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Fredrik Raddum The Sad Ghost of Nothingness, 2010
Bronze
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Dorothy Cross Ghost Ship, 1999
‘Dorothy Cross’ best known public work is Ghost Ship, where she painted a de- commissioned lightship with phosphorous paint and moored it in Dublin Bay, where it glowed at night for several weeks in the winter of 1999.’
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James Rielly Various, 2010 – 2017
Oil paint on canvas
Ghosts working with fears and inhibitions
Ghost with Red Socks
French Ghosts
Happy New York City Ghost
animation installation
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Mark Bovey Ghost Ship, 2013
‘Mark Bovey looks to the skies, and how we have historically imposed Zodiac readings across the heavenly bodies that revolve and rotate in our solar system. He cuts a section out of our translation of the night sky, and illuminates it by video projection through the interlocking representations of constellations: a mapping of animal, insect, bird and beastly figures of the signs we are born under. Woven into Bovey’s ancient rites of sky watching, he poses a wooden sailing vessel as a skeletal phantom containing fire and smoke: floating images of how we have translated our finding of this place through exploration.’
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Andrea G Artz Ghost Weight Experience, 2021
‘For ‘Ghost Weight Experience’, CPS becomes a site for investigation into the fictionalised lives of these characters and the power of photography to shape our personal and collective stories. The gallery’s Shed Space serves as the photo-studio home of a narrated, sound-scaped VR experience using Oculus technology.’
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SOLD OUT!!! MISSING ARTIST, 2014
‘MISSING ARTIST- is a guerrilla detective based on events which took place during the 54th Venice Biennial by SOLD OUT!!!’
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Daichi Sato Ghost Advice & Ghost Hug, 2019
‘Daichi Sato paints nostalgic and surrealistic scenes which are inspired by images randomly found on the internet, casual photographs and stories heard from his acquaintances. By adding some imaginary objects to the original surroundings, the images he creates engender a timeless and universal atmosphere thus familiar to everyone, and waver between reality and fantasy.’
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Thomas Demand Ghost, 2003
Colour coupler print, Diasec mounted
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Cindy Mochizuki Yokai & Other Spirits, 2011
‘Paranormal phenomena are common in Asian films, literature, and popular culture. In Japanese folklore, for instance, yokai are a class of supernatural creatures that often shape-shift and play tricks on humans. This interactive, animated, and sound-based installation repeats a key moment in the 35mm film, Happy Ghost 3, when the lead ghost calls “home” through various phone booths throughout the city. The animated projection is an accumulation of hand-traced frames of the original film through rotoscoping. The film explores the interiority of the archive and, like an X-ray print, uses light as a means to make visible what we cannot normally see. This work uses the presence of audience members to trigger the projections and sounds; without their actions, the film lies unseen and unheard, leaving only the stark presence of the scenic and museological props.’
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Rachel Cox Shiny Ghost, 2016
‘In Shiny Ghost, Cox has documented the final years of her Grandmother’s life as she was suffering from a degenerative brain disease. The images were made during moments of conversation, gesture, and experiences of death. The variety of photographic approaches towards the subject are representative of a frantic need for the artist to record all aspects of existing knowledge of her Grandmother (whether performative or candid) in a hopes that these moments could be pieced together again after her death.’
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Hajime Sato The Ghost of the Hunchback, 1965
‘A hunchbacked caretaker presides over a forlorn mansion inhabited by the ghosts of his previous masters. An unbelieving trio (a doctor, his assistant and his niece) fail to heed the caretaker’s warnings and are slaughtered horribly by the jealous occupants.’
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Angela Deane Ghost Photographs, 2014 – 2021
‘When she was younger, Angela Deane became obsessed with family photo albums, an obsession that increased after her father died and her brother left for university. “I would pore over the albums, to drink up all the memories from when everyone was there,” she says. “I’ve always leaned towards nostalgia.” Years later, the Florida-based artist was looking at some photographs of strangers she had intended to discard, and suddenly decided to start painting ghosts over them; she now has more than 600. “I think of these ghosts as the ghosts of moments. I’m very preoccupied with memories and how we experience them. I like to think that by removing the identities of the people in the photos, we can all share this memory.”’
