Paul Elliman: Difference between revisions
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Elliman's work has addressed the instrumentalisation of the human voice as a kind of typography, engaging the voice in many of its social and technological guises, as well as imitating other languages and random sounds of the city including the non-verbal messages of emergency vehicle sirens, radio transmissions and the muted acoustics of architectural spaces. |
Elliman's work has addressed the instrumentalisation of the human voice as a kind of typography, engaging the voice in many of its social and technological guises, as well as imitating other languages and random sounds of the city including the non-verbal messages of emergency vehicle sirens, radio transmissions and the muted acoustics of architectural spaces. |
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He has exhibited in the [[Institute of Contemporary Arts]]<ref>{{cite web|url=http://www.ica.org.uk/A%20Recent%20History:%20Paul%20Elliman+17102.twl|title=A Recent History: Paul Elliman|date=17 July 2008|publisher=ICA|accessdate=30 April 2011}}</ref> and [[Tate Modern]]<ref>{{cite web|url=http://www.tate.org.uk/whats-on/tate-modern/exhibition/century-city|title=Century City: Art and Culture in the Modern Metropolis|publisher=Tate Modern|accessdate=31 July 2014}}</ref> in London, the [[New Museum]] and Moma (Ecstatic Alphabets, 2012) in New York,<ref>{{cite web|url=http://www.newmuseum.org/exhibitions/6|title=The Sound of Things: Unmonumental Audio|publisher=New Museum|accessdate=30 April 2011}}</ref> APAP in Anyang, South Korea,<ref>http://apap.anyang.go.kr/2007/press/index.html</ref> and [[Kunsthalle Basel]]. In 2009 his project "Sirens Taken for Wonders" was commissioned for the New York biennial Performa09,<ref>{{cite web|url=http://urbanomnibus.net/2009/11/sirens-taken-for-wonders/|title=Sirens Taken for Wonders|last=Shah|first=Samir|date=23 November 2009|publisher=Urban Omnibus|accessdate=30 April 2011}}</ref> and took the form of a radio discussion about the coded language of emergency vehicle sirens, as well as a series of siren-walks through the city. |
He has exhibited in the [[Institute of Contemporary Arts]]<ref>{{cite web|url=http://www.ica.org.uk/A%20Recent%20History:%20Paul%20Elliman+17102.twl|title=A Recent History: Paul Elliman|date=17 July 2008|publisher=ICA|accessdate=30 April 2011|archive-url=https://web.archive.org/web/20120224215511/http://www.ica.org.uk/A|archive-date=24 February 2012|url-status=dead}}</ref> and [[Tate Modern]]<ref>{{cite web|url=http://www.tate.org.uk/whats-on/tate-modern/exhibition/century-city|title=Century City: Art and Culture in the Modern Metropolis|publisher=Tate Modern|accessdate=31 July 2014}}</ref> in London, the [[New Museum]] and Moma (Ecstatic Alphabets, 2012) in New York,<ref>{{cite web|url=http://www.newmuseum.org/exhibitions/6|title=The Sound of Things: Unmonumental Audio|publisher=New Museum|accessdate=30 April 2011|archive-url=https://web.archive.org/web/20120304155821/http://www.newmuseum.org/exhibitions/6|archive-date=4 March 2012|url-status=dead}}</ref> APAP in Anyang, South Korea,<ref>http://apap.anyang.go.kr/2007/press/index.html</ref> and [[Kunsthalle Basel]]. In 2009 his project "Sirens Taken for Wonders" was commissioned for the New York biennial Performa09,<ref>{{cite web|url=http://urbanomnibus.net/2009/11/sirens-taken-for-wonders/|title=Sirens Taken for Wonders|last=Shah|first=Samir|date=23 November 2009|publisher=Urban Omnibus|accessdate=30 April 2011}}</ref> and took the form of a radio discussion about the coded language of emergency vehicle sirens, as well as a series of siren-walks through the city. |
