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luxurious modernist furnishings are all attentively documented. The narration - which is provided as a silent, on-screen rolling graphic is derived from various archival materials associated with the history of the house, including architectural specifications; curatorial inventories and the point-of-sale literature for various cosmetics products. As the tour moves through the house, the narration migrates through these sources so that in the final stages, the house and its art collection is described using the vocabulary of 1960s/1970s cosmetics, incorporating the puns and innuendo that hint at gender, sexual and social transformation or fluidity.
136:(born 6 November 1966) is a British contemporary artist working primarily in digital moving image who won the Turner Prize in 2012. She is known for short films which explore the social and political histories of artefacts, architectures and documents. Her arresting moving-image works are widely regarded for the interplay of the visual and aural. Finger clicks, claps and samples of vocal harmonies are used to provide rhythms that structure the narration and create urgent, ritualistic undertones. They have been described as ārapturous, addictive, virtually artspeak-resistantā, 'mysterious, mesmerising - and utterly original'.
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glow' - are gradually applied to the polished finishes of the house itself, as though it were a face. In the final section, following these transformative temptations of 'pearlise' and 'time-machinery', the viewer is invited to physically blend themselves with the liquid veneers of the house: 'Make silvery gold & viscous trails / A delightful decor/ of lustrous puddles To bloom on the lovely surface." Price refers to this as a āprofane denouement', a transgression of the domestic ideal in that the house itself seems to have quickened into life and 'inhabits' the guest.'
326:āItās in that juncture, when you find yourself slipping from the rational, didactic, discursive moment of critical self-consciousness into the seductive, seduced world full of promises for a utopian moment of aesthetic fulfilment, that Priceās work reveals the subtlety and force of its project; that we are never on the virtuously critical āoutsideā of an otherwise corrupt, uncritical (art)world, but constantly implicated, working to discern the contours of the powers that shape the present, while always doing so in the midst of the pleasures they seek to control.'
293:, guitarist, singer and songwriter of the Razorcuts, under the name of The Carousel. āI forgot to remember to forgetā was initially released on Price and Websterās short-lived record label āCosmic English Music in 1990 and re-released by Vinyl Japan along with a subsequent LP āabcdefghijklmnopqrstuvwxyzā in 1994. Price was also a founding member of the never recorded, all girl group āThe Katherines of Arroganceā which included
399:. Cheap but extraordinarily decadent artefacts such as pet-food dispensers and necktie-storage systems are rotated, suspended and animated in front of the camera, whilst a series of quotes taken from theoretical texts on art, corporate management and taxonomy, as well as excerpts from gothic and magic-realist literature are cut together to imagine the creation and inauguration of a museum to hold them.
557:ās photographic archivesāprojects that retrospectively stand out for perhaps more for their imagination rather than a fidelity to material evidence. These narrators begin to extort the projectās āribald energy... to cultivate a further germinationā of the files. The project devolves from organizational drudgery into an expressive intervention shattering the logic of museology and historical taxonomy.
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Gallery, Toronto, Canada in 2015 - at The Julia
Stoschek Foundation, Dusseldorf, Germany, Franz Hals Museum, Haarlem, The Netherlands and the Station Gallery, Tokyo in 2014 - at Musee Dāart Contemporain, Montreal, Canada in 2013 - at Baltic Centre for Contemporary Art, Gateshead, UK, Bielefelder Kunstverein, Berlin, Germany, MOT International, London, UK and Tate Britain, London.