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Adrian Ganea Ghost, 2021
Acrylic resin, galvanized steel, wood, recycled inkjet printer components, electric guitar components, guitar amplifier and effects
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Vincent J.F. Huang Nemesis, 2010
‘Vincent J.F. Huang’s sculpture Nemesis of U.S. President Barak Obama’s savaged head being eaten by a polar bear attempts to highlight the issues of global warming.’
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Jeremy Blake Winchester Redux, 2005
‘The Winchester Trilogy is rooted in the architecture and mythology of the Winchester Mystery House in San Jose, California, an extravagent mansion full of strange Victorian craftsmanship and mazes built by eccentric firearms heiress, Sara Winchester. Blending the legend of the mansion (the widow believed that her home was haunted by victims of Winchester firearms), historic 16-millimeter photographs, and the artist’s florid ink drawings and animated imagery, Blake’s Winchester Trilogy is a dreamlike experience drenched in pathos.’
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Ahn Chang Hong Ghost Fashion, 2022
‘In Ahn Chang Hong’s “Ghost Fashion,” a wide range of luxury high-end garments by designer brands are on display — except the models wearing them are ghosts.’
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Hugo Arcier Ghost City, 2016
‘The installation Ghost City is built around a reinterpretation of the set of the famous game GTA V. The spectator is plunged into an environment without any population. The focus is put on architectural and graphic elements. It is a meditative and captivating experience. This virtual universe solicits both the present (the experience of the artwork) and the memory.’
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Paolo Cirio Street Ghosts, 2013
‘In this artwork, photos of people found on Google Street View were posted at the same physical locations from where they were taken. Life-size posters were printed in color, cut along the outlines, and then affixed to the walls of public buildings at the precise spot where they appear in Google Street View.’
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Agnès Geoffray Night #3, 2005
Photograph
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Apichatpong Weerasethakul Blue, 2010
‘“Blue” was filmed during 12 nights in the heart of the Thai forest. A woman lies awake at night. Nearby, a set of theatre backdrops unspools itself, unveiling two alternate landscapes. Upon the woman’s blue sheet, a flicker of light reflects and illuminates her realm of insomnia.’
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Hernan Bas Ghosts of You, 2001
Water based oil on board
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Yinka Shonibare The Ghost of Eliza Jumel, 2015
‘Morris-Jumel Mansion in Washington Heights has long been rumored a haunted house, with the ghost of its longest resident Eliza Jumel spotted creeping on its creaking floors. Nigerian artist Yinka Shonibare MBE conjures Eliza’s specter with headless mannequins clothed in Dutch wax fabric lurking in the period rooms. Eliza Jumel is an illusive figure. In some reports she was the daughter of a prostitute, while she fueled rumors George Washington was her father, and convinced the wealthy Stephen Jumel to marry her as she faked terminal illness and wished only to wed before her certain death. There’s some speculation that her later reclusive life inspired the eerie Miss Havisham in Charles Dickens’s Great Expectations.
‘In Shonibare’s installation, her faceless ghost reaches out from beneath a red shroud decorated with yellow butterflies. The Morris-Jumel Mansion has a dense history, with the first owner Roger Morris fleeing during the Revolution due to his loyalty to the British, later George Washington temporarily moved in, then there was Stephen Jumel fleeing the slave uprising in Haiti where his family owned a plantation, and, most notably for New Yorkers, its transformation into one of the city’s first historic house museums in 1904. Yet in Eliza’s phantom wavering between truth and speculation, Shonibare seems to have found the perfect embodiment of the complications of class, history, and identity.’
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Tiffany Trenda The Ghost, 2019
‘The Ghost shows a video of a light skinned model. The public is invited to interact with the screen. Using Google AI, a camera will detect the presence of a person and will reduce the opacity of the image on the screen. After thousands of participants, the image will disappear, leaving only an empty white screen.’
