Professor Matthew Cornford is an artist, researcher and course leader for the BA(Hons) Fine Art Critical Practice course.
Matthew Cornford worked in association with Professor John Beck on a research project to find and document the sites of former British Art Schools. Their book The Art School and the Culture Shed was published in 2014. For twenty-five years Matthew Cornford worked in artistic collaboration with David Cross; Cornford & Cross becoming internationally known for their site-specific projects and gallery interventions, a monograph on their work was published by Black Dog in 2009.
Professor Matthew Cornford is an artist, researcher and course leader for the BA(Hons) Fine Art Critical Practice course. Matthew Cornford is currently working on a major photographic survey of former British art schools. Working in collaboration with Prof. John Beck (University of Westminster) the project explores the place of art schools and art students in local, regional and national terms.
Matthew Cornford’s current research into British art schools, has generated considerable interest and a number of outputs, including a paper at Tate Britain (2011), refereed journal article (2012), book The Art School and the Culture Shed (2014), radio show for Resonance 104.4 FM (2017) and forthcoming exhibition at the Bluecoat, Liverpool in 2018.
'We believe the closure of independent art schools eliminated a key public resource for many communities, and are interested in the ways the sites of art schools represent a material space for critical remembrance. Images of art school sites that are now car parks or luxury flats can, as the responses we have encountered during our talks indicate, prompt a consideration of pressing contemporary issues relating, not just to art education, but to urban planning, gentrification, social and cultural exclusion, and economic inequality.'
John Beck and Matthew Cornford 2016
Cornford has published refereed articles on contemporary fine art education and the pioneering ‘Student Placement Scheme’ developed with his colleague Susan Diab on the BA (Hons) Critical Practice course at Brighton.
For 25 years Matthew Cornford worked in collaboration with David Cross, whom he meet at St Martins School of Art, London in 1987. Cornford & Cross are known for their ambitious site-specific projects and gallery interventions.
Their work has been shown in numerous exhibitions and galleries including – Aspex Gallery, Portsmouth; Brighton Photo Biennial; Camden Arts Centre, London; EAST International, Norwich; Exchange Gallery, Penzance; ICA, London; Northern Gallery for Contemporary Art, Sunderland; Photographers’ Gallery, London; South London Gallery, London; Wolverhampton Art Gallery, plus a number of group exhibitions in Europe and the USA. Cornford & Cross carried out an Arts Council residency at the London School of Economics and a British Council residency at Vitamin Creative Space in Guangzhou, China. In 2009 they completed the design, production and editing of a 192-page monograph Cornford & Cross, which features 33 of their art projects from 1995 until 2007; published by Black Dog, London. Cornford & Cross’s work is represented by Division of Labourxz.
Matthew Cornford’s concern with context and post-studio practice has led him to visit and photograph a number of major land art works in North America and Europe. These include Agnes Denes’s Tree Mountain, Finland; Robert Smithson’s Spiral Jetty, Utah, USA and Broken Jetty/Spiral Hill, Emmen, Netherlands; Michael Heizer’s Double Negative, Nevada, USA; Walter de Maria’a Lightning Field, New Mexico; Nancy Holt’s Sun Tunnels, Utah, USA;
Robert Morris’s Observatory Flevoland, Netherlands and Constantin Brâncusi’s Endless Column, Târgu Jiu, Romania.
Matthew Cornford’s teaching experience encompasses the development and delivery of undergraduate and postgraduate taught courses and the management of Fine Art programmes. He has supervised 6 PhD students to completion, externally examined 2 PhDs and chaired 3 PhD viva’s. He has been an external examiner to undergraduate and postgraduate courses at the Byam Shaw School of Art (2009-11), Central St Martins College of Art & Design (2001-5), Leeds College of Art & Design (2006-9) and Goldsmiths College, University of London (2012-16). He served as a panel member for the BA (Hons) Fine Art course revalidation at Middlesex University (2010) and the Fine Art programme revalidation event at Kingston University (2011).
Matthew Cornford has experience in successfully bidding for external research funding Arts and Humanities Research Council and Arts Council England, managing academic researchers and externally funded research projects. His research outputs have been submitted in the 1996, 2001 and 2008 RAE (Research Assessment Exercise) and 2012 REF (Research Excellence Framework). He has given numerous talks and lectures about his work, in galleries and educational institutions across the country including Glasgow School of Art, Royal College of Art, Tate Britain, University College London, V&A Museum and Whitechapel Gallery. He was awarded a professorship from the University of Wolverhampton in September 2005, and joined the University of Brighton as Professor of Fine Art in April 2009.
