 1998.
"Painted Words: Shane Cullen's Fragmens sur les Institutions Republicaines IV", Variant, Vol. 2, No. 4, Autumn 1997.
"An Indian Act Shooting the Indian Act" (Lawrence Paul Yuxwelupton, Healey Estate, Northumberland, 14 September, 1997), AN, November 1997.
"Of Hype and Hearsay" (Life/Live, Musee d'Art Modern de la Ville de Paris, October 1996 - January 1997), Variant, Vol. 2, No. 2, Spring 1997.
"On Land - Brian Eno", in Emily Kennedy (Ed.), "Moving pictures", Artists Newsletter, May 1997.
Contribution to James Flint (Ed.), "Flux", Wired, Vol. 3, No. 3, March 1997.
"Rose", Artists Newsletter, January 1997.
"Insects in Transition: The Paintings of Cornelia Hesse-Honegger", Mute, No. 6, Autumn 1996.
"Measured Words: Text and Context in the Work of Shane Cullen", Circa, No. 77, Autumn 1996.
"Detained and Detourned" (The Hacienda Must be Built, Manchester, January 1996), Transgressions, No. 2/3, August 1996.
"The Angel as a "militantly ugly sentinel"", Northern Review, No. 11, May 1996.
"Margaret Mellis and Francis Davison" (Bede Gallery, Jarrow, April - May 1996), Contemporary Art, Vol. 3, No. 4, Summer 1996.
"A Communal Connection: Ilya Kabakov and Contemporary Russian Art", Art & Design, Vol. 9, No. 3/4, 1994 (Profile No. 35, "New Art from Eastern Europe").
"Mute 3" (Terry Atkinson, Cornerhouse, Manchester, 1992), Variant, No. 13, Winter/Spring 1993.
"Rebellion Remodelled" (On the Passage of a Few Persons Through a Rather Brief Period of Time, ICA, London, June - August 1989), Here and Now, No. 9, Autumn 1989.
Review of work by Mik Godley (Paloma Blanca, Leeds), Where and When, January 14 - 28, 1988.
Publication Reviews
Review of Jem Finer, Longplayer (London, 2003), Contemporary, 2004 (forthcoming).
Review of Simon Ford, Hip Priest (London, 2003), Contemporary, 2004 (forthcoming).
"A Pocketful of Pixels" (Karen Raney, Art in Question, London, 2003), Matters, No. 17, Summer 2003.
"London Orbital" (Iain Sinclair, London, 2002), Contemporary, No. 51, Summer 2003.
"Commission Impossible" (J. Lingwood et al, Off Limits: 40 Artangel Projects (London, 2001); P Perez (Ed.), Extra Art (Santa Monica, 2001); J A Walker, Art and Celebrity (London, 2003)), Matters, No. 16, Spring 2003.
"Relocating: Victor Burgin" (Stephen Bann et al, Bristol, 2002), Contemporary, No. 46, December 2002.
"This Year's Module" (D Maskell and I Robinson, The New Idea of a University London, 2001), Variant, Vol. 2, No. 16, Winter 2002.
"In Search of Lost Tyne" (Margaret Crane and Jon Winet, Monument, www.locusplus.org.uk/monument/). Mute, No. 25, November 2002 - May 2003.
"Kenotaphion", (Jonty Semper, Locus +, November 2001), Public Art Journal, Vol. 1, No. 6, April 2002.
"Measuring Edgy Pleasures" (D. McCorquodale et al (Eds.), Occupational Hazard: Critical Writing on Recent British Art (London, 1998) and A. Coles and A. Defert (Eds.), The Anxiety of Interdisciplinarity (London, 1998)), Make, No. 81, September 1998.
"BLOCK Capitalism" (Jon Bird et al (Eds.), The BLOCK Reader, London, 1996), Variant, Vol. 2, No. 5, Spring 1998.
"Blimey!" (Matthew Collings, London, 1997), AN, October 1997.
"Reeling in the Real" (Hal Foster, The Return of the Real, London, 1996), Variant, Vol. 2, No. 1, Winter 1996.
Nerve Net (Brian Eno, Opal/Warner Brothers, 1992), Variant, No. 13, Winter/Spring 1993.
"Looking Between the Lines" (Marysia Lewandowska (Ed.), The Missing Text, London, 1991), Variant, No. 10, Winter 1991.
"Expensive, not Pensive: Recent Issues of Artscribe and Frieze", Variant, No. 10, Winter 1991.
"The Missing Line" (John Roberts, Postmodernism, Politics and Art, Manchester, 1990), Variant, No. 8, Autumn 1990.
"British Post-Structuralism" (Antony Easthope, London, 1988), The British Journal of Aesthetics, Vol. 30, No. 3, July 1990.
"Review of Stewart Home's The Assault on Culture" (London, 1988), Variant, No. 6, Spring 1989.
"Reading in Detail: Aesthetics and the Feminine" (Naomi Schor, London, 1987), The British Journal of Aesthetics, Vol. 28, No. 4, Autumn 1988.
Interviews/Discussions
"Seeing Between Signs" (interview with Victor Burgin), DPICT, No. 5, December /January 2000 - 2001.
"The "Non-Place" as Critical Site: A Discussion on Politics and Art" (with Anthony Iles and Craig Martin), Variant, Vol. 2, No. 10, Spring 2000.
"Hal Foster Interview" (with Billy Clark and Leigh French), Variant, Vol. 2, No. 3, Summer 1997.
