Art Association of Australia and New Zealand / Annual Conference 2013 ART ASSOCIATION OF AUSTRALIA AND NEW ZEALAND ANNUAL CONFERENCE 7 - 9 DECEMBER 2013
University of Melbourne The Ian Potter Museum of Art The National Gallery of Victoria The Royal Melbourne Institute of Technology CONTENTS
SUPPORTERS 4
INTER-DISCIPLINE CONFERENCE COMMITTEE & 6 ORGANISERS
FOREWORD Welcome from the President 7 Welcome from the Convenor 8
KEYNOTE SPEAKERS MAJOR SUPPORTERS Paul Wood 9 Professor David Joselit 9 Professor Sarah Wilson 11
MASTERCLASSES 12
CONFERENCE PANELS 14
SPEAKERS 16
ABSTRACTS: SESSIONS AND PAPERS 18
The conference is supported by the Victorian College of the Arts Master Teacher program, the State Government through Arts Victoria; the Arts Faculty, the University of Melbourne; the Ian Potter Museum of Art; the National Gallery of Victoria; the Royal Melbourne Institute of Technology; AICA International Association of Art Critics, Australia; the Ian Potter Foundation; and the Macgeorge Bequest. INTER-DISCIPLINE
INTER-DISCIPLINE CONFERENCE FOREWORD COMMITTEE & ORGANISERS WELCOME FROM THE PRESIDENT I’m delighted to welcome you to the 2013 Art Association of Australia and New Zealand CONFERENCE COMMITTEE conference at the University of Melbourne. Our annual conference plays a crucial role in intellectual life across the region, by highlighting the latest ideas about art and art history through keynote lectures by distinguished international speakers. This year we Professor Su Baker, Director, Victorian College of the Arts, University of Melbourne are graced by three exciting scholars; David Joselit, Paul Wood and Sarah Wilson. The conference also provides a major opportunity for the formal and informal exchange Dr Barbara Bolt, Associate Professor, School of Art, Victorian College of the Arts, of ideas between scholars from Australia, New Zealand and more with more than 150 University of Melbourne papers to be given over the next two days by scholars, curators, students and artists. It is excellent planning that our conference coincides with the major exhibition Melbourne Dr Rebecca Coates, Lecturer, School of Culture and Communication, University of Now at the National Gallery of Victoria. I encourage you all to enjoy our contemporary Melbourne art. Dr Isobel Crombie, Assistant Director – Curatorial and Collection Management, National We are most fortunate to receive generous sponsorship from the State Government Gallery of Victoria through Arts Victoria, from the Ian Potter Foundation, and from the International Association of Art Critics, Australia (AICA). David Joselit is a Macgeorge Visiting Max Delany, Senior Curator of Contemporary Art, National Gallery of Victoria Speaker and his visit is supported by the Macgeorge Bequest. The conference has also received support from the Victorian College of the Arts’ (VCA) Master Teacher Program Dr Katrina Grant, Editor, Melbourne Art Network and The Arts Faculty of The University of Melbourne. The conference has provided a wonderful opportunity to strengthen partnerships between our important cultural Dr Alison Inglis, Associate Professor, School of Culture and Communication, University institutions; between the University of Melbourne, the Ian Potter Museum of Art, of Melbourne and the National Gallery of Victoria, and the Royal Melbourne Institute of Technology (RMIT). Dr Toby Juliff, Lecturer, Victorian College of the Arts, University of Melbourne The conference theme of the interdisciplinary is embodied in the organising committee, Dr Juliette Peers, Senior Lecturer, Architecture and Design and School of Fashion and a partnership between those working in art institutions across Melbourne, namely: Textiles, RMIT Professor Su Baker, Director, Victorian College of the Arts, University of Melbourne; Dr Barbara Bolt, Associate Professor, School of Art, Victorian College of the Arts, Dr Anthony White, Senior Lecturer, School of Culture and Communication, University of University of Melbourne; Dr Rebecca Coates, Lecturer, School of Culture and Melbourne Communication, University of Melbourne; Dr Isobel Crombie, Assistant Director – Curatorial and Collection Management, National Gallery of Victoria; Max Delany, Senior Curator of Contemporary Art, National Gallery of Victoria; Dr Katrina Grant, CONFERENCE MANAGEMENT Editor, Melbourne Art Network; Dr Alison Inglis, Associate Professor, School of Culture and Communication, University of Melbourne; Dr Toby Juliff, Lecturer, Victorian Purnima Ruanglertbutr, Conference Manager, Art Association of Australia and New College of the Arts, University of Melbourne; Dr Juliette Peers, Senior Lecturer, Zealand School of Architecture and Design and School of Fashion and Textiles, RMIT, and Dr Anthony White, Senior Lecturer, School of Culture and Communication, University of Melbourne. Finally a special thanks to Purnima Ruanglertbutr, conference manager of the 2013 Art Association of Australia and New Zealand conference, and Harriet Field, business manager for the Art Association of Australia and New Zealand.
Dr Ann Stephen President, AAANZ 6 7 INTER-DISCIPLINE
WELCOME FROM THE CONVENORS KEYNOTE SPEAKERS We are delighted to welcome you to Melbourne and to the 2013 AAANZ conference, PAUL WOOD ‘Inter-discipline,’ which has been organised to coincide with the exciting exhibition, Melbourne Now at the National Gallery of Victoria. The theme of the conference World Art ‘History’ and ‘Contemporary Art’: Two Strangers Seeking an Introduction complements the interdisciplinary focus of Melbourne Now, with its celebration The relationship between art history and art practice is mobile and unresolved. While of the creative landscape of Melbourne across and between the disciplines of art, the province of the former lay securely in the past their distinction was evident. The architecture, design, performance and cultural practice. We have encouraged critical more art history encroaches on the present, the less that is the case. Furthermore, perspectives that challenge the term, ‘inter-disciplinary’, inviting innovative research not only is the remit of history changing, its changes are now irreversibly affected by on the practice of art—what it means to work between, under, through and without geography. discipline. In response to our provocation, we have received papers and presentations from a wide range of practitioners, independent scholars, interdisciplinary artists, As we are constantly reminded, the present is an epoch of globalisation. The discourse curators, museum educators, students and graduate researchers across the fields of of ‘world art history’ is spoken in the academy, which remains, albeit to a diminishing Architecture, Design, Art, Art History & Theory, Curatorship and Museum Studies. extent, distinct from the market. The discourse of ‘contemporary art’, while increasingly heard in academe, is inseparable from the market. Both are products of globalisation. We are very pleased to welcome three distinguished keynote speakers, Professor David This paper looks at dominant formulations of both discourses, and speculates about Joselit, Paul Wood and Professor Sarah Wilson. David Joselit is a leading scholar and their actual and possible relationships. critic who has written about pivotal movements in modern art ranging from Dada to the emergence of globalisation and new media. David is currently Carnegie Professor and Chair of the History of Art department at Yale University, and the editor of October. Keynote lecture Paul Wood is Senior Lecturer in Art History at the Open University, England. He co- 7 – 8.30pm Saturday 7 December 2013 | Clemenger BBDO Auditorium, National Gallery edited, with Charles Harrison and Jason Gaiger, the three-volume Art in Theory. His of Victoria International, 180 St Kilda Road. (Entry North entrance via Arts Centre monographs included Conceptual Art (Tate Publishing, 2002) and Western Art and forecourt. Doors open 6.30pm). the Wider World (Wiley-Blackwell, 2013). Sarah Wilson is an art historian and curator working at Courtauld Institute of Art, University of London. Her interests extend from Paul Wood is Senior Lecturer in Art History at the Open University, England. He is co- postwar and Cold War Europe and the USSR to contemporary global art. She currently editor, with Charles Harrison and Jason Gaiger, of the three-volume Art in Theory, an holds a chaire d’excellence at the Université de Versailles-Saint Quentin. David and anthology of changing ideas about art from the founding of the Academy to the end of Paul have generously agreed to hold master classes for postgraduate researchers from the twentieth century (Oxford, Blackwell, 1992-2003). He is the author of Conceptual across Australia and New Zealand. Art (Tate Publications, London, 2002) and Western Art and the Wider World (Oxford, Wiley-Blackwell, 2013). His main involvement has been in the history of the modern The AAANZ annual conference is a wonderful and complex beast and we have been movement. His principal research interests lie in the theory of modernism and the delighted to provide stewardship over this year’s event. Organising such a conference avant-garde, and in revolutionary art and realism. More recently, he has worked on is only possible with a great team. We have been delighted to work with colleagues contemporary questions of globalisation and the relation of the western canon to from across the University of Melbourne, the National Gallery of Victoria, RMIT, and non-western art. He is currently working on issues around the ‘Benin bronzes’ and is with independent scholars. We would, first of all, like to thank Ann Stephen, President involved in a joint project with the Open University and the British Museum on Ancient of AAANZ, and Harriet Field for providing their ongoing support and experience to the Egyptian art. organising team. We would like to pay a special tribute to Purnima Ruanglertbutr our conference manager, who has worked tirelessly and with great passion to keep us on Keynote speaker supported by the Victorian College of the Arts Master Teacher target. We thank our enthusiastic group of student volunteers who have given their time program, the State Government through Arts Victoria. and labour to ensure the smooth running of the conference during the events. Finally, we would like to thank all of you for participating in this conference. We invite you to agitate and enjoy the conference and the cultural life Melbourne has to offer now. PROFESSOR DAVID JOSELIT
Professor Su Baker A Multitude of Images Director, The Victorian College of the Arts, University of Melbourne on behalf of the A multitude denotes a plurality of people or things. According to the Oxford English convenors. Dictionary it signifies “the character, quality, or condition of being many.” The subject 8 9 INTER-DISCIPLINE
of this lecture will be the condition of being many with regard to images, for indeed it is David Joselit is a Macgeorge Visiting Speaker supported by the Macgeorge Bequest. possible to define modernism as a response to “a multitude of images.” The lecture will His visit is also supported by the Victorian College of the Arts Master Teacher program, range from early 20th century montage to recent practices of aggregating readymades the State Government through Arts Victoria. among contemporary artists. PROFESSOR SARAH WILSON Keynote lecture 7 – 8.30pm Monday 9 December 2013 | Great Hall, National Gallery of Victoria Deleuze and interdisciplinarity: from Capitalism and Schizophrenia to the Centre International, 180 St Kilda Road. (Enter via the main Waterwall entry. Doors open Georges Pompidou 6.50pm). Deleuze was innately interdisciplinary. The Deleuze industry explodes with guides, Where is Painting? interpretations, preposterous concepts — ‘Dr Who’s body without organs’—never Despite its status as the presumed art commodity par excellence, painting has regained rooting his thought, writing and action in the Paris of his times; a Paris after new conceptual force. This lecture will argue that part of the reason for this is painting’s 1968, schizophrenic in terms of the death agonies of Communism, Maoism and a singular capacity to store time, and to articulate it in a range of different tempi. Painting proliferation of neo-marxisms coexisting with rampant capitalism and an increasingly can occupy several time zones at once. sophisticated ‘culture industry’… a Paris exploding with new liberties yet encircled with old institutions: overcrowded universities and prisons in the age of Concorde and the This keynote lecture opens the program of the 2013 Monash Art Design & Architecture Pill, the apothesis of experimental cinema… Via his passions Artaud, Bacon, Klossowski (MADA) HDR Summer Colloquium. The colloquium showcases new work by candidates to Richard Lindner or Gérard Fromanger, to Jean-Jacques Lebel or Ipousteguy, and enrolled in Higher Degrees by Research at MADA. Candidates from all disciplines in fine finally to the citadel of interdisciplinarity, the Pompidou Centre itself… we trace the art, theory, design and architecture will show and speak about their latest research. unknown Deleuze who lectured on ‘Musical Time’ for IRCAM with Pierre Boulez and was Joselit’s visit has been presented by the Art Association of Australia and New Zealand finally commemorated on the tenth anniversary of his death with a special Pompidou (AAANZ) Annual conference 2013 as a Macgeorge Visiting Speaker. Supported by the Centre album in 2005. Macgeorge Bequest. Keynote lecture Complimentary lecture 7.30pm Sunday 8 December 2013 | Multipurpose Room Level 1, Design Hub, Royal 6.30pm Tuesday 10 December 2013 | Monash Art Design & Architecture, G1.04 lecture Melbourne Institute of Technology (RMIT), Cnr Swanston and Victoria St, Carlton theatre, Building G. 900 Dandenong Road, Caulfield East. Sarah Wilson is Professor of the History of Modern and Contemporary art at the Further information and bookings: www.artdes.monash.edu.au/fineart/news.php#! Courtauld Institute of Art, University of London. She currently holds a Chair of Excellence at the Centre for the Cultural History of Contemporary Societies at the David Joselit is a leading scholar and critic who has written about pivotal moments in University of Versailles, Saint Quentin. Her project ‘Globalisation before globalisation: modern art ranging from the Dada movement of the twentieth century to the emergence avant-gardes, academies, revolutions’ intends to rewrite a history of modernism and of globalisation and new media over the past decade. Professor Joselit is currently postmodernism to 1989– as demonstrated in her recent Paris-London conference Carnegie Professor and Chair of the History of Art department at Yale University and an ‘Network Beaux-Arts, going global.’ Picasso / Marx will be published by Liverpool editor of OCTOBER. He also worked as a curator at the Institute of Contemporary Arts, University Press in 2013 following The Visual World of French Theory: Figurations Boston in the 1980s and regularly contributes to Artforum and Art in America. Professor (Yale, 2010), She was principal curator of Paris , Capital of the Arts, 1900-1968 (Royal Joselit also maintains a strong interest in gender, queer and feminist studies. His Academy London, Guggenheim Bilbao, 2002-3) and Pierre Klossowski Whitechapel Art selected publications include: After Art (Princeton University Press, 2012); Feedback: Gallery, 2006, touring to Cologne and Paris. Sarah Wilson was appointed Chevalier des Television Against Democracy (MIT Press, 2007); Infinite Regress: Marcel Duchamp Arts et des Lettres awarded by the French government for services to French culture in 1910-1941 (October Books; MIT Press, 1998); and American Art since 1945 (Thames and 1997. Hudson, 2003). Keynote speaker supported by AICA International Association of Art Critics, Australia, and the Ian Potter Foundation.
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MASTER CLASSES AAANZ 2013
Many postgraduate students have been recommended by their universities to attend BOOK, CATALOGUE & master classes led by the conference keynote speakers. The following master classes are offered to registered participants. PHD PRIZES
PAUL WOOD 6PM – 7.30PM DECEMBER 8 AWARD NIGHT RMIT DESIGN HUB Conceptual Art and Conceptualism
The AAANZ awards honour: The legacy of Conceptual art is both pervasive and yet contested. It has been called the hinge between the past and the present. For some it effectively initiates contemporary art. For others that is to exhibit a misunderstanding of what Conceptual art stood for. • Originality and rigour of scholarship From yet another point of view it symbolises all that is wrong with the art of our time. • Contribution to knowledge in the area and impact on scholarly debate in the field This workshop is going to consider different views of Conceptual art, both historically • Significance and originality of picture research in relation to modernism, but also in relation to the diverse forms of contemporary art • Quality of the design & production values of the publication often called ‘Conceptualism’. • Ability to convey complex ideas to wider audiences.
The following prizes will be awarded for the best book, catalogue and articles that 12.30 – 2.30pm Saturday 7 December | Multifunction Room, Ian Potter Museum of Art, have been written by members and/or staff of institutional members within the year University of Melbourne 2013.
1. Best book ($500 supported by The University of Sydney) PROFESSOR DAVID JOSELIT 2. Best anthology ($500 supported by The University of Sydney) 3. Best large exhibition catalogue ($500 supported by The University of Melbourne) Art in the Age of Big Data, C. 2013 4. Best small exhibition catalogue ($100 supported by The University of Western Australia) Information has always been political, but with the rise of Big Data in intelligence 5. Best scholarly article in AAANZ Journal ($500 supported by The University of operations, activists like Edward Snowden and groups like Wikileaks have made it clear Sydney) that political sovereignty now means control over vast reserves of data—an asset that 6. Best essay/catalogue/book by an Indigenous Australian or New Zealand Mâori companies like Walmart and Google have long understood. Since the late 1960s, with the advent of conceptual art as truly global style, art has also allied itself to information. (NZ $500 supported by Christchurch Art Museum) Under these new conditions we must ask ourselves, “What is art in the age of Big 7. Best artist lead publication, essay/catalogue/book (NZ$500 supported by Massey Data”? University)
NEW PRIZE FOR 2013 2.45 – 4.45pm Saturday 7 December | Multifunction Room, Ian Potter Museum of Art, A new 3-mintue thesis competition for 2012 PhD Graduates is to be judged on University of Melbourne Saturday 7 December 2013 at 3pm in Federation Hall, Victorian College of the Arts.
8. PhD Graduate prize ($1,000 sponsored by Taylor and Frances, the new publisher of the AAANZ Journal).
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CONFERENCE PANELS
Panels are listed in the order of the conference program.
