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Witness Objects and Self-Help Shelf
Witness Objects and Self-Help Shelf, Brighid Lowe, 2018, self-help books, found objects, perspex, shelf brackets, poster print
Vessel Head (Black and White)
Vessel Head (Black and White), Brighid Lowe, 2015, inkjet print
Vessel Head (No. 9)
Vessel Head (No. 9), Brighid Lowe, 2015
Witness Objects and Self-Help Shelf
Witness Objects and Self-Help Shelf, Brighid Lowe, 2018, self-help books, found objects, perspex, shelf brackets, poster print

Slade School of Fine Art
University College London
Gower Street
London
WC1E 6BT


Research Summary

My work uses a wide variety of media and formats including text, sculpture and drawing. I often use repetition as a methodology to interrupt the flows of material that pass before us and that are incessantly discarded or that go overlooked. My research has centered on the archive: I make use of the archive either as a model for re-representing the world, or I use existing historical archives as a primary visual resource. More recently I have been questioning the neutrality of the archive, and have become interested in its overlap with the bureaucracy of auditing culture. Motivated by my ambivalent relationship with the internet, past works have attempted to map or imagine virtual space.

My current work considers ideas of evidence, loss, value and the tensions between rhetoric and substance, representation and materiality.

Writing has been a consistent aspect of my research, either as art works that use text, or as commissioned writing from the perspective of an artist/lecturer. My short story Ghost Writer was included in an anthology of artists' fiction, The Alpine Fantasy of Victor B and Other Stories, a unique compilation of fiction by leading British artists. In 2013, Obituary for ‘M’ was commissioned as part of Flash 500, an online writing project by Akerman/Daly, and I have made readings of text works at public events at Camden Arts Centre (2013) and the Festival of Art Writing (2009) Whitechapel Gallery, London.

Recently I have extended my use of repetition into a curatorial strategy. Parts & Labour, was an experimental project devised and curated with John Chilver (artist and Lecturer at Goldsmiths’ College Department of Fine Art). First staged in London 2012, then expanded and re-staged in 2014, in Osan, Korea, artists were invited to send instructions for actions or operations to be done to a pre-defined kit of materials, in no more than two hours' paid labour. Parts and Labour is an on-going experiment devised to reflect upon the material conditions of art production and the hierarchies and value of authorship and interpretation.

My solo exhibitions include Jerwood Artists' Platform, London in 2004, and selected group exhibitions include Intelligence, Tate Britain, (2000); You Are At Home Here, Lokaal 01, Breda, Holland, (2003); Take Shape-Make Shift, Instants Chavires, Paris (2010); Switch, Baltic 39, Newcastle upon Tyne (2012); The Museum of the Unwanted, Kunstmuseum Olten, Switzerland (2015).

In 1998, I received a Paul Hamlyn Award for Artists and in 2007, Rain Drawing (1) was awarded second prize in the Jerwood Drawing Prize.

Exhibitions

Destiny Bomb
2018 - Coleman Projects, London UK

Destiny Bomb
2018 - Coleman Projects London

Solo exhibition of 21 works at Coleman Projects, London. The 21 works used a variety of materials to explore the extremes of loss and betrayal. Objects collected from junk shops and car boot sales were arranged in vertical or horizontal sequences. ‘Midlife (Crisis) Kebab’ (2018), literally skewerd objects (such as a broken toy motorbike, a painting of a weeping woman) in a seven foot totem pole of midlife clichés. ‘Witness Objects and Self-Help Shelf’ (2018) incorporated self-help books such as ‘Men are from Mars, Women are from Venus’, alongside a procession of carefully selected ornaments, children’s toys and a ‘boobs’ radio, arranged to echo their backdrop image - a 1970’s wedding banquet. ‘Vessel Heads’, is a series of inkjet prints of collages of vases and vessels with a crudely cut out ‘smiley face’, with smiles that can be read as both grin and grimace. Nine of the collages from the series were included. 'Vessel Heads' are an attempt to unite betrayer and victim, with each image conjuring a kind of possession, which when viewed collectively record an emotional trajectory.
Destiny Bomb also included a large Rain Drawing (No. 6), (2017) 265 X 152 cm and a sculpture designed to catch the rainfall, Rain Vane (2018) alongside small works on paper.

Now It Is Permitted
2016 - Text Work, Poster Format. - Swedenbourg Society, London, UK

Now It is Permitted: 24 Wayside Pulpits was curated by Artist in Residence, Bridget Smith and the Swedenborg Society’s Director, Stephen McNeilly.

Inspired by a collection of 24 New Church ‘wayside pulpits’ from the 1950s held in the archive at Swedenborg House, the exhibition featured 58 newly commissioned visionary statements from invited artists, writers, musicians, playwrights and filmmakers. Designed by Fraser Muggeridge studio, the posters were on display at Swedenborg House, the Window Gallery in Conway Hall and neighbouring Bloomsbury Festival venues. Artists included Jeremy Deller, Janette Parris, Clunie Reid, Gavin Turk.

