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by Karen Duffek and Keith Wallace Catalogue essay to accompany exhibition of same name at the Satellite Gallery, Vancouver, 2014. Produced by the UBC museum of Anthropology, Belkin Gallery, Presentation House Gallery, and Charles Scott Gallery.
For over thirty years, artists from all over the world have recycled, reworked and repurposed visual imagery from popular and commercial cultures, both those contemporary with them, and those from past periods. The postmodern practice was known as “appropriation,” and attracted controversy from those who expected art to be original, and those who valued the temporal authenticity of imagery. Within this context, particular Indigenous artists have used this approach as a means to articulate the complexities of Indigenous identity-formation. They deliberately reuse images of their people, or of their direct ancestors, that were taken by non-Indigenous anthropologists, official recorders, or commercial photographers. Through these processes of artistic transformation, they inflect them with new connotations, above all those that attribute agency to the person or people depicted, or those that manifest the contemporary artist’s own agency. In this study, I focus on works made between 1996 and 2014 by three Indigenous Australian Artists: Brook Andrew, Vernon Ah Kee, and Daniel Boyd. I draw on concepts of Aboriginality offered by Indigenous scholars such as Marcia Langton to show how these three artists problematize the expectation that Aboriginality can be captured in fixed forms, and thus reveal the fluidity and adaptability of the concept and of its lived reality.
2018 •
Lines towards Another is the first anthology on the work of Australian contemporary artist Tom Nicholson. Spanning drawing, sculpture, public actions, sound, installation, video, and performance, Nicholson's work since the 1990s has engaged with critical questions around history, politics, narrative, and representation. Informed by the colonial history of Australia, and motivated by the work of Aboriginal Australian activists, his practice at its most fundamental level examines the role of images and monuments as both catalysts and potential barriers for the creation of histories, reimagining their forms through modes of commemoration. Presenting new research on the artist and providing an unprecedented overview of two decades of work, the book features eleven essays and two interviews, alongside richly illustrated project pages and texts by the artist. Contributions by Tony Birch, Bridget Crone, Jacqueline Doughty, Anthony Gardner, Anneke Jaspers, Ryan Johnston, John Mateer, Shelley McSpedden, Mihnea Mircan, Grace Samboh, Ann Stephen. Copublished with the Institute of Modern Art, Brisbane, and the Australian Centre for Contemporary Art, Melbourne. https://www.amazon.com/Tom-Nicholson-Lines-Towards-Another/dp/3956793978
This paper was submitted as the exegesis for my Bachelor of Fine Arts (Honours) submission in 2014. In this paper I describe my exploration of how we respond to signs in our environment. The research is grounded in the idea that there exists some fundamental connection between cave paintings, ancient stone carvings and road or urban signs. Without a cultural context the meaning for any of these signs is open to interpretation. I have explored this question of meaning through the study of historic and contemporary rituals and diverse art making processes. This has included investigating some of the connections between process and meaning evidenced in the traditional works of indigenous artists, contemporary Australian Aboriginal artists and international contemporary practitioners. In my art practice this has been reflected in the observation and mediation of daily routines and personal rituals. I have used a range of art making processes, resulting in a collection of works where the meaning reflects the process through which they were created. This paper highlights the importance of the layers of cultural background, knowledge of the viewer and the context in which the artefacts or traces are encountered to reveal the meaning in the artefacts we encounter.