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fantasy, undermining the assumed logic of said source material. Text, sound, and image unite to make a mess of our past, and the editing lends a rhythm, invoking a new energyāalluring, mournful, anarchic. Priceās concerns are, broadly, material culture and ideologies of the recent past, and her engagement with text and image is rooted in
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essay (2019): "By materialising the idea of the objects possessing a hidden life, and having them appear to dance, Priceās playful anthropomorphism conjures up exhilarated responses in us. Even as we are made to realise and to fear the forces that slumber in material objects, somehow we are also made
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profile (2010), JJ Charlesworth describes this "One moment didactic, then cryptic, then exclamatory, the streaming over-titles of Priceās videos veer from critical meditation on the politics of art, the history of modernity and the corrupt logic of taxonomy, into passages of apocalyptic, hallucinated
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While Priceās art emerged from conceptualism, institutional critique and an interest in social histories, archives and collections, her video-work is a radical departure from the visual styles and rhetorics usually associated with these movements and subject matters. Part of this can be attributed to
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The sum of the written stories and places produces a repository with different institutional registers, from art history to pop music culture, but also from the truthfulness of news reporting to the evidence of expert witnesses. The whole acquires a rhythm through a brilliant use of samples of other
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magazine, Sam Thorne wrote "The measured tones of the archivist are mixed with the fanciful lures of make-up adverts. Flashing over lascivious interior shots, a story of sensual inhabitation is developed as these cosmetics product descriptions - 'Jacobean shade', 'soft-centre candy flossā, 'starkers
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Priceās view that the established visual modes of critical art had become moribund, and were exercises in deferent revivalism; but also because the digital was rapidly and profoundly altering how we encounter historical knowledge. Reviews and essays about her work expand upon both of these aspects:
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Price says her videos take a year to make. She explained "I use digital video to try and explore the divergent forces that are at play when you bring so many different technological histories together... Iām interested in the medium of video as something you experience sensually as well as something
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has been exhibited at The
Whitworth, Manchester, UK and Centro De Arte Dos De Mayo, Madrid, Spain in 2019 - at Tate Britain, London, UK in 2018 - at Vancouver Art Gallery, British Columbia, Canada in 2016 - at The Model, Sligo, Ireland, Neuer Berliner Kunstverein, Berlin, Germany and Doris McCarthy
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takes as its subject the preserved modernist home, and art/design collections of a deceased cosmetics mogul. It opens as a visit to the house, proceeding from the entrance through open-plan areas, into every room. The elegant geometry of the spaces, the varied materials of the architecture, and the
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has been exhibited at The
Ashmolean Museum, Oxford, UK in 2016 - at the Art Institute, Chicago, US and the Institute of the Ancient World, New York, US in 2017 - at the Adam Art Gallery, Wellington, New Zealand in 2018 - at the Site Gallery, Sheffield, UK and The Model, Sligo, Ireland in 2019 - at
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It bears the stylistic hallmarks of Priceās video work: digitized archival footage and CGI form a visual montage narrated through text and sometimes a computerized voice, usually coded to sound female. The accumulation of information and text starts to bend the source material into a speculative
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The compelling and actually disturbing The
Woolworths Choir of 1979, ā¦is a 20-minute film whose three segments are linked by recurring images of hand gestures and the tight percussive sound of sharp finger-clicking. The hands of trapped victims of a 1979 fire in a Woolworths store in Manchester,
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A step-by-step guide to ecclesiastical architecture, illustrated by archival photographs, diagrams and arcane terminology is gradually interrupted by distorted footage of the sinuous movements of various girl bands, like ghostly apparitions from another world. Echoing this visual transition, the
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combines, in three well-differentiated parts, a syncopated succession of archive material in an apparently dissonant composition: a textual-visual research into the architectural typology of
British Gothic church choirs; fragments of videos culled from internet showing backing vocalists for pop
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While subsequent generations of artists working in this vein have debunked the āmute presenceā of language, Price has sussed out the class leanings of
Conceptual artās relation to language and its forms (especially typing) through the suggestion of social status through her narrative choruses.
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A work of experimental historiography that, to my mind, not only represents the most precisely calibrated challenge we have seen this century to timebased storytelling and meaning-making, but is effectively a manifesto against orthodox delivery systems of information and knowledge.
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helplessly flapping from a window filled with billowing smoke, are juxtaposed with the expressive hand gesturing of singers. Images and sounds echo and complement each other until we reach a pounding and hypnotic crescendo of hands, rhythmic clicking, singing and text.
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songsā¦ The cyclic repetition accentuates the point of contingency between the three stories: the twisted wrist. But it also accentuates the condition of the body of knowledge of each one of the parts like a social body united through a gesture that becomes radical.
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323:āWeā¦feel something emergent, anxious and fairly wild in Price's art: a poetics of disappearance and return. History in the form of the cached past is positioned here as animate, a collective unconscious subject to repression and warped comebacks.'