No, It's The Other One
2015 - Watch It gallery, London, UK

No, It's the Other One', a collaborative exhibition of new work from Brighid Lowe and Bridget Smith, at Watch It gallery, London. Watch It gallery is programmed and run by two artists who were former Slade undergraduate students, Andrew Munks and Sophie Michael.

The Museum of the Unwanted
2015 - Kunstmuseum Olten, Switzerland

The Museum of the Unwanted is a project initiated in 2014 by British artist and curator Clare Goodwin, and shown at the Kunstmuseum Olten, Switzerland. The exhibition celebrates the overlooked objects and things that artists collect and which stimulate their creative practices, and focuses on the re-use and reinvention of discarded materials. I showed a series of 17 inkjet prints, entitled 'Vessel Heads', produced from original collages. Some of the other 14 artists included: Anna Barriball, Matthias Gabi, Clare Goodwin, Andy Holden, Charlie Jeffery, Sophie Michael&Andrew Munks, and John Stezaker. Accompanying publication.

The Manual_Parts & Labour (Osan)
2014 - Culture Factory (OSAN), Osan Museum of Art, Korea

The Manual_Parts & Labour (Osan), was a new version of an experimental artists' project devised and curated by John Chilver and Brighid Lowe. First staged in London 2012, artists were invited to send instructions for actions or operations to be done to a pre-defined kit of materials, in no more than two hours' paid labour. The artists were paid for one hour at the minimum wage; the assistants who carried out the instructions were paid for two hours at the minimum wage level.
The project was re-staged in the Culture Factory (OSAN) in Korea and was co-curated with Honggyun Mok, with funding from the Arts Council Korea, Osan Cultural Foundation and the City of Education, Osan. The ten original artists’ instructions were re-interpreted by a different group of assistants. In addition, ten Korean artists were also invited to send instructions. A full colour catalogue is in production.
Parts and Labour was an experiment devised to reflect upon the material conditions of art production and the hierarchies and value of authorship and interpretation. The exhibition will continue to be re-staged, in order to further question definitions of authorship, intention, value, skills and instruction.

Obituary for ‘M’
2014 - Akerman Daly / Flash 500

Thirty-two artists were commissioned to write exactly 500 words without any other restriction on content or form. Flash 500 was an online project by Akerman Daly; publishers of writing, poetry and fiction by artists. Flash 500 was funded by the Arts Council and featured new writing from thirty two artists including: Fabian Peake, Patrick Coyle, Audrey Reynolds, Francesco Pedraglio, Edward Allington, Simon Faithfull and Fiona Banner.
Flash 500 texts were sent out via email to the AD mailing list: five stories a week for six weeks between 18 September and 23 October 2013. Versions of each work were on display at selected galleries around the UK. Flash 500 public readings and events were staged at the Camden Arts Centre (I read "Obituary for ‘M’ ") and at the London Art Book Fair at the Whitechapel Gallery, London.

Detached Activists Engaged Observers
2013 - Gallery of the École Spéciale D’Architecture, Paris, France

Detached Activists Engaged Observers, was a group exhibition that considered the recording of events or the projection of future events. Curated by artist Charlie Jeffery at the École Spéciale D’Architecture, Paris, exhibiting artists included: Robert Barry, Patrick Keiller, Chris Marker, Michelangelo Pistoletto and John Smith.
I exhibited Rain Drawing (2), 2006.

Nomadic Reading Room
2013 - Nomadic Reading Room, Roundhouse, Myatt's Field, London, UK

A selection of artists' books, printed matter and ephemera curated by Connie Butler. The collection includes work by Milly Thompson, Marc Camille Chaimowicz, Ed Atkins, The Coelacanth Journal, The Happy Hypocrite and Patrick Coyle.

Einde
2013 - Lokaal 01, Breda, Netherlands

Large group exhibition to mark the closure of Lokaal 01, Breda, Netherlands.

Last Day
2012 - Cartel, The Old Police Station, Deptford, London, UK

A group show curated by Paul O'Neill, including the artists Liam Gillick, Ian Whittlesea, Pavel Buchler and Mark Hutchinson.

Parts and Labour
2012 - Camberwell Space, Camberwell College of Arts, London, UK

Parts and Labour (3 Hours minimum Wage) was an experimental project devised and curated by John Chilver and Brighid Lowe at Camberwell Space, Camberwell College of Art, London. Artists were invited to send instructions for actions or operations to be done to a pre-defined kit of materials, in no more than two hours' paid labour. The artists were paid for one hour at the minimum wage; the assistants who carried out the instructions were paid for two hours at the minimum wage level. Parts and Labour was an experiment devised to reflect upon the material conditions of art production and the hierarchies and value of authorship and interpretation. Participating artists: Leah Capaldi, Marc Camille Chaimowicz, Charlie Jeffery, Gareth Jones, Francesco Pedraglio, Adrian Piper, Martina Schmuecker, Florian Slotawa, Sarah Staton, Richard Wentworth. The exhibition will be re-staged in Germany, with the same artists instructions being re-interpreted by a totally different group of assistants. The exhibition posed many questions around the slippery definitions of authorship, intention, value, creative abilities and instruction.