Catalogue text considering Sidney Nolan's interest in sculpture and, in particular, his painting, 'The Sculptress', 1951, in the University of Melbourne art collection. Published: Christopher Menz (ed.), Visions Past and Present, Ian Potter Museum of Art, Melbourne, 2012, pp. 84-5
The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, Exh. Cat., by Russell Panczenko, Garth Clark, and Christy Wahl. Madison: Chazen Museum of Art
“Artists’ Biographies, Bibliography, and Exhibition Checklist.” In The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, Exh. Cat., by Russell Panczenko, Garth Clark, and Christy Wahl. Madison: Chazen Museum of Art, 20142014 •
This book is published on the occasion of the exhibition The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, held at the Chazen Museum of Art, University of Wisconsin–Madison, September 4–November 30, 2014. © 2014 The Board of Regents of the University of Wisconsin System. All rights reserved under International and Pan-American Copyright conventions
The notion of visibility for gay men has changed dramatically since the advent of the Internet. Online platforms have spawned terms such as ‘straight acting’ that privilege heteronormative masculinity above other forms of masculinity through a hierarchy of masculine performance and identification. My proposition has been that the more a gay male performs, simulates, or copies a ‘straight’ mode of masculine performance, the more his otherness is rendered invisible. Consequently he builds a closet around himself. The research undertaken for this project employed various methodologies that focus on printmedia’s inherent qualities of sameness and difference through collected found images and text. Incorporating questions of authenticity and the real, the print-based artworks interrogated heteronormative masculinity through mass media. My project combined the discourses and practice of printmedia with cultural and queer theory, to interrogate connections between heteronormative masculine performances by gay men and how this could closet otherness. The aim of this research strategy was to locate a psychological or actual space that was free of the homosexual closet. The outcome of my project has been a series of print-based explorations and exhibitions that informed and culminated into a final exhibition. The examination exhibition presents my project’s findings through a repetition of image making and installation of artworks within the architecturally altered gallery space of the School of Art Gallery at RMIT University.
Catalogue Accompanying the Exhibition NSCAD: The 80's curated by Bruce Barber for Anna Leonowens Gallery, NSCAD University
This is a midway PhD project – produced as part of an exhibition (also titled 'The Museum of Dissensus), part of a series ('Ex Libris Fisherarium') exploring intersections between plastic and literary art forms, curated by David Corbet at the Fisher Library, University of Sydney, from October 2016-February 2016. It contains an introductory essay by David Corbet and essays and text extracts by several other writers: Susan Best, Ivan Muñiz Reed and Matt Poll. It features images and texts (from numerous cited sources) exploring the work of 49 artists: Abdul Abdullah, Jumana Emil Abboud, Vernon Ah Kee, Tony Albert, Francis Alÿs, Kader Attia, Tania Bruguera, Nick Cave, Aslı Çavuşoğlu, Chimurenga, Dadang Christanto, Destiny Deacon and Virginia Fraser, Karla Dickens, Fiona Foley, Félix González-Torres, Guerrilla Girls, Julie Gough, Dale Harding, Edgar Heap of Birds, Pierre Huyghe, Guo Jian, Jonathan Jones, Jumaadi, Yuki Kihara, Glenn Ligon, Laura Lima, Teresa Margolles, Shaghayegh Mazloom, Queenie Nakarra McKenzie, Kent Monkman, Zanele Muholi, Clinton Nain, Paulo Nazareth, Ramesh Mario Nithiyendran, Fiona Pardington, Mike Parr, Ben Quilty, Imran Qureshi, Rosanna Raymond’s SaVAge K’lub, Marwan Rechmaoui, Lisa Reihana, Doris Salcedo, Alex Seton, Hito Steyerl, James Tylor, Adriana Verejão, Kemang Wa Lehulere, Kara Walker, Jason Wing.
2010 •
2005 •
Convergence: Contemporary Art from India and the Diaspora
Convergence: Contemporary Art from India and the Diaspora2013 •
Modern Movements: Arthur Bowen Davies Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections
Modern Motives: Arthur B. Davies and ‘Continuous Composition,’ and Efficient Aesthetics” catalog essay for Maier Museum, January 20132013 •
2007 •
Philippe Vandenberg: Absence, etc., Wouter Davidts (ed.), Zurich / New York: Hauser & Wirth Publishers, 2017 [ISBN 978-3-906915-04-3]
Philippe Vandenberg: Absence, etc.University of South Africa
INTIMATIONS OF INFINITY: exploring transcendence in landscape painting MASTER OF ARTS IN FINE ARTS in the DEPARTMENT OF HISTORY OF ART AND FINE ARTS at the UNIVERSITY OF SOUTH AFRICA MRS E PRETORIUS NOVEMBER19951995 •
Owen Walsh 1933 - 2002 Colour and Light (Owen Walsh Foundation, 2012)
Owen Walsh 1933 - 2002 Colour and LightEndangered Species: Artists on the Front Line of Biodiversity
Endangered Species: Artists on the Front Line of Biodiversity2018 •
50/50; Fifty Works by Fifty British Women Artists 1900 - 1950
50/50; Fifty Works by Fifty British Women Artists 1900 - 19502019 •
2011 •
Susan Hawkins