Jeremy Deller

"This is a book about the creative life of Britain and the first attempt since the Festival of Britain to document the popular and folk art of the present day"--http://www.bookworks.org.uk/asp/detail.asp?uid=book_E46009BD-166D-4E0C-9F38-AD0303E0474E&sub=new.

English Magic has been published alongside Turner prize-winning artist Jeremy Deller's British Pavilion exhibition at the Venice Biennale in 2013 (1 June – 24 November), and reflects the roots of much of Deller's work, focusing on British society – its people, icons, myths, folklore and its cultural and political history. He weaves together high and low, popular and rarefied to create unique and thought provoking work.English Magic is also a new film work by Deller which forms a major part of his exhibition for the British Pavilion. The film brings together many of the ideas behind the works in the Pavilion, featuring visual and thematic elements that reflect the artist's interest in the diverse nature of British society and its broad cultural, socio-political and economic history.The exhibition will tour the UK in 2014 to the William Morris Gallery, London Borough of Waltham Forest; Bristol Museum and Art Gallery; and Turner Contemporary, Margate.This official catalogue (available in four different colour covers) features a new essay by Hal Foster and an interview between Jeremy Deller, Chris Dercon and John Paul Lynch.

'Procession', conceived by artist Jeremy Deller, was a public event that took place in Manchester in July 2009. It included processional stalwarts, such as brass bands and rose queens, representations of historical and contemporary myth and folklore, and groups who constituted themselves especially for the occasion.

Twenty-one artists, from all walks of life, gathered at the New York Academy of Art on Sunday, February 21, 2016, for a special life drawing class with a guest model: American rock legend Iggy Pop.

One year ago, 'We're here because we're here' left a lasting impression on millions of people in the UK. A new book about the event is being released that records that remarkable day and details how it was produced by Turner Prize-winning artist Jeremy Deller, the National Theatre's Director, Rufus Norris and 14-18 NOW - the UK's arts programme for the First World War centenary. It was an event that reached 30 million people and humanised the great loss of life at the Battle of the Somme. 'We're here because we're here' saw some 1500 voluntary participants dressed in First World War uniform appear unexpectedly in locations across the UK. The project broke new ground in terms of its scale, breadth, reach and the number of partners and participants involved. The book includes over 100 colour photographs which show the soldiers in a number of everyday scenarios, and some more extraordinary - including waiting in train stations, engaging with drivers at a Salisbury roundabout and walking up Mount Snowdon. Many of the images show the public's interaction with the soldiers and their subsequent reactions to the event which left many people overwhelmed. The book includes sketches and notes from Jeremy Deller's notebook and a map of locations. The book also features an interview between Jeremy Deller and Jon Snow of Channel 4 News and more details about how the event was created and implemented on such a huge scale. 'We're here because we're here' was one of the largest arts participation projects ever staged in the UK, with hundreds of additional volunteers working behind the scenes. Jeremy Deller's new book acts as a superb record of this remarkable event.

"The uses of literacy was originally an exhibition of art works produced by fans of the Manic Street Preachers."--Book cover

Text by Heidi Zuckerman Jacobson, Jeremy Deller.

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus. This book brings together a range of newly commissioned essays and interviews from the world's leading academics and documentary filmmakers, including Ben Anderson, Errol Morris, Harun Farocki, Rithy Phan, Avi Mograbi, Brian Winston, and Michael Chanan. Contributors explore such topics as the tension between remembrance and performance, the function of moving images in the execution of political violence, and nonfiction filmmaking methods that facilitate communities of survivors to respond to, recover, and redeem a history that sought to physically and symbolically annihilate them