Exploring the historical trauma of the English Civil War and its relation to cultural memory and contemporary politics
Exploring the effects of modern technology on visual culture and the human psyche
A site-specific installation about the limits of art, ecology and consumer culture
Cornford, Matthew (2016) How Do You Write a Risk Assessment for Lips of Thomas? Performance Research, 21 (6). pp. 107-112. ISSN 1352-8165
Cornford, Matthew (2016) Old School: The Case for Specialism in Art Education In: Blamey, D., ed. Specialism. Open Editions, London, pp. 21-35. ISBN 9780949004017
Cornford, Matthew and Diab, Susan (2014) The student placement scheme: teaching and learning post-studio practice Journal of Visual Art Practice, 13 (1). pp. 41-49. ISSN 1470-2029
Beck, John and Cornford, Matthew (2014) The Art School and the Culture Shed The Centre for Useless Splendour, Kingston University, Kingston upon Thames. ISBN 9781908811097
Cornford, Matthew and Cross, David (2012) The white bear effect: the effects of modern technology on visual culture and the human psyche [Exhibition]
Beck, J. and Cornford, Matthew (2012) The art school in ruins Journal of Visual Culture, 11 (1). pp. 58-83. ISSN 1470-4129
Cornford, Matthew and Cross, D. (2010) It Happened Here [Exhibition]
Cornford, Matthew and Cross, David (2008) The once and future king [Exhibition]
Cornford, Matthew and Cross, David (2008) The Lion and the Unicorn [Exhibition]
Dr Matt Smith, A critical intervention into the queer potential of craft objects and their role in ‘queering’ museum and gallery spaces. Director of Studies, University of Brighton.
Dr Daniel Pryde-Jarman, A critical study of the ways in which independent artist-run gallery-spaces are constructed and how their forms and content can be seen to constitute spaces of ‘otherness’, ‘resistance’, and ‘liminality’. Second supervisor, Coventry University.
Dr Robert Grose, Instances of the Emergence of the Documentary Real within Relational and Post-Rational Political Aesthetics. Second supervisor, University of Wolverhampton.
Dr Mat Dalgleish, A Creative Interface: Developing an Expressive System for Intuitive Digital Interaction. Second supervisor, University of Wolverhampton.
Dr Mark Wilsher, Negotiation Theory as Model for Dialogical or Relational Art Practices in the Public Realm. Second supervisor, Norwich School of Art & Design.
Dr John Roberts, The Logics of Deflation: Autonomy, Negation and the Avant-Garde (PhD by publication) Director of Studies, University of Wolverhampton.
PhD examination, University of Falmouth.
PhD examination, Winchester School of Art, University of Southampton.
BA (Hons) Fine Art & History of Art, Goldsmiths College, University of London.
Postgraduate Certificate Fine Art, Byam Shaw School of Art at St Martins School of Art & Design, University of the Arts London.
School of Fine Art, programme revalidation, Kingston University, Kingston upon Thames, London.
BA (Hons) Fine Art, course revalidation, Middlesex University, London.
MA Fine Art, Byam Shaw School of Art, St Martins School of Art & Design, University of the Arts London.
BA (Hons) Art & Design Interdisciplinary, Leeds College of Art, Leeds.
BA (Hons) Graphic Design, Central St Martins College of Art & Design, London.
Co-authored with David Cross and Alistair Robinson, Northern Gallery for Contemporary Art, bid to Arts Council England (£44,000), for national touring exhibition.
Co-authored with Antonia Payne three-year AHRC (Arts and Humanities Research Council), Research Fellowship bid (£137,000). Kathrin Böhm appointed, School of Art & Design, University of Wolverhampton.
Authored three-year Arts Council England fellowship bid (£30,000). Paul Rooney appointed, School of Art & Design, University of Wolverhampton.
Co-authored with David Cross and Film and Video Umbrella, bid to Lottery Film Production fund of the Arts Council England (£33,000); for production of ‘Childhood’s End’, film and video project, and national touring exhibition.
Authored three-year AHRB(Arts and Humanities Research Board), Research Fellowship bid (£100,000). Gill Burdett appointed, School of Art & Design, University of Wolverhampton.
‘Old School: The Case for Specialism in Art Education’, edited by David Blamey, Specialsim,published byOpen Editions / Occasional Table, London, pp. 21-35
‘Mobilizing Uncertainty’, co-author David Cross, edited by Elizabeth Fisher and Rebecca Fortnum, On Not Knowing: How Artists Think, published by Black Dog, London, pp. 34-41
‘A Dialogue on Art School’, co-author David Cross, edited by Paul O'Neill and Mick Wilson, Curating and the Educational Turn, De Appel Arts Centre, Amsterdam, pp. 262-270
‘Unrealised Projects’, co-author David Cross, edited by Malcolm Miles (ed) New Practices / New Pedagogies, Taylor & Francis (Routledge) Lisse, Netherlands.
‘Where is the Work?’ chapter for book, co-author David Cross, edited by Sharon Kivland and Lesley Sanderson, Transmission: Speaking and Listening, Site Gallery and Sheffield Hallam University, pp. 48-56
‘Live Adventures’, chapter for book, co-author David Cross, edited by Iain Borden, Joe Kerr, Alicia Pivaro and Jane Rendell, The Unknown City; Contesting Architecture and Social Space, MIT Press, USA, pp 328-339.
‘How do you Write a Risk Assessment for Thomas Lips?’, edited by Ric Allsopp and Michael Hiltbrunner, Performance Research – special issue On Radical Education, volume 21, issue 16.
‘The Student Placement Scheme: Teaching and Learning Post-Studio Practice’, co-author Susan Diab, The Journal of Visual Art Practice, Vol 13, Issue 1, March 2014, pp. 41-49.