Parts and Labour
2012 - Camberwell Space, Camberwell College of Arts, London, UK

Parts and Labour (3 Hours minimum Wage) is an experimental project curated by John Chilver and Brighid Lowe at Camberwell Space, Camberwell College of Art, London. Artists were invited to send instructions for actions or operations to be done to a pre-defined kit of materials, in no more than two hours' paid labour. The artists were paid for one hour at the minimum wage; the assistants who carry out the instructions were paid for two hours at the minimum wage level. Parts and Labour is an experiment devised to reflect upon the material conditions of art production and the hierarchies and value of authorship and interpretation. Participating artists: Leah Capaldi, Marc Camille Chaimowicz, Charlie Jeffery, Gareth Jones, Francesco Pedraglio, Adrian Piper, Martina Schmuecker, Florian Slotawa, Sarah Staton, Richard Wentworth.

Switch
2012 - Baltic 39, Newcastle upon Tyne, UK

SWITCH - the inaugural exhibition of the Baltic's new exhibition space, Baltic 39, Newcastle upon Tyne, was selected by renowned artist Phyllida Barlow, and built upon What Do Artists Do?. This 2008 project, conceived and organised by Barlow and funded by the Arts Council, was designed to examine change in artistic practice and the act of making. Both the project and the exhibition invited the audience to question the role of the exhibition and to share and test the performative complexity of artistic production.
My piece, 'Evidence 2008-12', was developed during What Do Artists Do? in 2008 and at an artists' residency at the Sculpture Studio, Chapter, Cardiff, Wales in March 2009. 'Evidence 2008-12', is an archive-audit of over 4,300 unique private view cards, installed as a vast be-spoke floor work to be walked upon. In part an act of mourning for the 'death' of the private view card, part an archive of a period of time and part a symbolic representation of a field of cultural activity, it is simultaneously celebratory and critical of the sheer mass of art production. The work is experiential - manifesting data and evidence as a material landscape - permitting the collection to be experienced collectively, individually and materially (rather than sequentially and virtually as in a digital context). Damaged cards are replaced by new private view cards, in an endless cycle of production and consumption, producing a continuously evolving work.
Reviewed and pictured in Frieze no.149, September 2012.

Friendship of the Peoples
2011 - Simon Oldfield Gallery, Covent Garden, London, UK

Group show in which twenty artists proposed another twenty artists to build a community of forty artists. All the artists produced a uniform sized work around the idea of the poster. Other artists exhibiting included: Bridget Smith, Fiona Banner, Daniel Sturgis, Matthew Higgs. Two works were exhibited 'Evidence Poster' 2009, (screen print on poster paper, dimensions of each: 52x42 cms). This work was originally produced as part of Phyllida Barlow's Arts Council funded research project "What Do Artists Do?". An accompanying catalogue was published by the Simon Oldfield Gallery with a text by Matthew Collings.

Several Interruptions: 15 Years of the Slade Centre for Electronic Media in Fine Art
2011 - North Lodge, Gower Street, UCL

Seven, sequential solo presentations to celebrate 15 years of the Slade Centre for Electronic Media in Fine Art in 2011. One work exhibited: 'Each Long Second' 2006, (880 x 850 cms, A0 photocopies, tape) a double-sided paper representation of the imagined flow of internet information, made to be endlessly manipulated and re-configured to produce different three dimensional maps/representations of virtual space.

Take Shape - Make Shift // Prendre forme - Provisoire
2010 - Instants Chavires, Montreuil, Paris, France

Group show curated by artist Charlie Jeffery at Instants Chavires, Paris, France. Instants Chavires is a music and art venue conceived as a laboratory for improvised, experimental and noise music and the visual and sonic arts. Work from 16 artists, including John Cage, Tom Cale, Matthew Houlding, Charlie Jeffery. One work exhibited: 'Each Long Second' 2006, (880 x 850 cms, A0 photocopies, tape) a double-sided paper representation of the imagined flow of internet information, made to be endlessly manipulated and re-configured to produce different three dimensional maps/representations of virtual space.

Use and Mention
2010 - Stephen Lawrence Gallery, The University of Greenwich, London, UK

A group exhibition about collage, curated by John Chilver. Other exhibiting artists included: Gareth Jones, Simon Bedwell, Goshka Macuga, Martha Rosler, DJ Simpson.

