It's My Pleasure To Participate
Solo exhibition using a variety of media to challenge the historical notion of painting as a two-dimensional object by positioning it as a three-dimensional experience.
- Submitting institution
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Kingston University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 32-110-1747
- Type
- M - Exhibition
- Venue(s)
- Bluecoat, Liverpool, U.K.
- Open access status
- -
- Month of first exhibition
- October
- Year of first exhibition
- 2019
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- It’s My Pleasure to Participate (2019)is a body of work by artist researcher Alexis Teplin that seeks to challenge the historical notion of painting as a two-dimensional object by positioning it as a three-dimensional experience. The output consists of a solo exhibition of over 30 new works, including two film works, a series of live performances, eight traditionally stretched paintings, seven costume works, six site-specific unstretched sewn works, five glass, ceramic and metal sculptures, a wall mural and a curatorial display strategy. Collectively, it explores how an expanded painting practice can shift the audience’s engagement with painting and its history.
It’s My Pleasure to Participate was presented at Bluecoat, Liverpool, 25 October 2019–22 February 2020, following initial development as the solo exhibition Painted Costumes at the New Art Centre, Roche Court, Wiltshire, 9 June–4 August 2019. Both exhibitions were invited by the galleries.
Displayed over four galleries, the Bluecoat exhibition is the largest of Teplin’s work in the UKto date. It combined an exploration into the materiality of painting with archival research, architectural intervention, sculpture, performance and film. It sought to push the boundaries of performance, architecture and audience participation, while investigating the role of labour and collaboration within the exhibition format, giving the audience a particular experience of an historical and contemporary context for painting.
Teplin undertook a variety of research methods, including archival research into the MayDay Rooms, London, and Iris Murdoch Archive held by Kingston University Archives and Special Collections, as well as collaborative fabrication methods such as making works with pattern cutters, glass blowers, ceramists and other artists. The research led to the generation of art historical, literary and film references that fed into the work and that seek to provide an understanding of the multiple ways in which historical language can be used and understood.
- Author contribution statement
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- Non-English
- No
- English abstract
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