‘The Art School in Ruins’, co-author John Beck, Journal of Visual Culture, volume 11, number 1, April 2012, pp. 58-83.
‘Takin’ it to the Streets’, essay on Mark McGowan, Can Altay and Sam Curtis, edited by Sophie Hope, IXIA Public Art Think Tank, website.
‘Inside Outside’, co-author David Cross, edited by John Roberts and Stephen Wright, Third Text special issue on collaboration, volume 18, issue 6, November, pp. 657-665.
‘Cosmopolitan’, co-author David Cross, edited by Jane Rendell, Public Art Journal, volume 1, number 2. London, pp. 54-55.
The Work of Hipgnosis: Walk Away Rene – text for recommended library book Welling School, Bexley, London.
‘Afterword’, for book. Edited by Sarah Rowles and Jo Allen, 15 Methods: 20 Questions, published by Q-Art, London, pp. 303-305.
‘Home Counties Surrealism: The forgotten art of Marcus Keef’, co-author John Beck. Edited by John L. Walters, Eye: The International Review of Graphic Design, number 68, volume 17, Summer, pp. 52-53.
‘The Impossible Risk Assessment’, Risky Business, art and design, teaching and learning conference, Sheffield Hallam University, 12 July.
‘Archiving the Art School’, Matter and Meaning: Materiality and the Visual Arts Archive,organised by the ARLIS Committee for Art and Design Archives (CADA) in collaboration with the University of Brighton Design Archives, 23 September.
‘Post Studio Practice and the Student Placement Scheme’, co author Susan Diab,Transitions Out of Fine Art Education, Q-Art symposium at The Glasgow School of Art, 25 June.
‘The Art School, the Art Student and the Post 1992 University’ co author Susan Diab, The Hidden Curriculum, NAFAE / National Association for Fine Art Education, Annual Symposium, London Metropolitan University, 22 January.
‘No Future’in conversation, Be Reasonable Demand the Impossible: a celebration of Malcolm McLaren on the 40th Anniversary of the first Sex Pistols gig, Central St Martins School of Art, Kings Cross, London, 6 November.
‘Researching the British Art School’, research symposium, University of Huddersfield, 10 September.
‘From the Local Art School to the Culture Shed’, Green and Golden symposium,“Inspired by Beck and Cornford’s book The Art School and The Culture Shed” Swansea College of Art,University of Wales Trinity Saint David, Swansea, 27 June.
‘The Document in Relation to Art Education’, Play Sense: Talking symposium,Gerald Moore Gallery, Eltham College, London, 23 May.
‘The Art School and the Culture Shed’ co author John Beck, Education Eliminationism & Cultural Colonization: A HEAT Symposium, University of Westminster, London,7 November.
‘From the Local Art School to Globalised Bohemia’ co author John Beck, Winchester School of Art, University of Southampton, 8 May.
‘Student Placement Scheme: Teaching and Learning Post-Studio Practice’ co author Susan Diab, National Association for Fine Art Education, symposium held at the Swedenborg Society Hall, London, 31 March
‘In Conversation’, discussing the The Art School and The Culture Shed with Dean Kenning, the Old Swan Pub, Kingston University, Kingston, 4 December.
On Not Knowing: How Artists Think symposium, Kettle's Yard, Cambridge.
‘Homogeneity or Diversity in Art Education?’, The Higher Education Academy Teaching in Practice conference, Victoria & Albert Museum, London, 28 June
‘Art School Attitude’, polemic for What’s the Point of Art School? Central Saint Martins College of Arts and Design, University of the Arts London, 25 April
‘Cornford & Cross, The White Bear Effect’, Embodied Cognition and Mental Simulation, The Lure of the New, The Annual Conference of the Cognition Institute, Plymouth University, 22 March.
‘The Lost World of the Local Art School’, co author John Beck, Prospectus, Chelsea College of Art & Design, London, 26 May.
‘The Art School vs the Culture Quarter’, co author John Beck, Stanley Picker Public Lecturer Series, Kingston University, venue upstairs at the Cricketers pub, 20 Fairfield South, Kingston, 8 May
‘It Happened Here / Turfing Over History’, in conversation with Peter Seddon. Session Seven: ‘Art, Conflict and Memory: from Civil War to Cold War’ Social History Society 37th Annual Conference, University of Brighton, 4 April.
‘Then and Now: Art, Image, Politics’, conference, Art, Image, Politics, John Hansard Gallery, University of Southampton, Southampton, 10 March.
‘Cornford & Cross Projects’, Art by Commission? Institut für Kunst im Kontext, Universität der Künste, Berlin, 25 February.
‘The Art School and the Culture Shed’, co author John Beck, The Corporate Occupation of the Arts, Occupy LSX / The Bank of Ideas, London, 14 January.
‘The Lost World of Provincial British Art Schools’, co author John Beck, Reflections on the Art School, Tate Britain, London, 8 July.
‘The Art School in Ruins’, co author John Beck, Ruins Seminar, Newcastle University, Newcastle.
‘Excavating the British Art School’, co author John Beck, Art Schools: Inventions, Invective and Radical Possibilities, University College London, London, 12 June.