A: The New Materialism in and Through Sculpture and Spatial Practice 18 P: The History and Future of Writing About Art 94
B: Disciplines: the trans, ill and un 24 Q: Topologies of Practice 97
C: Print Culture and the Decorative Arts, 1500-1800: towards an expanded field 27 R: Open Session, Day Two 101
D: Repair and the Reparative in Modern and Contemporary Art 33 S: Cyclonopedism 106
E: Open Session, Day One 36 T: Consumption and Interdiction 113
F: Things Change: Material Culture, transformation, and memory 44 U: On Curating 118
G: Interdisciplinarity in Art Museums 48 V: Looking at the Overlooked in Early Modern Europe 126
H: Art, Environment, Interdisciplinarity: New Perspectives in Australian 56 W: Portraiture and Identity 131 Art Practice X: Art and Advertising: A case of sibling rivalry or symbiotic exchange 137 I: Interdisciplinary approaches to the art, architecture and landscape of Early 59 Modern Italy Y: The Inheritance of the Readymade 139
J: Relational Aesthetics and Socially Engaged Art: A Neo-Liberal Sociology or 63 Z: The Interdisciplinary Nature of Online Creation 142 a Radical Practice? ZX: Assessing Integrative Learning in Creative Interdisciplinary Teaching 147 K: Rates of Exchange 70 Environments
L: Re-examinations of curated exhibitions of Australian art 76 ZY: Performing Disciplines 150
M: 3d-2d fashion / gender / performance / image to art 82 ZZ: The Collaborative Performance Paradigm – Where is the Artist? 155
N: UnDesign: Critical Practices at the Intersection of Art and Design 85
O: Art, science and German travellers: inter-disciplinary and transnational 89 exchanges in nineteenth-century Australia and New Zealand
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SPEAKERS
KEYNOTE SPEAKERS Coates, Rebecca 118, 119 Haylock, Brad 89 Marshall R., David 61 Panigirakis, Spiros 140 Taffe, Simon 86, 87, 88 Paul Wood 10, 161 Cole, Georgina 133, 134 Hester, Bianca 18, 19, 20 Marshall, Jonathan W. Pauli, Dorothée 92 Theiler, Esther 132 Professor Sarah Wilson 12 Colless, Edward Hill, Wes 119, 120,146, 147 153, 154 Peers, Juliette 82, 83,84,85 Thomas, Paul 24, 25, 26 Professor David Joselit 106, 110, 111 Hill, Michael 130 Martin, Matthew 27, 28, 32 Pellumbi, Jola 30, 31 Tonkin, Steven 37 10, 11, 161 Cook, Tara 142, 143 Holding, Isabella 49, 50 Marvell, Leon Pirotta, Natalie 105, 106 Tsai, Jamie 110 Coombs, Gretchen 67, 68, 85 Homewood, David 38 106, 107,112, 113 Pitt, Elspeth 42 Tuckett, Pamela 139 Cooper-Dobbin, Melanie Hooper Langham, Nancy Masemann, Elisha 70 Pullin, Ruth 89, 90 Tyler, Linda 90, 91 117, 118 46, 47 McAuliffe, Chris 56, 136, 137 Rainbird, Sarah 149 Undén, Mats 74 Cox, Travis 142, 143 Hoorn, Jeanette 131 McCartney, Lauren 36, 37 Rashidi, Maryam 67 Volz, Kirsty 88 PRESENTERS Cross, David 151, 152 Hubbard, Lou 141 McDonald, Gay 101, 102 Read, Richard 41, 42 Waijers, Amanda 72, 73 Adams, Glenys 63 Crowest, Sarah 20, 21 Hughes, Helen 94, 95 McDowell, Tara 139, 140 Reid, Catherine 52, 53 Wellington, Robert 28, 29 Ballard, Susan 25, 26 Daly, Anna 111, 112 Ibbotson, Rosie 44, 45 Mclean, Ian 95 Retter, Thomas 35 Weretka, John 60 Barby, Vanessa 42, 43 David Bradley, Ry 146 Ihlein, Lucas 68, 69 McNamara, Andrew 34, 35 Riddler, Eric 81 Wise, Kit 148 Barikin, Amelia 95, 96 Davidson, Kathleen 89, 90 Inglis, Alison 77, 78, 82 McNeil, Peter 27, 28, 32 Ridsdale, Gillian 51, 52 Wlazlo, David 71 Beaven, Lisa 62 De Lorenzo, Catherine Jewell, Sharon 99, 100 McQuilten, Grace 66 Robb, Charles 97, 98 Woods, Benjamin 21, 22, 23 Berry, Jess 83, 84 77, 78, 79, 80 Jolly, Martyn 120, 121 Mendelssohn, Joanna 77, 80 Robertson, Kate113, 114, 115 Woodward, Laura 23, 24 Berryman, Jim 80, 81 De Vitis, Mark 132, 133 Juliff, Toby 36, 101 Milam, Jennifer 126, 127 Rodigari, Sarah 156 Wynne-Jones, Victoria Best, Susan 33, 34 Donaldson, Kim 125, 126 Kalionis, Jennifer Miles, Melissa 147, 148 Rouette, Georgia 138, 139 152, 153 Bolt, Barbara 18, 23, 64, 65 Donnachie, Karen Ann 108, 109, 117, 118, 156, 157 Milne, Pippa 124, 125 Ruanglertbutr, Purnima Box, Louise 51 143, 144 Kayser, Petra 31 Morden, Apryl 104, 105 48, 49, 50 Braddock, Chris 150,151 Duggins, Molly 93, 94 Kelly, Meghan 55 Morgan, Luke 114, 115 Russell, Susan 135 Brazier, Jan 93, 94 Dunham, Laura 46 Kelly, Wendy 98, 99 Morse, Meredith 100, 101 Ryan, Lauren 61, 62 Brown, Nic 53, 54 Edwards, Rebecca 103 Kent, Helen 52, 53 Muller, Elizabeth 26, 27 Sade, Gavin 85, 86 Brunet, Lynn 39, 40 Farrar, Sarah 142 Kovacic, Katherine 133 Murray, Phip 122, 123 Schilo, Anne 103, 104 Bull, Gordon 123, 124 Fisher, Laura 101, 102 Kushnir, Alana Murray, Sarah 45, 46 Scott, Sarah 81, 82 Bunt, Brogan 27 Forsyth, Graham 149, 150 121, 122, 144, 145, 146 Myers, Ruth 155 Seccombe, Erica 56, 57 Burke, Janine 58, 59 Fraser, Lyndon 45, 46 Laird, Tessa 107 Nash, Melanie 52, 53 Shepheard, Mark 60, 131 Burton, Laini 115, 116 Gardner, Sally 39 Lausch, Monica 134, 135 Neilson, Christina 129 Simons, Patricia126, 127, 129 Butler, Rex 44 Garrie, Barbara 44, 45 Legino, Rafeah 47, 48 Nelson, Robert 116, 117 Slade, Lisa 78, 79 Butt, Danny 69, 70 Gaston, Vivian 135, 136 Lentini, Damian 102, 103 Newcombe, Jodie 86 Smith, Tim 91, 92 Bywaters, Malcom 57, 58 Gaunt, Heather 48, 49, 54, 55 Loveday, Tom 75, 76 Nowak, Jolanta 56 Smith, Terry 96, 97 Cairncross, Boni 158, 159 Gibson, Prudence 107, 108 Lowish, Susan 40, 41 O’Regan, Eve-Anne 137, 138 Sofo, Charlie 139, 141 Castagnini, Laura 43, 44 Grant, Katrina Macneil, Georgina Ormella, Raquel 157, 158 Speck, Catherine 77, 78, 79 Castleden , Susanna 103, 104 59, 60, 63, 94, 95 113,114,116, 117 Oscar, Sara 110 Spiteri, Raymond 65, 66 Chare, Nicholas 130 Gray, Anna 79 Maling, Jason 158 Overton, Neill 38 Stankard, Suzanne 47, 48 Clayton-Greene, Kim 84 Green, Tamsin 71, 76 Marsh, Anne 63, 64 Palmer, Stephen 70, 71, 76 Stephen, Ann 8, 33, 34, 35 Clemens, Justin 109, 110 Green, Miik 71,72 Marshall, Louise Palmer, Daniel 120, 121 Stuart, Amanda 58 126, 127, 128 16 17 INTER-DISCIPLINE
ABSTRACTS: expressive territories in Bianca Hester’s positioned as always more than having An open, experimental and sculptural fashionings, the bothersome a simple material presence (as it is improvisational approach born from PANELS & matter and the humorous life of commonly figured in dominant forms of working within a realm of indeterminacy PAPERS Sarah Crowest’s mounds, the action Western, primarily binary thinking). It is a potentially challenges prevailing improvisations of Benjamin Woods and kind of matter considered vital - one that modes of authorship and related forms Panels appear in the order of the the introverted kinetic sculptures of Laura holds within itself a ghost of incorporeal of production and reception that are conference program. Woodward in order to take stock of the dimensions and volatile forces: it is a structured by ‘appropriative modes of opportunities and limits offered by a new matter inclusive of but irreducible to perception’ (Uroskie, 2005: 68) in which materialist perspective. objects, a matter that encompasses art is subject to an interpretive will that ‘events, processes and relations’ (Grosz, seeks to contain, centre and identify and Dr Barbara Bolt is a practising artist 2012: 1). where art is positioned as an object, PANEL A and art theorist at the Victorian College given over to a subject (Bolt, 2004: 13). THE NEW MATERIALISM IN of Arts, University of Melbourne. She Approaching matter in this manner has This is because such an approach invites AND THROUGH SCULPTURE has two monographs Art Beyond powerful implications for the generation, another kind of engagement more akin AND SPATIAL PRACTICE Representation: The Performative exhibition and documentation of sculpture to a process of adventure or encounter Power of the Image (I.B. Tauris, 2004) and spatial practices. Grosz’s ideas with that which is unpredictable, and Heidegger Reframed: Interpreting can be transformed into a lively set of unforeseeable, surprising. CONVENOR Key Thinkers for the Arts (I.B. Tauris, strategies for production that invite a ASSOCIATE PROFESSOR 2011) and three co-edited publications, process of working from within the middle This paper is engaged in exploring how BARBARA BOLT Carnal Knowledges: Towards a ‘New of matter’s openness. This openness one might go about adventuring matter’s Victorian College of the Arts, Materialism’ through the Arts (I.B. Tauris, both stimulates and requires an ethos of openness through a sculptural and The University of Melbourne 2013), Practice as Research: Approaches experimentation in order that emergent spatial practice, discussing practice- to Creative Arts Enquiry (I.B. Tauris, possibilities are attended to - possibilities led, embodied and immersed strategies In New Materialism: Interviews and 2007) and Sensorium: Aesthetics, Art, that Grosz calls ‘events that are not that have been useful in attending to an Cartographies (2012), Rick Dolphijn Life (2007). She exhibits with Catherine contained within or predictable from the openness located at the heart of matter. and Iris van der Tuin propose that Asquith Gallery. present’ (Grosz, 2011: 72). Attending to Through a commitment to proliferating where artworks are concerned, a ‘new the manifold possibilities that arise as a process, attending to emergence, materialist perspective’ engages the Website: http://www.barbbolt.com/ consequence of this method of working responding to accident, engaging entanglement between the form of Email: [email protected] activates a slippery, volatile, shaggy- improvisation, and allowing for chance content (the material condition of the edged, wholly un-containable situation to enter – a context is activated whereby artwork) and the form of expression (a situation encompassing production, something unexpected bursts forth – a (the sensations as they come about) DR BIANCA HESTER engagement, perception, sense making, kind of something ‘liberated from the (Dolphijn and van der Tuin 2012: 90). shaggy edge of open and so on). Within this dynamic situation constraints of the present’ (Grosz, 2011: With its intimate engagement with ‘makers’ are located within the midst 72). objects, materiality and spatial and Indeterminacy, suggests Elizabeth Grosz, of a teeming and co-productive field social relations, Sculpture and Spatial is a condition that provokes and enables of relations (human and non-human), Dr Bianca Hester is a Postdoctoral practice provide the exemplary conditions living beings to ‘develop the openness of becoming intimately enmeshed in an research fellow at the SCA (University of of possibility for examining the ethical, matter’ (Grosz, 2012: 1) through acting embodied process that ushers forms of Sydney). She completed her PhD at RMIT aesthetic, epistemological and ontological upon the material world and its objects work forth. in 2007. She was a founding member of claims of the new materialism through in ways that cannot be specified in CLUBSpropject inc (2002-2007), and is a the arts. This panel calls on rhythm’s advance (Grosz, 2011: 69). This is matter member of OSW (2003–ongoing). Projects
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include: only from the perspective of a of doubt and uncertainty. It is such a lack making. Kippenberger is said to have of different forms of attentiveness in art viewer situated upon the surface of the of sureness and egotistical confidence espoused the raising of the absurd to practice. earth does day and night occur, for the in one’s ability to know exactly what the highest level of thought through Glasgow International Festival for Visual something is, or to ‘nail it’ and resolve ‘extra-rapid thinking’ and his prolific, Dr Sarah Crowest is a practising visual Arts, (2012), a world fully accessible it that allows access to the emergence at times, non-stop mode of production. artist crossing disciplinary boundaries by no living being (2011), please leave of new pathways of perception and for This hectic manner is at extreme odds of contemporary art, design, and these windows open overnight to enable questions to proliferate. with my typical, meandering, ponderous craft oscillating between critical and the fans to draw in cool air during the approach to making work but I describe commercial modes. In 2013 Crowest early hours of the morning at ACCA From amongst my own working processes the processes by which I circumvent this was awarded a PhD by University of (2010), The West Brunswick Sculpture that broadly emphasise the value of: familiar pace to inject flashes of speedy Melbourne, (VCA) for her practice-led Triennial (with the OSW collective 2009), not-knowing, transition, ephemerality, activity. research project An Unaccountable Mass: and projectprojects at The Showroom in recycling and recombining of materials bothersome matter and the humorous London (2008) (University of Sydney). and already made works, I have chosen I first came across the expression soft life of forms. Recent awards include three useful terms that I will elucidate eyes in the HBO television series The the Samstag Scholarship for a year of Email: [email protected] here: tumbleweed methodology, extra- Wire where it is used to describe the way independent study at Maumaus, Lisbon, rapid-thinking and soft eyes. I will briefly a detective should use their eyes to scan Portugal and a New Work grant from explain the first two and their place in my an entire crime scene without looking the Australia Council. Recent exhibitions DR SARAH CROWEST practice and proceed to expand in depth hard and staring at particularities. It include tumbleweed methodology: a tumbling with soft eyes everywhere at the notion of soft eyes, how it relates to involves seeing with awareness and using theory of the cycle of things at Craft once in the midst of things blind making and Nishitani’s critique of peripheral vision to see the whole with Victoria and Unsettled Sculpture at Sarah the subject centred ‘cutting’ or ‘slicing’ to an open mind. The notion of using soft Scout. For a practice-led artist/researcher create static perceptual frameworks that eyes might simultaneously be used to working with ‘emergent methodologies’ involve a screening out of the universal tap into an intuitive sense of ‘rightness’ Website: http://www.sarahcrowest.com/ there is a distinct lack of nuanced field of transformations (Foster, 1988: or ‘wrongness’ (as in the case of the Email: [email protected] vocabulary with which to articulate 96-101). detective) and open out to vision’s wider procedure. Strategic tools to articulate frame. I will touch on how this nebulous, processes of art production that are open- Tumbleweed methodology is a term that muted way of looking operates through BENJAMIN WOODS ended and proceed from the middle of the artist Akira Akira coined over the my practice and contrast this with Feeling material things towards that which is unforeseen course of several discussions surrounding the British sculptor Phyllida Barlow’s and therefore surprising are ripe for my PhD—an unaccountable mass: experience of toning the intense gaze This paper unpacks an array of invention and development. bothersome matter and the humorous right down to simulate vision impairment possibilities and apprehensions that life of forms. Tumbleweed methodology through blind making or working in the emerge everyday in my sculpture practice, This paper shares a selection of strategies describes the process through which a dark. This leads to an explication of and plays with how this practice can be and terms that contribute to a particular body of knowledge is blindly accumulated Nishitani’s conception of form as part of involved with the ‘new materialism’. way of understanding the conditions by its own mobilisation across multiple a mobile continuum and the condition for and tendencies that have the capacity to terrains. seeing as contingent on the nothing or My practice consists of a set of materials, disrupt habitual ways of seeing, thinking emptiness surrounding it. objects, reliefs, and actions, with an and making. The opening up or out to Extra-rapid-thinking is a turn of phrase ongoing documentation of particular the encounter with unpredictable forces that has been used in connection These terms constitute a contribution installations and happenings across with their potential to explode or rupture to Martin Kippenberger and his all- to the tools and vocabulary for a way different spacetime registers. Knowing customary routines, introduces a world embracing strategy of speed in art into thinking through the pedagogy of how this set of work and its historical ‘emergent methodologies’ in the area 20 21 INTER-DISCIPLINE
conditions can open up to freshly the work of words and thought less and ‘Interpreting Variable Arrangements’, The term ‘introversion’ is used in a improvised shapes, forms, colours, less the work of separate, masterful produced by Isadora Vaughan and Jessie posthumanist framework in which agency configurations and movements is a human brains. Such discursive shifts Bullivant; and, ran the project volcanoes is not specifically linked to humanism, process that I undertake every day, in the account for the inclusion of artists in bending and turning to pick up salt left by consciousness or intention (Coole and studio and nomadically across different academic roles and as researchers. the waves’ at c3 Contemporary Art Space. Frost, 2010: 8). This approach follows on spaces. It can be a formidable task to However, it doesn’t account for the style from theorists dealing primarily with the move yourself to open arrangements of that inclusion. As an artist whose Website: www.benjaminwoods.net material turn, including political theorist of objects and actions into other practice officially operates as research, Email: [email protected] Jane Bennett, political theorists Diana possibilities, especially when this I have felt the impression of dominant Coole and Samantha Frost, and more process often reveals the limits of hierarchical structures for knowledge- directly dealing with the material turn in personal, social, spatial and temporal making in a University setting. In the LAURA WOODWARD the arts, theorists such as Estelle Barrett circumstances. As such I use a process past this has generated a schizophrenic Neocybernetics and New Materalisms in and Barbara Bolt. These new materialist of making in micro-movements—working combat in my practice whereby a Contemporary Kinetic Sculptural Practice accounts of agency speak to in-studio here and there, with a precise and theoretical mode of apprehension works experiences within this project between piecemeal style. In this process sculpture its way into and disrupts my ability to This paper focuses upon connections myself as artist and the work of art’s works as the congealing of agency make. This paper is structured as a between neocybernetic discourse and materiality. (possibilities) with an ethic of opening to list of sentences generated alongside new materialism in the arts, through the other physical possibilities at every turn. sculptural improvisations, aiming to body of work developed in the project This paper will extend these new I often find myself approaching each present research of a tacit rather than ‘The Introverted Kinetic Sculpture’. In materialist considerations of agency tiny shift and action as if the relations propositional natureculture. I work to doing so, it proposes that a drawing through an engagement with cyberneticist that are emitted have the potential to generate these tacit sentences so that I together of these discourses informs Niklas Luhmann’s essay ‘The Medium of cut across knowledges. My sculptural might engage in the ‘new materialism’ and enforces particular contemporary Art’ in relation to the introverted kinetic process demands this openness because through the arts with a sensorial mode approaches to kinetic sculptural practice. sculpture. Luhmann discusses both the it constitutes an effort of continuously of apprehension native to sculptural These approaches are elucidated upon ‘medium’ and ‘form’ of the work of art: to figuring what matters (an ongoing task discipline. This is an experiment through my particular experiences in the Luhmann, ‘medium’ is the combination of rather than a propositional finality). I feel in making a spacetime – however development of each introverted kinetic elements from which a work emerges— this only happens because I work within provisional – for feeling material (feeling sculpture. essentially, the work’s environment. In the disciplinary conditions of sculpture, consequential) and knowing in its this sense, the material of the work of and apprehend the world as a sculptor. immanent material-sensorial becoming. Introverted kinetic sculptures are kinetic art is an element in that work’s medium, sculptures defined by specific qualities as are other factors such as the gallery A ‘new materialist’ assertion that Benjamin Woods is a sculptor based of their systems (circularly-causal, space, the artist’s skills, and so on. ‘Form’ concepts are ‘specific physical in Melbourne. In 2012 he completed a autopoietic systems with analogue is the work of art (in other words, the arrangements’ (Barad, 2007: 54) is a Master of Fine Art with a project called manifestations) and the environmental system) that emerges from this medium development that excites my impulse ‘becoming becoming open all-around’. conditions through which these systems (the form’s environment). Forms arise and incites the imperative to make Recently he has been a part of the City emerge (articulated as the ‘medium’ ‘through selection from the possibilities openly. Although a large amount of of Melbourne 2012 Arts Program with of the introverted kinetic sculpture). offered by a medium’ (Luhmann and ‘new materialist’ production focuses the project ‘open blankets’; contributed ‘Introversion’ in relation to the kinetic Roberts, 1987: 102) To Luhmann, a towards writing materiality into theory, the initiating installation at Outward sculpture is used to denote a kinetic medium ‘holds its elements ready for language is becoming exposed. In fact Project, Launceston; generated an action sculpture that is oriented around inner coordination through form.’ (Luhmann by engaging a ‘new materialism’ through improvisation show at the Substation factors; in other words, the sculpture’s and Roberts 1987: 103) the arts, concepts become less and less (‘processual rhythms’); been part of ‘logic’ is primarily determined from its ‘inner reality.’ (Sharp, 1987: 65) 22 23 INTER-DISCIPLINE
Thus, drawing from Luhmann, the work in Melbourne. Her sculptural, kinetic actually don’t quite speak the language DR SUSAN BALLARD of art’s ontology emerges through an installations have been exhibited in of formal disciplines - they suggest Machinic Evolution in the Art Gallery agency that is distributed within various solo and group exhibitions throughout transient rules and constant transition elements, relations and components that Australia. Laura is completing her from one frame to another. The panel This paper discusses the behaviour of comprise and generate the system and its practice-led PhD The Introverted Kinetic seeks histories that explore the potential objects inside an art gallery. Taking as environment. This conception of agency Sculpture at the Victorian College of the of transdisciplinary approaches and my focus the exhibition AMONG THE resonates with that discussed in new Arts. Previous conference presentations undisciplined theoretical practice that MACHINES (ATM) curated for the Dunedin materialist discourse, in which material include Experimental Arts, NIEA, Sydney; might form a nomadic discourse in Public Art Gallery in New Zealand, I materialises, where matter is no longer an installation at Sensory Worlds, relation to the broader contemporary address the way in which artworks can considered passive or inert but instead University of Edinburgh, Scotland; ‘The art research culture. The trans/ill/un became an unruly ill-disciplined group of where it possesses its own modes of Somatic in Kinetic Sculpture: from Len disciplined speaks of a meta-language machines. ATM drew on Samuel Butler’s self-transformation, self-organisation, Lye to an Introverted Kinetic Sculpture and meta-system, which also has Erewhon (1872) and contained numerous and directedness. As Coole and Frost (via Donna Haraway’s Cyborg)’, at the the possibility to operate in minor works where concerns for the human conclude, ‘matter becomes’ rather than conference Moving Imagination, Ghent, voices and locations. The panel will and nonhuman, the machinic and the ‘matter is.’ (Coole and Frost, 2010: 10) It Belgium, which was recently published in explore particularly the possibility and natural blurred. Butler foresaw a twist is in this posthumanist, new materialist the collective volume Moving Imagination: implications of trans being ‘beyond’ in evolutionary history where Darwin’s framework, agency is a generative force the Motor Dimension of Imagination in the states leading towards the illdiscipline or theories of evolution would enter the through which all matter (including the Arts (John Benjamins, 2013). undiscipline as a new subversive modality. hands of the machines, and humans human) asserts itself as active, self- would become witness to shocking events creative, productive and unpredictable Email: [email protected] Dr Paul Thomas is Head of Painting at such as ‘the fertile union between two (Coole and Frost, 2010: 9). In considering the College of Fine Art, University of New steam trains.’ ATM picks up Butler’s the ‘medium’ (in Luhmann’s conception South Wales. Paul is currently looking argument, but rather than prophesizing a of the term) and emergence of the at photons and parallel universes in the dystopian future, many of the works in the introverted kinetic sculpture, this paper PANEL B work Multiverse. Paul is the co-chair of exhibition appeared to stop off at Henri will elucidate upon these considerations DISCIPLINES: the Transdisciplinary Imaging Conference Bergson’s 1907 revisiting of Darwin in of agency in both neocybernetics and new THE TRANS, ILL AND UN 2010,2012 and 2014. In 2000 Paul Creative Evolution. In this paper I extend materialist discourse. instigated and was the founding Director the exhibition’s concerns by crossing of the Biennale of Electronic Arts Perth the conceptual fields of the machinic These specific considerations within CONVENOR 2002, 2004. Paul has been working in the assemblage with notions of vitalism. In neocybernetic and new materialist DR PAUL THOMAS area of electronic arts since 1981. Paul’s a discussion of these irresponsible art discourses reveal the introverted College of Fine Arts, UNSW current publications are Nanoart; The objects, I suggest that it is Deleuze and kinetic sculpture as a concrete site immateriality of art and Relive Media Art Guattari’s machinic assemblage (with its through which to explore posthumanist This panel session will explore trans/ill/ Histories, edited by Sean Cubitt and Paul debt to Bergson) that offers the strongest considerations of agency, medium, un disciplined concepts and behaviours Thomas. counter to the mechanistic model of the and systems in the kinetic work of art. as means of studying modes of practice world (and the art objects inside it). In doing so, it will highlight the ways and objects that are at the margins Email: [email protected] in which these discourses can inform of existing disciplines and that are Dr. Susan (Su) Ballard is an art historian contemporary approaches to kinetic themselves already complex and multi- and curator from New Zealand and sculptural practice. faceted. The objects, behaviours, concepts senior lecturer in Art History, Visual and modalities we are interested in and Media Art and the University of Laura Woodward is an artist based deliberately avoid a disciplinary base and Wollongong, Australia. Su’s research
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examines materiality and machines in boundaries or areas of demarcation. new possibilities for the way exhibitions to stage, for instance, bravely naked contemporary art and the art gallery. The transdisciplinary nomad can move and museums can respond to and reflect encounters with natural phenomena Su co-edited The Aotearoa Digital Arts between, above and beyond boundaries to changes in knowledge formations brought (Ponge) and social fields (Perec) - while Reader in 2008. In July 2013 she was question physical realities. about, in part, by networked digital at the same time manifesting the role appointed editor of Fibreculture Journal, technologies. of writing as a form of mediation. They and in 2013 she curated the major See above for biography. resist conventional understandings and exhibition AMONG THE MACHINES for the Lizzie Muller is a curator, writer and approaches, while also acknowledging Dunedin Public Art Gallery, NZ. researcher specialising in interaction, that nothing can be directly seen as DR ELIZABETH MULLER audience experience and interdisciplinary such – that everything inevitably passes Email: [email protected] The Return of the Wonderful: Exhibiting collaboration. She is Senior Lecturer through the artifice of coded procedures Media Art in a Post-disciplinary Era at the College of Fine Arts, UNSW. Her and language. In this manner they most recent curatorial project was establish a subtle relation between DR PAUL THOMAS Hybrid and interdisciplinary works of Awfully Wonderful: Science Fiction in aspects of discipline and un-discipline, The trans/ill/undisciplinary nomad media art have always struggled to find Contemporary Art at Performance Space, suggesting all kinds of possibilities for a place within the mono-disciplinary Sydney. contemporary ‘undisciplined’ media arts The paper will focus on the trans/ill/ collections of fine art museums. Recently, practice. undisciplinary in context to Gilles Deleuze however, a number of museums, curators Email: [email protected] and Felix Guattari’s nomad being seen and collectors have presented a more Dr Brogan Bunt is an Associate Professor as an intermediate for transformation. inter-, or even post-disciplinary approach in Digital Media and Media Arts at the The nomad elicits the very nature of to collection and exhibition that straddles ASSOCIATE PROFESSOR University of Wollongong. the undisciplinary with his/her ability time periods and mixes artworks with BROGAN BUNT to transverse the classical and the other kinds of artefact from the realms of The Discipline of Un-discipline Email: [email protected] quantum worlds, carrying with them on science, technology and natural history. their journey an independent ‘situated Many of these curatorial projects draw This paper addresses a turn away from knowledge’. The transdisciplinary explicitly on the historical model of the a technically oriented conception of nomad is aware that a quantum ontology Wonderchamber for inspiration. In doing media art to one that is focused more on PANEL C deconstructs a classical one therefore so they use a pre-disciplinary mode dimensions of mediation within aspects PRINT CULTURE AND can choose all possible routes to of display as a precedent for a post- of social action and experience. In THE DECORATIVE ARTS, approach a broader art research culture disciplinary sensibility. making this turn away from a concern in the face of institutional silos. The with technical prosthetic media, in 1500-1800: TOWARDS AN paper will trace a relationship between In this paper I argue that this ‘Return shifting towards an in interest in issues of EXPANDED FIELD the nomad, the flow of matter and of the Wonderful’ creates a fertile, immediacy, perception, performance and transdisciplinarity, specifically in the area integrative context for the collection everyday life, the already ill-determined CONVENORS of art/science collaborations. The nomad and display of new media art. I examine field of media art risks abandoning any PROFESSOR PETER MCNEIL roams art/science terrains to inhabit/ three examples of exhibitions that sense of disciplinary coherence. This University of Technology Sydney vacate, embrace/reject, deterritorialize/ combine new and old media artworks paper defends pursuing this risk. Within reterritorialize, reflect/critique and alongside artefacts from different this context it considers lessons to be DR MATTHEW MARTIN culturalise/naturalise. I want to disciplines and historical periods. The learned from the literary-poetic work National Gallery of Victoria demonstrate how Deleuze and Guattari’s paper proposes that, with the dawning of of writers such as Francis Ponge and exploration of a nomad highlights a lack a post-disciplinary era, these curatorial Georges Perec, who manage to represent Print and the decorative arts are often of respect for measurements, artificial experiments in eclecticism are positing the fragility of disciplinary frames - treated as separate entities, by virtue
