- emma cocker
- Emma Cocker is a writer-artist based in Sheffield and Associate Professor in Fine Art at Nottingham Trent University. Operating under the title Not Yet There, Cocker's research enquiry focuses on the process of artistic endeavour, alongside models of (art) practice and subjectivity that resist the pressure of a single, stable position by remaining wilfully unresolved. Her mode of working unfolds restlessly along the threshold between writing/art, including experimental, performative and collaborative approaches to producing texts parallel to and as art practice. Cocker's recent writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; Reading/Feeling (Affect), 2013; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection entitled The Yes of the No, 2016.
The Art of Misdirection
New writing and discussion online
Burning Public Art: Issue: 5
April 2007 to July 2007
Guest edited by Gordon Dalton and Gavin Wade.
Dialogue was invited to develop an issue which responded to 'artists working in the public realm' by the organisers of the Situation Leeds festival (taking place in Leeds in May). When discussing the issue at our editorial meetings, the enormity and complexity of such a brief became apparent. From the editorial panel Gordon Dalton and Gavin Wade were selected to take this issue forward and develop a model which, rather than pin-point one aspect, made visible all these issues, debates and fissures. Emma Cocker discusses a number of projects by Lucy Harrison in which the act of wandering is used as a critical tool through which to explore temporary, multiple and contrary readings of place.
'The Art of Misdirection', examines the resurgence of interest in the act of wandering within contemporary art practice. Emma Cocker reflects on a series of projects by artist Lucy Harrison and discusses the ways in which artists have used 'wandering' as a critical tool through which to explore temporary, multiple and contrary readings of place. The intent is to establish a conceptual connection between Harrison’s practice and the writing of cultural theorist Michel de Certeau, who in The Practices of Everyday Life (1984) proposes a critical and resistant function for the act of walking.
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