‘Excavating the British Art School’, Utopics in Art and Architecture, Chelsea College of Art and Design, London, 5 June.
Being There: Making Art in Context’, Inaugural Lecture, Sallis Benney Theatre, University of Brighton, Brighton, 22 April.
‘Projects by Cornford & Cross’, Social Places, The Courtyard Arts Centre, Hereford , 6 November.
‘Past, Present and Future: recent projects by Cornford & Cross’, Living Landscapes: Landscape & Environment, Aberystwyth University, Wales, 19 June
‘The Abolition of Work’, co author David Cross, Spatial Politics: The Physical Dimensions of Curating, ICA (Institute of Contemporary Art) London, 29 April.
‘Art Schools & Art Education’, Question Education, Initiative & Institution Department of Architecture and Spatial Design, London, Metropolitan University, 8 March.
‘Art Schools as Research Centres’, Mapping as a Tool, Stanley Picker Gallery, Faculty of Art and Design, Kingston University, Greater London, 6 February.
‘Risk’, co author David Cross, Manifesto of Possibilities, Wellcome Trust Conference Centre, London, 31 January.
‘Projects by Cornford & Cross’, co author David Cross A setting in Search of a Celebratory Ending, Spike Island, Bristol, 23 November.
‘The Importance of Provincial Art Schools’, Education and Location, Spike Island, Bristol, 8 September.
‘The Importance of Provincial Art Schools’, Art Schools in Crisis? Models for the 21st Century,Hayward Gallery, London, 10 March.
‘Cornford & Cross, New Holland’, The Rural Art Space, The Music Hall, Shrewsbury, 17 January.
‘Cornford & Cross, Childhood’s End’, Diffusion: Collaborative Practice in Contemporary Art, Tate Modern, London, 23 October.
Critically Engaging with Architecture and the City’, Interventions in the city symposium Department of Architecture and Spatial Design, London Metropolitan University, 4 April.
Unrealised: Projects, one-day colloquium organised by Cornford & Cross, Nylon Gallery, London, 16 November.
‘Commissioning Artists’, Working with Artists, Lighthouse Media Centre, Wolverhampton, 24 November.
‘Cornford & Cross, Self Curation’, East: Extra Curatorial Practices, Norwich Gallery, Norwich School of Art & Design, Norwich, 22-23 November.
‘Research and Fine Art Practice’, Modern Universities Research Group Annual Conference, Regent’s College, London, 20 September
‘Cornford & Cross, Making Work in Context’, Living in a Material World, School of Art and Design, Coventry University, 25 June
Future Gallery, speakers: Public Works; Kai Peters, Ashridge; Barbara Stevini APG (Artists Placement Group) and O + I (Organisation and Imagination); Kay Winsper, Siemens UK, Public Works studio, London, 2 November.
Chris Evans Radical Loyalty, Studio Voltaire, London, 8 June.
Hereford College of Arts, Hereford.
Panel discussion Sluice Art Fair, London.
Guest selectors talk, East Sussex Open, Towner Art Gallery, Eastbourne
University for the Creative Arts, Farnham; Middlesex University, London.
De La Warr Pavilion, Bexhill-on-Sea.
Sheffield Hallam University, Sheffield; Southampton Solent University, Southhampton
Del La Warr Pavilion, Bexhill on Sea; Whitechapel Gallery, London; IKON Gallery / Birmingham Institute of Art and Design, Birmingham.
Middlesex University, London; Norwich School of Art & Design, Norwich.
Exchange Gallery, Penzance, Cornwall; Pump House Gallery, London;
Aspex Gallery, Portsmouth.
Northern Gallery for Contemporary Art, Sunderland; Lethaby Gallery, Central Saint Martins College of Art and Design, London.
Castlefield Gallery, Manchester; ArtSway, New Forest, Hampshire; Arts Council England, London; British Council, London; Vitamin Creative Space, Guangzhou, China; University of Central Lancashire, Preston.
The London Consortium Summer School, Tate Modern; Norwich School of Art and Design, Norwich; University of the Arts, Philadelphia, USA; Bartlett School of Architecture, University College London.
Byam Shaw School of Art, London; Fine Art Department, Middlesex University, London; Arnolfini Gallery, Bristol; University of Roehampton, London; Slade School of Fine Art, University College London; Royal College of Art, London.
Camden Arts Centre, London; Site Gallery / Sheffield Hallam University, Sheffield; Kingston University, London.
Norwich School of Art and Design, Norwich; Mead Gallery, Warwick University, Coventry; Bartlett School of Architecture, University College London; School of Architecture, University of Nottingham.
Norwich School of Art and Design, Norwich; King Edward VI School, Norwich; Chelsea College of Art and Design, London.
Central St Martins College of Art & Design, London, Royal College of Art, London.
Slade School of Fine Art, University College London; Norwich School of Art and Design, Norwich; Institute for Contemporary Arts, London.
Camberwell College of Arts, London.
‘No Future’ editioned T-shirt showing an image of the former St Martins School of Art and list of all the art schools attended by Malcolm McLaren. For Be Reasonable Demand the Impossible: a celebration of Malcolm McLaren on the 40th Anniversary of the first Sex Pistols gig, Central St Martins School of Art, Kings Cross, London, 6 November.