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exuberance, in which Priceās fetishised, spinning objects ā cappuccino frothers, electric wine coolers, executive toys, seventies ceramics ā accelerate into a frenzy of anachronistic consumer desireā¦." Tamara Trodd makes similar observations in an
1954:"Elizabeth Price: The Woolworths Choir of 1979, 2012, HD video, 18:00 min installation view, Baltic Centre for Contemporary Art, Gateshead, Image courtesy the artist and MOT International, London and Brussels. ā¢ Circa Art Magazine"
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has been exhibited at The
Stanley Picker Gallery, London in 2007 - at HĆ„ Gamle Prestegard, Norway; Museum of Contemporary Art & Design Manila, Philippines and Julia Stoschek Foundation, Dusseldorf Germany in 2014 - at the
482:' Out in the Streets. The handclaps return to accompany the final chapter which draws on news footage and witness accounts of a notorious fire in the furniture stockroom of the Manchester branch of Woolworths in 1979.
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The video was shown at Baltic Centre for
Contemporary Art, Gateshead in 2012, in a solo presentation at Motinternational, London the same year and at Tate Britain, in The Turner Prize exhibition, which Price won.
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332:āPriceās work inducesā¦ sensations of not only being inside a space or pictorial illusion, but of being in entire systems of thoughts and ideas that are forming and acting in the present tense.ā
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329:'In an era of social amnesia and disputed histories, Priceās attention to dismantling and rebuilding the collective memory is dissident, exhilarating and necessary.'
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A previous version of the work CHOIR was exhibited at
Chisenhale Gallery, London, UK, New Museum, New York, USA and Collective Gallery Edinburgh.
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is narrated by an ambiguous āwe,ā an undefined group of administrators. This āweā is a common thread in Priceās videos; the we of her earlier
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450:, New York, 2015; - at the Model, Sligo, Ireland 2016; at Cast, Helston, UK, and the Musee Nationale Fernande Leger, Nice, France, 2022.
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529:) is the human resources department of an undefined museum of twentieth-century refuse, serving as mouthpieces for the theories of
1734:"The Woolworths Choir 1979. Video Installation: Turner Prize Winner 2012. Tate Britain installation shot., Elizabeth Price, 2012"
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Redundant consumer artefacts of the late twentieth century are both glamorously featured and satirically analysed in the video
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1834:"Doris McCarthy Gallery - A Conspicuous Twist of the Right Wrist: Gestures of Queerness in Contemporary Intermedia Art"
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442:, Edinburgh, Scotland, UK in 2013; at the Power Plant, Toronto, Canada and HĆ„ Gamle Prestegard, Norway in 2014; at
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281:, known for a series of successful indie singles released on the Scottish label 53rd&3rd, as well as BBC
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665:"Elizabeth Price: A long memory, review ā from hosiery to Gothic churches in one thrilling, rhythmic swoop"
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Prior to working as an artist, Price was a founding member, singer, guitarist and songwriter of Indie band
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soundtrack segues from isolated, stark finger clicks and handclaps to the explosive and emotive chorus of
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In 2011 Price was awarded Arts
Council England Helen Chadwick Fellowship at the University of Oxford and
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art critic declared the "focus and drive of Price's work, the cutting and the atmosphere, mark her out".
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1451:"Baltic Centre for Contemporary Art opens solo show by British video-maker Elizabeth Price"
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379:, Cambridge, Massachusetts, US in 2015 - at the Whitworth Gallery, Manchester, UK in 2019.
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1399:"A Neatly Extended Middle Finger: Elizabeth Price ā Mousse Magazine and Publishing"
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The Ashmolean, Oxford, UK and the Schirn Kunsthalle, Frankfurt, Germany in 2023.
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919:'Turner prize 2012: Elizabeth Price is a worthy winner in a vintage year'
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Western, Henry Babbage, Felix Henning-Tapley, Johnny Sainsbury, Blaine.
701:'Elizabeth Price takes Turner Prize 2012 for 'seductive' video trilogy'
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206:. In 2012 (until 2013) she became the first artist-in-residence at the
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groups; and TV news footage of a fire in the furniture department at
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in London, where she completed her MFA, and in 1999 she received her
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Art, Kingston University London Kingston School of (17 May 2007).
