Jeremy Deller Warning Graphic Content

Jeremy Deller - Printed Matters
by Matthew Higgs


Perhaps the most salient thing you need to know about the artist Jeremy Deller is that he neither trained nor studied to be an artist. This is important, as it inducts Deller within a history of so-called “self-taught” artists: a canon of individuals who arrived at making art, or something that resembles art, via other means, via other routes. Eschewing art school, Deller instead studied art history, initially within the formal environs of London’s Courtauld Institute, where he specialized in the southern-European Baroque; and then later at the University of Sussex, where he studied with David Mellor (Mellor’s Wikipedia entry notably identifies only Deller as being a former student of his). At Sussex, Deller’s interests expanded to embrace a broader and more porous understanding of the role that both art and the artist might play within society. Informed and influenced by the prescient thinking of the pioneers of what came to be known as Cultural Studies — Raymond Williams, Richard Hoggart, Stuart Hall, et al — Deller’s subsequent work, over the next three decades both mirrors and amplifies their desire to understand culture “in all its complex forms”, whilst simultaneously analyzing “the social and political context in which culture manifests itself.”

Deller’s emergence as an artist was organic. He has described his 1986 encounter with Andy Warhol in London as being a watershed moment, “Meeting Andy Warhol was the most important thing that had happened to me in my life up to that point.” The two weeks that he subsequently spent in New York in Warhol’s orbit at The Factory “would prove to be the art education that I’d never had - the equivalent of taking a foundation course and BFA and MFA degrees in a fortnight.” From Warhol, Deller determined that “an artist can do whatever he or she wants. There are no limits.” From the outset, the subject of Deller’s work has been a consideration of the recent past: an examination of how our shared social, cultural and political histories inform and shape both the present and the future - an approach that is evident in Deller’s key works such as: The History of The World and Acid Brass (both 1997); The Battle of Orgreave (2001); It Is What It Is (2009); and Everybody In The Place (2018), among others. Many of Deller’s early works took the form of t-shirts, posters, bumper stickers, carrier bags, classified ads, business cards, public signage, and other forms of printed matter: quotidian, commonplace mediums that he continues to employ to this day. Circulating freely and outside of the established channels of the art world, Deller’s earliest interventions sought out instead a different public — passersby — and could, in the words of curator Ralph Rugoff, “be appreciated without any specialized knowledge.” This fundamentally democratic impulse remains a defining characteristic of Deller’s work of the past thirty years, and is central to his public identity as an artist: since winning the Turner Prize in 2004 — which he dedicated to “”¦ everyone who cycles, everyone who looks after wildlife, and the Quaker Movement ”¦” — Deller has gradually become a public figure himself. Throughout Deller’s work, which over the years has become increasingly collaborative, there is a palpable sense of generosity: a desire to frame often complex ideas in a manner that is at once legible and accessible, yet in a way that never condescends to nor patronizes the audience.

Jeremy Deller (b.1966, London; lives and works in London) studied Art History at the Courtauld Institute and at Sussex University. Deller won the Turner Prize in 2004 for his work ‘Memory Bucket’, and represented Britain in the 55th Venice Biennale in 2013. He has been producing projects over the past three decades which have influenced the conventional map of contemporary art.

With thanks to BUILDHOLLYWOOD for their support on a series of street posters produced to coincide with the exhibition.