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of media, function, collecting traditions He is currently completing a book entitled The openness of Furetière’s definition engravings by Gilles de la Boissière, with and context. European decorative arts ‘Pretty Gentlemen: The Eighteenth- expands the concept of the print beyond circular frames incorporating the fleur- in the period 1500-1800 were beholden Century Fashion World’. the media specificity that dominates the de-lis surrounding each illustrated coin to to print, but not passive concerning it. current field of art historical research into designate them as items in the Sun King’s This session calls for a reconsideration Email: [email protected] print culture. As well as the conventional possession. of the decorative arts in terms of means of printing letters or images in networks of creation, innovation and Dr Matthew Martin is Assistant Curator ink on paper, this might also incorporate The display of Louis XIV’s coins and exchange, providing new understandings in the department of International the stamp for embossing leather, or medals reveals the influence of framing of the meanings of this dynamic inter- Decorative Arts at the National Gallery a die to stamp a medal. Indeed, I will techniques developed for engravings relationship. Print in this theme is not of Victoria and is a Research Associate in argue that these divergent techniques to unify the collection in the decorative confined to printed books, engravings MCD University. He was formerly Director were closely aligned in the production, design of the medals cabinets and their and the like, but an ‘expanded field’ of of Studies at the Melbourne College of dissemination and display of Louis XIV’s linings at Versailles. Analysis of this print, including 18th-century printed Divinity. Amongst the recent exhibitions coins and medals in order to expand collection and its display offers important textiles, printed or painted ceramics, he has curated are Chinoiserie: Asia the possibilities of their design through insights into an expanded field of printed glass painted and etched after prints, in Europe, 1620-1840 (2009), Living multiplication and seriality. media, with the coins and medals and even inlaid furniture. Print was never Traditions: The Art of Belief (2012), and themselves falling within this more passive, but was transformed in creative Kings Over the Water: Jacobite Glass in Louis XIV’s medals cabinet at Versailles broadly defined rubric. Indeed, I contend acts of collecting, recombination, being the NGV (2013). His research interests was once the most luxurious space in the that the network of stamps and inlays in coloured, and translated into new formats include eighteenth-century porcelain chateau, richly furnished with a profusion Louis XIV’s Cabinet des Médailles worked such as ‘dressed prints’ with the addition sculpture and sculptural aesthetics, and of mirrors, carved agates, cabinet to extend the meaning of the printed of textiles, sand and other media. The patronage and art collecting amongst paintings and inlaid cabinetry to house the metal items that it contained in order to translation across media permitted a very eighteenth-century Recusant elites. King’s impressive numismatic collection. present the French King’s reign as the wide circulation of meanings, including In the drawers of the cabinets were climax of a teleological narrative of world possible distortions and creative re- Email: [email protected] morocco-leather trays stamped with a gilt history. combinations. How was print culture design of the fleur-de-lis (symbol of the related to the decorative arts generally royal house of Bourbon) surrounding the Robert Wellington is an independent and in specific cases? How were new ROBERT WELLINGTON apertures in which to place each precious researcher and casual academic in the ideas and innovations transmitted across Strikes, prints, stamps and inlays for the token. The theme was repeated in pewter Department of Art History and Film at linguistic, social and geographic borders? decorative display of Louis XIV’s medals inlays of the cabinets themselves with the the University of Sydney. He has recently fleur-de-lis and the interlaced Ls of Louis submitted his doctoral dissertation ‘The Dr Peter McNeil is Professor of Design This paper reveals a fascinating XIV’s cypher found among decorative Visual Histories of Louis XIV’, which History at University of Technology relationship between the French royal arabesques. By this means the King’s focusses on the substantive role of visual Sydney and Professor of Fashion Studies collection of ancient coins and modern collection - completed with a set of media in the documentation of the King’s at Stockholm University, Sweden. commemorative medals, the prints that medals to document his own reign - was history. Associate Dean, Research, Faculty of document them, and decorative details unified under a system of framing that Design, Architecture and Building, UTS. of the furniture in which they were once marked his possession and authorship Email: [email protected]. In mid-2013 he concluded his role within displayed at Versailles. In his Dictionnaire of a numismatic encyclopaedia of world au Fashioning the Early Modern: Innovation Universel of 1702, lexicographer Antoine history. But this was not the first time and Creativity in Europe, 1500-1800, Furetière defined the verb to print that such a framing strategy was used for a one-million € ‘Humanities in the (imprimer) as ‘to make an impression the Louis XIV’s medals. Indeed, I contend European Research Area’ funded project. on one object by means of another.’ that this scheme derives from a series of
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JOLA PELLUMBI men who occupy certain magistracies form of their robes and not the luxurious exceptionally talented, yet almost Procurators of Saint Mark - their Official during the period in which they hold fabrics that they employed. In addition to forgotten, Renaissance artist. His work and State Occasions Attire 1550-1600 them, only Knights, the Procuratori and investigating printed sources, this paper includes some of the finest engravings those who have been Savii Grandi and will also explore the procurators’ robes as of minerals and fossils, included as Venetians had a relatively newly Consiglieri wear them all the time.’ This a symbol of wealth and power through the illustrations in the Metallotheca, the established class of nobility and the generalisation of the procurators dress investigation of the expensive materials, book of the Vatican’s collection of ancient introduction of the Libro d’Oro of nobility shows a lack of specific distinction in the which were used to produce such sculptures and natural history specimens; seems to have been a deliberate attempt shape and form of their attire from that garments. These issues will be explored he also engraved mathematical to prove and maintain their status as true of Senators and Knights. In fact Vecellio by examining the case studies of two instruments and globes constructed nobles, despite their original merchant went on to say that ‘among such men, procurators of Saint Mark, Vettor Grimani according to the most recent science, as backgrounds. Since only members of the pavonazzo is the color usually worn,’ and Gerolamo Grimani by looking at the well as engraving liturgical objects. This Venetian nobility were allowed to be part which attests to Vecellio’s belief to the inventories of their possessions in 1558 paper investigates the role of printed of the council, it was important for their only distinction between a procurator’s and 1570, which shed further light on the images in Eisenhoit’s diverse body of official robes to emphasise its members’ and a senator’s attire. In contrast, in his material used and the style of their robes. work, and reveals the rich and intimately noble lineage and consequently their costume book Habiti D’Huomeni et Donne connected world of astronomy, natural right to rule. By reference to printed Venetiane (1609), Giacomo Franco depicts Jola Pellumbi is a PhD Candidate in the history, technology and courtly art in late images and inventory material, this paper a procurator seated in his chair wearing History Department of King’s College, sixteenth-century Europe. will look at the scarlet and purplish-red a long mantle with a closed collar and University of London. The topic of procurators’ robes and investigate their wide opened sleeves called dogaline or her PhD is ‘Mapping Fashion in Early Dr Petra Kayser is a curator in the seemingly unchanged shape and form a dogal lined with fur. The procurator Modern Venice, 1570-1660’ and she is Department of Prints and Drawings at over decades, as part of an attempt by a in his depiction wears a sash over his investigating the clothes worn by men and the National Gallery of Victoria. She has strict Venetian ruling class to maintain left shoulder and Franco described women of different social classes during curated exhibitions on subjects as diverse a traditional decorum in dress that their dress as: ‘they continue to wear that period in state, festive and domestic as Renaissance images of Apocalypse established their high status through perpetually the toga, this being the most settings, based on visual, written and and war, satirical prints, and colonial visual means. supreme dignity in the Republic.’ More archival sources. She studied art history Australian works on paper. Petra’s recently, Stella Mary Newton described at the University of Western Australia research interests include Renaissance The procurators of Saint Mark were high what the procurators wore by saying and completed her MA in Cultural and print culture, the early modern history of officers out of which many Doges were that ‘exceptional in their dress were Intellectual History 1300–1650 at the art and science (particularly in the context elected and as such they held a very the nine procurators.’ However, while Warburg Institute. She also worked on of the Wunderkammer), and German prestigious position within the Venetian the pavonazzo or red-purplish colour of the sixteenth-century Venetian glass art from the early decades of the 20th social hierarchy and society. However, the procurators’ dress must have been catalogue of the Wallace Collection. century. She won the ANZJA journal prize surprisingly enough Cesare Vecellio in striking, the shape and form of their for her article ‘The intellectual and the his costume book Degli Habiti Antichi attire seems to have been exactly like that Email: [email protected] artisan: Wenzel Jamnitzer and Bernard et Moderni de Diverse Parti del Mondo of any distinguished high officer in the Palissy uncover the secrets of nature’ in (1590) did not depict the garments Venetian Republic and not particularly 2008. worn by a procurator. Instead he made exceptional in its own right. DR PETRA KAYSER a general mention of their clothes in Engraver of all things: Anton Eisenhoit Email: [email protected] the same description that he had for While the images of the Venetian (1553-1603) the garments worn by Knights and procurators made their way around Senators stating: ‘…this same ample Europe through printed representations, The German engraver and goldsmith gown is still worn from time to time by viewers may have only appreciated the Anton Eisenhoit (1553-1603) was an
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DR PETER MCNEIL and vector of transmission into the English PANEL D Dr Ann Stephen is Senior Curator, DR MATTHEW MARTIN context. The status of individual media REPAIR AND THE University Art Gallery and University Print culture and the decorative arts, and contexts of production are revealed REPARATIVE IN MODERN AND Art Collection, The University of Sydney. 1500-1800: towards an expanded field to be of crucial significance in examining CONTEMPORARY ART Among her most recent exhibitions are: cultures of reproductive artwork. 1969: The black box of Conceptual art, In a joint presentation we will outline our 2013; Mirror mirror: Then and Now, 2009- thoughts on the notion of an ‘expanded Peter McNeil: Little integrated attention CONVENORS 10; Cannibal tours, Heide Museum of print field’ in the period 1500 to 1800. has been paid to how an eighteenth- DR SUSAN BEST Modern Art, Melbourne 2009. Her recent century west European consumer gained University of New South Wales books include: On looking at looking: Matthew Martin: Two case studies – their knowledge of fashionable goods. The The art and politics of Ian Burn, 2006; an early seventeenth century English way in which people learned about new DR ANN STEPHEN Modernism & Australia: Documents on japanned cabinet, and a group of luxury goods was transformed over the University of Sydney Art, Design and Architecture 1917-1967, eighteenth century porcelain figures course of the eighteenth century. Today 2006 and Modern Times: The untold story – will illustrate the complexity of the we think of fashion representation in a The belief that art, design and of modernism in Australia, 2008, both co- relationship between print culture and ‘semiotic way’, as something separate architecture could have socially edited with Andrew McNamara and Philip the decorative arts in the early modern from the materiality of fashion. The reparative properties is a longstanding Goad. period. Rather than the latter being eighteenth century provides instead a modernist idea. It appears in the utopian dependent on the former, an oft- different context in which materiality aspirations of the historical avant-garde Email: [email protected] encountered assumption in art historical and representation overlap, in which the in the work of artists as diverse as scholarship, these objects reveal the flexible medium of printing accounts a Kandinsky, Mondrian, and the Russian Associate Professor Susan Best teaches manner in which artworks beyond the great deal for this possibility. Design, Constructivists. More recently, claims Art History and Theory at UNSW. She is specifics of traditionally defined print marketing and fashion were not separate, have been made for relational art that the author of Visualizing Feeling: Affect media can function as examples of a but inter-related. Fashion plates, pocket it seeks to repair rents in the social and the Feminine Avant-garde (I B Tauris, more broadly defined ‘print culture’. books, caricatures, pattern books, trade fabric. Similarly, exhibitions, such as 2011). Motifs originating in print sources cards, patterning on furniture (via flora) Nato Thompson’s ‘Interventionists’ and and occurring on a small group of the and textiles have more in common ‘Living as Form’ assume artists can Email: [email protected] earliest known examples of painted than one might assume today. It is the produce ameliorative real world effects. English furniture imitating Asian lacquer increasing overlap – rather than the How can such claims be evaluated? work can be shown to be mediated via differentiation and professionalization of What is the nature of reparation? Is the SUSAN BEST contemporary English needlework, rather each separate realm – that was distinctive reparative strand in contemporary art Guilt and shame about the past: current than being copied directly from prints. of the eighteenth century and that allowed another recovery of modernism’s utopian debates in affect studies Similarly, in the late 1740s and 1750s the fashion to emerge and to flourish with impulse? Does the reparative serve a establishment of the English porcelain new and amplified forms. “classic” modernist premise: to show This paper proposes a new way to industry saw English factories turning to how it is possible to remake and reshape combine the key antithetical approaches Continental exemplars, especially from See above for biographies. our culture in order to articulate another to shame that have emerged in literary the Saxon manufactory at Meissen, as purpose and proclaim alternatives? and cultural theory. Currently, one of the inspiration for their figure production; main fault-lines in the debates about even though inspiration from print This session aims to consider the shame lies between the approach of Eve sources stands behind much of Meissen’s interplay between art practice and ideas Kosofsky Sedgwick—which combines figure production, it is the porcelain of repair drawn from psychoanalysis, the work of American psychologist Silvan medium, not the prints, which provide the social and political theory and aesthetics. Tomkins with performative approaches
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to identity--and the recent critiques of by contemporary art institutions examine a larger set of ambiguities THOMAS RETTER Sedgwick and Tomkins by Ruth Leys. dissolves such distinctions. Yet does and contradictions that have shaped The Ataraxic of Zhuangzi – Daoism in The dispute turns on the way in which primitivism constitute an enduring critical and aesthetic ambitions since the Contemporary Chinese Art identity is understood. Sedgwick suggests theme only because it idealizes the Enlightenment and ‘Romanticism’. While shame can provide the energy for the journey to the beyond or into the heart they still shape the culture we are familiar This paper explores the reparative reparative transformation of oppressed of darkness to represent the absolute with today, the original Enlightenment potential of contemporary Daoist art. and oppressive cultural identities. Leys inverse of the Western or Eurocentric ambition presumed that a culture Fundamental to Daoist philosophy – argues that anchoring identity in the “norm”? Or as anthropologist Jean- based on critique, dissent, aesthetic daojia, is the idea that reality is always expression of feelings such as shame Loup Amselle proposes is it more like improvisation and innovation, and in flux; that it slips invariably and like leads to an avoidance of debate because a process of oscillation, of systole and scientific experimentation, would prove water through the fingers of those the expression of feeling is generally not diastole, of shrinkage and dilation? too unstable. Instead they envisaged a who attempt to grasp it. Song Dong subject to debate. Rather than separating the primitive and new, higher unity that would surpass the and Qiu Zhijie are two of a handful of the modern, is it not more provocative dichotomies of tradition and of modernity contemporary Chinese artists engaging I argue that the representation of to think of the two as intricately as well as subsidiary divisions, e.g., high with daojia in their practice. Daoism has shameful issues in art can transform the intertwined? This conclusion is prevalent and low culture. asserted an immeasurable aesthetic affective tenor of the subject matter and in much contemporary art practice. influence over the arts of China, most generate debate and discussion about The paper will examine the idea of a The act of surpassing has therefore notably in landscape painting – but it the shameful subject matter. Combining reparative primitivism by looking at the been one of the central motifs of is its resurgence in the post-Cultural Sedgwick’s performative account of diverse strategies of cross-cultural modernist culture. It triggered the idea Revolution era that is the subject of this identity with Ley’s intentionalist approach reappropriation, historical excavation and of overcoming, or of reparation, that paper. In recognising, as we find in the will yield a much more complex and even counter-cultural exorcism in the art could offer an alternative, ameliorative opening passage of the Laozi, that ‘the useful account of shame and guilt as of Kader Attia, Daniel Boyd and Mikala world. Contemporary art is now a much way (dao) that can be told of is not the themes in contemporary art. Dwyer. more “apprehensive” endeavour. Since constant way’, Daoist art and literature the 1960s, a phase of endless surpassing reveals itself to itself as simply another See above for biography. See above for biography. without surpassing has occurred. This hand clutching at water. This paper paper examines why surpassing has explores Daoist philosophy as a critical always been the favoured emblem of the tool for liberating thought. It is as a DR ANN STEPHEN DR ANDREW MCNAMARA very thing we seek to surpass. site for resistance, contemplation and A reparative Primitivism? Models of Surpassing—modernist liberation that this paper explores the ambivalence in contemporary aesthetic, Dr Andrew McNamara heads Visual Arts reparative value of contemporary Daoist How can art repair? What kind of damage cultural and social inquiry at Queensland University of Technology, art. is subject to a reparative aesthetic? What Brisbane. His publications include: does the primitive offer the reparative? Since the 1960s, numerous terms have Sweat-the subtropical imaginary (2011); Thomas Retter is a PhD student in been offered to signal the surpassing of An Apprehensive Aesthetic (2009); Modern Art History and Theory at the National The early/mid twentieth-century avant- the modern. None of them have endured. Times: The Untold Story of Modernism Institute of Experimental Arts at the garde obsession for the ‘primitive’ was Yet, many analyses of the contemporary in Australia, with Ann Stephen and University of NSW. driven by a desire for the other, violating depend upon models of surpassing as a Philip Goad (2008). He is a Fellow of the the social fabric of bourgeois culture by complete and utter break. Australian Academy of the Humanities. Email: [email protected] imaginatively seizing the rhythms, energy and allure of non-European cultures. In this paper, I will extend the lens Email: [email protected] Today the global world culture promoted of analysis past the 1960s in order to
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PANEL E LAUREN MCCARTNEY Lauren McCartney is a PhD candidate This strategy has informed collection OPEN SESSION, DAY ONE Remediating painting and the body: at Curtin University. Her research is development initiatives and exhibition baguettes, breath and paint on ‘remediated painting’ – an area programming, which incorporates a CONVENOR discussed by Anne Ring-Peterson, to visual-performing arts ‘crossover’ DR TOBY JULIFF This paper argues that the field of investigate a new realm of visual enquiry exhibition project annually. Victorian College of the Arts, The remediated painting demonstrates a in contemporary painting practice. My University of Melbourne technological and transdisciplinary research question is concerned with how These ‘crossover’ exhibition projects approach to painting, one that fuses the body has functioned as a support in harness the multi- and inter-disciplinary The panel represents the breadth of painting with other mediums and media. remediated practices, which also are nature and creative opportunities inherent scholarship in a range of subjects that It is guided by the understanding that by definition ‘transdisciplinary’. I have in a performing arts centre, beyond the address the theme ‘inter-discipline’. The remediated painting has ruptured been studying Søren Dahlgaard’s work institutional parameters and practices papers presented here respond to the painting’s traditional history, an issue closely and his radical performative and of an art gallery or museum. Two recent strength and breadth of perspectives currently being contested by the seminal interventionist practice allows central exhibition projects to be discussed are across artistic practice, curatorial studies, contributors to the field: Anne Ring components of my research to be tested. Sight & Sound: Music & Abstraction in art history and interdisciplinary research Petersen, Peter Weibel and Søren My paper examines Dahlgaard’s Dough Australian Art (2010) and Black Box <> practices. Dahlgaard. Warrior performances and Breathing White Cube: aspects of performance in Paintings as they rely on the physical contemporary Australian art (2011). This Dr Toby Juliff is a graduate of the Dahlgaard’s Dough Warrior performances and mechanical bodies as supports paper will conclude by reflecting upon University of Leeds specializing in the (2008- present) and Breathing Paintings for remediated painting and ironically pertinent issues, such as the challenge history and theory of sculpture. Before (2008) are examined in order to query the gestural qualities of abstract posed by a discursive void between art arriving at the Victorian College of the understand the role of the body as a expressionism; turning the movement of criticism and performing arts reviews, Arts he was lecturer in Critical and support for intermedia and absurdist the painter’s body into a comical critique and speculate upon alternate histories Contextual Studies at Leeds College of iterations of painting in contemporary and potential futures that could evolve Art (2006-2012) and associate lecturer art—an important parameter as yet Email: [email protected] from the re-positioning of Arts Centre in Art History at the Open University, UK unexplored in the discourse of the Melbourne in its engagement with (2008-2012) where he taught on the MA increasingly prevalent field of remediated contemporary art and performance Art History program. He has presented painting. This paper also analyses STEVEN TONKIN practices. lectures at peer-review conferences at whether the materiality of traditional A site in-between the visual and the Courtauld Institute, University of paint is still relevant in contemporary performing arts Steven Tonkin is currently Curator London, the Universities of Amsterdam, painting. Dahlgaard’s use of dough (Contemporary and Live Arts) at Art Gothenburg, Paris, Bristol, Warwick, illustrates this notion of using alternative This paper will explore the expanded Centre Melbourne. He has curated Glasgow, Leeds and Birkbeck College, materials as paint and demonstrates field of curatorial practice within the a number of exhibitions including London. the dependency these materials have on multi- and inter-disciplinary context of Performative Prints from the Torres the performing body. The painted body a contemporary performing arts centre, Straight (2006), Black Box <> White Email: [email protected] as support in remediated painting is a using Arts Centre Melbourne as a case Cube: Aspects of performance in significant area that needs to be more study. In the last decade within Arts contemporary Australian Art (2011) and thoroughly researched. The current Centre Melbourne’s visual arts collection Sight and Sound: Music and Abstraction in debate between academics over the there has been an active curatorial Australian Art (2010). extent of remediated painting’s disruption emphasis on ‘contemporary works of of painting’s traditional history means art that speak of and to the performing Email: steven.tonkin@ that this study is both important and arts and the creativity of performance’. artscentremelbourne.com.au timely to contemporary painting research. 36 37 INTER-DISCIPLINE
DAVID HOMEWOOD practice is tolerated as if a magician’s SALLY GARDNER choreographer in companies in London Painting Facts: Robert Hunter’s Wall party trick, conducted prior to the serious After Rainer’s No Manifesto: the (Dancework), New York (Robert Kovich Paintings 1970-75 business of ‘translating’ practice into interdisciplinarity of Russell Dumas and Dancers, Sara and Jerry Pearson, written thesis – notionally, that all art and Judith Moss and dancers), Sydney This paper will discuss serial research requires ‘validation’ by text. My talk discusses the work of dance (Russell Dumas’s Dance Exchange) and compositional systems in the late 1960s artist, Russell Dumas, as one that Melbourne (Dance Works). Her research and early 1970s painting of Robert Hunter. Not only has this impacted poorly involves a very great, let’s say, interests lie in the areas of dancing Through the predetermination of the on studio practice, roping it to the interdisciplinarity, but does so in order not experience, modern/post-modern and serial compositional system, I will argue, explanatory thesis running in tandem to so much to cross boundaries but to form contemporary dance concepts, values Hunter sought to eradicate spontaneity exhibition/performance/project – but it one. This need to form a boundary around and processes, philosophy of the body, and improvisation from the process of has impacted negatively on the types of ‘movement’ is implicit in Yvonne Rainer’s and the historically and culturally specific production. art writing this allowed – obfuscationist much cited ‘No Manifesto’ of 1965 which, modes of dance training. Awards include language has prevailed; enshrined itself, continues the project of early Australia Council Awards for individual David Homewood is a PhD candidate in art theory-laden, portmanteau word driven twentieth modern dance where a field dance development and production; history at the University of Melbourne. He ‘academe speak’ – rather than more was defined, a boundary was won, that Centre National du Livre, France has published on wide range of subjects diverse languages of the art gallery, concerned an individualised elaboration translator’s grant for her translation for Discipline, art guide, Frieze amongst journalism, even literary, poetic, or of bodily movement – somewhat as of ‘Poetics of Contemporary Dance’ by others. contextual descriptive writing that might modern painting entailed the elaboration Laurence Louppe. better evoke the art-as-research premise of individual experiences of vision. Email [email protected]. in style and intent. Nevertheless, modern dance has always Email: [email protected] au been inter-disciplinary in the sense of Dr Neill Overton is currently Senior having to understand from other arts both Lecturer in Art History and Visual Culture what it means to be an art, and these LYNN BRUNET DR NEILL OVERTON at Charles Sturt University. Prior to this dominant arts’ role in framing (socially, Writing about art, society’s secrets Art Writing in the Art School: practice-as- he was lecturer at RMIT, Victoria College, theatrically, musically, pictorially) and and secret societies: when art history research and its untidy validation by text Melbourne University and the Victorian mitigating the force of dance and of body research becomes an exercise in College of the Arts, in Art History, knowledge. This is an unfinished project forensics Practice-as-research is the shifting Drawing, and Design, for the past 25 which Dumas continues in work whose dichotomy between ‘art writing’ and years. He has also worked extensively interdisciplinarity is not spectacular or During the 1990s one of the key themes ‘studio practice’ as different models of as a newspaper journalist, interviewer, even visible within dominant regimes of that preoccupied researchers in the research. Whether one is the research, illustrator, graphic artist, exhibiting artist, visibility. cultural sphere were the inter-related and the other the validation of that art reviewer and novelist. His writing themes of memory and trauma. Amongst research, is the argument at hand. It awards include the Victorian Premier’s The presentation includes a short (5 those observing these trends was Ralph requires a different form of ‘art writing’ Literary Award. min) performance of some of Dumas’s Rugoff, who suggested that it might in respect to its unequal anchorage to choreography by Sally Gardner and Nicole be useful to examine certain types practice. The University model readily Email: [email protected] Jenvey. of contemporary art from a forensic defines ‘writing’ as research, preferring perspective, that is, as evidence and to see the action of “making” as if it is Sally Gardner is currently Senior traces of a crime. a form of “data collection”, the results Lecturer in the School of Communication of which are then “written up” at the and Creative Arts, Deakin University. My interdisciplinary research has evolved conclusion of its art experiments. Art She has a background as a dancer- out of these art/trauma debates and asks