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1809:"Clemens von Wedemeyer: P.O.V. / Elizabeth Price - Announcements"
1709:"Film/Art | Indeed, We Know: On the Video Art of Elizabeth Price"
1076:"Film/Art | Indeed, We Know: On the Video Art of Elizabeth Price"
2250:"Re-collections: Susan Hiller, Elizabeth Price, Georgina Starr"
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in Manchester in 1979, in which 10 employees lost their livesā¦
1611:"On this day, historic disasters: Woolworths fire, Manchester"
722:"Elizabeth Price cuts through the muddle of the digital world"
593:
1215:"Carpenter Center's Exhibition Recalls "The Way We Live Now""
2275:"Elizabeth Price, the woman who gave video art a good name"
264:), for which she was awarded the prize on 3 December 2012.
541:, they are tasked with organising the digital records of
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In 2005 Price was awarded a Stanley Picker Fellowship at
1378:"British Art Show 7Hayward Gallery London ā Sue Hubbard"
434:, Plymouth, UK; and Pavilion, Leeds, UK in 2010; at the
301:
of Talulah Gosh along with Jo Johnson (subsequently) of
869:"'The Woolworths Choir of 1979', Elizabeth Price, 2012"
639:"Indeed, We Know: On the Video Art of Elizabeth Price"
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in Gateshead, where three video works were displayed:
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sessions. She subsequently made several records with
218:
422:has been exhibited at Spike Island in 2009; at the
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2055:"A Neatly Extended Middle Finger: Elizabeth Price"
1682:"Dance, Dance, Dance: Elizabeth Price At Artangel"
430:, Nottingham, UK; Tramway, Glasgow, Scotland, UK;
2100:"PAST EXHIBITION: ELIZABETH PRICE: A RESTORATION"
518:Two-channel video, 18 minutes 30 seconds duration
1658:"Elizabeth Price ā The Woolworths Choir of 1979"
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1929:"Elizabeth Price: The Woolworths Choir of 1979"
936:"The Carousel ā I Forgot To Remember To Forget"
749:
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1050:"Elizabeth Price at The Whitworth, Manchester"
256:featured her twenty-minute video installation
925:, 3 December 2012. Retrieved 3 December 2012.
707:, 3 December 2012. Retrieved 3 December 2012.
8:
2234:: CS1 maint: multiple names: authors list (
2175:Institute for the Study of the Ancient World
855:, Invisible Dust. Retrieved 3 December 2012.
613:"Turner Prize 2012 artists: Elizabeth Price"
252:(2012). The 2012 Turner Prize exhibition at
202:, London. In 2012 Price was in residence at
2194:: CS1 maint: numeric names: authors list (
961:"The Carousel ā Abcdefghijklmnopqrstuvwxyz"
2026:"The Indirect Exchange Of Uncertain Value"
31:
20:
1243:"Elizabeth Price | Whitworth Art Gallery"
894:"Elizabeth Price: Here: Exhibition Guide"
583:List of Turner Prize winners and nominees
462:Single-channel video, 13 minutes duration
391:Single-channel video, 20 minutes duration
346:Single-channel video, 20 minutes duration
173:The Ruskin School of Drawing and Fine Art
73:The Ruskin School of Drawing and Fine Art
1341:– via Edinburgh Research Explorer.
1320:"Elizabeth Price and the life of Object"
863:
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754:"Turner Prize: 2012 shortlist announced"
1501:Greenlaw, Lavinia (25 September 2015).
726:Apollo ā The International Art Magazine
720:Schwarz, Gabrielle (21 February 2019).
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440:Scottish National Gallery of Modern Art
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1980:"Elizabeth Price ā Chisenhale Gallery"
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236:for her solo exhibition 'HERE' at the
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1759:"MashUp: The Birth of Modern Culture"
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732:from the original on 21 February 2019
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1635:Carey Thomas, Lizzie (17 May 2024).
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373:Carpenter Center for the Visual Arts
208:Rutherford Appleton Space Laboratory
1656:Segade, Manuel (24 February 2019).
1586:"Elizabeth Price, User Group Disco"
985:Martin, Herbert (12th March 2012).
663:Sooke, Alastair (25 October 2019).
183:. She continued her studies at the
2362:Alumni of the Ruskin School of Art
2357:Alumni of the Royal College of Art
2347:21st-century English women artists
2342:20th-century English women artists
2053:Hibbard, Andrew (2nd April 2019).
