Clunie reid biography channel

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The original poster was found and photographed by the artist in Venice, already defaced with blue biro scribbled over the figure's eyes, nose and mouth. This message is further complicated in the artist's messy but carefully accomplished installation, in which the work must be seen as one of many conflicting and competing images.

In her work for Nought to Sixty, however, Reid moves away from paper collage to create more sculptural juxtapositions, affixing different images and media fragments onto industrial foam board.

Screenings include Art Basel Miami Beach, CalArts, Whitechapel Gallery and South London Gallery. She is preoccupied with questions of sexual representation and violence in capitalist culture through strong, ironic, satiric and desirous processes of reworking and reactivating imagery. Bringing together these overloaded signifiers of beauty compounds the indeterminacy of the original image - and especially of the woman's identity.

Misspellings are left in place, or simply blacked out, as the artist carries on. Screenings include Art Basel Miami Beach, CalArts, Whitechapel Gallery and South London Gallery. The dancer is superimposed over a postcard picture of a Venice sunset, and across the top of the image Reid has written 'beautiful' in childlike lettering.

These are the clichés that form one idea of beauty: flat-chested girls in glittery tops performing arabesques, tourist sites at sunset with Prosecco at the ready. She has done visiting lectures and tutorials at ZHdK Zurich, Goldsmiths, UCL, LSBU, Royal Academy, Brighton, Kingston, Camberwell, Ruskin, Leeds and Manchester and had teaching jobs at Northumbria, Loughborough, Wimbledon and Royal College of Art.

She was Senior Lecturer at Central Saint Martins (2007-2017).

She lives and works in London. In the same way that the artist uses standard paper sizes, here she uses generic wire picture hangers to suspend the collages, undermining their potential commodity status but also co-opting the same industrial standardisation that she critiques.

While Reid's debased, deskilled aesthetic challenges the ideologies that her source images support, it also enables a mode of performance: the quickness of execution reflecting the swiftness of thought, as well as its potential for change.

She is interested in modern histories of image- based critique, images and identification, subjectivity and the ongoing function of the feminine in representation.

Her work has been shown internationally at Hamburg Kunstverein, New Museum New York, Fotomuseum Winterthur, Bielefelder Kunstverein, ICA, Tate Britain, The Photographers’ Gallery and Palais de Tokyo.

She is interested in modern histories of image- based critique, images and identification, subjectivity and the ongoing function of the feminine in representation.

Her work has been shown internationally at Hamburg Kunstverein, New Museum New York, Fotomuseum Winterthur, Bielefelder Kunstverein, ICA, Tate Britain, The Photographers’ Gallery and Palais de Tokyo.

She has done visiting lectures and tutorials at ZHdK Zurich, Goldsmiths, UCL, LSBU, Royal Academy, Brighton, Kingston, Camberwell, Ruskin, Leeds and Manchester and had teaching jobs at Northumbria, Loughborough, Wimbledon and Royal College of Art. She was Senior Lecturer at Central Saint Martins (2007-2017).

She lives and works in London.