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In 2010 he contributed a series of whistled versions of [[bird vocalization|bird song]] transcriptions by [[Olivier Messiaen]] for the show ''We Were Exuberant and Still Had Hope,'' at Marres Centre for Contemporary Art, Maastricht.<ref>{{cite web |url=http://www.marres.org/en/program/exhibition/we_were_exuberant_and_still_had_hope_ettore_sottsass_works_from_stockholm_1969 |title=We Were Exuberant and Still Had Hope. Ettore Sottsass: works from Stockholm, 1969 – Marres Maastricht – Centre For Contemporary Culture |publisher=Marres.org |date=10 January 2010 |archive-url=https://archive.today/20130415084647/http://www.marres.org/en/program/exhibition/we_were_exuberant_and_still_had_hope_ettore_sottsass_works_from_stockholm_1969 |archive-date=2013-04-15 |url-status=dead }}</ref> |
In 2010 he contributed a series of whistled versions of [[bird vocalization|bird song]] transcriptions by [[Olivier Messiaen]] for the show ''We Were Exuberant and Still Had Hope,'' at Marres Centre for Contemporary Art, Maastricht.<ref>{{cite web |url=http://www.marres.org/en/program/exhibition/we_were_exuberant_and_still_had_hope_ettore_sottsass_works_from_stockholm_1969 |title=We Were Exuberant and Still Had Hope. Ettore Sottsass: works from Stockholm, 1969 – Marres Maastricht – Centre For Contemporary Culture |publisher=Marres.org |date=10 January 2010 |archive-url=https://archive.today/20130415084647/http://www.marres.org/en/program/exhibition/we_were_exuberant_and_still_had_hope_ettore_sottsass_works_from_stockholm_1969 |archive-date=2013-04-15 |url-status=dead }}</ref> |
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Revision as of 23:52, 1 May 2020
Paul Elliman (1961) is a British artist and designer based in London. His work combines an interest in typography and the human voice, often referring to forms of audio signage that mediate a relationship between them. His typeface Found Fount (aka Bits) is an ongoing collection of found ‘typography’ drawn from objects and industrial debris in which no letter-form is repeated.
Elliman's work has addressed the instrumentalisation of the human voice as a kind of typography, engaging the voice in many of its social and technological guises, as well as imitating other languages and random sounds of the city including the non-verbal messages of emergency vehicle sirens, radio transmissions and the muted acoustics of architectural spaces.
He has exhibited in the Institute of Contemporary Arts[1] and Tate Modern[2] in London, the New Museum and Moma (Ecstatic Alphabets, 2012) in New York,[3] APAP in Anyang, South Korea,[4] and Kunsthalle Basel. In 2009 his project "Sirens Taken for Wonders" was commissioned for the New York biennial Performa09,[5] and took the form of a radio discussion about the coded language of emergency vehicle sirens, as well as a series of siren-walks through the city.
In 2010 he contributed a series of whistled versions of bird song transcriptions by Olivier Messiaen for the show We Were Exuberant and Still Had Hope, at Marres Centre for Contemporary Art, Maastricht.[6]
Elliman is visiting critic at Yale School of Art,[7] New Haven, and a thesis supervisor at the Werkplaats Typografie in Arnhem, Netherlands.
References
- ^ "A Recent History: Paul Elliman". ICA. 17 July 2008. Archived from the original on 24 February 2012. Retrieved 30 April 2011.
- ^ "Century City: Art and Culture in the Modern Metropolis". Tate Modern. Retrieved 31 July 2014.
- ^ "The Sound of Things: Unmonumental Audio". New Museum. Archived from the original on 4 March 2012. Retrieved 30 April 2011.
- ^ http://apap.anyang.go.kr/2007/press/index.html
- ^ Shah, Samir (23 November 2009). "Sirens Taken for Wonders". Urban Omnibus. Retrieved 30 April 2011.
- ^ "We Were Exuberant and Still Had Hope. Ettore Sottsass: works from Stockholm, 1969 – Marres Maastricht – Centre For Contemporary Culture". Marres.org. 10 January 2010. Archived from the original on 2013-04-15.
- ^ Heiges, Nathan (2007). "FACULTY: Paul Elliman, Designer". Yale University. Retrieved 30 April 2011.
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