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whether the work of particular creative DR SUSAN LOWISH community expectations as outcomes in within the cultural field of the ‘Electrical individuals might be telling us something Digital archives for Australian/Aboriginal the process. Imaginary’ that was transforming about a set of social practices that have Art History: aligning international transatlantic relations during the long been enshrouded in secrecy, namely and interdisciplinary paradigms with Dr Susan Lowish is lecturer in Australian nineteenth century. The painting of the initiatory rites. The research draws on community expectations and outcomes Art History, School of Culture and paintings in the Louvre worked like the reports since the 1980s of ritual trauma Communication at the University of telegraph wire conceived as a nerve in the and has proceeded from there to make Recent commitments from major Melbourne. Her expertise in the area body politic by facilitating and connections between group ritual Australian art galleries and museums of digital archives of Australian art is controlling the flow of communication practices and the work of a number of to fully digitise their collections make growing, with new collaborative research between one culture and another through artists and writers. To date, these include for exciting news items but also invite projects currently underway through the use of on-off binaries. In this activity the contemporary artists Matthew Barney, consideration and raise questions. What the Institute for a Broadband Enabled the subordination of the mechanical to the is the current state of our archives of art Society on Digital Storytelling for Victorian liberal arts was qualified by the Ken Unsworth and Peter Booth and the and why the need to digitise everything? Indigenous Youth (CI Edmonds) and Protestant theory of ‘Technologia’ in poet Dorothy Porter, as well as the artist Who benefits and what models have been recent presentations at the Faculty of which machines and paintings both Francis Bacon and playwrights Samuel and should be adopted? Arts, University of Melbourne contributing served as vehicles of global reform Beckett and Alfred Jarry. In each case to the impetus for a new Research and moral elevation at a time when the the argument suggests that the creative This paper examines the relationship Incubator in the School of Culture and relations between art and science were individual concerned might be depicting between archives and art history in the Communication on the theme of digital still fluid on either side of the Atlantic. dissociated memory fragments that Australian context and considers the archives. suggest a traumatic exposure to initiatory extent to which large-scale public facing Winthrop Professor Richard Read has rites. This paper will briefly outline the projects benefit the discipline. The Euro/ Email: [email protected] published in major journals on the research to date. American art history community has relationship between literature and the recently clarified its perceptions of the visual arts, nineteenth and twentieth Lynn Brunet is an independent art role of digital technology and assessed PROFESSOR RICHARD READ century European and Australian art historian and writer. She was awarded its impact on the discipline (Kress Report Painting, Science and the Electrical history, contemporary film, and complex her PhD from Newcastle University in 2012). There were disagreements about Imaginary: Samuel F. B. Morse’s images in global contexts. His book Art 2007 and has taught at the universities the value of digital research, teaching, ‘The Gallery of the Louvre’ (1830-33) and Its Discontents: the Early Life of of Monash, Newcastle and Wollongong. and scholarship, and the potential for Adrian Stokes (2003) was joint winner of Her most recent book A Course of Severe digital art history to open up new avenues Samuel F. B. Morse is famous for the AAANZ best book prize for 2003. He and Arduous Trials: Bacon, Beckett and of inquiry and scholarship. inventing the electromagnetic telegraph is currently working on The Reserved Spurious Freemasonry in Early Twentieth and the code that takes his name. He is Painting in Western Art (ARC funded), Century Ireland was published in 2009. Australian art historians have an less well known as an ambitious history the Grand Tour and Settler Socieites opportunity to build upon these findings painter of the large hybrid painting The and Cultural Modernization, Hazlitt and Email: [email protected] and recognise some unique challenges. Gallery of the Louvre (1831-33). During theories of perception and the role of This paper presents the results of the sea voyage back from France to forgetting in contemporary art. He was research into the where, how and what of America with the painting half-finished Benjamin Meaker Visiting Professor at the digital archives of Australian/Aboriginal in the hold, Morse conceived the Institute of Advanced Studies, University art through specific community, local and fundamental principle of the telegraph. of Bristol in 2010; Senior Research national case studies. It seeks to define This paper demonstrates that a complex Fellow at the Sainsbury Institute of Art, the specifics of the Australian context Neoclassical theory of copying underlies UEA in 2011, lectured at the National and highlights interdisciplinarity and both the painting and the invention Gallery of Art in Washington in 2012
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and the University of Aberystwyth and littoral and human physiological forms. of growing up in the same Yuin coastal underwhelming. Thus, I argue, Tate Britain in 2013. In 2014 he will be a Rather than a creative nadir, this environment guided by similar Catholic Rottenberg’s practice posits the female scholar in residence at the Universities paper will argue that it was in Papua and Koorie spiritual education, although body as an integral site of meaning of Cambridge, Aberystwyth and Maryland New Guinea that Marek’s pantheistic I am a non-Koorie woman from Magyar which can only be unlocked by an and in 2015 will be IAS Fellow at the philosophy, central to his work as and Anglo heritage. The focus of both our interdisciplinary approach to analysis. University of Durham. a Surrealist, first found eloquent painting practices has been animals with expression. which we share our environments and Accordingly, this paper draws from Email: [email protected] spirituality, with a particular focus on the literary and humour theory to present the Elspeth Pitt is Assistant Curator of consubstantiality at the foundation of both first scholarly analysis wholly dedicated Australian Prints and Drawings at the Catholic and Koorie cosmology. I consider to the video installation Mary’s Cherries ELSPETH PITT National Gallery of Australia, Canberra. the reparative nature of cross-species (2004), recently acquired by Queensland At the centre of Surrealism: Dušan Marek Elspeth completed her Master of Arts at cultural awareness and painting practice Art Gallery. Mary’s Cherries depicts the in Papua New Guinea the University of Adelaide in 2009. She as a healing, subconsciously driven transformation of long red fingernails into has since held research and scholarship activity. I also consider the reparative maraschino cherries through a bizarre This paper will explore artwork made positions at the Victoria & Albert Museum power of collaborative or ‘relational’ art assembly line enacted by three middle in Papua New Guinea (1955 – 59) by and the British Museum, London. She has making as a contemporary yet ancient aged women whose real life occupations the Czech-born Australian Surrealist, worked in curatorial capacities at both form or methodology used to affect social are erotic wrestlers and BBW (Big Dušan Marek. While the Oceanic region state and independent galleries. change. Beautiful Women) fetish workers. I argue was afforded special significance by the Email: [email protected] Dr Vanessa Barby is visiting artist fellow that Mary’s Cherries locates these bodies European Surrealists, art historians and PhD candidate at Australian National within the realm of the carnivalesque and have paid scant attention to Marek’s New University. unruly female grotesque as articulated Guinean career, stating that the little DR VANESSA BARBY in the scholarship of Mary Russo, Mikhail work made was of either poor quality or Sharing culture and belonging through Email: [email protected] Bakhtin and Julia Kristeva. Through this destroyed by the humid climate. However, cross-cultural collaborative painting reading, I locate Rottenberg’s feminism neither of these claims is entirely correct. through her humorous approach that In 2007 the National Gallery of Australia My paper outlines my current post- LAURA CASTAGNINI renders traditional notions of femininity acquired a curious group of littoral doc cross-disciplinary project Funny Feminisms: Carnivalesque and absurd. drawings as part of the Agapitos-Wilson supported by the Australian National grotesque imagery in Mika Rottenberg’s Collection. Numerous experimental University’s painting workshop and video installation Mary’s Cherries (2004) Laura Castagnini is a Master of films from the period are housed in the visual anthropology unit. Pre-empted by Arts candidate at the University of National Film and Sound Archive, and a discoveries I made during my practice- Over the past decade, Mika Rottenberg Melbourne. Her thesis investigates cache of hand-carved linoleum blocks led PhD research at the ANU, whose has created a cohesive body of video- theoretical strategies which can be used bearing poems and illustrations was focus involved the generation of a new based artwork that depicts illogical and to understand humorous elements of recently unearthed in a private Australian kind of relational image produced by highly imaginative systems of production contemporary feminist art. She has collection. the stains of decomposing road kill to orchestrated by mostly women labourers published a number of catalogue essays consider relationships between human with extraordinary attributes; hyper and articles on the topic, as demonstrated Working across the inter-disciplinary and non-human animals in Australia, muscularity, excessively obesity, or in my CV, and spoken at conferences fields of drawing, printmaking, film and the current project seeks reparation exceptionally long hair. These bodies at the University of Western Australia, animation, Marek’s New Guinean works within the realm of spiritual health and are constantly in motion – sweating, Queensland University of Technology, and reveal consistent attempts to make visual identity. My collaborator, Theresa Ardler, squeezing, growing and kneading – yet University of Newcastle. Laura recently links between geological, botanical, is a Koorie woman from Yuin and Eora the products they yield are farcically curated a project entitled BACKFLIP: heritage, and we share the experience 42 43 INTER-DISCIPLINE
Feminism and Humour in Contemporary at the UQ Q-Index Awards. In 2007 he The changes wrought on Christchurch’s writing, and public outreach programming Art (2012-13) which comprised of a public was awarded an ARC Discovery Grant for urban environment by the recent for this project. lecture by the Guerrilla Girls and a major a “Non-National History of Australian earthquakes have had a direct impact on group exhibition at Margaret Lawrence Art”. Associate Professor Butler has the way in which art in the city has been Email: [email protected] Gallery (Victorian College of the Arts). two principal research interests: Critical produced, displayed, and encountered Theory and Art History. Although at first by audiences. With limited studio and Dr Rosie Ibbotson’s principal research Email: [email protected] sight they might appear to have little to gallery space and a radically transformed interests concern the art, architecture and do with each other, he finds that they city centre, art projects have occupied material culture of the long nineteenth are complementary. Within Art History, all manner of spaces and in many century. In 2010 she completed a ASSOCIATE PROFESSOR REX he specialises in Contemporary Art and ways have become enmeshed with the doctorate at the University of Cambridge, BUTLER Australian Art. He also writes art reviews experiences of everyday urban living. focusing on collaborative activity and Trans-Pacifica: Abstract Painting in and art commentary for the popular These interactions reflect the increasing fraternalism within the Arts and Crafts America, Australia and New Zealand press. He was an art reviewer for The convergence of the disciplines of art Movement in London, Boston and 1930 - 1960 Courier-Mail newspaper from 1997 to history and material culture studies, Chicago. Between 2011 and 2013 she held 2008 and has done reviews for ABC Arts where the study of art, architecture, a Postdoctoral Research Associateship We might begin by imagining an exhibition for both radio and website. He is also landscape, social relations and everyday at the Yale Center for British Art in New involving the following painters: Ralph an occasional reviewer for Artforum objects intersect. Such convergences Haven, Connecticut. Following this, Rosie Balson, Grace Crowley, Frank and Margel magazine. His current research projects seek to connect art and objects through a joined the Department of Art History and Hinder fromAustralia, Gordon Walters. include A History of UnAustralian Art (with diverse range of theoretical approaches Theory at the University of Canterbury, George Johnson and Milan Mrkusich from A.D.S. Donaldson), a critical biography of in order to open up new modes of NZ, where she lectures on aspects of New Zealand, Emil Bisttram, Lawren Colin McCahon (with Laurence Simmons) interpretation. This session invites European art from the period circa 1750 harris and Agnes Pelton from Taos and a book on Stanley Cavell. He has contributions that take the conversations to 1950. in New Mexico and Lorser Feitelson, recently completed a book on Deleuze and between art and material culture as their Frederick Hammersley and John Guattari’s What is Philosophy? and edited starting point. In particular, papers are Email: [email protected] McLaughlin from Los Angeles. What do a Dictionary on Slavoj Žižek. sought which consider (art) objects in these artists have in common? Why is it altered – and altering – contexts, such as that a certain form of abstraction arose Email: [email protected] those wrought by time, disaster, politics, DR LYNDON FRASER and amongst them at approximately the same shifts between public and private, and by SARAH MURRAY time without them all being in contact the environment. Objects of remembrance: Momenti mori with each other? Does the connection from the Canterbury earthquakes between them point to the possibility of PANEL F Dr Barbara Garrie is Lecturer in a “world art” or even a certain “world THINGS CHANGE: MATERIAL Contemporary Art in the Department of On the 22 February 2011, 185 people spirit” of abstraction? CULTURE, TRANSFORMATION Art History and Theory at the University lost their lives, and hundreds more were of Canterbury, NZ. She has a specialist injured, as a result of a magnitude 6.3 Associate Professor Rex Butler is Reader AND MEMORY interest in contemporary photography earthquake in Christchurch. Since that in Art History and currently Director of and undertook doctoral research date friends, family members and those Research for the School of EMSAH. In CONVENORS examining issues of identity, landscape, touched by the disaster have continued 2011 he won the inaugural Arts Faculty DR BARBARA GARRIE and embodiment in the practice of to lay objects of remembrance at various Research Excellence Award and he University of Canterbury American artist Roni Horn. Barbara locations in the city. These momento mori also won one of the Top 10 Research is also a Research Associate with the provide a poignant insight into processes Publications (Research Output Points) DR ROSIE IBBOTSON Christchurch-based Place in Time of grief and mourning as well as evidence University of Canterbury initiative, and is involved in curating, 44 45 INTER-DISCIPLINE
of personal and unofficial forms of 2010 and 2011 Christchurch has lost In April 1877, The Inquirer and Brookes University. The subject of her remembrance in the wake of a disaster. a number of significant churches and Commercial News of Perth reported doctoral thesis was the life and work public buildings, but the Victorian villas that the art collections in Victoria were of John Rogers Herbert, R.A. She has This paper will consider the temporality of the late nineteenth and early twentieth growing at an astonishing rate, ‘The recently arrived in Melbourne, and is of such items, drawing on the more than centuries – perhaps New Zealand’s number of works collected show that interested in the many international four hundred objects of remembrance most recognisable housing type – have the Victorian Government’s vote for crossovers in the 19th-century art collected so far by Canterbury Museum, also suffered and are now in danger of purchase of works of art must have been world. Her website devoted to Herbert’s before considering the meaning, extinction in Christchurch. considerable; and it may serve to show work can be found here: www. resonance and symbolism of these the spirit in which the colonists have johnrogersherbert.co.uk objects and the way they contribute to This paper presents a case study of the ventured upon their art enterprise if we our understanding of death, grieving and removal and relocation of a 1904 villa, state that they commissioned Mr. Herbert, Email: [email protected] memorialisation. which was transported from Christchurch R.A., to paint a picture of the value of to Queenstown following the recent 1,700 l’. Lyndon Fraser is a Christchurch-based quakes. During this process, objects DR RAFEAH LEGINO and historian who teaches in the School found under the house revealed much This was not just any picture. This was a DR SUZANNE STANKARD of Social and Political Sciences at the about the past life of the building, while full-scale cartoon, reworked and painted, Textile praxis: Anthropology and Design University of Canterbury in Christchurch, the deconstruction of the house provided of British artist John Rogers Herbert’s New Zealand. His most recent work new information about the original monumental mural for the House of This paper discusses practical research includes Far From Home: The English in materials and methods of construction. Lords, entitled Moses Descending of the songket textiles of Malaysia, which New Zealand (Dunedin: Otago University These insights offer clues to the history of with the Tables of the Law. This was conducted through the combined Press, 2012), co-edited with Angela this particular dwelling at a critical point seemingly simple purchase underwent disciplines of design and anthropology. McCarthy. where it looks forward to life on a new transformations and deteriorations that This interdisciplinary approach to site. aligned the painting in a symbolic way to creativity was used to facilitate change Sarah Murray is curator of Human History the colonial experience it was meant to with a sensitive awareness of the textiles’ at the Canterbury Museum. Laura Dunham holds an MA in Art History fortify. material and cultural heritage. Half of from the University of Canterbury, NZ. By purchasing the large canvas, the the practical research permitted social Email: [email protected] Her research focused on the domestic Victorian government was attempting and cultural theory to direct the creative architecture produced by the Christchurch to contextualise themselves, as a changes of the designer’s practice. architectural firm Collins and Harman. colonial centre of power, and related to, In turn, this theory was temporarily LAURA DUNHAM During 2011–12 she was editor of Oculus: but separate from, their overseers at removed for the remaining half, and Moving house: an historic home in the Postgraduate Journal for Visual Arts Westminster. Yet the physical reality of the designer’s creative practice was led aftermath of disaster Research, published by the University of the painting told an even more compelling solely through the discipline of design. Canterbury Department of Art History and narrative, one that continually altered The resulting textiles, designed and What happens when an object is shifted Theory. the expectations of those who originally woven by the researcher, were materially from the location where it stood for purchased it, and of the artist himself. and aesthetically very different in their 109 years? What does its removal or Email: [email protected] subtle and radical approaches. What is relocation mean in a post-disaster Dr Nancy Langham Hooper received her most interesting is what the research context? And what if this object were BA in History of Art from the University concluded: an interdisciplinary approach a dwelling, a structure that served as DR NANCY LANGHAM HOOPER of Southern California, and her MA in between anthropology and design a shelter and container for family life? Rolled up: John Rogers Herbert (1810- Victorian Media and Culture from Royal provided the designer with an essential Since the devastating earthquakes of 1890) and the monumental Moses in the Holloway, University of London. She informed practice upon material culture; National Gallery of Victoria completed her PhD last year at Oxford 46 47 INTER-DISCIPLINE
however, allowing anthropological students. Past teaching experience studies from art museum professionals (Honours), and a Postgraduate Diploma theory to direct the design and creative includes Manchester Metropolitan across diverse departments, including in Art Curatorial Studies. Heather has practice actually diluted that practice and University, the Royal College of Art, and strategic development, education and worked over a period of two decades in the creativity facilitated. The research Norwich School of Art and Design, UK. public programs, curatorial, conservation, the museum industry, specializing in concluded that a dualist approach Her research interests include materials exhibition design and others. Key international prints and drawings, and between the two disciplines, permitting and technology, material culture, and examples from the museum field are Australian art and book history. Her each discipline to stand alone in an inter- research methodology. drawn upon as starting points to consider current role as Curator of Academic disciplinary relationship, was the most these intersections, such as Education Programs (Research) at the Ian Potter beneficial to this project. Email: [email protected]. Programs and Academic and Public Museum of Art, The University of ac.uk Programs at the Ian Potter Museum of Melbourne, focuses on building teaching Dr Rafeah Legino is a Senior Lecturer Art, University of Melbourne, which take and research relationships across all and also an artist. Her work focuses upon advantage of the diversity of tertiary disciplines in the university. Since mid printmedia, which includes collograph, disciplines that are engaged in teaching 2012 she has developed the core Visual monoprint and marbling, and her and learning activities on site. Arts in Health Education Program, in practice addresses subjects concerning PANEL G collaboration with the University of the natural environment and cultural INTERDISCIPLINARITY IN ART Purnima Ruanglertbutr is an educator, Melbourne Faculty of Dentistry, Medicine heritage. She graduated from the Faculty MUSEUMS independent curator, artist, writer, arts and Health Sciences, and continues to Art & Design, Universiti Teknologi MARA, administrator and researcher. She is the enrich this work across different faculty Malaysia with a Bachelor of Fine Art, CONVENORS Exhibitions Curator and Co-researcher such as Veterinary Science, and in Master of Art & Design (Research), and PURNIMA RUANGLERTBUTR in a range of projects within Melbourne professional development contexts for recently, graduated from School of Art, University of Melbourne Graduate School of Education’s staff and practicing clinicians. RMIT University, Melbourne, Australia Department of Artistic and Creative with a PhD (Fine Art) by research project. DR HEATHER GAUNT Education, where she also lectures. Email: [email protected] Her interests are mainly Malaysian and Ian Potter Museum of Art Purnima teaches at the National Gallery Asean visual arts, comprised of crafts and of Victoria, Ian Potter Museum of Art, The visual art heritage. This session considers inter-disciplinary University of Melbourne, and is currently ISABELLA HOLDING thinking in the art museum context. manager of the 2013 Art Association of Creating accessible narratives for Email: [email protected] It critically examines ways in which Australia and New Zealand conference. ‘atypical’ arts audiences museums offer a stimulating environment Purnima is the Editorial Assistant of the Dr Suzanne Stankard holds a PhD in in which both discipline-specific and Journal of Artistic and Creative Education Translating curatorial concepts and Textiles from the Royal College of Art, creative interdisciplinary thinking are (JACE). She is a Melbourne University academic research into accessible UK, and a first class honours degree in taught, explored or utilised to reach Master of Teaching (Secondary) graduate, narratives for atypical arts audiences Constructed Textiles from Manchester specific goals. Case-studies are examined a Creative Arts (Honours) graduate from requires a balance between forging an Metropolitan University, UK. Suzanne is and invited that investigate the many the same university and a graduate of the authentic connection for the audience currently Senior Lecturer in the Textiles creative approaches that museums Master of Art Administration from the whilst maintaining the message of the Department of Universiti Teknologi execute to reinforce expertise in specific University of New South Wales. artist/curator. By dismantling the use of MARA, Malaysia, where she teaches disciplinary ways of thinking, and how ‘Art speak’ and modifying the message undergraduate and postgraduate museums ‘break through’ encultured Email: [email protected] through the use of new media technology students. She is also an experienced and taught ‘ways of thinking and of and broader cultural and social events, Master’s student supervisor, and is seeing’ to develop new knowledge and Dr Heather Gaunt has a PhD in book art engagement and the museum currently supervising four MA Textile skills. This session illuminates case and library history, BMusic, BArts experience can occur in a more organic
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and ongoing way. comprehensible museum experiences. LOUISE BOX with arts board roles and currently works How do we as arts educators and Museum education programs form Intersecting Lines: Albrecht Durer’s Life in executive education at Melbourne public programmers utilize creative an essential bridge of communication of the Virgin and the ‘marketing mix’ – an Business School. Louise was Exhibition interdisciplinary thinking to adapt our between audiences and institutions; interdisciplinary approach Designer for Knowledge Through Print communication to better reach non- depending on the educator’s delivery (Baillieu Library, University of Melbourne, engaged audiences? Breaking-through of programs, they can either create When supported by compelling narratives 2012). Her research interests include their preconceived beliefs such as ‘art or remove barriers to engagement. and case studies, art objects in university prints; illustrated books; architectural/ isn’t for me’, ‘I don’t like art’ to create a This paper will focus on the role of collections become valuable learning design history; connections between willing and long term audience member the museum educator as one that can tools for cross-faculty teaching. Focusing business and the arts; and collecting who believes that art is relevant to develop interdisciplinary programs to on using the woodcut series Life of the and display practices. An alumna of their experiences and future. Museums foster community, culture and diversity Virgin by Albrecht Durer (1471–1528) the Attingham Trust Study Programme and Galleries are constantly pushed to in the art museum, best reflecting our held in the Cultural Collections of the (UK) and the Bodleian Libraries Centre increase and diversify audience numbers. globalised society. Using the 2012 Basil University of Melbourne, this paper for the Study of the Book Summer But to make real inroads with atypical Sellers Art Prize education program investigates Durer’s commercial School (Oxford), she has also completed audiences we must look at how the art at the Ian Potter Museum of Art as a approaches to the production and postgraduate studies in Arts Management world as whole is perceived by those who case study, along with international marketing of woodcuts. Through a cross at the University of Auckland. are outside of it. What cross-disciplinary case studies, the paper highlights new disciplinary perspective that includes skills and tools can we utilize to forge strategies, techniques and perspectives book history, cultural economics and the Email: [email protected] connections to audiences who feel there that educators can use to broaden the history of prints, Durer’s Life of the Virgin is no place for them in the art world? relevance of the art museum to diverse series is linked with an elemental concept audiences, including the ‘hard to reach’ of business education, the ‘Four Ps of GILLIAN RIDSDALE Isabella Holding is the Education and and underrepresented. Such activities, for marketing’ (product, price, place and Contemporary art meets interdisciplinary Public programmer for LUMA | La Trobe example include tailor-made programs promotion. programming and learning in a university University Museum of Art; founder of that build sociocultural knowledge, museum ongoing Not-for-Profit Project, Weave Art linguistic competence and visual literacy Using the concept of the Four Ps as a Change and completing a Masters in Arts skills for English as a Second Language retrospective measure, was an effective UQ Art Museum is committed to finding and Cultural Management. (ESL) audiences to engage with artwork marketing mix utilised by Durer for ways for our primary campus audience to meanings and terminology. Examples marketing Life of the Virgin? Was Durer authentically engage with contemporary Email: [email protected] extend beyond programs for students in an effective marketing manager? This art and artists, and position the museum schools, children, adults and community study of Durer’s Life of the Virgin draws as a participatory learning space that groups, to servicing teachers through on contemporary marketing theory as a stimulates interdisciplinary collaboration PURNIMA RUANGLERTBUTR professional development programs and curatorial lens to provide insight into the and exchange. This paper will outline Inclusive museum education learning resources, including promoting commercial development of printmaking; our approach to education and public programming: engaging multicultural and evaluating programs. The learning and demonstrates how sixteenth century programming, using selected case and English as Second Language outcomes of audiences as documented art objects can be relevant educational studies from the Museum’s changing audiences in art museums by formal evaluation methods, are drawn resources for students of both the arts exhibition program, including integrated upon to emphasise the impact of ESL and and business. curriculum-linked initiatives. It will also Art museums are demonstrating English programs upon audiences, and describe the conceptual framework, increased commitment to public to communicate key examples of best Louise Box recently completed an MA methodology and research tools we are access and learning in order to practice in museum education. Curatorship (University of Melbourne). using to evaluate the relevance of our produce interactive, accessible and She has combined a corporate career public programming for the diverse UQ See above for biography. 50 51 INTER-DISCIPLINE
