Out of Bounds: Footballs' Trajectory Off the Pitch and Into the Gallery

Abstract

This dissertation explores works by five contemporary artists; who have produced works that drill beyond the obvious stereotypes of football representation to challenge social norms, audience roles and complex social biases through their work. Representations of football, and football culture by the media are abundant; often disparaging, cynical, and loaded with negative stereotyping which fuels class division (Giulianotti, 1999). The contemporary artists explored in this dissertation have, produced works that question different aspects of contemporary culture and society. re-examining and presenting a nuanced understanding of football and its culture as a vehicle for cultural commentary (Phillips-Ewen, I. 2020).
In this dissertation a short section setting out it’s theoretical basis is followed by a section defining what is intended, and included by the term ‘football’, in the context of this study, and a chapter outlining the role of the gallery space as a juncture between the ‘art world’, football, and the public. This chapter acknowledges the importance of the work of these artists, in addressing the cultural gap between the ‘art world’ and football (Thorne, H. 2018). Thereafter, across three chapters, analysis of relevant works by the five artists is provided. The artists and works are, in order of mention; Roderick Buchanan’s ‘Work In Progress’ (1995), a work that looks at the class dynamic and sectarian divide within Glasgow’s football culture and brings these political questions of accessibility and community into the gallery space, questioning accessibility and community (National Galleries, 2020). Cevdet Erek’s, recent work ‘Away Terrace (Us
and Them)’ (2025) raises similar themes of class and cultural representation within the gallery (Linckens, 2025). Eddie Peake’s performance piece, ‘Touch’ (2012) in which a game of naked football was staged inside the Royal Academy where the work challenged the ‘highbrow’ culture of the gallery space (Bourdieu, 1984). Maider Lopez’s, whose work ‘Polder Cup’ (2011) challenges themes of social compliance and obedience. Within this work Lopez utilising a similarly leftist ideology to Peake (van Rijn. Schmitz and Tegelaers, 2011). Finally, Harun Faroki's ‘Deep Play’ (2007) brings together simulation theory with semiotics and the role of the viewer (Moss, 2010). Faroki’s work challenges the political structures within the gallery by asking his viewers to carefully question the images they are presented with, within the context that they are viewed (Le Grand Café, 2020).