Participatory Art and the Politics of Spectatorship - autonomous ...

notes to pages 33– 6
serve as proof of identity for access to the site and for payment.’
(‘Orgreave Re- enactment June 16/ 17 2001: Notes to Participants’,
reprinted in ibid., p. 154, and included in The Battle of Orgreave Archive
[An Injury to One is an Injury to All], 2004.) Performers were paid £80 per
day in cash for their participation in the event.
66 Paweł Althamer, ‘1000 Words’, Artforum, May 2006, pp. 268– 9.
67 Deller, cited in Slyce, ‘Jeremy Deller: Fables of the Reconstruction’, p.
76.
68 Deller, cited in Dave Beech, ‘The Uses of Authority’, Untitled, 25, 2000,
p. 10.
69 Deller, cited in ibid, p. 11.
70 Deller, cited in Slyce, ‘Jeremy Deller: Fables of the Reconstruction’, p.
76.
71 See for example Laurie Rojas, ‘Jeremy Deller’s Battle with History and
Art’, available at www.chicagoartcriticism.com
72 Alice Correia, ‘Interpreting Jeremy Deller’s The Battle of Orgreave’,
Visual Culture in Britain, 7:2, 2006, p. 101. This view is shared by David
Gilbert: ‘other voices from the strike remain silent – those miners that
returned to work in Yorkshire are shadowy fi gures to be demonised or
pitied . . .’. (Gilbert, ‘Review of Jeremy Deller, The English Civil War
Part II’, p. 105.)
73 Dave Beech, ‘“The Reign of the Workers and Peasants Will Never
End”: Politics and Politicisation, Art and the Politics of Political Art’,
Third Text, 16:4, 2002, p. 387.
74 Tom Morton, ‘Mining for Gold’, Frieze, 72, January–February 2003, p.
73.
75 Neil Cummings and Marysia Lewandowska, ‘A Shadow of Marx’, in
Amelia Jones (ed.), A Companion to Contemporary Art Since 1945, Oxford:
Blackwell, 2006, p. 405.
76 ‘The Battle of Orgreave is a political work without a doubt . . . It’s about
the state and the power of the state. And also, the lengths the state will go
to in order to see its aims seen through.’ (Deller, cited in Beech, ‘The
Uses of Authority’, p. 10.)
77 As one reviewer noted, Deller’s event and book shows that ‘there are
stronger commonalities between the language of 1926 [the General
Strike] and 1984, than between 1984 and today. It is some measure of
the defeat suffered by organised labour in the 1980s that the very
language used to express its struggles now sounds strange and anachronistic,
even in a society just as marked by inequalities of wealth and
power.’ (Gilbert, ‘Review of Jeremy Deller, The English Civil War Part
II ’, p. 105.)
78 The Sealed Knot’s webpage specifi es that it is ‘NOT politically motivated
and has no political affi liation or ambitions whatsoever’, available
at www.thesealedknot.org.uk.
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