1906:"Elizabeth Price - Art iTļ¼ć¢ć¼ćć¤ććļ¼"
1590:musees-nationaux-alpesmaritimes.fr
238:Baltic Centre for Contemporary Art
14:
2367:Alumni of the University of Leeds
1927:Simard, Louise (9 October 2013).
1707:Williams, Blake (24 March 2017).
1074:Williams, Blake (24 March 2017).
637:Williams, Blake (24 March 2017).
2211:"Te PÄtaka Toi Adam Art Gallery"
1838:dorismccarthygallery.utoronto.ca
1424:LĆ©ith, CaoimhĆn (January 2011).
1188:Blasberg, Cynthia (8 May 2023).
1033:"Future Greats: Critics' Choice"
438:, Newcastle, UK in 2012; at the
2352:Alumni of Jesus College, Oxford
771:"Elizabeth Price at lux.org.uk"
2215:Te PÄtaka Toi Adam Art Gallery
2124:Price, Elizabeth (Made 2016),
1881:"The Woolworths Choir of 1979"
1859:"Number Nine: Elizabeth Price"
1481:National Galleries of Scotland
1247:www.whitworth.manchester.ac.uk
1128:Thorne, Sam (1 October 2010).
260:(which includes elements from
1:
2377:English contemporary artists
1503:"Trying to Escape a Pattern"
498:The Woolworths Choir of 1979
467:The Woolworths Choir of 1979
455:The Woolworths Choir or 1979
258:The Woolworths Choir of 1979
232:Price was nominated for the
224:The Woolworths Choir of 1979
112:The Woolworths Choir of 1979
2304:SCHIRN KUNSTHALLE FRANKFURT
1190:"Julia Stoschek Foundation"
987:"HERE at Baltic, Gateshead"
341:At The House of Mr X (2007)
2413:
2392:Women installation artists
1318:Trodd, Tamara (May 2019).
796:John Girth (4 July 2013).
139:She is a former member of
16:British artist (born 1966)
1031:Charlesworth, JJ (2010).
594:Elizabeth Price's Website
30:
2001:"Elizabeth Price: Choir"
1637:"Turner Prize Catalogue"
1164:"Stanley Picker Gallery"
832:stanleypickergallery.org
828:"Stanley Picker Gallery"
1763:www.vanartgallery.bc.ca
1339:10.1111/1467-8365.12451
428:Nottingham Contemporary
2148:Check date values in:
2077:Check date values in:
1168:Stanley Picker Gallery
1101:"At the House of Mr X"
1009:Check date values in:
533:and management expert
527:USER GROUP DISCO (2009
274:you might recognise."
219:British School at Rome
169:Putteridge High School
2372:Artists from Bradford
1403:www.moussemagazine.it
221:, where she realised
191:in Fine Art from the
2387:Turner Prize winners
1426:"British Art Show 7"
448:Hessel Museum of Art
368:At The House of Mr X
351:At The House of Mr X
185:Royal College of Art
177:University of Oxford
171:before moving on to
163:. She was raised in
116:The User Group Disco
78:Royal College of Art
2397:Women video artists
2169:(9 December 2019).
1960:. 30 September 2016
808:on 22 December 2017
549:and materials from
432:Plymouth Art Centre
416:to laugh at them."
200:Kingston University
193:University of Leeds
83:University of Leeds
1958:Circa Art Magazine
1861:. 6 September 2014
1561:"User Group Disco"
1477:"User Group Disco"
1294:"User Group Disco"
1219:www.thecrimson.com
1194:DĆ¼sseldorf stories
834:. 1 September 2011
377:Harvard University
204:Wysing Arts Centre
155:Price was born in
147:and The Carousel.
2382:People from Luton
2300:"ELIZABETH PRICE"
2104:www.ashmolean.org
2005:www.newmuseum.org
1885:Frans Hals Museum
1784:"Elizabeth Price"
1536:"Elizabeth Price"
1457:. 3 February 2012
1353:"Elizabeth Price"
1274:. 5 December 2019
705:Independent.co.uk
545:ās excavation of
234:2012 Turner Prize
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126:2012 Turner Prize
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730:Archived
577:See also
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157:Bradford
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940:Discogs
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547:Knossos
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