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.

Exhibition: Marbled Reams


The Modern Institute, Osborne Street, Glasgow, 01/12/2012—12/01/2013

Laura Aldridge, Aline Bouvy & John Gillis, Emma Cocker, KIMI CONRAD, Sean Cummins, Sean Edwards, Ed Fella, Heike-Karin Föll, Dan Ford, Babak Ghazi, Sam Gordon, Mark Harasimowicz, David L. Hayles, Ann Cathrin November Høibo, Matt Jamieson, Scott King, Jon Knight, Piotr Łakomy, Sara MacKillop, David Newey, David Osbaldeston, Anna Parkina, James Richards, James E Smith, Jack Strange, Steven Warwick, Jean-Michel Wicker.

'Marbled Reams' is a print project founded in 2009 by Glasgow based artist Tom Godfrey. The project started with the initial production of 12 reams and continues with new editions produced on a bi-monthly basis. Within The Modern Institute's ground floor vitrines, Godfrey will be installing a rotating display of all 23 Marbled Ream editions produced so far. The project is derived from an artwork produced by Godfrey (pictured) with the same title in 2007 where a ream of A4 paper was marbled along one edge and displayed on a glass shelf. Acknowledging the potential vested in a stack of blank paper,  the artwork has been developed into an editioning/ publishing project where artists are invited to produce a single or multiple A4 work that is photocopied onto an entire ream of paper. This is marbled along the front edge offering a shared origin for all 500 sheets, documented for the projects website, and then displayed in its entirety, highlighting the projects link with both printed matter and sculpture. Pages from the reams are available for £1 each and annual subscriptions are available for £18. http://www.marbledreams.com/