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Urs Fischer Chair for a Ghost: Thomas, 2003
Mixed Media
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Théo Mercier Invisible Families, 2012
‘In Théo Mercier’s work, dead families are shown to us. Ghostly families. We can see both the death of the families. Or families that remain themselves beyond death. How to know ? We are in an in-between . In the midst of change and questioning, Théo Mercier’s work seems to bridge the gap between different conceptions of what the family is (if it still exists).’
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‘While curators were busy finalizing the installation of the Cleveland Art Museum’s 2015 exhibition “Painting the Modern Garden: Monet to Matisse,” the famed Impressionist painter of waterlilies himself appears to have paid an unexpected visit.
‘On the balcony overlooking the galleries stood a man with Monet’s characteristic salt-and-pepper beard and bowler hat. A photo of the figure was snapped by the museum’s director of design and architecture, Jeffrey Strean, showing the illusory artist just above a strikingly similar vintage photo of Monet.
‘The Cleveland Museum claims the sighting is the real deal. Soon after the story emerged, Caroline Guscott, communications director for the museum, asked the Cleveland Plain Dealer: “What are the chances someone looks like that and happens to be at the museum the day we are finishing installation?”’
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David Salle Ghost Paintings, 1992
‘A mash-up of photography and painting, the images seem anything but figurative, yet the swathes of yellow, pink and blue obscure a mysterious draped form hovering before the viewer’s eyes. If Salle hadn’t declared the ghost to be Beverly Eaby, his longtime model, we’d surely still be ogling the canvases, attempting to figure out where the artist’s signature nude bodies were hiding.’
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Susan Hiller Belshazzar’s Feast, the Writing on Your Wall (1983-4)
‘Susan Hiller created her video installation Belshazzar’s Feast after reading newspaper coverage about people who had witnessed ghostly apparitions and mysterious messages on their TV sets after broadcasting ended at midnight. The press speculated about transmissions from UFOs or other supernatural events, but Hiller recognised what all these explanations refused to acknowledge, which was the innate power of human imagination.’
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Thomas Frontini The Poet Sang for The Ghost Birds, 2005
Oil on Canvas
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Tony Oursler Thought Forms, 2006
‘Inspired by the book Thought Forms and trance paintings by C.W. Leadbeater and Annie Besant, Oursler took three natural elements as his source material: dust, mercury, and water. Oursler painted the faces of his performers and continued to manipulate facial features through intensive computer manipulation and animation. The artist worked extensively with the New York non- profit organization Eyebeam to produce these images, and designed a 5.1 surround sound mix in each room to highlight the three-dimensionality of this combination of poetry and sound effects.’
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Wendell Castle Ghost Clock, 1985
‘At first glance Ghost Clock appears to be a grandfather clock hidden under a white sheet. However, a closer look reveals a masterful deception: this entire sculpture was hand-carved from a single block of laminated mahogany. With its meticulous detail, Castle re-created in wood the contours of soft, supple cloth, then completed the illusion by bleaching the “drapery” white and staining the base of the “clock” a walnut brown. This work is the last in a series of thirteen clocks the artist created in the 1980s.’
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Lu Pingyuan Do Not Open It, 2016
‘One of the UK’s oldest pubs has demanded that its ghost be returned after it was bottled up and stolen by a Chinese artist who has now put the spectre on display in an exhibition.
‘The Ye Olde Man & Scythe is one of the UK’s oldest pubs, first mentioned in 1251 in the town of Bolton’s charter. It is also the site of the infamous murder of James Stanley, the Seventh Earl of Derby, who had been involved in the Bolton Massacre which had led to the deaths of 1,644 people.
‘Nicknamed “Lord Strange”, Stanley was executed in 1644 for treason following the English Civil War and it is often claimed he spent his last few hours sitting in the pub. Ever since, his spectre has been said to have haunted the pub, until now.
