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Carole Condé / Karl Beveridge / Jan Allen / Bruce Barber / D’Arcy Martin / Declan McGonagle / Clive Robertson / Allan Sekula / Dot Tuer
Published in association with the Agnes Etherington Art Centre, Queen's University.
Softcover, 160 pages, 34 bw, 112 colour, 9 x 10"
Publication Date: September 2008
Table of contents/excerpt (PDF)
Carole Condé and Karl Beveridge are unique in the annals of contemporary "political art," thanks to their longstanding collaborations with labor unions and the way their art makes workers' lived experiences (once-removed) the building blocks of an activist art theory. Their montage of genres and Brechtian stylization are accessible to several worlds. "Class Works" expands their reach still further with the authors' added analytical layers, opening the door to renewed discussion of the issues at the heart of photographic work committed to social change.
– Lucy R. Lippard
Condé and Beveridge: Class Works presents the first comprehensive examination of the collaborative art practice of Canadian photographic artists Carole Condé and Karl Beveridge. The book features 112 colour reproductions that illustrate their major photographic projects spanning a thirty-year career of working with organized labour to represent the increasingly complex relationships between paid work and global ethical and environmental concerns. Class Works introduces Condé and Beveridge’s artistic breakthrough of 1975, It’s Still Privileged Art, when the artists — under the influence of their membership in Art & Language (NY) and the nascent Conceptual Art movement — turned from formalist art-making to social engagement and from individualized solo production to committed artistic collaboration. Condé and Beveridge’s formulation of left-perspective discourses and their innovations in artistic form herald current art practices in which art-making is understood as a symbolic articulation of human conditions and a tool of community formation. Class Works, edited by Bruce Barber, includes critical essays by Jan Allen, D’Arcy Martin, Declan McGonagle, Allan Sekula, and Dot Tuer; an extensive interview by Clive Robertson with Condé and Beveridge; and a chronology of their extraordinary art practice.
Pages 136–137, Calling the Shots (2002)