I am by Birth a Genevese
2009 - Forde-Espace d'art Contemporain, Geneva, Switzerland

Large group show shown in two venues: Vegas Gallery, Redchurch Steet, London, UK and at Forde-Espace d'art Contemporain, Geneva,

Unfold
2009 - Nettie Horn, Vyner Street, London, UK

Exhibited work: Rain Drawing (1), 2006
150 X 216 cms
Paper, pen, rain

I am by Birth a Genevese
2009 - Vegas Gallery, Redchurch Street, London, UK

Large group show shown in two venues: Vegas Gallery, Redchurch Steet, London, UK and at Forde-Espace d'art Contemporain, Geneva, Switzerland. Other artists included: Pierre Bismuth, Christian Marclay, Paul Noble, Laure Provost.

Embedded
2008 - Gimpel Fils, 30 Davies Street, London, W1K 4NB

Embedded was a group show at Gimpel Fils Gallery in London. Two exhibited works: 'Each Long Second', 2006, A0 photocopies, tape. Dimensions: 880 x 850 cms. 'Rain Drawing (2), 2007, pen, paper, rain. Dimensions: 100 x 140 cms.
The exhibition/my work was pictured and reviewed in Art Monthly, Sept 08/No 319.

Walls Have Ears
2008 - Man&Eve, 131 Kennington Park Road, London SE11 4JJ

Jerwood Drawing Prize
2007 - Jerwood Space, London and touring.

'Rain Drawing (1)' was selected from an open submission and was awarded second prize. First in a series of works using rain to interrupt a repeated surface, setting a concrete space against other imagined spaces or systems. Repeated horizon lines were hand drawn on the paper and the 150 x 216 cm drawing was then exposed to rainfall - the original linear marks recording the material yet romantic presence of the rain.
The Jerwood Drawing Prize aims to promote and reward contemporary drawing practice, and is run by the Jerwood Visual Arts/Jerwood Charitable Foundation. Selected from an initial open submission of 2,600 entries, the final exhibition featured work from 77 artists and toured to Cheltenham, Glasgow, Bristol, Cardiff and Newcastle-upon-Tyne. Accompanying catalogue.

Paulo Post Futurum
2007 - Lookaal 01, Breda and the Museum of Breda, Netherlands

Extensive group exhibition across two public exhibition venues: Lookaal 01, Breda and the Museum of Breda, Netherlands.

Trace
2006 - Stephen Lawrence Gallery, University of Greenwich

'Rain Drawing (No 1)', exhibited in the group exhibition at the Stephen Lawrence Gallery, University of Greenwich. Other artists exhibiting included Stephen Eastwood, Johannes Maier and Mairead McClean.

Verisimilitude
2006 - the gallery at Wimbledon, Wimbledon College of Art, London

The exhibition included my works: 'Each Long Second' 2006, (880 x 850 cms, A0 photocopies, tape) a double-sided paper representation of the imagined flow of internet information, made to be endlessly manipulated and re-configured to produce different three dimensional maps/representations of virtual space. 'Rain Drawing(1)' 2006, (200 X 160 cms paper,pen,rain) one in a series of works using rain to interrupt a repeated surface; setting a concrete space against other imagined spaces or systems. In the drawing, repeated horizon lines were hand drawn on the paper. The drawing was then exposed to rainfall - the original linear marks recording the material yet romantic presence of the rain. 9 untitled rain drawings: A3 or smaller, pen, pencil, paper, and cut outs.
A group exhibition curated by Jeremy Akerman, which featured new work from Brighid Lowe, Tariq Alvi, Michael Curran, with supporting work from two photographers, and an essay by the artist Paul Rooney. The exhibition coincided with the drawing conference 'With a Single Mark: The Models and Practice of Drawing', organised by Avis Newman(from Wimbledon School of Art's Centre for Drawing) at Tate Britain. A publication 'Verisimilitude. ISBN: 9780948327261' was produced in 2007, which includes 16 pages of images of my work and the transcript of a recorded interview.

Responding to Rome, British Artists in Rome 1995-2005
2006 - Estorick Collection of Modern Italian Art, London

Responding to Rome:British Artists in Rome, 1995-2005. A group exhibition at the Estorick Collection, London of selected artworks made by scholars at the British School at Rome during the last decade. One large 150 X 180 cms cut-out colour photograph exhibited. Other artists in the show included: Edward Allington, Adam Chodzko, Hayley Newman, Alison Wilding and Mark Wallinger. Exhibition supported by the Henry Moore Foundation. Catalogue published by The British School at Rome at The British Academy.