‘Unit Structure’ editioned screen-print showing my diagram for the revised module structure for the Fine Art programnmne at the University of Brighton.
Cornford & Cross
The following exhibitions, projects and publications are co-authored with David Cross whom I met and began working with at St Martins School of Art, London in 1987.
‘Plan Materials’(two person show with Andrew Lacon) part of the Brighton Photo Biennial. Exhibition of complete ‘Afterimage’ series – aluminium substrate after removal and destruction of artists’ photographs.
The White Bear Effect, LED screen showing Olympic highlights, The White Building, opposite the Olympic Park, London.
It Happened Here, formal garden replaced with turf from Ulster, The Commandery, Worcester.
The Lion and the Unicorn, maximum safe load of coal laid on gallery floor, Wolverhampton Art Gallery.
The Abolition of Work, artists’ fee and budget in one-penny coins laid on gallery floor, Exchange Gallery, Cornwall.
Cornford & Cross, ‘Fire Down Below’, geometry of gallery doorway outlined in red silk ribbon, plus photographs and texts on paper, Aspex Gallery, Portsmouth.
Cornford & Cross, photographs and texts on paper, Pump House Gallery, London.
Trance Nation, helicopter and searchlight over summer Solstice gathering, live art event in collaboration with Milton Keynes Gallery, Milton Keynes (dawn to sunrise, 21 June 2007)
Words are not Enough, temporary peace garden over abandoned nuclear bunker; public talk by Professor Paul Gough, Camberwell, London
Where is the Work?, photographs and texts on paper, Northern Gallery for Contemporary Art, Sunderland.
‘Childhood’s End’, anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation, Out of Conflict, joint exhibition with Catherine Elwes, ArtSway, New Forest (catalogue).
The Lost Horizon, computer screensaver of fantasy landscape generated from financial data, London School of Economics, London.
10, ten photographs on canvas, text on paper, Basekamp Gallery, Philadelphia, USA.
Unrealised: Projects, photographs, scale model, texts on paper, Nylon Gallery, London.
Childhood’s End, anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation, Margaret Harvey Gallery, University of Hertfordshire.
Childhood’s End, anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation, Norwich Gallery, Norwich School of Art & Design (catalogue).
Cosmopolitan, USA marriage agency interviews with Russian women, video projection, shipping container, Nikolai Fine Art, New York City, USA
10, beauty contest judged by facial recognition software, ten photographs on canvas. Montage Gallery, Derby (catalogue).
Power to the People, record collectors’ fair in art gallery, live art event, Bluecoat Gallery, Liverpool (catalogue).
Look Who’s Talking, steel girder, television suspended from ceiling Herbert Read Gallery, Kent Institute of Art & Design, Canterbury.
Interpretations, Second World War photographs of Allied night bombing raids, printed ink-jet on canvas and Calais lace on canvas, joint exhibition with Dominique Auerbacher, Folkestone Library Gallery, Kent.
Cultural Exchange, 35mm film canisters, hypodermic syringes, posters, Gallery 10 00 22, Stockholm, Sweden.
Take my Breath Away, wall installation of military, industrial and consumer goods, Metro Cinema, Leicester Square, London.
‘Black Narcissus’ still photograph and text on paper. Please Empty Your Wallets, Museum of Modern and Contemporary Art, Rijeka, Croatia.
'Afterimage III’ aluminium substrate after removal and destruction of artists’ photographs + photographic prints. Division of Labour Gallery at Art Brussels, Belgium.
‘Trance Nation’ photographic documentation Dialogues, Division of Labour Gallery, London Art Fair, London.
‘Afterimage III’ aluminium substrate after removal and destruction of artists’ photographs – ‘Praxis’, white Greek marble cut into A4 block.
Collaborate, Oriel Sycharth Gallery, Glyndwr University, Wrexham, Wales.
A Month in the Country’,rights managed commercial stock photographs hired for one month, then whitewashed over, framed photographs, whitewash and text on paper. Homage to January, Worcester City Gallery & Museum, Worcester.
‘Praxis’, white Greek marble cut into A4 block, The Ends of Art, Beton7,
‘The White Bear Effect’,LED screen showing Olympic highlights.
Everything Flows: The Art of Getting in the Zone, De La Warr Pavilion, Bexhill-on-Sea.
Dear Lynda … commissioned by Matthew Higgs an international touring exhibition celebrating the work of curator, art historian, writer, patron and muse Lynda Morris. White Columns, New York; Chelsea Space, London; Norwich University of the Arts; Eastside Projects, Birmingham; Cooper Gallery, Duncan of Jordanstone College of Art and Design, Dundee.
The End of History’, photographic print and text on paper. Scope: New Photographic Practices, Visual Art Gallery, Tsinghua University, Beijing, China.
‘Childhood’s End’, anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation. Division of Labour, Art Vilnus 11, Lithuania.
‘The Treason of Images’, photographic prints and text on paper. Afghanistan, Wolverhampton Art Gallery.
