Fall 2016 Talks : David Shrigley

About the Talk

David Shrigley is an internationally-acclaimed artist with a distinctive comedic tone that draws on everyday situations and human interactions to create self-reflexive artworks. While best known for his simple and unique drawing style, Shrigley works in a variety of mediums including photography, sculpture, and film, while also creating public works and artist publications, and collaborating on music projects.

Shrigley’s talk accompanies Public Art Fund’s upcoming exhibition David Shrigley: MEMORIAL, a new public artwork that embodies the artist’s interest in the absurd potential and poignant nature of the everyday. Consisting of a single slab of granite measuring approximately 17 feet by 7 feet with an ordinary grocery list engraved on its surface, MEMORIAL plays on the historical significance of granite public monuments, often found in public parks and erected to celebrate and remember great endeavors. Shrigley’s universal monument, however, pays homage both to no-one and to everyone by honoring and memorializing the mundane act of making a grocery list.

For his talk at The New School, Shrigley will focus on his multidisciplinary practice, including his various works in the public realm, among them Really Good, a ten-foot-tall bronze “thumbs-up” sculpture, to be installed this fall in London’s Trafalgar Square, as part of the city’s Fourth Plinth Commission; his design for Kingsley, the official mascot for a Scottish Premiership football team (2015); and How Are You Feeling?, The High Line’s billboard commission (2012).

Public Art Fund Talks at The New School are organized by the Public Art Fund in collaboration with the Vera List Center for Art and Politics at The New School.

This program is made possible in part by Con Edison and the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature, as well as by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.



The New School

The 66 West 12th Street Auditorium

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About the Artist

David Shrigley (b. 1968, Macclesfield, UK) lives and works in Brighton, UK. A Turner Prize nominee in 2013, his recent solo exhibitions include David Shrigley: Life Model II, Rose Art Museum, Waltham, MA (2016); Really Good, Fourth Plinth Commission, London (2016); David Shrigley, Two Rooms Gallery, Auckland Arts Festival, New Zealand (2015); David Shrigley: Life and Life Drawing, National Gallery of Victoria, Melbourne, Australia (2014–15); David Shrigley, Pinakothek der Moderne, Munich, Germany (2014); Big Shoes, BQ, Berlin, Germany (2013); How Are You Feeling?, Cornerhouse, Manchester, UK (2012–13); Brain Activity, Hayward Gallery, London (2012), which toured to Yerba Beuna Centre for the Arts, San Francisco, USA (2013); Drawings, Mumbai Art Rooms, India (2012); Animate, Turku Art Museum, Finland (2011); David Shrigley, Bergen Kunsthall, Norway (2009); BALTIC Centre for Contemporary Art, Gateshead, UK (2008); To the Wall: David Shrigley with Lily Van der Stokker, Aspen Art Museum, Colorado (2007); and David Shrigley, Dundee Contemporary Arts, Scotland (2006). David Shrigley is represented by Anton Kern Gallery, New York; Stephen Friedman Gallery, London; Yvon Lambert, Paris; and Nicolai Wallner, Copenhagen.

About the Fall 2016 Talks Series

Mining the Minutiae
The fall 2016 Public Art Fund Talks at The New School series brings together a diverse group of artists—David Shrigley, Heather and Ivan Morison, and Spencer Finch—whose practices mine the minutiae of collective experiences.

David Shrigley employs a distinctive comedic tone to dissect the experience of everyday situations and human interaction. Often utilizing the public realm, Shrigley confronts the viewer with his or her own experience, creating an awareness regarding life’s infinite jest. Working predominately outside the gallery space, Heather and Ivan Morison focus on the interaction of people and ordinary things, objects forgotten and unnoticed. Their public interventions focus on the active engagement of common grounds, from histories, sites, and materials to people. Spencer Finch seeks to represent the most elusive forms of experience through the lenses of nature, history, literature, and personal experience. Referring to the fleeting and the temporal elements inherent in all areas of life, Finch mines the observed world to create poetic installations that speak to a shared existence.