campus audience. In particular we are and enact literacy pedagogies in cultural in the subjects physical education, Email: [email protected] interested in understanding how notions spaces beyond the classroom. sport coaching and sport sociology. of intangible impact and interdisciplinary Her research interests include the thinking connect with our role as a Engaging with diverse artefacts in a range development of professional identity NIC BROWN university art museum, and affirm our of settings and supported by structured in learning communities, learning Crystal Palace contribution to teaching and learning at questioning, (drawing upon various in alternative environments, and the the University of Queensland. reader response theories including promotion of interdisciplinary learning Crystal Palace was an exhibition recently Freebody and Luke, 1998), participants through sport and physical activity. developed by Flinders University Art Gillian Ridsdale joined UQ Art Museum were encouraged to produce affective, Museum (FUAM) with external curator as Curator of Public Programs in July aesthetic and personal responses. This Email: [email protected] Lisa Harms and myself. The exhibition 2008, with responsibility for the design, approach enhanced social learning (both presented a dialogue between nine implementation and evaluation of personal and interpersonal) and literacy, Catherine Reid has more than 20 years’ contemporary Australian artists: education and public programs that drawing on a multiiteracies perspective teaching experience in secondary and Morgan Allender, Troy-Anthony Baylis, promote learning and engage with diverse (Halliday, 1978; Kress and Van Leeuwen, tertiary institutions, and is the co-author Domenico de Clario, Siamak Fallah, audiences. Previously she was inaugural 1996, 2001). of a number of English and History Lisa Gorton, Julie Henderson, Brigid Program Convenor and Lecturer for the secondary school textbooks. She is a Noone, Lee Salomone and Sera Waters, University of Queensland’s postgraduate Working in this way provided former member of the VCE English ‘in conversation’ with objects and art program in Museum Studies, from 2004- opportunities for the facilitators to Text Selection Committee. For the past works from South Australian museums 2008. Prior to this she worked in cultural work together across a wide range of decade, Catherine has been lecturing policy development and research for subject disciplines building connections in Language and Literacy Education at and archives, and in doing so, provided Arts Queensland and Griffith University, and interrogating preconceived The University of Melbourne, and her a range of responses to Australia’s and as an exhibition curator and textile understandings of boundaries governing particular interests are in visual literacy colonial past. As suggested by its title conservator nationally and internationally. the espoused curriculum. and literacy across the secondary Crystal Palace explored the metaphors curriculum. She is currently completing and legacies of the original Crystal Email: [email protected] The presentation will elaborate upon a doctorate examining the representation Palace erected in London for the Great the rich learning outcomes of these and positioning of the visual in recent Exhibition of 1851 – a vast, yet temporary, workshops, which were intentionally iterations of Australian curriculum architectural greenhouse: a spectacle MELANIE NASH, CATHERINE constructed to encourage in participants documents. of the latest technology showcasing REID and HELEN KENT a deep and extended conceptualisation achievements of the Industrial Revolution; Stepping beyond the figured world: of identity and place. We will explore the Email: [email protected] demonstrating man’s triumph over nature Creative interdisciplinary approaches to ways in which residency within particular and promoting Great Britain’s superiority literacy across the curriculum ‘worlds’ of learning and teaching Helen Kent teaches English to beginner on the world stage. Crystal Palace set out was disrupted and reconfigured by teachers in both the Master of Teaching – gently and with an un-settled sense of Drawing upon the theories underpinning participants. and Teach for Australia programs in the fascination – to encourage post-colonial figured worlds (Holland et al. 1998), Melbourne Graduate School of Education readings of such ‘achievements’ against relational agency (Edwards, 2010) and Melanie Nash is a lecturer in the at the University of Melbourne. She is also a contemporary climate of heated and multiliteracies, (Cope and Kalantzis, 2000) Curriculum and Pedagogy area at the the school partnerships coordinator of the conflicting attitudes toward protection, this paper demonstrates how teacher Melbourne Graduate School of Education Master of Teaching (Secondary). Helen’s preservation and exploitation. Drawing educators, pre-service teachers and at the University of Melbourne, Australia. research interests include the teaching on a selection of commissioned works secondary students collaborated using an She is responsible for teaching both post of multiliteracies, visual literacy and for Crystal Palace and the exhibition interdisciplinary approach to experience graduate and undergraduate students the teaching of Shakespeare in the 21st development and presentation at large, century. 52 53 INTER-DISCIPLINE
this paper will discuss the established DR HEATHER GAUNT the museum environment. This paper unique opportunity for diverse tertiary practice within the museum discipline Interdisciplinarity in art museums in explores the program at the Ian Potter disciplines at Deakin University to further that engages external curators and artists tertiary teaching contexts: the Visual Arts Museum of Art in this area. develop their knowledge of museology, to respond to collection objects in order in Health Education program at the Ian preservation, identity creation and issues to shed new light and new perspectives Potter Museum of Art See above for biography. of representation and communication on collection works; provide new and from an interdisciplinary perspective. stimulating experiences for audiences; The difference between a care provider Within each of the areas of concern, the and offer opportunities for reflection who closely looks at a patient and one DR MEGHAN KELLY interconnecting nature of the project has upon museum practices including who does not, can be the difference The unique inter-disciplinary resulted in a strong intersection of each modes of display. In connection to this between a successful diagnosis or an requirements of a museum development: of the normally separate professional the paper will also consider the project’s inaccurate one, or a thoughtful and a case study of the Kelabit Highland departments. Furthermore, adding to the engagement across the University’s caring approach to a patient or one that Community Museum Development complexity, this case study is a multi- departments during research and lacks any empathy or real connection. Project disciplined research opportunity situated development as well as its involvement The Visual Arts in Health Education in a cross-cultural context. with the Earth and Plant Science program at the Ian Potter Museum of Art, Each museum development presents disciplines of the South Australian the University of Melbourne, takes the complex and unique challenges. Dr Meghan Kelly is a graphic designer Museum and Museum of Economic fundamental skills of visual observation In particular, the Kelabit Highland who has worked on large, high-profile Botany respectively. and full attention in health care settings, Community Museum Development Project campaigns and with a range of corporate and takes an educative approach their (KHCMDP) is a museum development clients as well as maintaining her Nic Brown is Collections Manager, enrichment, using the art collections that requires both discipline-specific and own studio practice. In addition to her Flinders University Art Museum and and environment of the Museum as the interdisciplinary collaboration to reach professional work, Meghan has been an emerging artist, curator and writer. principal resources. Bringing medical, the common goal of the preservation teaching design for over eighteen years. She was awarded a BVA (Hons) from dental, and nursing students to Museum and conservation of the fragile Kelabit She has been at Deakin University since Adelaide Central School of Art in 2008, to be taught observation skills, visual heritage. Still in its infancy, however 2010 and currently serves as the Course and undertook post-graduate studies in data gathering, discrimination and rich with potential, the engagement Director for Deakin University’s Visual Art History at The University of Adelaide synthesis, and informed interpretation by required to realize the development Communication Design Undergraduate (2009–10). Her association with Flinders museum educators, and simultaneously of this community-based museum, course and the Visual Communication University Art Museum began in 2007 and embedding these ideas in real life clinical in the remote region of Bario in the Design Honours program. Meghan has she was appointed Collections Manager scenarios by accompanying senior Highlands of Borneo, offers a stimulating recently completed her PhD examining in 2010. In the same year she curated clinicians, this program has provided a environment in which both discipline Cross-Cultural Visual Communication Divinity, Death and Nature: European new and authentic way to help students specific and creative interdisciplinary Design. Her interests are in exploring and Australian prints from the Flinders in the health sciences at the University thinking are utilized to create a suitable issues surrounding identity creation and University Art Museum collection, and in of Melbourne to become better thinkers and sustainable development. This paper representation in a cross-cultural context. 2013 she co-curated Crystal Palace. as well as better practitioners. Since its will describe the process of extensive Her passion for a global understanding of inception in mid 2012, this program has community consultation required by the design extends into her teaching practice Email: [email protected] expanded to include other disciplines, interdisciplinary team of academics to and continues to be explored in research including Veterinary Science and address the areas of curatorial policies, projects and design opportunities. Biomedical Research, as well as law, preservation and conservation, the where disciplinary ways of thinking can design of the built environment and the Email: [email protected] be challenged, expanded or reinforced creation of the communication strategies by exposure to ideas and skill sets in for the project. It demonstrates the
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PANEL H lecturer in Art History at the University the combined aspects of virtual 4D Email: [email protected] ART, ENVIRONMENT, of Melbourne before becoming Director visualisation science and technology INTERDISCIPLINARITY: of the Ian Potter Museum of Art at the that I am utilizing and expand on the NEW PERSPECTIVES IN University of Melbourne, 2000-2013. In notion of the fifth dimension. I will also DR MALCOM BYWATERS AUSTRALIAN ART PRACTICE 2011/12 he took up the Chair of Australian highlight other current phenomenologist Lyndal Jones: Climate Change, Studies at Harvard University. He has practices in contemporary art and review Performance and the Avoca Project researched and written extensively on the outcomes of my research residency in CONVENORS contemporary art and is the author of Art 2012 at the Millennium Seed Bank, Kew The Avoca Project (2005–15) by Lyndal DR CHRIS MCAULIFFE and Suburbia (1996), Linda Marrinon: Let Royal Botanic Gardens, UK. Jones is a broad communal artwork her Try (2007), and Jon Cattapan: Possible based on a German prefabricated Australian Centre, The University of Histories (2008). Using virtual 4D data capture I am house which was transported in 1850 Melbourne creating a body of work that allows an to the small Australian town of Avoca in Email: [email protected] audience to experience seed propagation Victoria. The artist purchased the house DR JOLANTA NOWAK at a scale enlarged well beyond the in 2004. The site, however, is more than Australian Centre, The University of Dr Jolanta Nowak is Research Grants natural proportion of the original a house; it is a place where Jones and Melbourne and Project Officer, Australian Centre, process. However, with this science visiting artists-in-residence (Australian University of Melbourne, and teaches and technology I do not want to create and international), academics and How has environmental consciousness Literature at Trinity College, Foundation purely didactic or illustrative works. members of the local community can informed the analysis and production of Studies Program. She publishes in art I want to involve the viewer by using gather to consider the impact of climate art in Australia? This session considers history and philosophy journals. Her phenomenological methods in order to change and environmental sustainability. shifts in interpretations of art and most recent article, ‘Autonomy and the create sensation, meaning and affect, changes in the way artists have made Confrontation between Ethics and Art in therefore I am proposing that individual’s Jones’s 2010 performance, Rehearsing and presented work in Australia as a Art Criticism’ is forthcoming in Ethical subjective experience of this work can Catastrophe #1: The Ark in Avoca, result of concerns about the environment. Perspectives (Leuven). then be considered as an additional fifth illustrates her belief in The Avoca Project Of particular interest is the way these dimension. as a hub for environmental discussion. shifts have resulted in significant Email: [email protected] This performative video work exemplifies modifications in understandings of Erica Seccombe is a doctoral candidate Jones’s reasons for utilising art as a the environment, of art itself or of the in photography and digital arts, ANU powerful expression of climate change. human. The purpose of this session is ERICA SECCOMBE School of Art. She also teaches in the Art to consider the ways in which various Relocating the Real: Experiencing Nature Theory program at ANU. In 2012 she took Under Jones management, The Avoca perspectives on the environment expose in the Fifth Dimension up a residency at the Australia Council Project signposts the creative challenge changing understandings of art and for the Arts, London Studio, and at the of a changing natural environment. It is of interdisciplinary approaches to art I will discuss my current interdisciplinary Millennium Seedbank, Royal Botanic this use of the house as live-in artwork making and art criticism. practice-led research project in context of Gardens, Kew. She regularly contributes combined with Jones’s innovation with seed conservation and phenomenologist to conferences and is the recipient projects such as Rehearsing Catastrophe This panel is supported by the Australian practices in art as models for engaging of awards including the Synapse Art #1: The Ark in Avoca that makes The Centre, University of Melbourne. with the uncertainties of environmental Science Collaborations, ANAT, and has Avoca Project significant within the change. I will describe the nature of been commissioned to produce a work consideration of climate change and Dr Chris McAuliffe is a graduate of my interdisciplinary project and define permanently installed in the foyer the contemporary visual art. the University of Melbourne and of the premise of seed conservation High Resolution Plant Phenomics Centre, Harvard University. For ten years he was in my artistic practice. I will clarify CSIRO. Dr Malcom Bywaters is director of
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the Academy Gallery / NEW Gallery, She has exhibited her work at numerous separation between human and animal CONVENOR Tasmanian College of the Arts, University galleries and has been commissioned capacities. Can selected animals produce DR KATRINA GRANT of Tasmania, and he has recently by the ACT Public Art Commission to works of art? Can aesthetics be applied to Melbourne Art Network completed a PhD at the University of produce a work for the City Walk. In assess those works? Melbourne. He has exhibited his work 2013 her solo exhibition lines of desire Scholars of Early Modern Italy have often at galleries including the Tasmanian was installed at the Brenda May Gallery, The recent application of Kantian crossed disciplinary boundaries, whether College of the Arts, Geelong Art Gallery, Sydney. aesthetics to contemporary art indicate looking at the political motivations behind Linden Gallery and RMIT Storey Hall, and they are capable of fresh engagements. the patronage of art and architecture, the is Graduate Research Coordinator at the Email: [email protected] As Diarimid Costello writes ‘All Kant’s ways in which changing social climates Tasmanian College of the Arts. account requires is that artworks expand affected the status of artists, or studying ideas in imaginatively complex ways’. sources such as letters, diaries and Email: [email protected] DR JANINE BURKE There is nothing in Kant’s account of newspapers to discover how art was The Animal in the Gallery: Towards and aesthetic ideas that requires art to be received by viewers. In recent years, the Aesthetics of Non-human Art representational in a narrow sense. emergence of digital humanities has DR AMANDA STUART broadened the field again: for example, Environmental Consciousness: The Dingo This paper addresses a critical absence. Dr Janine Burke has written a series it is now much easier to access a broad in the Colonial Imagination Due to the ‘accelerating scholarly of books on the Heide Circle including range of archival and primary sources. interest in animals’, debates about their Australian Gothic, A Life of Albert Tucker This session will bring together scholars With its canine status and heritage, significance and representation have (2002) and The Heart Garden: Sunday working on the following areas: Digital the dingo was one of the few ‘native’ become, as Nigel Rothfels writes, ‘an Reed and Heide (2004). The Gods of Mapping of the Roman countryside; Art Australian animals that made sense to almost constant presence in our culture’. Freud: Sigmund Freud’s Art Collection and Music; Mirrors in Italian Palaces; the European colonists. However, it was These debates have led to the growth of (2006) was shortlisted for the NSW Devotion and Art; and the Initiation Rites rapidly relegated to the status of vermin – the new field of animal studies. Yet the Premier’s Literary Award. Her most of Dutch and Flemish Artists in Rome. or, the ‘other’ – with the establishment of upsurge of important recent publications recent book is Nest: The Art of Birds the sheep industry, due to its predilection indicate that while the animal may be (2012). In 2013, she curated an exhibition Dr Katrina Grant is the editor of the for mutton. What were the colonial central to current artistic debate, he or of the same name for McClelland Gallery Melbourne Art Network and a founding perceptions of a native ‘outsider’ animal? she is not treated as an autonomous + Sculpture Park. She is an adjunct editor of the online art history journal Just how did the dingo percolate into producer. As Giovanni Aloi comments, lecturer, Monash University. emaj. She has published on the history of the settler imagination? Referencing these studies pose ‘challenging questions gardens theatres in Italy and on artistic the scant visual representations of the about the animal’s presence in art’ but Email: [email protected] relations between Rome and Britain in colonial dingo as it was imagined and these questions are framed by ‘innovative the eighteenth century. Her research then realised, this paper will trace the artists’ who are human. interests include the connection between trajectory of the dingo’s rise and demise gardens and theatre in the Baroque to the European psyche, from its earliest Such an approach, which focuses on period and the history of stage set design. impressions as an object of desire, to regarding the animal but not regarding PANEL I its demise as an outlaw and confirmed the work of the animal, maintains the INTERDISCIPLINARY Email: [email protected] animal criminal that threatened the animal/human divide that is the core of APPROACHES TO THE advancement of the colonial project. the exclusion of the animal from aesthetic ART, ARCHITECTURE AND categories. This paper responds to the LANDSCAPE OF EARLY Dr Amanda Stuart recently completed a challenge that animal studies have MODERN ITALY PhD in Visual Art (sculpture) at the ANU. raised and that has queried the ongoing
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MARK SHEPHEARD musicians during this period. Mark is ASSOCIATE PROFESSOR LAUREN RYAN Collecting Musicians in Early Modern the convenor of the European Visual DAVID R. MARSHALL Initiation celebrations of the Italy Culture Seminar Series at the University Mirrors of Reason, Illusion and Infinity Schildersbent of Melbourne and is also a broadcaster The portrait of a musician is generally for Melbourne radio station 3MBS FM and The scholarly interest in mirrors has This paper will examine the paintings viewed as a reflection of the fame of produces ‘Recent Releases’ and the long- tended to privilege its transforming of the initiation celebrations of the the sitter and the esteem in which his running ‘Early Music Experience’. power, as in Arnaud Maillet’s The Claude ‘Schildersbent’, a group of Dutch and (or, more rarely, her) music was held. Glass, which pursues the theme of the Flemish artists formed in Rome in However, such portraits are often the Email: [email protected] dark mirror. The mirror as the opening to the early seventeenth century. The result of a close relationship between a world where nothing is stable, a secret ‘Schildersbent’ (‘Band of Painters’) was musician and painter, not just in the world existing in the space between the established in order to provide vital specific sense of a connection between JOHN WERETKA mirror and the person before it, is an social, financial and cultural support to a particular pair of artists but also in the Homer, the lirone player: the enigma of enticing theme today; but was this the its members. The initiation celebrations broader sense of an intimate association Pierfrancesco Mola’s 1663 ‘Homer with way the eighteenth century saw it? This of the ‘Schildersbent’ were noted as between two artistic professions. Some lira da gamba paper will explore the way the mirror an eccentric and comic aspect of their musicians were avid collectors of functioned in late seventeenth century activities as a group. During these paintings and acted as art patrons in their Pier Francesco Mola’s mid-1660’s painting and early eighteenth century palaces in celebrations the artists parodied rituals own right; conversely, some painters Homer Dictating shows the ancient terms of three categories: the mirror of of the Catholic Church and the Italian were themselves musicians or, at the poet dictating verses to an amanuensis, reason, the mirror of illusion, and the academies of art and thus the group very least, demonstrated an appreciation singing while accompanying himself mirror of infinity. earned a certain infamy among the of music and were closely involved with on the lirone, an instrument invented Italians. The Dutch artists developed a musical performances. Most important at the start of the sixteenth century. By group identity as foreigners in Rome as of all, many musicians and painters lived examining the iconographic traditions of Dr David R. Marshall FAHA is part of a deliberate and self-conscious and worked under the same roof for the lirone, bowed instruments in general Principal Fellow, School of Culture strategy to attract patrons and sponsors patrons whose tastes and commissions and of Homer himself, this paper will and Communication, the University of by being perceived as different. included both music and art. This paper suggest that Homer Dictating is a visual Melbourne. He has published widely on will explore the artistic interests of a contribution to the fake archaeology seventeenth and eighteenth-century This paper will examine the paintings selection of seventeenth- and eighteenth- of bowed instruments propagated by painting and architecture, and is the depicting these initiation ceremonies. The century musicians, who were as much musical theorists of the late Renaissance author of Viviano and Niccolò Codazzi motivation for painting these paintings collectors of art as their aristocratic and Baroque periods. and the Baroque Architectural Fantasy of the initiation ceremonies is not clear. patrons. (1993) and has edited several collections, On one level the initiation paintings John Weretka holds qualifications in including Art Site and Spectacle: Studies appear to commemorate the occasion, Mark Shepheard is a PhD candidate musicology, history, art history and in Early Modern Visual Culture (2007) and and it is tempting to see them as part in Art History at the University of theology, and is a PhD candidate in the The Site of Rome (forthcoming 2013). He of the initiation itself, or as a gift to the Melbourne. His thesis is a study of Italian Faculty of Architecture, Building and is currently writing books on Villa Life new member. On the other hand they musician portraits of the seventeenth Planning at the University of Melbourne. in Eighteenth-century Rome: the Villa could be paintings tailored for external and eighteenth centuries, which charts Patrizi 1715-1909 and on the paintings of patrons, designed explicitly to represent the development of professional identity Email: [email protected] Giovanni Paolo Panini. the ‘Schildersbent’ to the outside world as through portraiture and explores the rebels and outsiders personal and professional relationships Email: [email protected] that often connected painters and Lauren Ryan is a PhD candidate in Art
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History at La Trobe University. collecting in seventeenth century Italy, as recently as World War II when many interdisciplinary perspective and explore landscape painting, antiquarianism and were demolished; as well as their its relationship to the cult of the Oratorian Email: [email protected] material culture. Her work has appeared remoteness - demonstrated by the edicts founder of the Roman Oratory. in publications such as The Possessions issued instructing soldiers stationed at of a Cardinal (Penn. State Univ. Press, the towers to stop selling their weapons Dr Glenys Adams completed PhD at DR LISA BEAVEN 2009), Art and Identity in Early Modern to bandits or allowing smugglers to store the University of Melbourne in 2013 Digitally Mapping the Roman Campagna Rome (Ashgate, 2008) and Europaische goods in the towers. on ‘Space, Memory, Narrative: The Galeriebauten: Galleries in a Comparative Oratorians and the Memorialisation of This paper will give an overview of the European Context, (Hirmer Verlag, 2011). See above for biography. San Filippo Neri in Rome, Florence, and current interdisciplinary project ‘Digitally Her book An Ardent Patron: Cardinal Naples.’ Mapping the Roman Campagna’. The Camillo Massimo and his Antiquarian and project supported by La Trobe University, Artistic circle was published in 2010 by DR GLENYS ADAMS Email: [email protected] Victorian E-Research Strategic Initiative Paul Holberton Press, London and the Re-Imagining the Girolamini Quadreria and the British School at Rome. For the Centro de Estudios Europa Hispánica, in Naples project a number of Early Modern maps of Madrid. the Roman Campagna have been digitised In 1961 the Naples Oratory made the at high resolution and are being knitted Email: [email protected] decision to relocate their sixteenth PANEL J together with modern satellite photos. paintings from the sacristy of their church RELATIONAL AESTHETICS Data will then be added to the map. This to a secular gallery space and opened it AND SOCIALLY ENGAGED ART: will include information from the Libro DR KATRINA GRANT to the public. Overlooking the original A NEO-LIBERAL SOCIOLOGY dei Morti, the list of unburied bodies Bandits, smugglers and pirates: Digitally function of this collection and in keeping OR A RADICAL PRACTICE? collected by the confraternity of S. Maria mapping the coastal towers of Lazio with art historical research interests dell’Orazione e Morte. It will also include at the time art historians in the 1980’s information about buildings, towns, and This paper will look in depth at one began to explore the attribution, dating CONVENORS sea towers. Visual data such as paintings aspect of the ‘Digitally Mapping the and style of the remaining individual PROFESSOR ANNE MARSH and old photographs will also be added, Roman Campagna’ project. I will explore works of art from this collection, with Monash University allowing a sort of reconstruction of the the usefulness of GIS (Geographical varying results. A recent interdisciplinary Early Modern Campagna, which has Information Systems) to present and study of the Rooms of San Filippo Neri The panel considers the recent trend been completely transformed since the understand historical data. Throughout at the Roman Oratory that encompassed of relational aesthetics and dialogical end of the nineteenth century. The plan the Early Modern period the coast of the art, architecture and museum studies art. It will consider the ways in which is for the map to function as a multi- Campagna from Civitavecchia in the north determined that the formation and neo-liberal and would-be cosmopolitan disciplinary online research resource to to the Gulf of Terracina in the south was development of a collection sixteenth- positions seek to harness art to which individual scholars could add data dotted with defensive towers. The history eighteenth-century art presented in these sociological and therapeutic ends and in the form of archaeological information, of these structures is complex, many were rooms was very much connected to the question how the role of the artist, the demographic statistics, visual imagery altered over time, some were built over relics of San Filippo Neri, founder of the gallery/museum and the historian may be and route information, depending on their ruins of ancient Roman towers or ports, Oratorians. This study also revealed compromised by such incorporation. specialist interest. and many are now in ruins. This digital that the development of the Girolamini mapping project has allowed us to collate Quadreria at the Naples Oratory Dr Anne Marsh is Professor of Art History Dr Lisa Beaven is a lecturer in art history and display information about these shared a relationship with the Roman & Theory in the Faculty of Art Design at La Trobe University. Her research towers geographically. We can understand Oratory. In this paper I will consider the & Architecture at Monash University. areas of interest include patronage and their strategic importance - demonstrated Girolamini Quadreria from this renewed She is author of Performance, Ritual
