Lecturer in Fine Art
BA, Brighton, MA, Royal College of Art
Multi-part projects, to which other specific artists or cultural producers are invited by Rushton to contribute, seeking to question spaces and appropriate places for the presentation and discussion of the socio-political art object or event.
Emma Rushton is currently developing a new body of work ‘The Wailing Project’ through a website and exhibition ‘Sinister Island’ and series of events. The Wailing Project will begin with an open call and week of activation of the gallery space at APT, Deptford, London in August 2018.
Prior to a recent break in her practice, she was involved in TRAFFIC, a cross European arts programme set up by Lokaal 01, Antwerp, involving artists and art schools in the UK, The Netherlands, Belgium and Germany in a moving programme of events, discussions and exhibitions. Rushton was invited to contribute to the summer school ‘Mobile Autonomy’ at Middleheim Museum, Antwerp, in August 2015, alongside Thomas Hirschorn and Media Raqs collective.
Emma Rushton worked as part of the collaborative Emma Rushton and Derek Tyman from 2000 to 2016. Their solo exhibitions include: Dread of Scarcity, Fear of Abundance, Simultanhalle, Koln, Germany, 2015; Fear of the Surplus, The Tetley, Leeds, 2013/2014; The Good Life, Lanternhouse, The Lake District, 2011/2012; The Argument is not finished and the stage is still being built, Argument Arts Space, Tilburg, The Netherlands, 2012; Piccadillyland, Art on the Underground, London, 2009; The Wild, Crescent Arts, Scarborough, 2008; Will Someone Stop You…? Artis Den Bosch, The Netherlands, 2007; Unit 2 Gallery, London and 1a Space, Hong Kong, China (both 2006), Castlefield Gallery, Manchester and City Art Gallery, Leeds, England (both 2005); Konstakuten, Stockholm, Sweden (2004); Lokaal 01, Breda, The Netherlands (2003).
Rushton and Tyman’s final projects together: Gnawed by Rats, focused on the theft of the commons, as artists in residence in Lincoln (2015/16) revisiting the Magna Carta and Charter of the Forests, and; Where Do I End and You Begin at Edinburgh Arts Centre as part of Edinburgh Arts Festival (31 July – 19 October 2014), where they commissioned a video lecture by Andy Whiteman, exhibited within Rushton and Tyman’s Flaghall. Scheduled live events as part of Rushton and Tyman’s project entitled Stop Thief! took place on: 2, 30, 31st August, 2, 19 October, 2014.
A short film LIAR was commissioned by Imove in 2011 and has since been shown in Rotterdam at Urban Video Lounge, with Lokaal 01, the Netherlands and most recently in 2014 with Chester film and video cooperative.
Rushton and Tyman undertook a number of residencies whilst working together. From 2011 to 2012 they developed The Good Life as a residency at Lanterhouse, The Lake District, UK. In 2006 they participated in the international residency programme at 1a Space, Hong Kong. During 2004 – 2005 they were Artists-in-Residence for ASSEMBLY 05, Bath. Rushton and Tyman were artists in residence in Lincoln to develop a project as part of Magna Carta Lincoln Voices programme 2015 – 2017. Their project explored the history and contemporary relevance of Magna Carta and Charter of the Forests, focusing in particular on the Theft of the commons and seeking alternative voices about the Charters. To begin Gnawed by Rats, they invited historian Peter Linebaugh to present a lecture in the Victorian Prison within Lincoln Castle on 15 June 2015, 800 years to the day, since the sealing of the Magna Carta in 1215. Linebaugh’s talk “The Future of the Charter’s of Liberty in the 21st Century: From homo idioticus to femina communis” set the scene for the project and can be viewed at: http://thisistomorrow.info/broadcasts/view/precorded-broadcast-a-talk-by-historian-peter-linebaugh
Emma Rushton works with public bodies and galleries and artist run spaces. As part of the collaboration Emma Rushton and Derek Tyman (2000 – 2015) research focused on particular locations, historical and fictional events to examine notions of public/civic space and place and ideas of belonging, resistance and protest. As part of her collaborative and individual practice she often invites others – artists, writers, historians, economists, sociologists, curators, musicians, into her projects. She is interested in where art gets shown, to whom, as what, and when, and who gets to make those decisions.