Brighid Lowe - Jerwood Artist's Platform
2004 - Jerwood Space, London

Jerwood Artists Platform, Jerwood Space, London, 2004. Solo exhibition. An initiative funded by the Jerwood Charity. One of four artists selected for a solo exhibition at the Jerwood Space, from UK-wide nomination. Included eight major works in diverse medias, including: 'Citizens of Spam (Part 1)' (2003-4), a 16 metre digital print featuring over 2,000 computer-generated 'Spam’ pseudo-names; 'Citizens of Spam (Part 2)' (2003 - ongoing), an endless cycle of magazine portraits with cut-out 'smiley faces'; 'Tonight I Changed Direction (1) & (2)' 2004, vinyl works on perspex, loosely relating virtual space to the Baroque architecture of Borromini; 'Love . . .That's Love' (1999) a circular procession of books that collectively construct a filmic rhythm; 'Garbatella' 2004, a large c-type photograph of the aftermath of a street market in Rome and 'Each Long Second (prototype version)' 2004, a representation of the imagined flow of internet information, made to be endlessly manipulated and re-configured to produce different three dimensional maps/representations of virtual space.
Illustrated pamphlet, with an essay from Tony Wood, Assistant Editor, New Left Review. Accompanying commissions: original artist’s print commissioned by Eyestorm, and a related 8 page artist’s project for Source 40, a journal published by Photo Works North/ Gallery of Photography, Dublin. Exhibition reviewed in Art Monthly, December 2004, Time Out, 17-24th November and selected in the 5 Best Exhibitions, The Independent, Nov. 10th and featured in the Metro, 28th October 2004. 'Citizens of Spam (Part 1)' (2003-4) and 'Citizens of Spam (Part 2)' (2003 - ongoing) are cited and reproduced in the publication 'Art and The Internet', Black Dog Publishing, 2014.

Tonight
2004 - Studio Voltaire, London

Group show curated by Paul O'Neill with over 50 artists including: Simon Bedwell, Dave Beech, Ian Breakwell, Adam Chodsko, Gareth Jones, Liam Gillick, Elizabeth Price, Hayley Newman.

You Are At Home Here
2003 - Lokaal 01, Breda, Netherlands

An exhibition of work by Brighid Lowe, Paul Rooney, Emma Rushton and Derek Tyman at the Dutch venue (Breda, Netherlands) of artist-run gallery, Lokaal 01. My work 'Citizens of Spam (Part One)' was an 18 metre long digital print of the collated index of Spam names, collected for one year from my email inbox. 'Citizens of Spam (Part Two)' is an ongoing collection of magazine images which then have 'smiley faces' cut out, each can be sold for £10 with a 'Citizen of Spam ' certificate, and then replaced by another in a potentially endless cycle of repetition, distribution and consumption.

Curated by artists Emma Rushton and Derek Tyman, with an accompanying publication 'You Are at Home Here', given to members of the public in exchange for a plant or flower. These plants were then used in the construction of a garden by Rushton and Tyman in the gallery space as part of the exhibition.

Friction
2003 - The London Print Studio Gallery, London

Two large scale cut-up photographic works were exhibited, these comprised large colour prints that were hand cut (made in a pre-digital era) until the material presence and meaning of the photographs shifted. Curated by Paul O'Neill, the exhibition also included work from Liz Arnold, James Ireland and Paul Johnson.
My work was pictured and reviewed in Art Monthly, April 2003 / No 265.

Turpentine
2003 - Studio Voltaire, London

New Religious Art 1992-2002
2002 - Henry Peacock Gallery, London. Toured to Liverpool Biennial (Ind

A group show that included my work "It Is Not Your Fault", a 12-page pamphlet (free to take away) entitled entirely composed of fragments of visceral text collected from newspapers, an FBI crime manual, history books and religious tracts to produce a tract that continually oscillated between good and evil, innocence and guilt.
The exhibition also included work by David Batchelor, Marc Camille Chaimowicz, Bill Drummond, Tracey Emin, and Goshka Macuga.

'Marianne, I cannot understand, tell me more'. L'archive, entre collection et production
2001 - Galerie d'Art et Essai, Universite de Rennes, France

An exhibition of the research and images compiled for my commissioned project, 'Marianne, I cannot understand, tell me more': artists' pages produced to accompany the international symposium Contemporary Artists and Archives, at the University of Rennes. The exhibition, held at the Galerie Art et Essai at the University of Rennes. 'Marianne, I cannot understand, tell me more' used a selection of photographs from the Harry Price Library of Magic, part of the Special Collections at Senate House Library, University of London. Harry Price (1881-1948) was a publicist of psychical research, including psychic phenomena, conjuring, hypnotism, magic and witchcraft. Images from this collection were used in conjunction with my own photographs.

Unedited Confessions
2001 - Vox, Montreal, Canada

Six large scale cut-up photographic works were exhibited, these comprised large colour prints that were hand cut (made in a pre-digital era) until the material presence and meaning of the photographs shifted. "Lifestyle Butterflies", a work made from the pages of magazines such as Dazed and Confused was also exhibited.
My exhibition was funded by the British Council and the accompanying pamphlet included a commissioned text by the art historian Maria Loh.
VOX is an artist-run gallery in Montreal.

Cool Green
2000 - MOCA, Washington DC, USA

A group exhibition organised by Staffordshire University at M.O.C.A.-D.C., Washington DC. USA. Other artists included Elizabeth Price, Paul Rooney, Emma Rushton and Derek Tyman.