‘Why Read the Classics?’, photographic print and text on paper. Bedizzended, APT Gallery, London.
‘The Man Who Sold the World’, two Georgian pennies hidden in crypt. Atlas: Separated by Intervals, The Crypt Gallery, St Pancras Church, London (catalogue).
‘The Once and Future King’, garden well, ‘crowned’ by razor wire, site-specific installation. Give Me Shelter, Attingham Park, Shropshire.
‘Unrealised Projects’, photographic prints and texts on paper. T/raum(a)'68, Cultuurcentrum, Brugge, Belgium (catalogue).
‘A Month in the Country’,rights managed commercial stock photographs hired for one month, then whitewashed over, framed photographs, whitewash and text on paper, Obliterated Landscape, Matthew Bown Gallery, London.
‘Why Read the Classics?’ film lamp projected, onto photographic reflector, placed behind headless Roman statue. Tra Monti, City of Rome, Italy.
‘How Buildings Learn’, doorway blocked by archive material and ‘Civilization and its Discontents’, square black flags flown from cultural buildings. Values 11th International Biennial of Visual Arts Pancevo, Serbia and Montenegro (catalogue).
‘Where is the Work?’,cast of cast iron floor grille. Perfectly Placed, permanent site-specific installation, South London Gallery.
‘Camelot’, photographic print and text on paper. Tales of the City, Artefiera, Bologna, Italy (catalogue).
‘Childhood’s End’, anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation. Longitude, Latitude, Season, Catalyst Arts, Belfast, Northern Island.
‘A Month in the Country’ rights managed commercial stock photographs hired for one month, then whitewashed over, framed photographs, whitewash and text on paper. A Period Eye, Norwich Castle Museum, Norfolk (catalogue).
‘Cosmopolitan’,sound recording of marriage agency interviews with Russian women. Civic Centre, one-day conference at the Victoria & Albert Museum, London.
‘How Buildings Learn’,doorway blocked by art books. Let’s Get to Work, Philadelphia University of the Arts, Philadelphia USA.
‘Jerusalem’,photographic print on canvas and text on paper, ‘Utopia’, photographic print on watercolour paper and text on paper. Remote, The Photographers’ Gallery, London.
‘Jerusalem’, photographic print on canvas. Look Out, National touring exhibition,Wolverhampton Art Gallery, Bluecoat Gallery, Liverpool; Ipswich Museum & Art Gallery; Pitshanger Museum & Art Gallery, London (catalogue).
‘Childhood’s End’, anarchy symbol drawn by fighter jet in the sky, shown as two-screen video installation. Utopias, Mead Gallery, Warwick University (catalogue).
‘Utopia’, restored ornamental pond, food dye, fountains. In the Midst of Things, Cadbury’s Bourneville Village, Birmingham (catalogue).
‘Jerusalem’, statue cast from bullet lead, on Caen stone plinth located on the playing-fields of the King Edward VI School, Norwich. East International, Norwich Gallery.
‘Cosmopolitan’, videos of marriage agency interviews with Russian women, projected from the back of a steel-shipping container. ISEA 98, outdoor video installation, the Pier-head, Liverpool (catalogue).
'10’, digital ink-jet print on canvas, photographic prints and text on paper. Cap Gemini Art Prize, ICA (Institute for Contemporary Arts) London.
‘10’ Photographs on canvas, text on paper. What Difference Does It Make? Cambridge Darkroom, England.
‘Cosmopolitan’, videos of US marriage agency interviews with Russian women. EBC TV, video screenings, ICA (Institute of Contemporary Arts) London.
‘Golden Triangle’, three small radios tuned to three different stations. Backpacker, Chiang Mai City, Thailand.
‘Cosmopolitan’, videos of marriage agency interviews with Russian women October 1917-1997, Norwich Gallery.
‘New Holland’, steel agricultural structure and sound system located outside the Sainsbury Centre for Visual Arts, University of East Anglia. East International, Norwich Gallery.
‘Park in the Park’, architectural drawings showing the conversion of the city park into a car park. Across Two Cultures: Digital Dreams 4, Newcastle-upon-Tyne.
‘Camelot’, public space enclosed by steel security fencing, Albion Square, Stoke-on-Trent. City Limits, University of Staffordshire.
‘Operation Margarine’, paperback copy of Roland Barthes seminal book ‘Mythologies’ placed in a electric toaster. Something Else, the bookshop, Camden Arts Centre, London.
Pearl River Delta artists’ residency, Vitamin Creative Space, Guangzhou, China
in association with The British Council.
Year of the Artist’, residency, London School of Economics, funded by Arts Council England.
Plane Materials, exhibition catalogue with Andrew Lacon, essay by Elinor Morgan. Published by The Library of Birmingham (ISBN 978-0-7093-2070-4)
Cornford & Cross, monograph, 192 pages, photographs, artists’ texts, plus essays by John Roberts and Rachel Withers. Designed and edited by Cornford & Cross published by Black Dog Ltd, London (ISBN 978-1906155698)
Coming up for Air, prospectus for public monument, reference material, illustration of proposed monument and artists text, Staffordshire University.