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Document (Palgrave Macmillan: in press Whilst there are intersections and Social Work. Her publications include two Website: http://www.barbbolt.com/ 2013), LOOK! Contemporary Australian crossovers between action research and monographs Art Beyond Representation: Email: [email protected] Photography since 1980 (Macmillan Arts socially engaged art, the claim that the The Performative Power of the Image (I.B. Publishing, 2010), Pat Brassington: This principles underpinning action research Tauris, 2004) and Heidegger Reframed: is Not a Photograph (Quintus/University are alive inside artistic research needs Interpreting Key Thinkers for the Arts DR RAYMOND SPITERI of Tasmania, 2006), The Darkroom: examination. Can we assume that action (I.B. Tauris, 2011) and three co-edited Relational Aesthetics and the Situationist Photography and the Theatre of Desire research is at work in artistic research? publications, Carnal Knowledges: International: Refusing the dépassement (Palgrave Macmillan, 2003) and Body Can we assume that the materialist Towards a “New Materialism” through of Art and Self: Performance Art in Australian, basis of ‘artistic intervention’ makes the Arts (I.B. Tauris, 2013) with 1969-1992 (Oxford University Press, 1993). it compatible with the premises that Estelle Barrett, Practice as Research: The emergence of relational aesthetics She is a contributing editor for Eyeline underpin action research? Through a Approaches to Creative Arts Enquiry (I.B. during the 1990s coincided with the Contemporary Visual Arts and publishes case study of a socially engaged artistic Tauris, 2007) with Estelle Barrett and rediscovery of the writings of Guy Debord regularly in the arts press. research project Bilateral Petersham—a Sensorium: Aesthetics, Art, Life (2007) by a new generation of readers. Thus it project that proposes ‘blogging’ as a with Felicity Coleman, Graham Jones is not surprising that one reference point Email: [email protected] form of ‘aesthetic auto-ethnography’— and Ashley Woodward. She maintains a for relational aesthetics and social- this paper maps the congruencies strong dialogue between practice and participatory art is the legacy of the and dissonances that can be drawn theory in her work. Publications such as Situationist International, particularly its DR BARBARA BOLT between the motivations of a socially ‘Whose Joy?: Giotto, Yves Klein and neon notions of the ‘construction of situations’ Socially Engaged: A Meeting between Art engaged artistic research project and blue’ (2011), ‘Unimaginable happenings: and critique of ‘the spectacle’. This and Action Research the principles underpinning action material movements in the plane of recuperation is not without consequence: research. The argument returns to composition’ (2010), ‘Rhythm and the what were originally deployed as In her introductory remarks at a recent the emancipatory and political claims performative power of the index: lessons modes of resistance and refusal are gender studies symposium at Utrecht, of avant-garde inspired art and tests from Kathleen Petyarre’s paintings’ now assimilated as the foundation of Is Action Research in the Genealogy of whether these are in conflict with or (2006), ‘Shedding light for the matter’ artistic practices. The SI bound the Artistic/Creative Research?, the convener, compatible with the emancipatory and (2000) and ‘Im/pulsive practices: painting ‘dépassement de l’art’ to the ‘réalisation Iris van der Tuin, traced the deeply political claims of action research and and the logic of sensation’ (1997) have de la philosophie’: this position has political and emancipatory nature of asks whether, in fact, the avant-garde emerged from this dialogue. In 2008/9 profound implications once Situationist action research in the 1970’s. Worried that impulse may still be found in socially she was part of a BBC World Service/ tactics are recuperated as contemporary action research has now been bypassed engaged artistic research. The paper Slade School of Art project A View from artistic practice. Whereas the goal of the and forgotten, van der Tuin proposed addresses questions of ‘politics’, ‘shock’, Here, which led to the production of the SI was to emancipate lived experience that ‘action research’ is still at work in ‘beneficence’, ‘good art’, and ‘good DVD production Neon Blue. She was a from artistic form (and commodification), artistic research. She put forward the relationships’, issues that of critical board member on the executive of the so that it only existed within the transitory following questions: how would an action importance to the action research/socially Society for Artistic Research (SAR), moment of its consumption, relational researcher approach artistic/creative engaged artistic research nexus. which produces the Journal of Artistic aesthetics normalizes this process as research? What can artistic/creative Research (JAR) from 2011 - 2013, and is yet another way to advance an artistic researchers offer action research? How Dr Barbara Bolt is a practising artist and an inaugural board member of the Studio career. Nonetheless, relational aesthetics does artistic/creative research allow art theorist and is currently the Associate Research. She exhibits with Catherine is also part of the afterlife of the SI. social action practitioners to embrace Director, Research and Research Asquith Gallery in Melbourne and On one level this may result in a neo- the surprises of research, its unexpected Training at the Victorian College of Arts, Gunyulgup Galleries in Western Australia. situationalism, the recuperating of processes and outcomes? at the University of Melbourne. She has Situationist strategies as art; on another degrees in Visual Art, Education and level it could also be seen as a strategy
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of resistance. Against the backdrop of the sector, government and philanthropy MARYAM RASHIDI they privilege essenstialising notions of triumph of the neo-liberal ideology, the – and this dependence inevitably leads Collaboration above Art and Community ‘art’ and ‘community’ over ‘collaboration’ horizon of commodification, surveillance, to compromise, complicity, and the as a method of socially transformative accountability and performance- incorporation of artists, art curators and In this paper I present a way of practice. management characteristic of late- art historians alike. juxtaposing and reworking the main capitalism, the SI can perhaps provide tenets of relational and dialogical theories Maryam Rashidi is currently completing a model of intransigent negativity that A recent “social turn” in contemporary art of aesthetics (à la Nicolas Bourriaud and a PhD in Interdisciplinary and Cross- responds to the demands of the present. practice implies that art has previously Grant Kester, respectively) into a new Cultural Studies with the Research been somehow anti-social, a-social, or model of collaborative practice in art as School of Humanities and the Arts, Dr Raymond Spiteri teaches art history incompatible with the social. Indeed, well as in society. Australian National University (ANU). at Victoria University of Wellington. His art and sociology have a long history of The present paper is informed by her research interests focus on the culture mutual distrust and antipathy. This paper Relational aesthetics is not a theory of or doctoral research on collaboration in and politics of surrealism, and its legacy begins with a critique of the idea of art about collaboration in contemporary art, arts and cultural practice as an ad hoc, in twentieth-century art. purposefully trying to “do good” in the but a theory of and about the transformed interdisciplinary and cross-culturally world, building on Slavoj Zizek’s strident nature, and the transformative role, of applicable method of collaboration Email: [email protected] critique of the idea of charity in capitalist the contemporary forms of art within in society. Beyond her PhD, she is society, arguing that this activity only a capitalist political economy. The developing a research project that serves to reinforce the inequalities of the ‘relational form’ of art offers modest extends the scope of her doctoral DR GRACE MCQUILTEN system. The paper concludes by making a possibilities for fostering de-alienated research to an investigation of the ways Against the good: Social art in a material case for why art always is, and always has inter-human relations in spite of in which collaborative and cooperative world been, a social enterprise. capitalism. Yet, Bourriaud’s particular mechanisms involved in the global way of theorising relationality neatly governance of culture may provide new But the remedies do not cure the Dr Grace McQuilten is an Honorary corresponds to new configurations models of global governance at large. disease they merely prolong it; indeed Fellow and Lecturer in Art History at the of work and labour within globalised the remedies are part of the disease. University of Melbourne. Her research capitalism. Email: [email protected] looks at the relationship between art, Slavoj Zizek, “First as Tragedy, Then as money, and social enterprise. She is a Dialogical aesthetics is a theory Farce,” RSA Animate Lecture November founding director and CEO of The Social precisely of and about the collaborative DR GRETCHEN COOMBS 2009 Studio, a creative social enterprise (especially dialogue-based) procedures Moving beyond practice: action and working with young people from refugee in contemporary art, and their effects in social practice art There is an elephant in the room when we backgrounds in Melbourne. In 2011 she transformative possibilities in societies talk about the recent trend of art that is published the title Art in Consumer governed by neo-liberal political The question can no longer just be social, relational, and question how this Culture (Ashgate Publishing, UK), which institutions. However, Kester’s particular whether social practices are part of might be supporting neo-liberal agendas. critically examined the conflation of art conception of these procedures brings larger neo liberal agenda nor if they are The critical compromise faced by artists, and design in contemporary consumer his dialogical model of art practice potentially radical in their conception, galleries and art historians to embrace culture. into alignment with some problematic delivery or consumption. The question such practices relates to an important modes of neo-liberal governance that it also becomes: what are the effects of ingredient in the “incorporation” of art Email: [email protected] otherwise claims to subvert. social practice art and design for the by society more generally – money. artists, institutions, and the publics they Art is dependent on the economic I argue that the problems with both elicit in public and private spaces. This systems of society – from the private theories arise from the ways in which paper briefly considers the trajectory
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of social practice art and design from LUCAS IHLEIN Experience: Blogging as Art (2010) specific institutional site, but instead to Bourriaud’s Relational Aesthetics in the Not activism, not education: in search of explored the granularity of physical and the global art circuit. This mode departs late 1990s, littoral art, dialogic art, and art’s endogenous disciplinary values virtual social engagement as the basis from the historical attachment of a finally social and public practices and for relational art practice. Ihlein’s art curator to a place-bound collection in an its institutionalization through degree In her book This is not Art: Activism projects include (Wo)man with Mirror institution. For institutions, the socially programs, ‘textbooks’, and conferences, and Other “Not-Art” (2013), artist Alana (2009-13), Yeomans Project (2011-13), participatory artist can produce evidence etc. I will ultimately argue the dilution Jelinek suggests that the rise of socially Environmental Audit (2010), Tending of engagement and the sense of the of social practices’ potentially radical engaged art practice is part of a trend (2010-11), Bon Scott Blog (2008), host locality entering into this global art interventions into cultural processes and towards the neo-liberal colonisation Bilateral Petersham (2006) and Bilateral circuit, rather than the locality merely their absorption into larger neo liberal of culture generally. She writes, ‘The Kellerberrin (2005). Ihlein collaborates providing an audience. However the agendas limits how, as Jacques Ranciére artworld has lost a way of articulating extensively, and is a member of Big Fag professional context of artistic production might argue, they can intervene in the the value of what we do and art is now Press, SquatSpace, and Teaching and and documentation encourages the artist ‘distribution of the sensible’. I will use a understood either directly in market Learning Cinema. to keep their eye on the international case study example from The Center for terms, or indirectly in other neoliberal reception for their project, resisting the Tactical Magic, an artist group from the terms, as a measurable instrument for Email: [email protected] role of localised therapeutic labour. San Francisco Bay Area. the ameliorisation of social ills as defined or at least sanctioned by government.’ Dr Danny Butt is a Research Fellow at Dr Gretchen Coombs’ interests include art As a way out of this impasse, Jelinek DR DANNY BUTT the Research Unit in Public Cultures, and design criticism/activism, specifically proposes a return to disciplinarity. Social practices in the era of their University of Melbourne. His recent recent practices that challenge social She calls for art to cease appealing to institutional globalisability articles include ‘Theses on Art and structures within an urban context. external criteria for judgement (such as Knowledge’ for un Magazine 7.1 and Her doctoral research involved artists, social efficacy, state funding or market The rise of the biennial coincides ‘The Art of the Exegesis’ for Mute. He is design collectives, critics and scholars success). She proposes that we begin to with the mobility of global capital and a member of the collective Local Time who are immersed in new ways of use “endogenous disciplinary values” - in the diagnosis of neoliberalism, an http://www.local-time.net whose recent theorizing activist practices in order to other words, criteria specific to art’s own ideology that Lois McNay summarises exhibitions include The 5th Auckland gain deeper insights into understanding history of practice, as a way of judging the as shaping practices on two levels i) Triennial: If you were to live here... the institutionalization of socially engaged quality of what we do as artists. ‘regulatory or massification techniques’ curated by Hou Hanru and Sarai Reader art - or “social practices” - in San to manage populations, and ii) co- 09 curated by Raqs Media Collective. Francisco, practices that draw on the But given art’s long history of cross- constituting ‘individualising, disciplinary Bay Area’s legacy of progressive politics breeding with other disciplinary practices, mechanisms’ that regulate behaviour. Website http://www.dannybutt.net and vanguard art practices. Gretchen what could such discipline-specific values Within the neoliberal paradigm, the Email: [email protected] currently works as a lecturer in the actually look like? Could we even agree on practitioner becomes what Foucault School of Design, Creative Industries a common set of endogenous disciplinary describes as “entrepreneur of himself, Faculty, at Queensland University of values? This paper examines Jelinek’s being for himself his own capital, being ELISHA MASEMANN Technology. provocation in light of some case studies for himself his own producer, being for The City as a Medium: Art Interventions from my own history of socially engaged himself the source of [his] earnings.’ The in Urban Space Email: [email protected] art practice. entrepreneur manipulates time to achieve ‘flexibility’, trading current relationships This paper will consider several Lucas Ihlein is an artist and a lecturer in for future success. The international complexities that underscore the Media Arts at University of Wollongong. curator and artist are characterised contemporary spatial practice known His PhD entitled Framing Everyday by their lack of responsibility to any as urban art intervention. Cultivators
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of this practice are engaged in a grass- Elisha Masemann is affiliated with In this session we welcome critical MIIK GREEN roots style of art activity designed to Department of Art History at The discussions of the position of the arts Uncommon Frontiers: Resistance and provoke, interrupt or disrupt a ‘normative’ University of Auckland and has recently within interdisciplinary projects, as well Equilibrium in Arts Practice organisation of urban space. Through completed a master’s degree on the as the relationship of these projects to improvisation, eccentric performances, subject of urban art intervention. institutional bodies, and commercial This paper examines interdisciplinary happenings, temporary installations, or government funding opportunities. modes of exchange, and argues for and socially-engaged art gestures, Email: [email protected] Additionally we are interested in papers a framework that recognises the artists such as Brad Downey (Berlin), that explore methodological models importance of borders, specifically to arts Jason Eppink (New York) and the PVI either within or between disciplines, practice. In arguing for the integrity of collective (Perth) have demonstrated and how these models might support distinct disciplines, I reject terms such individual ways to enact change through PANEL K or contest a generalised condition of as artscience, as an impotent amalgam local, ‘molecular’ art strategies. Taking RATES OF EXCHANGE interdisciplinarity. of two fields. From this perspective, the city as both a site and medium for I resist the trend towards a generic critique, their art interventions - although Stephen Palmer teaches in the Art interdisciplinarity, and use the fields unrelated, share a common underlying CONVENORS History and Theory Program at Monash of arts and science as examples of this synergy. They activate relational and DR STEPHEN PALMER University, and is currently completing a issue. participative spaces to engage audiences Monash University PhD in Fine Art at the VCA. Resistance and equilibrium are key in a dialogue about the city, often through factors within this critique, and I cite unexpected, provocative, humorous TAMSIN GREEN Email: [email protected] examples from my studio practice or absurd art encounters. These Monash University and collaborative projects with actions can be framed as attempts to Tamsin Green complete and MFA at nanotechnologist, Chris Malajczuk. generate a new consciousness – social, DAVID WLAZLO Monash University in 2009 and is a Illustrations from SymbioticA, the words cultural, political, or other, as they Monash University current teaching associate in the theory of author Arthur Miller and select artists initiate challenges to ‘molar’ systems department. Tamsin has been involved in will also be used to further reinforce this of control such as surveillance and law Does ‘interdisciplinarity’ essentialise or a number of artist run projects, including position. enforcement, media and advertising, or assign a specific function to the domain of Light Projects in Northcote. the rational and functional systems that art practice? The term ‘interdisciplinary’ can be ascribe a formulaic urban existence. The Email: [email protected] misused, a prefix ‘tacked on’ to legitimate productivity of these artists on a global This panel seeks to explore the cross-disciplinary research. This paper scale and their increasing reception in constitution of art as a field, within the David Wlazlo recently completed proposes that valid interdisciplinary art institutions also raises several issues. frame of interdisciplinarity; and the sense an MA in Theory of Art & Design research lies in maintaining the integrity At times art interventions occupy a ‘grey in which interdisciplinary practices are at Monash University. This thesis of both engaged fields. In recognising area’ both inside and outside the systems already at work within this field. The analysed conceptual art collective Art these boundaries, equilibrium can be and institutions that are central to their desire for interdisciplinary exchange & Language’s, alongside Ian Burn’s, realised. This provides mutual elaboration critique. Negotiating this ‘in-between’ posits that methodologies and concerns engagement with landscape painting through opposing force. In recognising the position adds further complexity to the can be transported between various through the lens of Jacques Derrida’s necessity of these borders to co-research, potential sociological and therapeutic knowledge practices. Counter to that theory of genre. This research developed inter-relationships are seen in a new efficacy generated by these individual position we are interested in exploring from his own unhealthy relationship to light. spatial practices. the sense in which artistic production landscape painting after studying Fine Art necessarily inhabits various disciplinary at RMIT. Arthur Miller proposes a new space frameworks. where art and science merge, one Email: [email protected] 70 71 INTER-DISCIPLINE
that exists outside science and art. A Play, CATWALK (2013) is a process- and deliver the catwalk and shows along series activates landscape painting as However, this idea of a common frontier based artwork by Japanese New Zealand with the visitors to the exhibition, who amateur, and printed text/conceptual art is fraught with potential issues, such artist Kazu Nakagawa, involving the donned the garments on the catwalk. The as professional, the final work combining as the disengagement of an artist from collaborative development of a catwalk project was left deliberately open so that these components within a collaborative arts practice or the relevance to either and two daily ‘fashion shows’. Presented it emerged through ongoing negotiation form. Burn, as a professional artist, discipline of research carried out in this at the 2013 Headland outdoor sculpture between the participants, who were given contaminated his own practice by framework. This paper disputes Miller’s exhibition (Waiheke Island, Auckland*), responsibility and freedom to develop including and engaging with the work approach, arguing that interdisciplinary CATWALK occupies a site made up of their part in accordance with their specific of amateur ‘others.’ In doing so, both validity lies in dialectic force. different, irreconcilable ‘worlds’, in the expertise and experience (and bring amateur and professional experience Heideggerian sense. It is interdisciplinary, others on board when needed). This was a loss and a gain in terms of their My visual arts practice utilises resistant but in an unexpected way: rather than as true of the visitors who performed assumed values. This paper examines materials that repel and react, creating reconciling differences into a collective roles as models and audience members, how Burn’s process of contamination heterogeneous forms. This transformative understanding, a common ground shared as it was for those who performed reveals an interplay between the amateur action is due to equilibrium, the opposing between interdisciplinary collaborators, development roles like ‘director’ or and professional as two categories of force of resistant energy and exchange. it explores the differences, occupying ‘designer’. The often challenging process practice. Interpreted through Jacques Without this action, the structures the open, productive space between of ongoing negotiation and definition was Derrida’s ‘The Law of Genre’ (1979), would inevitably blend into homogeneity. disciplines. Heidegger suggests that documented by the artist in his role as these categories emerge as genres of What these results demonstrate, is that sites, or situations, are only ever partially ‘playwright’ and published on the project practice. For Derrida, genre operates conflict experienced on a material level revealed. In CATWALK, participants website and via regular email updates, simultaneously as stable and persisting produces a necessary clarity – through brought together by the work’s non- in order to make it visible. My paper will over time, as well as historically unseen force. The same opposing force hierarchical collaborative structure show how CATWALK interrogates and contingent and embedded in specific is vital to interdisciplinarity: a resistant, realise that different facets of the explores interdisciplinarity as a process in situations. Accordingly, identity (as collaborative dynamism. situation, the catwalk project, are unexpected, perhaps even transformative stable) and difference (as contingent) revealed by participants seeing or ‘taking’ ways. appear simultaneously within the bounds Miik Green is a multidisciplinary artist the project in different ways. The project of a single category. The frame offered living and working in Perth, represented is experienced as never fully graspable Amanda Waijers is a doctorial candidate by Derrida’s position allows Burn’s by Stella Downer Fine Art (NSW), Linton by any individual. Participants experience in the Art History Department, Faculty of work to be seen as addressing not only & Kay Contemporary (WA) and Flinders their experience of it as limited; as partial Arts, The University of Auckland. the distinction between amateur and Lane Gallery (VIC). As the recipient rather than total. professional, but also to show how each of an Australian Postgraduate Award Email: [email protected] category is fixed and stabilised through Scholarship, Green is a PhD candidate at Rather than an object or performance, its interaction with its presumed other. As Curtin University of Technology. the artwork is the development process such, the ‘Value Added’ Landscape series itself, from the project’s initial conception DAVID WLAZLO reveal an exploration of categorisation Email: [email protected] to performance and de-installation. Amateur Profits and professional losses itself that can be extended more Nakagawa recruited participants (and vice versa): Ian Burn’s ‘Value Added’ generally, questioning the distinction from different, sometimes conflicting, Landscape series between the conceptual art and landscape AMANDA WAIJERS disciplines, including two curators (of painting components of the work. A Play, CATWALK: the dynamics of which I was one), two fashion designers, Ian Burn’s ‘Value Added’ Landscape revealing and concealing in the inter- a team of art therapists, a furniture (1992 – 1993) series activates a distinction See above for biography. disciplinary site designer/carpenter, an editor/print between professional artist and amateur designer, and a web designer, to develop artist as two distinct disciplines. This
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MATS UNDÉN the Artists’ Collective Print Workshop variety of ways in different fields. This remains tentative. Last of all, the stress Moves and Marks: A Rendezvous of KKV, collaborates with a dance troupe to paper argues that art practice begins with in this paper is about art practice Printmaking and Sound create big monotypes; the marks made by aesthetic intuition that is then articulated and not on a philosophical desire for the dancers’ bodies. In what ways can we in both studio practice and theoretical knowledge framed as rational truth, even Waves of photons are perceived as light. make moves and marks with music and writing. The articulation of aesthetic in the sense found in late ‘continental’ Waves of air are perceived as sound. printmaking? intuition, both in exhibited art work and philosophy. Neither is this an attempt Different frequencies generate colours in written theory, transforms aesthetic to create a political, social or remedial visual art. Different frequencies generate Mats Undén is an artist and lecturer in knowledge into other forms such as utilitarian ‘function’ for art. The paper tones in music. The connection is clear printmaking at Charles Darwin University. theoretical, instrumental and critical remains firmly founded in studio practice to me; a visual impression of colours and knowledge. and exhibition as the production of shapes stimulates my brain like sounds, Email: [email protected] aesthetic knowledge. and sounds trigger colours and shapes This paper questions the turn in the in my inner vision. In what ways can meaning of the term ‘aesthetics’ and then Dr Tom Loveday is a contemporary artist sound inform visual art? In what ways DR TOM LOVEDAY raises the question of what constitutes and academic working in Sydney. He is a can visual art inform sound? In a broad Art as Aesthetic Knowledge – Recent aesthetic knowledge, aesthetic concepts senior lecturer at Sydney College of the sense I’m exploring how printmaking and Postgraduate Research Exhibitions as distinct from philosophical concepts Art, University of Sydney Australia where sound interact outside their traditional Sydney College of the Arts and other forms of knowledge. The he supervises postgraduate research frameworks. Printmaking is any form reason this paper is important is that it students, advises postgraduate painting of mark making, printing, stamping, A series of exhibitions and performances argues that forms of knowledge co-exist students and teaches undergraduate rubbing. Sound is any form of sound, by postgraduate research students in conventional arrangements according art theory. Dr Loveday exhibits artwork vibration, music, may it be acoustic, and curated by Nicholas Tsoutas were to their field. However, each field also regularly both in commercial and electronic, live, or recorded. One direction presented in the Graduate School elevates conventional forms of knowledge independent galleries as well as of my research is focused on how sound Research Gallery at the Sydney College over others for practical reasons. For maintaining an international and national can create plates/blocks/materials to of the Arts in 2013. Artwork in these instance medical research elevates research practice in art and architectural be printed, and how grooves made in exhibitions consisted of combinations instrumental knowledge. This paper theory. Dr Loveday has also practiced plates/blocks/materials (and indeed performance, photography, video, painting argues that art can only be understood as and taught art and architecture, lectured finished prints), can be used to generate and various forms of installation. The research when its particular conventional in art history and theory and maintains sound, either direct or indirect. Another exhibitions have extended and developed arrangements of forms of knowledge a research profile in art theory and direction involves performance art, where each student’s art practice within a are clearly understood and valued. contemporary art practice. sound/music influences the creation of research context and their postgraduate There is little point in applying formal the visual artwork through interaction, degrees. Each student also theorises arrangement of knowledge from one Email: [email protected] improvisation, movement, and dance. In their work in a way suited to academic field in another field, as often occurs in a live setting this will of course inevitably research requirements for the university. generalised research reporting. lead to a feedback loop between the TAMSIN GREEN different forms. The monotype seems to This paper draws a theoretical frame Of course this is a controversial Artist’s Work be the most suitable technique to explore within which these exhibitions are epistemology in an institutional when it comes to direct interaction and explained as articulated aesthetic setting that seeks a single system of This paper examines the nature of the performance. John Wolseley lets the knowledge. Aesthetic knowledge takes knowledge. However, unless there is work undertaken by artists, specifically trees draw by rubbing paper against burnt its place among other forms such as an attempt to frame knowledge so that as organisers of exhibitions and exhibition tree trunks, which could be considered theoretical, instrumental and critical art is included and valued as a form spaces. There are numerous examples charcoal monotypes. In Malmoe, Sweden, knowledge all of which interact in a of knowledge, its place in universities of artist run projects in both a local and