Letters
"Active/Passive", Art Monthly, No. 271, November 2003.
"Critical differences", Art Monthly, No. 269, October 2003.
Reply to Tom Morton, Art Monthly, No. 266, June 2003.
"Don't worry, we'll manage", Art Monthly, No. 263, February 2003.
"None of your Business!", Art Monthly, No. 261, November 2002.
"Feeding the fat cats", The Guardian, 25 January 2000.
"Brit Pack Back Pat?", AN, July 1998.
"Problems in Art Education", AN, June 1998.
"Atkinson unpacked", Art Monthly, No. 201, November 1996.
"Art and language", Art Monthly, No. 198, July/August 1996.
"Crisis management", Artists Newsletter, June 1996.
"Fake fish and failed jokes", The Guardian, 1 October 1993.
"Ambient Assembly", The Wire, No, 110, April 1993.
"Hip consumer writes", City Limits, No. 443, March 29 - April 5, 1990.
"Own self criticism", Modern Painters, Vol. 2, No. 4, Winter 1989/90.
"Is Home where the art is?", Here and Now, No. 7/8, Spring 1989.
"Enterprise art?", Art Monthly, No. 121, November 1988.
"Digestible Modern Painters", Art Monthly, No. 118, July/August 1988.
"Issues that all fashion editors skirt", The Guardian, 29 August 1987.
"Talking about art", Art Monthly, No. 100, October 1996.
"Duchampian polemics", Art Monthly, No. 96, May 1986.
Poetry
Two poems in Editor Anonymous, No. 5, 1981
Visual/Textual Works
"Tempered, Distended, Folded, Suspended", Art Monthly, No. 270, October 2003.
"Tempered, Distended, Folded, Suspended", Time Out, No. 1725, September 10 - 17, 2003.
"Eight Sentences", Lefttover, No. 2, September 2002.
"Field of Foils" and "Mannered Copy" in Peter Suchin (Ed.), "Located"/"Lexical Vessels", Globe Gallery, North Shields, March 1997.
"With Yellow Cross" and "The Golden Code" in Paul Crowther, Critical Aesthetics and Postmodernism (Oxford, 1993).
"The Lonely Zone" (detail) in Yorkshire and Humberside MA in Art and Design exhibition catalogue, May 1990.
"Dialogic Painting" in Peter Suchin, "Blend and Clash: Theories of Discretion", Variant, No. 7, Winter 1989.
Exhibitions (Paintings/Texts)
2003
Redux, London, Museum of the Vexed Text (solo)
T 1+2 Artspace, London, Compendiums and Palimpsests (solo)
1,000,000 MPH Project Space, London, 15/1 (2) (group)
2002
Wolverhampton Art Gallery, Strike (group)
Fordham Gallery, London, 3 Years of Fordham (group)
2001
Tate Modern, London: Century City (group: texts)
1999
South London Gallery, London: Non-Place Urban Realm (group: texts)
1998
Linacre College, Oxford: Between Words: Selected Paintings 1987 - 1997(solo)
1997 /1998
Streetlevel Photoworks, Glasgow: Tower of Babble (group: texts)
1997
Globe Gallery, Newcastle: "Lexical Vessels" (solo)
University of Northumbria, Newcastle: Staff Show (group)
1996 /1997
Musee d'Art Modern, Paris/Centro Cultural, Lisbon: Life/Live (group: texts)
1996
Pierce 228, San Francisco, USA: Work in Progress (solo)
1994
Chapman Gallery, Manchester: Spectres of Distress/Spirits of Decision (two-person)
1993
Lister Gallery, Bradford: "Of Reticulation" (solo)
1992
Harrogate College: Staff Exhibition (group)
1990
Dean Clough, Halifax: MA Show (group)
1988 /1989
Leeds Polytechnic: "Theories of Discretion": Paintings, Collages and Texts (solo)
1982
Leeds Polytechnic: BA Show (group)
1978
Harris Art Gallery, Preston: Lancashire Art 1978 (group)
Selected Talks and Symposia
December 2003
Brighton University
Leeds Metropolitan University
October 2003
Prenelle Gallery, London
March 2003
Gasworks Gallery, London
November 2002
Edinburgh College of Art
October 2002
Gillingham College, Kent
January 2002
East Tennessee State University, USA
January 2001
Book Works, London
Tate Britain
November 2000
APT Studios, London
March 2000
Locus+, Lux Centre for Film, Video and Digital Arts, London
November 1999
Manchester Metropolitan University
February 1999
University of Sunderland
September 1998
Critical Sites, Dun Laoghaire Institute, Ireland
June 1998
Hull International Sculpture Symposium
December 1997
High Art and Hierarchy, University of Oxford
November 1997
Tower of Babble, Glasgow CCA
1996/1997
'Round Midnight 1 - 5 (Artists Newsletter - various venues)
August 1996
Metalex symposium, Newcastle
June 1996
Cumbria College of Art, Carlisle
May 1996
University of Sunderland
April 1996
Art Historians' Conference, Newcastle
April 1993
Bradford and Ilkley College, Bradford
April 1992
Jacob Kramer College, Leeds
February 1991
University of St Andrews
July 1990
Free University of Glasgow
July 1989
West Yorkshire Discussion Group, Leeds
May 1989
Swarthmore Centre, Leeds
December 1988
Leeds Polytechnic Gallery
February 1987
West Yorkshire Discussion Group, Leeds