Difference between revisions of "Anthony Davies"

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[[Image:Wealth_of_Negations_Please_take_Generously_2014.jpg|thumb|400px|Wealth of Negations, ''Please Take Generously. (The past: domestic violence. The present: anxiety attack. The future: desertion, mutiny or more of the same? Place your bets)'', Billboard poster for Utopian Pulse-Flares in the Darkroom at Secession, Vienna, 2014. [https://www.museoreinasofia.es/en/collection/artwork/please-take-generously]]]
 
[[Image:Wealth_of_Negations_Please_take_Generously_2014.jpg|thumb|400px|Wealth of Negations, ''Please Take Generously. (The past: domestic violence. The present: anxiety attack. The future: desertion, mutiny or more of the same? Place your bets)'', Billboard poster for Utopian Pulse-Flares in the Darkroom at Secession, Vienna, 2014. [https://www.museoreinasofia.es/en/collection/artwork/please-take-generously]]]
  
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'''Anthony Davies''' (b 1965) is a [[London]] based writer, independent researcher and organiser, currently working in the Fine Art department at Central Saint Martins College, and with the [https://www.wealthofnegations.org/ Wealth of Negations]  group, coordinating communications on behalf of the migrant-led [https://www.caiwu.org.uk/ Cleaners & Allied Independent Workers Union] (CAIWU).  
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'''Anthony Davies''' (b 1965) is a [[London]] based writer, independent researcher and organiser, currently working in the Fine Art department at Central Saint Martins College, London.  
  
 
As a writer on art, politics and economics, Davies has published in numerous journals. In the late 1990s, along with Simon Ford, he developed a series of critical debates on young British art (yBa) and the Creative Industries, introducing the dystopian figure of the cultural entrepreneur or ‘Culturepreneur’. This was followed by a series of articles in ''[[Mute Magazine]]'' on the neoliberal transformation of cultural and educational institutions and later texts including "There is No Alternative: The Future is Self-Organised Parts 1 & 2", co-written with Stephan Dillemuth and [[Jakob Jakobsen]], can be found in various publications.
 
As a writer on art, politics and economics, Davies has published in numerous journals. In the late 1990s, along with Simon Ford, he developed a series of critical debates on young British art (yBa) and the Creative Industries, introducing the dystopian figure of the cultural entrepreneur or ‘Culturepreneur’. This was followed by a series of articles in ''[[Mute Magazine]]'' on the neoliberal transformation of cultural and educational institutions and later texts including "There is No Alternative: The Future is Self-Organised Parts 1 & 2", co-written with Stephan Dillemuth and [[Jakob Jakobsen]], can be found in various publications.

Latest revision as of 03:11, 21 May 2025

Wealth of Negations, Please Take Generously. (The past: domestic violence. The present: anxiety attack. The future: desertion, mutiny or more of the same? Place your bets), Billboard poster for Utopian Pulse-Flares in the Darkroom at Secession, Vienna, 2014. [1]

Anthony Davies (b 1965) is a London based writer, independent researcher and organiser, currently working in the Fine Art department at Central Saint Martins College, London.

As a writer on art, politics and economics, Davies has published in numerous journals. In the late 1990s, along with Simon Ford, he developed a series of critical debates on young British art (yBa) and the Creative Industries, introducing the dystopian figure of the cultural entrepreneur or ‘Culturepreneur’. This was followed by a series of articles in Mute Magazine on the neoliberal transformation of cultural and educational institutions and later texts including "There is No Alternative: The Future is Self-Organised Parts 1 & 2", co-written with Stephan Dillemuth and Jakob Jakobsen, can be found in various publications.

Davies is a founder member of MayDay Rooms (2011-2016), an educational charity based in London and set up as a safe haven for historical material linked to social movements and experimental culture. He has co-organised or participated in a range of self-organised initiatives including Infopool, Copenhagen Free University, Flaxman Lodge, The School of Walls and Space [2], Rosa Kerosene and 10th Floor. More recently, with James Stevens, Liz Wright and Reverso, he set up a DIY wireless communications and self-archiving platform with autonomous cultural spaces in the Peripheries/Favelas and Workers Occupied Houses of São Paulo, Brazil - culminating in a series of events Distributed Spaces 1-5 and Vagabundo Social, an online international forum over the period 2020-2022.

Selected Publications[edit]

  • "Art Capital" (with Simon Ford), Art Monthly 213, February 1998, pp 1-4; repr. in The Market, London: Whitechapel, 2013. Publisher.
  • "Verienigungsdrang" (with Simon Ford), Texte zur Kunst 29, March 1998, pp 59-64. Publisher. (German)
  • "Art Futures" (with Simon Ford), Art Monthly 223, February 1999, pp 9-11; repr. in Corporate Mentality, Berlin: Strernberg Press, 2001. Publisher.
  • "Kulturpartner im Netzwerk" (with Simon Ford), Texte zur Kunst 38: "Kulturpolitik", 2000, pp 60-69. Publisher. (German)
  • "Back to Basics. Posteuphorische Tendenzen in Wirtschaft, Kunst und Aktivismus", Texte zur Kunst 55, September 2004, pp 54-71. Publisher. (German)
  • "Boom und Bankrott", die bildende 04: "Arbeitsverhältnisse", eds. Sabeth Buchmann and Marion von Osten, Vienna: Akademie der bildenden Kuenste Wien, December 2008. (German)
  • "Burn Baby Burn: Some Notes on Art and Finance", in How Can We Sing the Song of the Lord in an Alien Land? / PDF, Cologne: Verlag der Buchhandlung Walther König, 2010, pp 256-259.
  • "Catch Me I'm Falling" (TIPPA, CVA Group and Wealth of Negations 2010-2014), in Potosí Principle Archive, Volume 1-4, Cologne: Verlag der Buchhandlung Walther König, 2022. Publisher.

Links[edit]

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