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international context. These projects often plastic arts). This discussion will be and culture. It is concerned with not only and is co-taught by University staff aim to extend the artist’s involvement considered in relation to the more general the content of exhibitions that may have and Gallery curators. Research areas in the discursive framework of their theme of the contamination of genres changed Australia’s national narratives include modern Australian art; landscape practice. This paper will argue that and categories in Broodthaers’s practice, but also in how they were presented and theory and representation; Australian these organisational roles indicate an and its relationship to the possibility of received at the time. art and Indigeneity; gender and the interdisciplinarity that is internal to an interdisciplinarity representation of war; and contemporary expanded idea of the artist’s work. The Dr Joanna Mendelssohn is Director of art criticism. She publishes in both particular moment of self-organisation See above for biography. Art Administration at the College of Fine scholarly and arts industry journals. Her that forms the case study for this paper Arts UNSW, Editor in Chief of Design and most recent major publication Heysen to is the founding of Art Projects by John Art of Australia Online (www.daao.org. Heysen: Selected Letters of Hans Heysen Nixon in Melbourne in 1979. In this case au). She is the lead researcher in the ARC and Nora Heysen, was published by the the Nixon’s works themselves would not funded collaborative research project on National Library of Australia in 2011. be described as interdisciplinary, but PANEL L exhibitions of Australian art. She is the the work undertaken by the artist within RE-EXAMINATIONS OF author of books on Sydney Long, Lionel Email: [email protected] their social field is. This case could be CURATED EXHIBITIONS OF Lindsay and the Lindsay family’s created described as a work/worker model of AUSTRALIAN ART mythology. She has also researched the Dr Catherine De Lorenzo’s research practice: That is where the art-worker is Yellow House and Pat and Richard Larter. investigates Australian and European socially situated and socially active, while For many years she wrote as an art critic photographic exchange, contemporary the work of art itself retains a certain kind CONVENORS for The Bulletin, the Australian and other public art and Australian art of measured autonomy. ASSOCIATE PROFESSOR publications. Recently, with Bec Dean, she historiography. Linking these seemingly JOANNA MENDELSSOHN co-edited Sexing the Agenda for Artlink. diverse interests is a theoretical See above for biography. College of Fine Arts, University of New exploration of cross-cultural identity South Wales Email: [email protected] and cross-disciplinary collaboration. She is an Adjunct Associate Professor DR STEPHEN PALMER ASSOCIATE PROFESSOR Alison Inglis is an Associate Professor at the College of Fine Arts, University Broodthaers’s roll of the dice ALISON INGLIS in Art History, in the School of Culture NSW, Sydney, and Adjunct Associate The University of Melbourne and Communication, at the University of Professor (Research) at Monash This paper will address the negotiation Melbourne. She has co-ordinated the MA University, Melbourne. With A/Professors of literary texts in the work of Belgian PROFESSOR CATHERINE in Art Curatorship program since 1995. Mendelssohn (UNSW) and Inglis conceptual artist Marcel Broodthaers. SPECK Her current research interests include (U.Melb.) and Prof. Speck (U.Adel.) she In particular I will concentrate on The University of Adelaide the ARC Linkage project: Exhibitions of is working on an Australian Research Broodthaers’s response to Stéphane Australian art, 1968-2009. Council Linkage project ‘Australian Art Mallarmé’s poem Un Coup de dés, in ASSOCIATE PROFESSOR Exhibitions 1968-2009: a generation of which he re-presented that work with CATHERINE DE LORENZO Email: [email protected] cultural transformation’. She is on the each line of the poem blocked out by College of Fine Arts, University of New editorial board of Design and Art Australia black rectangular forms. This intrusion South Wales Professor Catherine Speck is the Online, History of Photography, and is an into the legibility of Mallarmé’s piece coordinator of the Art History Program associate editor of Visual Studies. will be addressed in light of Derrida’s This session discusses curated offered jointly by the University of discussion of the mark, and its relevance exhibitions of Australian art and Adelaide and the Art Gallery of South Email: [email protected] to the division between writing (i.e. how/whether they have impacted on Australia. The postgraduate program literature) and drawing (the visual or subsequent histories of Australian art is the only one of its kind in Australia
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PROFESSOR CATHERINE See above for biography. media. Beginning with Shaun Gladwell’s both within and between the disciplines. SPECK and LISA SLADE Approach to Mundi Mundi and followed This paper brings two new perspectives Art History and Exhibitions: Same or Lisa Slade is Project Curator at the by a room of contemporary Aboriginal art to our understanding of the exhibition. Different? Art Gallery of South Australia. She the exhibition was displayed in broadly The first, based on a close examination also lectures in the postgraduate art chronological order. of relevant sections of the Tuckson and Art History in all its pluralist approaches history program delivered by Adelaide Elkin archives, throws new light on the is perceived as an academic enterprise University in collaboration with the This paper will examine both the cross-institutional and cross-disciplinary and a modern institutional practice, while Gallery. In 2010 Lisa curated the circumstances of the exhibition and how it collaborations between art /science exhibitions are public and performative exhibition Curious Colony: a twenty first was received in Britain and Australia. museums, the academy and publishing. encounters, mediated by curators. Even century Wunderkammer for Newcastle The second takes a critical look at recent though both are deeply visual, these Art Gallery. This exhibition linked her Dr Anna Gray is the Head of Australian Art scholarly writings on Tuckson’s exhibition parallel practices have been called the curatorial interests and her research at the National Gallery of Australia. She and, more broadly, the presentation of two art histories. into Kunst and Wunderkammern culture, was formerly the Director of the Lawrence Aboriginal art within the art museum. Temporary exhibitions are complex colonial collecting and contemporary art. Wilson Art Gallery at the University of Arguments, such as Howard Morphy’s entities. They provide a set for a play with Her most recent exhibition HEARTLAND: Western Australia, Head of Art at the polarized model of anthropological ideas via objects in space, constructing contemporary art from South Australia, Australian War Memorial, Education ‘knowing’ versus art world ‘appreciating’ art historical narratives. This involves was co-curated with Nici Cumpston, for Officer at the Art Gallery of Western of Aboriginal art will be assessed against the manipulation of space and light, the the Art Gallery of South Australia. Australia and Arts Officer with the East art theoretical paradigms used by disposition of objects and the sequencing Staffordshire District Council. She has both anthropologists and art curators/ and shape of rooms. The process of Email: [email protected] curated around 40 exhibitions, including historians. Through a fine grained making viewers spatially, visually and ones on Arthur Streeton, Frederick reading of the exhibition discourse, the cognitively aware uses various ways McCubbin, George Lambert, Sydney Long, paper will seek to explore disciplinary to encounter and interpret objects on DR ANNA GRAY Russell Drysdale and Fred Williams. ways of knowing that may be closer than display. In addition, many exhibitions Exhibiting Australia at the Royal She has written widely on Australian art, hitherto acknowledged. produce catalogues which become the art Academy, 2013 including editing Australian Art in the historical records of the temporary event. National Gallery of Australia). See above for biography. The exhibition Australia, which opened at Art History meanwhile is practised the Royal Academy in September 2013, Email: [email protected] away from the exhibitionary complex, conveyed the story of Australian art as ASSOCIATE PROFESSOR has a much less public encounter with inextricably linked to the land, an ancient JOANNA MENDELSSOHN ideas and as a consequence has a more landscape of contrasting dramatic beauty. ASSOCIATE PROFESSOR When the Wind Changed: Albert restricted access to its knowledge-base This exhibition incorporated images of CATHERINE DE LORENZO Namatjira at the Araluen Arts Centre, and products: books and journal articles. these extremes, as well as the cultural Re-Reading Tuckson Alice Springs, 1984 The ways of knowing and perceiving in landscapes created by human settlement. each encounter with art history differ, It considered the way Indigenous and Much has been written on Tony Tuckson’s When Albert Namatjira’s watercolour yet there is flow between the two sites non-Indigenous Australians have 1960 exhibition, Australian Aboriginal Art, paintings were first exhibited in the of knowledge. This paper will examine connected to their land and the manner and its impact on curatorial, especially art late 1930s they were praised by the the theoretical links between art history in which their vision has now shaped our curatorial, practice. Critically acclaimed conservative art establishment. This and art exhibitions and interrogate their understanding of Australia. The exhibition by the art and anthropological experts, popularity was not shared by those who dialectical relationship. showed the development of Australian the story of the exhibition’s success, saw themselves as modernists. Critics art over 200 years, through a range of however, masks contested responses said his work only had ‘novelty’ value.
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In 1954 his art was excluded from a art historical impact. While it’s important had greatly enhanced the presence of 63) and Canadian Painting 1938- 1964. selection of Australian art to travel to to view their subject matter in the context contemporary local art in public art These exhibitions demonstrated the London for the Coronation. The same of contemporary topics in Australian art, galleries. Conservative acquisitions Tate’s active interest in supporting year the Trustees and staff of the National their legacy should not be confined to policies, however, kept such art largely Commonwealth artists, a development Gallery of Victoria rejected proposed as internal debates pertaining to Australian in the realm of the temporary loan that reflected a broader enthusiasm acquisitions, calling them ‘frightful’ and art history. Both exhibitions were equally exhibition. for the New Commonwealth concept– ‘absolute potboilers’. attuned to contemporary trends in further stimulated by the opening of international art, including the revival In 1973 a succession of loan exhibitions, London’s New Commonwealth Institute in In 1984 this well established assessment of interest in figurative painting and the Mildura Sculpturscape, Object and November, 1962. of Albert Namatjira suddenly changed. writing of alternative modernisms. Most idea, Recent Australian art and the first The trigger was the exhibition curated importantly, both exhibitions broadened Biennale of Sydney, explored new ways Despite similarities between the by Mona Byrnes on the 25th Anniversary the terms of Australian modern art. of presenting contemporary art, not only exhibitions of these two countries, their of his death, which was also the opening Dr Jim Berryman is a librarian at the to an informed and enthusiastic art world formation and presentation reflect the exhibition of the Araluen Arts Centre in University of Melbourne. He has a but also a sceptical public. Canadian and Australian government’s Alice Springs. This paper examines both PhD in art history from the Australian fundamentally different vision of the the circumstances of the exhibition and National University. His interests include Eric Riddler is currently employed as relationship between art, diplomacy and how it was strategically marketed to Australian art and cultural history, art Image Librarian at the Art Gallery of New politics and more specifically, of the role change the opinions of Australia’s cultural historiography, and Australian political South Wales. He is also working with the art and culture could play within the elite. history. ARC funded collaborative research project international ‘New Commonwealth’. The on exhibitions of Australian art. He has contrasts help to illuminate the respective See above for biography. Email: [email protected] worked on database projects including approaches of these countries. Design & Art Australia Online and a series of databases maintained by the Edmund The paper will also consider the current DR JIM BERRYMAN ERIC RIDDLER and Joanna Capon Research Library, Art exhibition of Australian art at the Royal The social history of art and Australian 1973: a year of change, renewal and Gallery of New South Wales, documenting Academy in the light of its predecessors: modern painting: a reappraisal of two maintaining the status quo the exhibition history of the Gallery, the Tate gallery exhibition and Twelve exhibitions the history of the Archibald, Wynne and Australian Artists held at Burlington This presentation examines the Sulman Prizes and the digitisation of the House, the Royal Academy during 1953. This paper looks at two curated challenges which faced Australia’s public Library’s early twentieth century press exhibitions from 1984, Art and Social art museums when contemporary art clippings. Dr Sarah Scott is the convener of Commitment: An End to the City of moved away from the static object so Museums and Collections Graduate Dreams, 1931-1948 and Aspects of readily placed on a wall or a plinth in a Email: [email protected] Coursework (liberal Arts) at the ANU. She Australian Figurative Painting 1942- survey exhibition. The role of race, gender is currently examining the cultural history 1962: Dreams, Fears and Desires. and sexuality in Australian society were of London’s Commonwealth Institute. Both exhibitions have strong points of also changing and this, to a lesser extent, DR SARAH SCOTT comparison, the most important being the was also being reflected in art museum A Tale of Two Countries: Australian and Email: [email protected] influence of the ‘social history of art’, one practice. Canadian Art in London of the methodological enterprises of the so-called new art history. Referring to the The development of professional In the 1960s London’s Tate gallery substantial catalogues produced for these curatorial practice in Australian art presented Australian Painting: Colonial, exhibitions, this paper reappraises their museums from the 1950s onwards Impressionist Contemporary (1962-
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ASSOCIATE PROFESSOR See above for biography. Email: [email protected] model for New Objectivity’s unsentimental ALISON INGLIS rationality, Dix and Schad rendered the Colonial Post Colonial: art exhibitions Knaben in such a way as to highlight her and the popularization of academic DR JESS BERRY masculinity and the subsequent moral theory in the 1990s PANEL M New Objectivity and the New Woman: and social degradation that was often 3D-2D FASHION/GENDER/ Portraits of the Knaben from 1920s associated with her style. This paper will examine the important PERFORMANCE/IMAGE TO Berlin role of art exhibitions in communicating In making this argument, these images and popularizing post-colonial ART New Objectivity (Neue Sachlichkeit) was will be further considered in the context perspectives on Australian art during the a cultural sensibility based in realism of discourses of anti-Semitism that late twentieth century. This broad topic CONVENOR and rationality, manifested in painting, also surrounded the New Woman. For will be examined through the lens of two DR JULIETTE PEERS photography, architecture, film and nationalist commentators such as Der exhibition case studies. RMIT literature during the Weimar Republic. Stürmer, Berlin’s Jewish dominated Its acceptance of urban modernity was Konfecktion (ready-to-wear) industry had The first exhibition, Sweet Damper and The major exhibition Impressionism registered in the detached documentation the power to unduly dictate fashion and Gossip: colonial sightings from the Fashion and Modernity curated by Gloria of social reality. influence German women’s morality. This Goulburn and North-East, took place at Groom at the Art Institute of Chicago paper will suggest that New Objectivity Benalla Art Gallery in 1994. The curators (touring 2012-2013) proposed a close The New Woman, the sexually portraits also appear to observe socio- – Paul Fox and Jennifer Phipps - were interchange between fashion and art emancipated, financially independent political critique that the ‘debauched’ experienced professionals, familiar with history and a detailed reading of fashion female dandy, was a frequent subject of New Woman was a direct product of her the state’s public collections, as well as images within paintings 1860s-1880s such paintings. With her short hemline, Jewish manufactured wardrobe. current developments in contemporary to suggest that the current cultural bobbed haircut, and straight chemise, art. The exhibition aimed to ‘present a acknowledgement of fashion and visible the New Woman – who appeared Dr Jess Berry is Lecturer, Art History dual concept of the landscape, both from expressions of gender has a longer back simultaneously as La Garçonne in and Theory, Queensland College of the European and Aboriginal viewpoint’, story. Whilst classical empirical dress France, the Flapper in America, and the Art, Griffith University. Her research is by concentrating on a particular region history literature by Aileen Ribeiro, Marie Knaben in Germany – was seen as the concerned with representations of fashion and its imagery. Simon and others has examined fashion personification of women’s increasing in art and photography, the fashion city, in paintings since the 1990s, pre-1945 engagement with the modern world of fashion new media and Australian fashion The second case study, held in 1996, fashion has often been seen as standing economic and social capital. history. Recent articles have appeared in was entitled Colonial Post Colonial, was apart from the conceptual art/fashion Journal of Design History, Craft + Design presented by Juliana Engberg, Senior overlap until the AIC exhibition examined Through analysis of portraits, including Enquiry, and Catwalk: The Journal of Curator at Heide Museum of Modern Art. the conceptual centrality of 1860s-1880s Dix’ The Journalist Sylvia Von Harden Fashion, Beauty and Style. This exhibition brought together, in often fashion in constructs of the avant garde (1926) and Schad’s Count St. Genois challenging juxtaposition, colonial and and driving signs of the modern in visual d’Anneaucourt (1927), this paper will Email: [email protected] contemporary works, both Indigenous and culture. This session responds to this argue that despite their claim to the non-Indigenous. By comparing these two expanded placement. objective representation of urban exhibitions and their critical reception, modernity, both Dix and Schad portrayed KIM CLAYTON-GREENE this paper will evaluate their contribution Dr Juliette Peers is Senior Lecturer in the the New Woman in forms that replicated Vilhelm Hammershøi: Fashion in, and as to popularizing post-colonial ideas, which School of Fashion and Textiles and School her public critique. Even though the part of, the domestic interior shaped debates on national identity in the of Architecture and Design at RMIT. New Woman’s symbolic affinity with 1990s. modernization made her the perfect Vilhelm Hammershøi (1864-1916), the
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late nineteenth and early twentieth moment in Danish upper middle class, as the affirmation of recorded history, a framework that emphasizes its utility century Danish artist, is widely known at-home fashion. does not seem to be able to fully best the over aesthetic or other non-functional for his paintings of domestic interiors, androgynous man/woman who confronts considerations. UnDesign seeks to many of his own home in Copenhagen at Email: [email protected] him. Whilst the American Civil War is document new developments in design Strandgade 30 (where he lived from 1898 usually placed as a popular cultural/ that connect with science, engineering, to 1909) and Strandgade 25 (where he fantasy motif of male adventure for North biotechnology and hactivism, and lived from 1913 to 1916). Described for the DR JULIETTE PEERS Americans or in academic history as a computer sciences and visual art, and 2008 Royal Academy exhibition, Vilhelm Let Me See Your Swagger, Let Me significant turning point in the global posing questions such as: Hammershøi: The Poetry of Silence, as See Your Stance: Gender imagery and history of race and diversity – there is a painter of ‘sparsely furnished rooms dysphoria with reference to dress a substantially ignored postmodernist • What is the nature of an online art [that] exude an almost hypnotic quietude and presentation in Winslow Homer’s turbulence to the war which included practice? and sense of melancholic introspection’, Prisoners from the Front elements such as racial and gender • Is working online or with technology Hammershøi’s use of space and colour masquerades, myriads of cross dressed always interdisciplinary? has attracted much attention in recent Winslow Homer’s Prisoners from the soldiers, same sex bonding, amoral and • If working online is inherently years. As has his regular inclusion of a Front, 1866 was a “breakthrough” or irrational violence at the birth moment interdisciplinary, does it represent female figure with her back to the viewer establishing painting for Homer, who of the modern US military-industrial a threat to established systems of and face hidden; this figure, usually previously had substantially worked complex. The strangeness of Homer’s research and creation? modelled by his wife Ida, has come to be as a newspaper illustrator, following figures and their ambivalent, enigmatic • How does the computer modify or understood as a motif linking many of the Union armies for Harpers Weekly interaction can serve as reminders of affect an art practice? Hammershøi’s works. of New York. Moreover it has captured these ambiguities. the imagination of generations of US Dr Gretchen Coombs’ interests include art What has not received attention is commenters who in different eras saw in See above for biography. and design criticism/activism, specifically how this female figure is dressed and it both a taxonomical study of the Othered recent practices that challenge social how her dress, or fashion, is central Confederate soldier and also a point of structures within an urban context. to Hammershøi’s muted aesthetics interchange and reconciliation. Its subject Her doctoral research involved artists, and strict structural compositions. matter has substantially sequestered it PANEL N design collectives, critics and scholars Comparison shall be made to the works from audiences outside the US (although UNDESIGN: CRITICAL who are immersed in new ways of of James McNeill Whistler (1834-1903), it was seen at the 1867 Paris Exhibition) PRACTICES AT THE theorizing activist practices in order to an artist whom Hammershøi greatly however this paper suggests that its gain deeper insights into understanding admired and who is regularly compared historical context and content is ironised INTERSECTION OF ART AND the institutionalization of socially in academic literature to Hammershøi by complex gender narratives around DESIGN engaged art - or ‘social practices’ - in for sharing a similar interest in darkened identity and power. The three prisoners San Francisco, practices that draw on the tone and the creation of a harmonious not only are Confederate soldiers, but all Bay Area’s legacy of progressive politics picture surface. bear legible representations of female CONVENORS and vanguard art practices. Gretchen genitalia perhaps as an indication of their DR GRETCHEN COOMBS currently works as a lecturer in the This paper will demonstrate how subordinate, “loser” status. Concurrently Queensland University of Technology School of Design, Creative Industries Hammershøi utilised the form and shape the Union hero, youthful General Barlow Faculty, at Queensland University of of the black dress to add an element that (himself famed for holding salons and DR GAVIN SADE Technology. contributed a harmonious and geometric receiving guests in camp dressed only Queensland University of Technology motif to his oeuvre of interiors, but which in his underwear) - despite being well Email: [email protected] also reflected an important contemporary supplied with phallic signifiers, as well Traditionally, design has been placed in
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Dr Gavin Sade is a designer, educator point to new forms of collaboration of its basis in fine art. The influence of graphic designers as facilitators of and researcher in the field of interactive that break existing moulds and silos of combining designers’ creative skills non-designers’ creative ideas. A suite of media, with a background in music and production. This paper offers a review with effective user-centred practices is creative outcomes to promote asthma sonology, and is currently the Head and critical evaluation of this body of a gap in the graphic design literature. awareness were produced. The designers of Interactive and Visual Design in international practice, spanning the last Buchanan comments that ‘The uneasy in this case study perceived themselves the Creative Industries Faculty at the five years, examining the processes of relationship of art and design will not as artists. They understood their work to Queensland University of Technology. In commissioning and delivery to inform how soon be overcome’, pointing to the be driven by an innate creativity with the 2003 he formed Kuuki, a creative media current eco-city visions and strategies difficulties in breaking the historical roots result that they regarded any input into collective who have gained recognition for can be fruitfully ‘undesigned’ through of graphic design.1 However, Meggs the creative process by non-designers— their innovative creative works which have engagement with artists and public art argues that graphic designers need to whether clients or end-users—as ruining exhibited nationally and internationally. strategies. ‘envision and establish conditions for design outcomes. Today, the far-reaching In 2011 Gavin won the QUT outstanding production in these environments, rather re-evaluation and democratisation of thesis award for his PhD. Gavin’s Jodi Newcombe is a creative producer than designing products themselves’.2 creativity suggests that collaboration research interests lie at the intersection generating innovative projects at the This paper addresses Meggs’ call for with end-users is a force graphic design of art, design and sustain-ability, with a intersection of art, technology and graphic designers to refashion their cannot ignore. This paper demonstrates focus on design philosophy and practice- sustainability. After a fifteen-year creative expertise into facilitating the the importance of understanding the led research methods. consultancy career in natural resource artist in everyone. Meggs’ call was made barriers involved when inviting end-users management in Europe and Australia, twenty years ago, yet there is a dearth to share the creative space guarded Email: [email protected] Jodi set up Carbon Arts to bring a of research into how relinquishing the by graphic designers. The introduction stronger creative sector voice to these role of intuitive, creative problem solver of a teamwork approach to designing challenges. She is currently a PhD influences end-users and graphic in my research between end-users JODI NEWCOMBE candidate at QUT’s School of Design and designers. The combined role of artist and designers challenges attitudes The Art of the Eco-city: Redesigning our is developing a number of significant and expert problem solver has afforded represented in the literature that graphic relationship with nature through public public artworks in partnership with graphic designers a freedom of creative designer’s creative intuition alone solves art leading artists, arts organisations, expression within the bounds of client design problems. developers and government. Using real- expectations; the more famous a graphic There is an emerging body of arts practice time data, sensing technology and social designer, the more artistic freedom Dr Simone Taffe lectures in the areas that places artists as the barometers media, these projects aim to create a new they can enjoy. The literature raises of identity design and strategic brand of changing environmental conditions, legibility for the often hidden relationships the idea graphic designers see sharing management. Simone worked as a bringing new perspectives to how urban between nature and society. the creative process with end-users as graphic designer and design manager and natural systems can and do interface. risking mediocre design. The conflicting for over fifteen years. This experience Novel forms of data representation, Email: [email protected] nature of these beliefs have conspired includes seven years as design manager often combined with sensing technology together to convince graphic designers for the City of Melbourne, overseeing and micro-computing, are offering a that design by end-users is irrelevant to the council¹s branding program. Simone new language and opportunity for the DR SIMONE TAFFE the design process. has also managed branding projects arts to contribute to the imagining and Undesigning Graphic Design: Facilitating for the leading Melbourne design making of an environmentally sustainably the artist in everyone This paper presents a case study where consultancy Flett Henderson Arnold city. Sometimes funded through public co-design methods were applied to the (now Futurebrand), being involved in arts budgets, arts festivals, or private The discipline of graphic design is design of asthma information, arguing design work for the Sydney Olympic developer commissions, the development poised to reconsider designers’ need that co-designing with non-designers is branding program, BHP Biliton, the and experience of these works also for freedom of expression, an overhang a form of undesign. The case positioned ANZ bank and the State Government.
