New Minds Eye Three


New Minds Eye Three publishes writing by international artists who came together through the popular Art: Theory and Practice since 1960 course at Glasgow School of Art. The writing combines a critical perspective with the concerns and interests of emergent artists and is an on-going project committed to publishing new writing on art and culture. You can follow the links below to the essay:

ALEX WILLIAMSON —Why do artists decide to reduce their available choices?

ALEXANDER KASPERI WITHEY —Live In your Head: When do Attitudes become platitudes: what effect did the recreations of Szeemann’s 1969 exhibition have on the ideas that it put forward?

CHRISTIAN MICALLEF —What effects does Bohemian self-destructiveness still have on contemporary art?

DAVID SHERIDAN —How Do Political Leaders Manipulate The Public Sphere?

GIULIA CASANOVA —What happened to readymade and found objects?

HARRIS BREBNER MILLAR —How can Art seek to confront and challenge the quality of residential architecture? An analysis of the selected works of Hans Haacke and Gordon Matta-Clark.

JACOB CULLERS —What is the significance of monuments and or memorials to the general public and to the artist who make them?

JAMES DIXON —Is Vladislav Surkov an Artist?

JENNY BARR —What are the main elements of Sophie Calle’s use of image and text?

JONATHAN WEBSTER —How can an engagement with the humanities improve modern medical practice?

JULIE LAING —Is postmodernism in the visual arts up to the task of challenging neoliberalism?

KATY HUNDERTMARK —Poetry of the senses and the theatre of cruelty? Perception of Antonin Artaud´s theories and their influence on modern theatre

RACHEL MACK —What is the real price of a free gift: can a gift ever be given without any obligation attached to it?

ROWAN MARKSON —To what end does Ai Weiwei use Art for Activism or Activism for Art?

SEBASTIAN TAY —How do contemporary works of art engage the concept of ‘nothingness’?

TEIJI WALLACE-LEWIS —The Fake Death of the Author: Where does the role of authorship reside in the contemporary framework of art production/consumption?

WINSTON MASCARENHAS —Andy Warhol: Genius, or Not, or Maybe?

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