Intelligence: New British Art 2000
2000 - Tate Britain, London

Intelligence was the inaugural exhibition of the Tate Triennial, a series of contemporary exhibitions held at Tate Britain, to introduce some of the best new art to a wider audience. Martin Creed, Douglas Gordon, Graham Gussin, Susan Hiller, Hilary Lloyd, Julian Opie and Yinka Shonibare were amongst some of the other artists in the exhibition.
My work "I Saw Two Englands Breakaway" 1996-97, (225 paperback books, 450 perspex mounts, C-type on flexibase) was exhibited. Made over a two year period, the books were collected from the alternative economic structures of the dispossessed: second-hand bookshops, car boot fairs and charity shops. The titles of the books were arranged to construct a text that dealt with the betrayals, politics and failed ideologies of contemporary Britain. The text can be read via the book covers or via the reproduction of the text that faces them.
"I Saw Two Englands Breakaway" 1996-97 was later purchased for the MAG collection, featured in The Times (2.10.1998) and cited in Richard Cork's book 'Annus Mirabilis? Art in the Year 2000' and Stephen Foster's symposium paper 'Thinking Allowed: Archiving as Contemporary Art Practice', published as part of the 'Contemporary Artists and Archives, on the Meaning of Time and Memory in the Digital Age', published by the Presses Universities de Rennes, 2004. "I Saw Two Englands Breakaway" 1996-97 was featured in a Channel 4 documentary to accompany the exhibition."I Saw Two Englands Breakaway" 1996-97 was also reviewed on Kaleidoscope, Radio 4.
Accompanying exhibition catalogue.

Fossick
2000 - Sali Gia, London

A group show curated by Andrew Renton. My work, "Lifestyle Butterflies", butterflies made from the pages of magazines such as Dazed and Confused, interspersed work from Janice Kerbel, Ian Whittlesea and the composer Laurence Crane.

John I'm Only Dancing
2000 - Margaret Harvey Gallery, St Albans

A group exhibition curated by Jeremy Akerman and Victoria Walsh. My work was a 12-page pamphlet (free to take away) entitled "It Is Not Your Fault", entirely composed of fragments of visceral text collected from newspapers, an FBI crime manual, history books and religious tracts to produce a tract that continually oscillated between good and evil, innocence and guilt.

Brighid Lowe
1999 - The British School at Rome, Italy

An exhibition of my work made whilst a Rome Scholar in the Fine Arts, June - August 1999 at the British School in Rome. Three cut-out photographic works were shown. Accompanying BSR catalogue for the Fine Arts 1999 - 2000 Programme.

Thinking Aloud
1999 - Camden Arts Centre, London

Selected and curated by artist Richard Wentworth, 'Thinking Aloud' was a group exhibition of artworks and artefacts. It was a National Touring Exhibition organised by the Hayward Gallery for the Arts Council of England, and the exhibition ended its tour at Camden Arts Centre in London. My large scale photographs 'Truth- Hallucination (No 1)' and 'Truth- Hallucination (No 2)' were shown.

and...and...and...and
1999 - Het Consortium, Amsterdam

'and...and...and...and' was a group exhibition that I co-curated with artist Annabel Howland, with funding from the Dutch Cultural Ministry.

Shunted
1998 - Sites throughout the city of Sheffield

Commissioned to make a new work for poster sites in Sheffield Station and throughout Sheffield for Shunted, a part of Public Sightings, a programme of publicly sited artworks for Photo 98, the UK Year of Photography and the Electronic Image. Works were commissioned for Sheffield station and included works from Mark Wallinger and Impossible Theatre.

Post Neo-Amateurism
1998 - Chisenhale Galllery, London

Post Neo-Amateurism was a group show that featured my work 'I Saw Two Englands Breakaway'.
Post Neo-Amateurism was part of New Work UK. (NWUK) was Chisenhale Gallery’s ground-breaking open submission project. NWUK profiled ambitious contemporary art being made by emerging artists in the UK. Comprising of three one-week exhibitions, NWUK provides a public platform for incisive, previously unseen work. For 1998, selections from an overwhelming response were made by the artists Amikam Toren and Jessica Voorsanger together with Chisenhale Gallery.

NWUK 1: 08 July – 12 July 1998
Post-Neo Amateurism was a group show curated by Unit and also included (amongst other) work by Janice Kerbel and Caroline McCarthy.

The Mule
1997 - Nationally distributed newspaper.

The Mule was an artists' project in the form of a nationally distributed newspaper and on-line newspaper. Conceived and directed by Emma Rushton, Derek Tyman, Roman Vasseur, it featured my two text works: 'Refreshments' and 'It is the trainers that perturb me'. The Mule featured contributions from writers such as Michael Bracewell and artists including: Mark Wallinger, Tim Head, Fiona Banner, Bob and Roberta Smith, Matthew Higgs, Inventory, Rose Finn-Kelcey and Jeremy Deller. The Mule was printed and distributed by The Independent newspaper to a total of 198 Central and Branch libraries and the Bluecoat Gallery, Liverpool; Camden Arts Centre, London; John Hansard Gallery, Southampton; and Stoke-on-Trent City Museum and Art Gallery. It was funded and sponsored by (amongst others):The Arts Council England, Fuji, The Independent, Hertz and Orange mobile phones.

