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Pictura
Circus Troupe
Escalator
‘Escalator’ – Tina Keane, Forward by Greg Hilty and Kate Macfarlane for brochure to accompany the Tina Keane installation ‘Escalator’ at Riverside Studios Gallery, London 1988.pdf here.
Performance: Tina Keane, Michael O’Pray profiles Tina Keane’s career so far for Performance Magazine, 1988.pdf here. …
Playpen
Interview
Spring Show 2 programme for exhibition commisioned by Arts Council of Great Britain shown in Serpentine Gallery London 25th March- 16th April 1978 pdf here. …
Jamaica Plain
World Premier of – Jamaica Plain, A Work In Progress: Programme for Jamaican Plain for the ICA Theatre Boston as part of Boston Accent Video Series 23rd-25th June 1989.pdf here.
Newspaper article from The Sunday Sun, June 26, 1988 about John Adams two-month trek across America to shoot a movie he hopes will be shown on Channel 4 in July 26, 1988.pdf here. …
Greetings from÷ the Cape of Good Hope
Bob and Jill (Pt 2)
In Bob and Jill (Pt. 2), the relation between fact and fiction in the personal and popular narratives of everyday life is rendered in an assemblage of soap opera conventions, performance and documentary. Opening with on-screen text that relates “The Story So Far” (“Jill crashed the Volvo….”), Adams intercuts several parallel story lines. He assumes a fictional role to recount the personal histories of Bob and Jill. Bob is seen boiling an egg for breakfast, …
Stories
In Stories, Adams fuses storytelling and performance in a reverie on reality and fiction. The artist sits alone in near darkness while, in voiceover, he relates a series of seemingly autobiographical anecdotes — “inside information” marked by irony, loss and black humor. This stark interrogation of self is accompanied by evocative narrative signifiers: a ringing telephone, a ticking clock, a naked light bulb, flickering TV images of a porn movie. The ambiguity of his stories — …
Sensible Shoes
Sensible Shoes is a witty collision of fiction and reality, ironically rendered as a multi-textual pastiche of mass media and personal narratives. Adams’ fragmented collage is structured on the stream-of-consciousness monologue of an unseen woman, who collapses fantasy and the everyday as she “zaps” the television dial and skims the newspaper. Seamlessly integrating her daydreams of romance with appropriated images of violence, love and consumerism from popular British TV programs and ads, Adams tells the story of how the mass media dictates the construction of personal narratives. …