‘Chinese artist Lu Pingyuan claims to have stolen the ghost, having travelled from Shanghai to Bolton, sealing its spirit in a metal canister which is now on show at the Centre for Chinese Contemporary Art in nearby Manchester.
‘The exhibit’s description explains that having heard of the story of Stanley and the pub he is believed to haunt Lu Pingyuan was “inspired to attempt to catch the ghost of this historical figure – a symbolic act in reaction to the UK’s colonialist past, which saw great losses of both tangible and intangible cultural assets by other nations.”
‘However his claims have riled the pub’s owner Richard Greenword, who wrote a letter to Mr Lu demanding that he “return” the ghost. “I would have liked to have been privy to your actions and indeed to the exhibition before the ghost of James Stanley was taken out of Bolton, his ties to the town and to Ye Olde Man and Scythe run very deeply”, wrote Greenwood.
‘“I feel very strongly that James Stanley’s ghost should remain in Bolton and at Ye Olde Man and Scythe to preserve the natural order of things. That said I do believe that your exhibition should travel and be seen by many people around the world and I would like to contribute to this as long as at the end of your exhibition it returns home.”
‘Mr Greenwood has offered to donate to the exhibition the chair that the Earl sat at for his last meal on the grounds that both the chair and the ghost are returned at the end of the tour.’
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p.s. Hey. ** Dominik, Hi!!! My pleasure! Yes, agreed, the shit pill post idea has been deep-sixed. Oh, I don’t mind when people use emoji’s, I just don’t like to use them myself. I think it’s like a writer thing – that the tone of what I write should be able to communicate itself without an accompanying decoration announcing what the tone is. Or something. I love when escorts and slaves use them in their profile texts, I don’t know why. I usually try to grab those profiles. Anyway, you can emoji-up the place and I would be totally cool with that. But wait, the blog doesn’t allow emoji insertions in the comments? How very strange. I’ll see if there’s something I can turn on or off to fix that. Welsh Rarebit is delicious! Or can be. I’m sure you’d love it, you being a fellow cheese fan. And there’s beer in the sauce which somehow works really well. I’m high fiving your love of yesterday as I was extremely angry yesterday too but at one very specific piece/person of the world and with a very discernible reason, and I think you can guess who. Love turning the person I just referenced into a ghost and then locking out his entrance into reality, G. ** Tosh Berman, That’s quite a story and confession, Tosh. So, wait, she had lived next door but moved out? Or … that’s very strange. Teeny tiny royalty checks are savage. I’ve gotten my fair share, and, yeah … *sad face* or even *crying face* ** _Black_Acrylic, I’m obviously happy to accommodate. How are you doing and feeling du jour? ** Nightcrawler, Hey. Hopefully my/our audio novel won’t end up like that. I’m trying to avoid something that can be categorised as a radio play except by lazy brained people. Cool, I’ll imagine you scrapbooking until such time, which is actually pretty pleasurable too. ** Misanthrope, I can almost not taste that pineapple upside down cake after your colourful story. Which I enjoy. That was my mom’s favorite cake. Unfortunately for us kids. If only hers had had no taste. It sounds like you did the right thing by lying to your friend, but it’s still creepy, man, ha ha. ** Russ Healy, Hi, Russ! Welcome! It’s a pleasure to meet you! Me too re: having been a big fan of those artists back ingthe day. Well, and still. Mm, I think if I had to choose a favorite John Cale album I might pick ‘Helen of Troy’. Maybe. Thank you for reading my books. I really appreciate it. Wow, you talked with Laura Albert! I so wish I’d had your wisdom and expertise back then. Yes, I would like to read your paper, thank you very much! Um, I can email you my mailing address, but if you want to send a Word doc or pdf or anything, which is probably easier (?), my email is: denniscooper72@outlook.com. Tell me more about your private practice if you feel like it and don’t mind. Thank you again, and, please, yeah, be here whenever you like. Take care. ** Right. I thought I would give you guys another dose of ghosts because … I don’t know, it seemed like a friendly thing to do? See you tomorrow.
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