Childhood’s End,exhibition catalogue, 52 pages, photograph, interview, plus essay by Steven Bode, published by Film & Video Umbrella, London (ISBN 978-0953863433).10, exhibition catalogue, essay by Rosemary Betterton, published by the Montage Gallery, Derby.
‘Unrealised’ texts and images. Edited by Masoud Golsorkhi, Andreas Laeufer, Mined, Tank Publications Ltd. pp. 49-55.
‘Rigby, Rachel £836.55’ front cover, Arts Council England Annual Report.
‘Camelot’, edited by Andrea Knobloch, Infection Manifesto, number 2, Haus Stein, Düsseldorf, Germany.
New Holland artist’s pages, for ‘Everything’ magazine, issue 2.3, summer.
New Holland image / text work, for ‘The Mule’ artists’ newspaper, Arts Council England.
Louise Midgely, feature on ‘The Abolition of Work’ ITV Television South West, 25 September 2007.
Abi Harper, feature on ‘The Abolition of Work’ BBC Radio Cornwall, 21 September 2007.
Charlotte Parsons, feature on ‘The Lost Horizon’ Business News, BBC Television, 27 June 2003.
Jim Boulden, feature on ‘The Lost Horizon’ European Business News, CNN International, 28 May 2003.
Henrik Schrat and Oliver Hartung, ‘The picture as index of lived experience’ 4.28, number 1, 2001, pp. 9-12.
Gavin Wade, ‘Wishful Thinking’, Untitled, spring, 2000, pp. 22-24
Ian Mood, feature on ‘Cornford & Cross’ Première Central Television, 31 January 1998.
Peter Levy, discussion about ‘10’(artists beauty contest and exhibition) BBC Radio Leeds, 6 January 1998.
Angela Heslop, interview about ‘Power to the People’ Artwaves, BBC Radio Merseyside, 27 April 1997.
Interview about ‘Camelot’ installation Central Television News, 12 September 1996.
Feature on ‘Camelot’ installation Artfile BBC Midlands television, 11 September 1996.
Peter Seddon, ‘It Happened Here: Turfing over Irish and English History’, Journal of Visual Art Practice, volume 10, number 3, 2012, pp. 263-274
Michael Petry, The Art of Not Making: The New Artist / Artisan Relationship, Thames & Hudson, 2011, pp. 56, 186-187.
Dave Beech, ‘Inside Out’. Art Monthly, number 329, September 2009, pp. 2-3.
Dave Freak, ‘The Lion and the Unicorn’, What’s On, Birmingham, November 2008
Jane Rendell, ‘Refunctioning the Infrastructure’. Edited by Ingrid Ruudi, Gas Pipe catalogue, Architecture Biennale, Venice, 2008, pp.18-21
Jane Rendell, ‘Space, Place and Site in Critical Spatial Practice’. Edited by Cameron Cartiere and Shelly Willis, The Practice of Public Art, Routledge, London, 2008.
Simon Burt (photograph) ‘The Big Picture’, Daily Mirror, September 28 2007, p. 2
Simon Burt (photograph) Metro, London, September 2007, 28, p. 4
Sandra Rehme, ‘Obliterated Landscapes’, Time Out, 9—15 May 2007, p. 41.
Jane Rendell, Art and Architecture: A Place Between, I.B.Tauris, London, 2006, pp. 44-45 and 105-107.
Malcolm Miles, ‘Interruptions: Testing the Rhetoric of Culturally Led Urban Development’, Urban Studies, volume 42, number 5/6, 2005, p. 905.
Malcolm Miles, Urban Avant-Gardes: Art, Architecture and Change, Routledge, London, 2004, pp. 166—169.
Tom Lubbock, ‘Five Best Shows in London’, The Independent, 19 August 2004.
Laura Chiari, ‘Artisti, attivisti!’, Next Exit, Rome, Italy, number 19, June 2004
Rachel Withers, ‘Cornford & Cross’, Artforum, volume XLI, number 5, January 2003, pp. 149-150
Dave Beech, ‘Cornford & Cross’, Art Monthly, number 262, December 2002, front cover and pp. 23-24Mark Currah, ‘Cornford & Cross’, Time Out, 30 October – 6 November 2002, p. 57.
Alicia Miller, ‘Trails of the unexpected’, Art Review, volume LIII, October 2002, pp. 102-103
Robert Clark, ‘Childhood’s End’, The Guardian Guide, 19 October 2001, p. 35.
Lisa Le Feuvre, ‘Heart of Glass’, Katalog, volume 14, number 1, 2002, pp. 48-49.
Adrian Kear, ‘Parasites’, Parallax, volume 7, number 2, 2001, pp. 31-46.
Gavin Wade, ‘In the Midst of Things’, La Ville, le Jardin, la Mémoire, Académie de France à Rome, Villa Médicis, Rome, 2000, p. 82.