Truth - Hallucination
1997 - John Hansard Gallery, University of Southampton

'Truth - Hallucination' was a solo exhibition at the John Hansard Gallery, the University of Southampton. Seven major new works were included: 'Truth-Hallucinations (1-6)' and 'I Saw Two Englands Breakaway'. 'Truth-Hallucinations (1-6)': six large framed C-type photographs, taken in Hackney of rubbish or random acts of vandalism. The original 35mm transparencies were 're-vandalised' by rupturing the transparencies with a pin and then re-photographed. 'Truth-Hallucination (No 2)' was purchased for the University of Southampton art collection.
My other work 'I Saw Two Englands Breakaway' 1996-97, (225 paperback books, 450 perspex mounts, C-type on flexibase) was exhibited. Made over a two year period, the books were collected from the alternative economic structures of the dispossessed: second-hand bookshops, car boot fairs and charity shops. The titles of the books were arranged to construct a text that dealt with the betrayals, politics and failed ideologies of contemporary Britain. The text can be read via the book covers or via the reproduction of the text that faces them. Subsequently this work was re-shown at the Chisenhale Gallery and was included in the first Tate Triennial, 'Intelligence' at Tate Britain in 2000. Later purchased for the MAG collection, featured in The Times (2.10.1998) and cited in Richard Cork's book 'Annus Mirabilis? Art in the Year 2000' and Stephen Foster's symposium paper 'Thinking Allowed: Archiving as Contemporary Art Practice', published as part of the 'Contemporary Artists and Archives, on the Meaning of Time and Memory in the Digital Age', published by the Presses Universities de Rennes, 2004. I was interviewed and this work was featured in an accompanying Channel 4 documentary. I Saw Two Englands Breakaway was also reviewed on Kaleidoscope, Radio 4.

Viper/BANK TV: Jackanory Presents: 'Arabella and Igor go to a Party' / A Party Political Broadcast
1996 - DOG, Underwood Street, London

Devised and curated by seminal artists' collective BANK, the exhibition toured to the ICA London, Transmission Gallery, Glasgow, and Castlefield Gallery, Manchester. I showed two video works: 'Jackanory Presents: "Arabella and Igor go to a Party" ', and 'A Party Political Broadcast'.

England's Glory
1995 - Witley Court

Four artists, Helen Chadwick, David Fryer, Gary Kirkham and Brighid Lowe were invited to make specially commissioned works for Witley Court, a spectacular ruined mansion in the Midlands under the guardianship of English Heritage. My work, 'Ruin' was an installation of a suspended line of chandelier crystals bisecting the ruined facade, and facing three enlarged found images positioned within the dry fountain. Reviewed in the Guardian, August 1995.
Organised by the Ikon Gallery, Birmingham, as part of the Here and Now season of arts events, specially commissioned for Witley Court. Here and Now was an initiative between West Midlands Arts and English Heritage.

The Nowness of Everything
1994 - The Minories Gallery, Colchester

An exhibition commissioned as part of Signals Festival of Women Photographers, featuring new commissioned work from Jaki Irvine, Marysia Lewandowska, Brighid Lowe and Annabel Nicolson. Accompanying illustrated catalogue.

Wonderful Life
1993 - Lisson Gallery, London

Wonderful Life was a group exhibition of young artists at the Lisson Gallery. Other artists included: Christine Borland, Adam Chosko, Martin Creed, Liam Gillick, Douglas Gordon, Graham Gussin, Damien Hirst, Gary Hume, Bridget Smith, San Taylor-Wood, Jane and Louise Wilson. My work 'Collective Joy For the Masses' is pictured and reviewed in Frieze, Issue 12, 1993, Forum International No 19, and the Guardian.

Collective Joy for the Masses
1993 - Hales Gallery, Deptford, London

An installation featuring three park benches arranged with enlarged found photographs of 1930s and 1940s parks from Germany, Russia and Austria. Each different space of leisure and recreation betrays its ideological imperative. Reviewed in Time Out. A version of this work was shown in Wonderful Life at the Lisson Gallery.

Sequence
1992 - The Photographers' Gallery, London

'Sequence', commissioned by the Photographers' Gallery, London, comprised nine large black and white photographs on aluminium, displayed to be read clockwise across Gallery 5 of the Photographers' Gallery. The original images were collected from film archives, propaganda images and old books, and then enlarged to the same scale. Each image in some way anticipated the subsequent image, implying connections and possible narratives between the disparate archived images. Reviewed in Time Out.

