JAMIE WAGG
Artist | London, UK
Born 1958, King’s Lynn, Norfolk
jamiewagg.com | info@jamiewagg.com
EDUCATION
1986–87 Postgraduate Diploma, Byam Shaw School of Art, London
1978–81 BA (Hons) Fine Art, Leeds Polytechnic
RECENT AND CURRENT BODIES OF WORK
From Guernica to Gaza — History painting, political representation and contemporary state violence.
Documents as Monuments — Paintings and installations using political and historical documents as pictorial and material objects.
The Aesthetics of Terror: From the Jericho Trumpet to the Sniper Drone — Military technology, the manufactured sublime, surveillance and terror as environment.
The Frame is Everything — Documents, quotation, framing and the politics of context.
Entangle(ment) Histories — Historical conjunctions, documents and trans-historical relations.
Full Spectrum Dominance — Surveillance, military vision, telemetry and the sublime.
Note for 2026 master CV: The section above records established recent bodies of work but does not assign exhibition dates or venues that are not yet documented. Post-2013 exhibitions, commissions, talks, publications and other activity can be added as records are supplied.
SELECTED SOLO PROJECTS / EVENTS
2026 In Conversation, with Matthew Collings: Presentation of work, From Guernica to Gaza and Documents as Monuments at The Cove recording and film studio London.
2025 From Guernica to Gaza: Documentary film presentation. The Cove Film Studios, London.
2024 Taking Art for a Walk: From Guernica to Gaza, From Tate Britain to the British Parliament, performance/ lecture/event. Tate Gallery, the Embankment, Parliament Square
2010 ENTANGLE(ment) HISTORIES: From Einstein’s Pollen to Flower Power, performance/event, Pomona College, Claremont, California, USA
2010 LOVE and HAIGHT, performance/event, Berkeley Gardens, London
2009 WOODSHACK/WAGGSTOCK, performance/event, Berkeley Gardens, London
2009 The Star Spangled Bomber: Some Ideas (“with guitars”), performance/event, 93 Feet East, London
2006 The Hornsey Project: The (re)opening of Hornsey School of Art, London
2001 X-Space Commission, InIVA (Institute of International Visual Arts), London
1996 ……..and Finally, Commercial Gallery, London
1995 The Saatchi Collection, Everything Magazine, issue 17
SELECTED GROUP EXHIBITIONS
2009 Secrets in a Democracy, Ruth Chandler Gallery, Claremont, California, USA
2006 Where Are You Now?, Box Gallery, Kyung Won University, Seoul, Korea
2003 In Media-Res: Information, Contra-Information, Université Rennes, France
2003 M_ARS: War and Art, Graz, Austria
2002 No One Ever Dies There, No One Has a Head, Dortmund, Germany
2002 ICONOCLASH: Image Making in Science, Religion and Art, Karlsruhe, Germany
2001–02 CTRL [space]: Rhetorics of Surveillance from Bentham to Big Brother, Karlsruhe, Germany
1999 DOT….., Teesdale Yard, London
1999 ADULTESSENCE, Phoenix Gallery, Exeter
1997 Was so’n bisschen Farbe ausmacht, Galleria Voss, Dortmund, Germany
1997 0044, Galleria Voss, Dortmund, Germany
1997 EAST INTERNATIONAL, Norwich
1997 20/20, Kingsgate Gallery, London
1997 Threats and Containments, Concourse Gallery, London
1996–97 un-Frieden: sabotage von wirklichkeiten (Discord: Sabotage of Realities), Kunsthaus and Kunstverein, Hamburg, Germany
1996 Their Chromakey and Ours, Waygood Gallery, Newcastle
1996–97 ART-HISTORY-REPRESENTATION, Concourse Gallery, London
1994 Whitechapel Open, Whitechapel Gallery, London
1990–91 Post-Morality, Kettle’s Yard, Cambridge
CURATORIAL AND PROFESSIONAL ACTIVITY
1988–2011 Studio/Gallery Manager, Byam Shaw School of Art / Central Saint Martins, University of the Arts London
Curatorial work included: Threats and Containments — selected work by Tim Head, Cornelia Parker, Amikam Toren, Paul Graham and Pamela Golden; associated symposium with Esther Leslie, Rachel Withers and Christopher Kool-Want.
ART-HISTORY-REPRESENTATION — selected work by Terry Atkinson, Rasheed Araeen, Glenys Johnson and Jananne Al-Ani; associated symposium with Jean Fisher, Terry Atkinson and David Green.