Stephen Coates and Alex Stetter, Impossible Worlds: The Architecture of Perfection August, London/Birkhäuser, Basel, 2000, pp. 96-97
Nigel Wilson, ‘Childhood’s End’, Flux, issue 22, December 2000 – January 2001. pp. 50-51
Carly Berwick, ‘Upwardly mobile’, Artnews, volume 99, number 11, December 2000, p. 42
Maria Walsh, ‘Utopias’, Art Monthly, number 241, November 2000, p. 32
Richard Hylton, ‘Look Out’, Art Monthly, number 241, November 2000, pp. 24-25
J.J. Charlesworth, ‘The Art of the Third Way’, Art Monthly, number 241, November 2000 pp. 9-10.
Dave Beech, ‘Public Art after virtue’, Public Art Journal, volume 1, number 3, 2000. pp. 26-31
Joanna Pitman, ‘... but they know what they like’, The Times Magazine, 8 July 2000 p.32.
Duncan McLaren, ‘In the Midst of Things’, Zing, issue 12, 2000 p. 220-222.
Yevgegny Fiks, ‘Cosmopolitan’, Moscow Art Journal, number 36, Spring 2000, pp. 91-92
Gavin Wade, ‘Cornford & Cross / Elizabeth Wright’, art/text, number 68, February – April 2000, p. 93.
Alex Farquharson, ‘In the Midst of Things’, Frieze, issue 49, November / December 1999, pp. 96-98.
Mark Beazley, ‘In the Midst of Things’, Untitled, Autumn 1999, p. 32
Emma Safe, ‘In the Midst of Things’, AN magazine, October 1999, p. 20
Dave Beech, ‘East International and Riverside’, Art Monthly, number 229, September 1999, pp. 21-22
John McEwen, ‘Asses on the rampage’, Sunday Telegraph, 25 July 1999, p. 10
Pauline van Mourik Broekman, ‘The day the circus came to town’, Mute, issue 12 Autumn 1998, pp. 68-69
Dave Beech, ‘What difference does it make?’ Art Monthly, number 218, July – August 1998, p. 38
Mark Hutchinson, ‘Public Art — oxymoron or what?’Everything, 2.3, Summer 1998. pp. 40-41
Joanna Lowry, ‘Unnatural selection’, Creative Camera, June – July 1998, pp. 8-11
Anna Murphy, ‘Nobody’s perfect’, Observer Life, 23 April 1998, pp. 28-31
Robert Clark, ‘10’, The Guardian Guide, 7 March 1998, p. 3
Sotiris Kyriacou, ‘East’, Art Monthly, number 209, September 1997, pp. 37-38
Frank Whitford, ‘The provinces square up to the city’, The Sunday Times, 10 August 1997, p. 8
Jacquie Swift, ‘Public art and public needs’ Journal of the National Association for Fine Art Education, volume 2, number 1, 1997, p. 8
Tim Hilton, ‘The truly East of England show’, Independent on Sunday, 27 July 1997. p. 19
Rachel Withers, ‘New Holland’, The Guardian, 23 July 1997, p. 2
Alan Read, ‘No Hiding Place’, Performance Research, volume 2, issue 3, 1997, pp. 67-68
David Barrett, ‘City Limits’, Frieze, issue 32, January 1997, p. 74
Cathy Courtney, ‘Something Else’, Art Monthly, number 194, March 1996, pp. 38-39
Joanna Lowry, ‘Interpretations’, Creative Camera, October – November 1994, pp. 40-41
Julian Rodriguez, ‘Interpretations’, British Journal of Photography, 18 May 1994, p. 24.
John Beck and Matthew Cornford’s intelligent and measured book The Art School And The Culture Shed may be a slim volume but it packs a hell of a punch in locating the ravages wreaked on our cultural life over the past 20 years by privatisation, the failings of local councils and town planners and the depredations of property developers.
(Paul Gorman 2014)
Some of the most interesting extra-gallery public work in the late 1990s and the early 2000s recognized this; for instance, Thomas Hirschorn and Cornford & Cross explicitly defiled the public location of art as the democratic ‘home’ of art, producing a range of public installations that are emaciated, faded and entropic.
(John Roberts, Revolutionary Time and the Avant-Garde, Verso London and New York, 2015, p. 207)
"Thomas Hirschhorn and Cornford & Cross, who in an explicit defilement of the public location of art as the democratic ‘home’ of art, produce a range of public installations that are emaciated, faded and entropic. In fact these remnant objects of Hirschhorn and Cornford & Cross, deliberately embrace the ambiguous threshold of the non-artistic sign in order to produce a flattened, positivized spectator."
(John Roberts ‘Art, Politics and the Topological Turn’, guest lecturer, Department of Visual Cultures, Goldsmiths, University of London, 3 October 2013)
"Cornford & Cross’ work pursues a strange, but necessary, paradox: they fight assiduously and tenaciously to create works that exist as ghostly things, deflationary gestures, faded after-effects, bathetic monuments, self-negligent objects, inert signs."
(John Roberts, ‘Fade Out’, Cornford & Cross, Black Dog Publishing, London, 2009, p.15)
"Cornford & Cross’ practice does not represent a vacillation between a progressive cultural politics and a retardataire investment in obsolete cultural forms, but embodies an acute sense of resistance to the ‘imposition of a false idea of unity and order on the representation of things."
(Rachel Withers, ‘Style and Character’, Cornford & Cross, Black Dog Publishing, London, 2009, p. 26)