New Contemporaries, 1990 - 1991
1990 - Institute of Contemporary Art, London

A prestigious touring group exhibition selected from an initial submission of 1200 recent graduates. In addition to the photographic piece exhibited, I was one of five New Contemporaries Award winners commissioned to make a new work for Dean Clough, Halifax. Other selected artists included: Glenn Brown, Graham Ramsey and Gavin Bird. Accompanying colour catalogue.

New Contemporaries, 1989 -1990
1989 - ICA London and touring.

A prestigious touring group exhibition selected from national open submission of recent graduate work. One sculpture shown, 'Untitled' 1989, copper and steel. Other artists selected included: Damien Hirst, Abigail Lane and Mark Leckey. Accompanying colour catalogue.

Publications

London Diaries by Lorenza Mazzetti, (foreward to the English translation).
- Other , Zidane Press , London 2018

Manual_Parts & Labour (Osan)
- Other , Osan Cultural Foundation, South Korea , Osan, South Korea 2016

"Obituary for ‘M’ "
- Internet Publication (Online and printed posters) , Akerman Daly 2014/09/18

Art and The Internet
- Other in Art and The Internet , published by Black Dog Publishing , London 2014/01/16

Obituary for 'M'
- Internet Publication , Akerman Daly 2014/09/18

'Herringbone, Diamonds, Hearts, Herringbone' in Her Eyes and My Voice: Decorative Grammar
- Journal Article Vol. 3 , Vanessa Visual and Virginia Verbal , London , edited by Godfrey L,Butler C 2014

Brighid Lowe
- Journal Article for Art World Vol. Issue 4 , London 2008

Jerwood Drawing Prize 2007
- in Jerwood Drawing Prize 2007 , published by Jerwood Drawing Prize, Wimbledon College of Art , London 2007

Verisimilitude
- Chapter , the gallery at Wimbledon College of Art , London 2007

Access Permitted
- Chapter , Unit 2, London Metropolitan University , London 2006/10/06

Ghost Writer, short story in anthology of artists' fiction, The Alpine Fantasy of Victor B.
- Chapter in The Alpine Fantasy of Victor B and Other Stories , published by Serpent's Tail , London , edited by Akerman J,Daly E 2006/11/09

Dr Clock's Handbook
- Chapter , Redstone Press , London , edited by Gooding M,Rothenstein J 2006

Have This One On Me
- Chapter in Private Views: Artists Working Today , published by Serpent's Tail , London , edited by Palmer J 2004

'Marianne, I Cannot Understand, Tell Me More'
- Chapter in Contemporary Artists and Archives , published by Presses Universitaires de Rennes , Rennes 2004

Citizens of Spam
- Journal Article for Source The Photographic Review Vol. 40 , published by Photoworks North in co-operation with the Gallery of Photography, Dublin , Belfast 2004

You Are at Home Here
- in You Are at Home Here , published by Wild Pansy Press , Breda, Netherlands 2003/11/14

'End Evil'
- Journal Article for everything Vol. 4.1 , published by everything Publications , London , edited by Eyers L,Rushton S,Timberlake J 2002

Opinions: Brighid Lowe
- Journal Article for RSA Journal , published by Royal Society of the Arts 2001

'Something for Nothing?'
- Journal Article for Variant Vol. Winter 2000 , published by Variant , Glasgow 2000

Brighid Lowe
- in Intelligence, New British Art 2000 , published by Tate Gallery , London 2000

Something for Nothing?
- Journal Article for Variant Vol. 9 , published by Variant , Glasgow 2000

'Something for Nothing?'
- Chapter in 'Research and the Artist. Considering the Role of the Art School' , published by Ruskin School of Drawing and Fine Art, University of Oxford , University of Oxford , edited by Payne A 2000

Art Schools: could do better
- Journal Article for Tate Etc Vol. 19 , published by Spafax Publishing in association with the Tate Gallery , London 1999

'Something for Nothing?'
- Conference Presentation 1999

Gardens in Hackney
- Journal Article for Garden History, The Journal of the Garden History Society Vol. Number 1, Summer , published by The Garden History Society 1998

Gardens in Hackney
- Journal Article for Garden History, The Journal of the Garden History Society Vol. Number 1, Summer , published by The Garden History Society 1998

Gardens in Hackney
- Journal Article for Garden History, The Journal of the Garden History Society Vol. Number 1, Summer , published by The Garden History Society 1998

What Do Artists Do?
- Performance

The Known Unknowns / Volatile Dispersal / Festival of Art Writing
- Performance

Liz Arnold, Camden Arts Centre
-

Obituary for ‘M’
- Performance

Now Here/Nowhere
- Internet Publication

Interview on Channel 4 Documentary
- Interview (TV/Radio)

'Ghost Writer', public reading and discussion
- Performance

Panel Discussion on Liz Arnold's paintings, Andrew Graham-Dixon, Brighid Lowe and Janette Parris, Focal Point Gallery.
- Other