The practice of Rushton and Tyman responded to context and location. Fear of The Surplus, the opening exhibition at The Tetley, Leeds (Nov 2013 – Jan 2014) focused on ‘work’ and ‘scapegoats’. Fear of the Surplus involved a series of lectures taking place on a purpose built hand painted stage situated in the atrium of the former brewery. Speakers included Zygmunt Bauman, Nina Power, Mark Fisher, Guy Standing. For The Good Life, Lanterhouse, Ulverston (2011/2012) Rushton and Tyman constructed a copy of Henry David Thoreau’s cabin in the woods in Miterdale Forest, The Lake District, where writers, philosophers and artists were invited to spend time doing nothing – contemplating the good life. The Argument is not finished and the stage is being built, Argument Arts Space, Tilburg (2012) brought together an unfinished stage, a text, curtain and a burned out car, responding to shared responses to political situations developing in The Netherlands and the UK. Piccadillyland (2009) formed part of Thin Cities for Art on the Underground, London. The publication Piccadillyland was produced in the format of a fiction novel which brought together all the quotes in fictional novels relating to the Piccadillyline into one interwoven text. Copies were given away free on the Piccadillyline. Will Someone Stop You…? Artis Den Bosch, The Netherlands, 2007, focused on the flight of Mathais Rust, the young West German who in 1987 flew into Red Square, Moscow, in the then USSR.
Emma Rushton works mainly with the final year BA Fine Art students in Studio Practice, towards their degree exhibition and the provision of professional practice. She also contributes to levels 1 and 2 and the MA programme. Her specialisms include: Collaborative practice, relational aesthetics and socially engaged practice; alternative spaces, text and publications; sculpture and video, feminist and political practice.
Rushton lectured previously at Falmouth College of Art, Staffordshire University, Goldsmiths University, University of Central Lancashire, Sheffield Hallam University, Kingston University. She has acted as external examiner on Fine Art or Contemporary Practice BA and MA courses at University of Central Lancashire, Sheffield Hallam University and University of Glamorgan.
(2012) Argument. Tilburg, The Netherlands: Argument.
(2009) Piccadillyland. 1. London, England: Art on The Underground.
(2007) Flying Down to Moscow. 1. London: Wild Pansy Press.
(2005) Yourland. 1. Wild Pansy Press.
(2000) CAMPAIGN. Milch.
(2009) Looking Back.
(2009) “Piccadillyland”, In: Piccadillyland. 1. London: Art on The Underground.
(2008) “Ik I Ben Am Artis”, In: Ik I Ben Am Artis. Den Bosch, The Netherlands: Artis.
(2008) “Piccadillyland”, In: Shaw S; Wade G (eds.) Thin Cities. 1. London: Art on The Underground.
(2005) “Here and There, Then and Now”, In: O'Brien P (eds.) Here and There, Then and Now. 1. 1. Oakvile Galleries. pp.15 -26 -21+
“B- SIDES AND RARITIES EXTRA CITY”, In: B sides and rarities.
Know Your Place, Flaghall exhibited in collaboration with Derek Tyman.
North West Open.
The Good Life.
Gnawd by Rats.
Fear of the Surplus.
Dread of Scarcity, Fear of Abundance.
Flying Down to Moscow.
Nature Culture Wanchai.
Something Rotten in the State of Europe.
In This Place.
Bath Democratic Assembly.
(2007) 'Will someone stop you...?' An installation exhibited at Artis Gallery s'Hertogenbosch, Netherlands, 30th September - 4th November 2007.
(2006) 'Turf:Garden in To Kwa Wan' an installation exhibited at 1a Space, Unit 14, Cattle Depot Artists Village, Hong Kong 18th March - 23rd April 2006.
(2005) 'Food From Elsewhere' a multi-media event exhibited at Castlefield Gallery, Manchester 11th February - 3rd April 2005.
(2003) 'You Are At Home Here' - An installation exhibited at Lokaal 01 Gallery, Breda, The Netherlands 23rd September - 23rd December 2003.
Research Centres & Groups
Critiques of Capitalism
PhD & Postdoctoral Supervision
Interested in supervising PhD students who have or are interested in challenging ideas of audience inclusivity and the spaces for the exhibition of art, socially engaged critical art practice, feminist practice, those exploring alternative methods of curating, collaborative practice in its many forms.