Other artists worked with include Peter Doig, Yinka Shonibare, David Batchelor, Simon Bedwell and Hew Locke.
TEACHING AND VISITING LECTURES
2012 UWE, Bristol — Visiting Lecturer
2010 Pomona College, Claremont, California, USA — Visiting Lecturer
2001 Institute for Advanced Study, Princeton, New Jersey, USA — Visiting Lecturer
1997–98 Middlesex University — Module Leader, History and Theory for Studio Practice
1996–98 Middlesex University, Department of Fine Art — Visiting Tutor/Lecturer
1996 Goldsmiths College, Art History and Cultural Studies — Visiting Lecturer
1996 Kent Institute of Art and Design, Department of Fine Art — Visiting Lecturer
1995 Norfolk College of Art and Technology, Department of Fine Art — Visiting Lecturer
SELECTED CONFERENCES / PAPERS
2001 Rhetorics of Surveillance: From Bentham to Big Brother, Institute for Advanced Study, Princeton, New Jersey, USA — paper delivered; other speakers included Julia Scher and Thomas Y. Levin
1999 CROSSCURRENTS: Key Themes in Contemporary Creativity, Phoenix, Exeter — New Art and Tactics of Disquiet; guest panel speaker
1998 EVIL: Critical Interventions, John Hansard Gallery, Southampton — discussion on media mediation and authorial intent
1997 INCENSED: Culture and Censorship in the Nineties, Keele University — conference paper
SELECTED PUBLICATIONS
1996 15:42:32 12/02/93. “……..and Finally”, History Painting Press, London. Edited by Jamie Wagg; essays by Terry Atkinson and Mark Cousins; introduction by Robert Hamilton.
1995 “History Painting”, COIL, issue 1, Proboscis, London.
SELECTED WRITING ON THE WORK
2010 Outi Remes and Pam Skelton (eds.), Conspiracy Dwellings: Surveillance in Contemporary Art, CSP Press
2008 Jennifer Friedlander, Feminine Look: Sexuation, Spectatorship, Subversion, SUNY Press
2004 Michael Rush, “Security Art”, PAJ: A Journal of Performance and Art, vol. 76, no. 1
2002 Michael Gibbs, review of CTRL [space], Art Monthly, Dec–Jan
2002 Winfried Pauleit, “Video Surveillance and Postmodern Subjects”, in CTRL [space], ed. Thomas Y. Levin, MIT Press
2000 Thomas Weaver, “The Eye of the Genius”, LOTUS 103, Electa
2000 Rita Hatton and John A. Walker, Supercollector: A Critique of Charles Saatchi, Ellipsis
1999 Jennifer Friedlander, Moving Pictures: Where the Police, Press and the Art Image Meet, Sheffield Hallam University Press
1999 John A. Walker, Art and Outrage: Provocation, Controversy and the Visual Arts, Pluto Press
1998 Sarah Chaplin and John A. Walker, Visual Culture: An Introduction, Manchester University Press
1998 Esther Leslie, “Painting History and History Painting”, in Art, Technology, Technique
1997 Alessandro Imperato, “The Politics of Surveillance”, Caffeine, no. 2
1997 Blake Morrison, “As If”, Granta
1997 Frances McKee, “A Touch of Evil”, Variant, vol. 2, no. 2
1996 John A. Walker, “The Jamie Wagg Affair”, 20/20 Magazine, June
1996 Anne Hamlyn, “Tracing the Blind Spots: Art and the Criminal Element”, New Contemporaries exhibition catalogue
1996 Benny Strong, “Reality Bites Back”, G Spot Magazine, April
1996 Terry Atkinson, “History Works”, 15:42:32 12/02/93, History Painting Press
1995 Alison Young, Imagining Crime, pp. 128–145, Sage, London
1995 Mark Cousins, “Danger and Safety”, COIL, issue 1
1994 Sheila Johnston, “This is Based on a True Story”, The Independent, December
1994 Art Monthly, “Counting the Cost”, editorial, June
1994 Nick Hornby, “How Dangerous Can a Dead Cow Be?”, The Independent on Sunday, May
POST-2013 ADDITIONS TO DOCUMENT
To be completed from records: exhibitions; commissions; invited talks and lectures; publications and writing on the work; curatorial activity; performances/events; institutional collections or acquisitions; awards/open calls; and any other professional activity from 2013–2026.