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Simone has a Diploma of Graphic With the rapid clean up that follows flood DR BRAD HAYLOCK PANEL O Design from Swinburne 1988, a Master damage, little material evidence is left What is critical design? ART, SCIENCE AND of Arts (Design) from RMIT 2000 and for post mortem examination. This is GERMAN TRAVELLERS: a PhD from Swinburne University of especially the case for the flood damaged The concept of ‘critical design’ has, in Technology 2012. Simone’s research interior, piles of materials susceptible recent years, been a topic of discussion INTER-DISCIPLINARY AND addresses participatory design and the to the elements, furniture, joinery and amongst practitioners and commentators, TRANSNATIONAL EXCHANGES communication design process. personal objects line curbsides awaiting and it has been the theme of major IN NINETEENTH-CENTURY disposal. There is a missed opportunity exhibition projects. However, a studied AUSTRALIA AND NEW Email: [email protected] in examining the interior in the after review of the antecedents of this ZEALAND math of flood, in the way that Mathur idea remains to be seen. This paper and Dilip investigate floods and the undertakes a genealogy of the concept KIRSTY VOLZ design of cities, the flooded interior of critical design. Key waypoints in this CONVENORS Absent Interiors proffers an undersigned interior to survey include writings on critique and DR RUTH PULLIN study. In the absence of intact flood critical theory by Michel Foucault and Ongoing Fellow, State Library of Victoria Anuradha Mathur and Dilip da Cunha damaged interior, this research relies the Frankfurt School, and the philosophy theorise in their work on cities and on two artists’ documentation of the of Immanuel Kant and Karl Marx. These DR KATHLEEN DAVIDSON flooding that it is not the floodwaters flooded interior. The first case study is lineages are drawn into dialogue with The University of Sydney that threaten lives and homes, the real the mimetic scenographic interiors of key concepts in design theory. Riffing cause of danger in natural disaster is a flood-damaged office exhibited in the off Kant’s ‘What is enlightenment?’, and German-speaking émigrés and visitors the fixity of modern civilisation. Their Bangkok art gallery by the group _Proxy Foucault’s ‘What is critique?’ in turn, this were a significant presence in Australian work traces the fluidity of the boundaries in 2011. The second case study is Robert paper asks ‘What is critical design?’ and New Zealand arts and sciences between ‘dry’ and ‘wet’ land challenging Polidori’s photographic exhibition in New throughout the nineteenth century. From the deficiencies of traditional cartography Orleans, described by Julianna Preston Dr Brad Haylock is an artist, designer the embrace of Romanticism to their in representing the extents of bodies of as, ‘a series of interiors undetected by and academic. He is a senior lecturer favourable reception of Darwin’s theory water. Mathur and da Cunha propose satellite imaging or storm radar. More at Monash Art Design & Architecture, of evolution, German travellers arrived a process of unthinking to address telling, more dramatic, more unnerving, where he is PhD Program Director and in the Antipodes with a sophisticated the redevelopment of communities in more alarming, they force a disturbance Design Theory Coordinator. His research understanding of the arts and sciences the aftermath of natural disaster. By of what is familiar’. interests span post-Marxist cultural and their interconnections. The mid- documenting the path of floodwaters in theory and critical practices in art and century journeys of many German- non-Euclidean space they propose a more Kirsty Volz is a Research Master of design. His work takes the form of visual speaking scientists and artists were appropriate response to flooding. This Arts student and is a graduate of the art, book design and publishing, curation, inspired by the great naturalist Alexander research focuses on the documentation architecture program at the Queensland theory and criticism. He has exhibited von Humboldt. He argued that art and of flooding in the interior of dwellings, University of Technology. Kirsty practiced and published widely, in Australia and science were complementary disciplines which is an extreme condition of damage in interior design and architecture for internationally. which together could bring new insights by external conditions in an environment over 10 years and is now an emerging to the objects of study. The prominence designed to protect from these very researcher whose work spans Email: [email protected] of scientific and technical education in elements. Because the floodwaters don’t architecture, interior design, scenography German universities produced talented, discriminate between the interior and the and performance art. highly skilled and multi-disciplinary exterior, they move between structures professionals drawn to the ‘new terrain’ with disregard for the systems of space Email: [email protected] of Australia and New Zealand by the we have in place. possibilities presented for pioneering
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work in various disciplines. Artists and Austin, and will be a Visiting Scholar at Haast for display in the Canterbury DR TIM SMITH scientists worked alongside each other the Yale Center for British Art during Museum. However, Buchanan’s attitude Cases of Specimens and Curios: Paul and the Germanic-European expatriate 2014. Her book Photography, Natural to von Haast was affected by the way in Foelsche’s Top End Collecting network also provided opportunities History and the Nineteenth-Century which the Canterbury Museum Director for those who were ambitious, but Museum: Exchanging Views of Empire is appropriated the work of Buchanan’s The son of a poor Hamburg rope maker, less qualified, to gain expertise and to forthcoming with Ashgate. She completed colleague on the Geological Survey, Paul Foelsche migrated to Adelaide on participate on scientific and exploratory her PhD at the University of Sydney in Alexander McKay. This “Sumner Cave Caesar Godeffroy’s ship, Reiherstieg expeditions and to work in the new 2012. Previously, she was Curator of Controversy” has been previously been in 1854. Two years later, he enlisted in colonial museums and art galleries. International Photography at the National analysed for the racism inherent in the South Australia’s Mounted Police and, This session will consider some of the Gallery of Australia, Canberra. description of Māori, and the creation despite his limited formal education, rose inter-disciplinary and transnational of the now-discredited “Moa Hunter to be the founding inspector of Northern exchanges that distinguished Australian Email: [email protected] Period” in New Zealand history. This Territory’s police force and a recognised and New Zealand nineteenth-century art, paper will focus instead on analyzing authority on all aspects of scientific culture and intellectual life, including the role of publication of illustrations enquiry in the region. new research on individuals and groups ASSOCIATE PROFESSOR and descriptions of new species in the working across the arts and sciences. LINDA TYLER Transactions as a technology used to The policing needs of Port Darwin were Moa hunting in the Transactions: the reproduce in a new colony the class and few, which allowed Foelsche to take Dr Ruth Pullin was guest curator (with battle for science’s high ground in cultural distinctions from the Old World of up photography and other pursuits Michael Varcoe-Cocks) of the National nineteenth century New Zealand between Europe. such as collecting specimens for Gallery of Victoria’s 2011 touring Julius von Haast, Alexander McKay and scientists and institutions in Australia exhibition, Eugene von Guérard: nature John Buchanan Associate Professor Linda Tyler was and Europe. Those who visited the revealed, and she is the author and editor appointed as the inaugural Director Northern Territory took advantage of of the book of the same title. Her research Publishing its Transactions and of the Centre for Art Research at The his extensive knowledge of its flora and on von Guérard has been published in Proceedings from 1867, the New University of Auckland in February 2006. fauna and enlisted him on their collecting numerous Australian and international Zealand Institute quickly established In this role, she administers the Art expeditions. journals and catalogues. She has studied orthodoxies of what local science was Collection, manages programmes and in Germany and researched the artist’s and how it should be conducted. The exhibitions at the Gus Fisher Gallery, and For the last three decades of the sketchbooks and drawings as the C.H. role played by Māori in the extinction of also digital and on-site exhibitions under nineteenth century, Foelsche was Currey Memorial Fellow at the State the moa, a giant extinct flightless bird, the auspices of the Window project. In engaged in collecting large quantities Library of New South Wales in 2009 and, predominated in the wake of Richard 2010, she was the Robert Lord Fellow at of Aboriginal artefacts and information most recently, as a Fellow at the State Owen’s classification of theDinornis from the University of Otago, researching the about the district’s cultures, on which Library of Victoria. a single bone in 1839. New Zealand men art and science of nineteenth century he based several published papers. Yet of science asserted their intellectual botanist and draughtsman to the Colonial his stance in the post-Darwinian debates Email: [email protected] autonomy by producing lists of moa Museum and Geological Survey, John remains unclear, partially because most species and by developing theories on Buchanan FLS (1819-1898). Her MA of his personal records were destroyed the relationship between moa bones thesis at the University of Canterbury in after his death on the outbreak of war in Dr Kathleen Davidson is a sessional and excavations of pre-historic Māori Art History in 1986 was about the New 1914. staff member at the University of Sydney sites. Key to this activity was the visual Zealand architecture and planning of and independent scholar. She was the representation of the moa, developed émigré architect Ernst Plischke (1903- In contrast, his photographs have survived 2012-13 C.P. Snow Fellow at the Harry by John Buchanan for the Transactions, 1992). and, as this paper will explore, offer a Ransom Center, University of Texas, through using photography to document window on those created for scientific skeletons articulated by Julius von Email: [email protected] 90 91 INTER-DISCIPLINE
purposes. The most compelling are generation, but transnational cultural, JAN BRAZIER and examines the inter-disciplinary nature of several hundred portraits of Aborigines, social and political contexts shaped the DR MOLLY DUGGINS these late nineteenth-century German which shed light on the exchanges trajectory of her career in a way that set Visualising Nature in the Classroom: visual aids that straddled the divide between Foelsche and scientists involved her apart from her contemporaries. An German Scientific Models and Wall between science and art, as well as the in the debate about their evolutionary extended period of study in Britain and Charts in Australia and New Zealand transnational exchanges that defined place. Germany saw her exposed to an artistic their manufacture, dissemination, and community of a cultural complexity application in a colonial educational Dr Tim Smith - Following a teaching unmatched by anything she previously ‘Living nature is the best teacher and context career in Tasmania, and at Charles encountered in her home country and, pedagogue; an artistic medium of Darwin University, Tim Smith now leads perhaps most significantly, re-established representation tries to replace nature Displayed at international exhibitions, student experience programs at RMIT her connection with her German- and this can be possible in practice purchased by colonial scientists visiting in Melbourne. In Darwin, his research Jewish heritage. This paper will argue only if the images are true to natural Europe, and sold through dealers and on the Northern Territory’s colonial that throughout her brief career, and objects.’ (Arnold and Caroline Dodel- agents, Ziegler wax embryology models, photography led to his co-curation of the especially while living and working in the Port, Erläutender Text zum Anatomisch- Blaschka glass marine invertebrates, South Australian Museum exhibition, remote Nelson region, her landscape physiologischen Atlas der Botanik, Brendel papier-mâché botanical The Policeman’s Eye, The Photography and figure work was informed by the Esslingen a. N.: J. F. Schreiber, 1883, p. ii) models and Rammé papier-mâché of Paul Foelsche that toured nationally transnational perspectives generated by anatomical models all made their way from 2003. This exhibition drew on her training in early 20th century Berlin. From 1878 to 1893, Arnold Dodel (1843– to Sydney and Auckland to meet the new Smith’s PhD on the photography of the Her versatility and her preferences in 1908), a Swiss-German botanist and his educational needs of both university Northern Territory’s first Chief of Police, terms of subject matter, developed during wife Caroline Port, drew and collated a and museum. Wall chart systems such which he completed in 2012. Smith’s the early days of her training abroad, series of botanical wall charts known as as the Dodel-Port Atlas and Leopold published work includes a biography contributed to her problematic reputation the Dodel-Port Atlas. Such wall charts, Kny’s Botanische Wandtafeln provided of Paul Foelsche, in John Hannavy, as an artist working off ’the beaten or Wandtafeln, along with accurately magnified illustrations that could be (ed), The Encyclopedia of 19th Century path’, and set her apart from those New detailed three-dimensional models, were viewed from every corner of the lecture Photography, (Routledge Reference, NY Zealand painters whose regionalist work employed as key visual aids in scientific hall, complementing the models in 2007). was informed by nationalist tendencies. education from the 1870s to the 1920s in helping students grasp the intricacies of response to Johann Heinrich Pestalozzi’s morphological structures. Email: [email protected] Dr Dorothée Pauli is a senior lecturer in (1766–1827) pedagogical theory that Contextual Studies at the School of Art learning through observation was the Exploring the crucial role of such and Design at CPIT, Christchurch. She most effective mode of teaching. visual media in late nineteenth-century DR DOROTHÉE PAULI has published widely on different aspects scientific education in Australasia, this Climbing over Fences: Transnational of 20th century New Zealand art and Produced in Germany by a number of paper focuses on the colonial trajectories Perspectives in the Work of Mina Arndt architecture and is currently pursuing her skilled artisanal manufacturers and of these German travelling objects. interest in the art of dissent in Western publishers working in collaboration Mina Arndt (1885-1926) belongs to a visual culture, the history of printmaking with leading scientists including Ernst Jan Brazier is Curator of the History the generation of New Zealand born and the cultural legacy of German Haeckel, models and wall charts became collections at the Macleay Museum, artists who established early patterns colonialism in the Pacific region. a critical component of university University of Sydney, where she curates of professional art practice in New curricula and public museum instruction scientific instruments, photography Zealand. The events of her life show how Email: [email protected] in Australia and New Zealand from the and collections relating to the history of Arndt followed career strategies similar 1880s. This paper, through case studies teaching at the University. Before joining to other New Zealand artists of her of Sydney and Auckland institutions, the Macleay, Jan was an archivist at
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the Australian Museum, one of the first PANEL P the eighteenth century. Her research (though not necessarily anti-Western) art archives in a museum in Australia. At THE HISTORY AND FUTURE interests include the connection between practices and thus a definitive break with the Australian Museum and the Macleay OF WRITING ABOUT ART gardens and theatre in the Baroque the teleology of modernism, Osborne’s Jan has contributed to and curated a period and the history of stage set design. densely argued analysis reinscribes number of exhibitions, most recently this teleology, effectively producing an True to Form: Models Made for Science CONVENORS Email: [email protected] apologia of modernism as a western (2013) and Picturing New South Wales: HELEN HUGHES master narrative. Photographs by Kerry & Co. (2010). She The University of Melbourne has also authored several articles for the PROFESSOR IAN MCLEAN Dr Ian McLean is Research Professor of Australian Dictionary of Biography. DR KATRINA GRANT The contemporary: Smith vs. Osborne Contemporary Art at the University of Melbourne Art Network Wollongong. He has published extensively Email: [email protected] ‘The variety of modern, modernist, on Australian art and particularly Is it possible to write historically about traditional and indigenous visual arts Aboriginal art within a contemporary Dr Molly Duggins teaches the history contemporary art? Can we apply the being produced all over the world could context. His books include Arte Indigena of art at the National Art School in rigours of art historical methodologies no longer be positioned relative to some Contemporaneo en Australien, IVAM Sydney. In 2012 she completed her PhD to art being produced right now? Is it broad, all-encompassing narrative of Institut Valencia d’Art Modern, Valencia in the department of art history and possible to speak about contemporary art art’s historical development (such as (with Erica Izett), How Aborigines Invented film studies at the University of Sydney as a specific entity, rather than reverting modernism followed by postmodernism). the Idea of Contemporary Art, White with a thesis on the visual culture of to the term ‘pluralism’ to describe and For all of their evident differences Aborigines Identity Politics in Australian Victorian nature in the colonial album. interpret the multeity of contemporary (indeed, because the evidence of their Art, and The Art of Gordon Bennett (with Her research interests include album art practices happening all over the difference was so intense) they became a chapter by Gordon Bennett). He is also studies, nineteenth-century art and the world, simultaneously today? This panel suddenly – in the first decade of the on the advisory boards of World Art and natural world, Victorian antecedents explores emergent philosophical and twenty-first century – simply coexistent, National Identities. to collage, and colonial Australian historiographic approaches to writing nakedly contemporaneous.’ (Terry Smith) visual culture and modernity. She has about contemporary art. Email: [email protected] undertaken fellowships at the State Terry Smith might reject the efficacy Library of New South Wales and the Yale Helen Hughes is co-founder and co-editor of ‘some broad, all-encompassing Center for British Art. Molly is the author of Melbourne-based contemporary art narrative of art’s historical development’, DR AMELIA BARIKIN of a number of peer-reviewed articles, journal Discipline; co-editor of the peer- but he doesn’t hesitate to propose a What is contemporary art history? including ‘Arranging the Antipodes: The reviewed, online, art history journal emaj; new one, what he and others call ‘the Archer Family Album as Metaphorical and a PhD candidate in Art History at the contemporary’. It is the grand narrative This paper addresses the concept of Cabinet’, Australasian Journal of Victorian University of Melbourne. of our time, what the philosopher Peter ‘contemporary art history’ from both a Studies (2009). Osborne calls its ‘fiction’, rather than theoretical and practical perspective. Email: [email protected] just a descriptive term that signifies the It takes as a case study the author’s Email: [email protected] totality of works being produced today. experience of writing and publishing her Dr Katrina Grant is the editor of the Smith (an art historian) and Osborne (a monograph Parallel Presents: The art of Melbourne Art Network and a founding philosopher) have, to date, proposed the Pierre Huyghe (MIT Press, 2012), a book editor of the online art history journal most articulate topologies of what each originally developed as an art history emaj. She has published on the history of calls ‘the contemporary’. This paper PhD at the University of Melbourne. gardens theatres in Italy and on artistic compares their models. While Smith In detailing some of the institutional, relations between Rome and Britain in charts a shift towards post-Western technical and ethical challenges that
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surround the production of a monograph such temporising. Recently, however, a America (1993); Transformations in considered as a topology – the study on a major living contemporary artist, few curators, historians, and theorists Australian Art, vol. 1, The Nineteenth of the properties of a spatial field that the paper has several aims: (i) to review have proposed large-scale hypotheses Century: Landscape, Colony and Nation, remain continuous even when subject to the rapidly expanding popularity of about developments in contemporary and vol. 2, The Twentieth Century: distortion. A topological model of practice monographs on contemporary living art, which explore its relationships Modernism and Aboriginality (2002); The emphasises the inherent structural artists and consider whether the to such key contextual formations as Architecture of Aftermath (2006), What is dimensions that occur in practice despite proliferation of this format has ineluctably economic globalisation, geopolitical Contemporary Art? (2009), Contemporary often fluid, provisional and contingent altered the shape of contemporary art conditions, art world institutionality, Art: World Currents (2011), and Thinking qualities. This session will consider history (ii) to evaluate the imbrication of the broader exhibitionary complex, the Contemporary Curating (2012). topology from both practice-led and art- the art critic and the art historian within experience economy, new communicative historical perspectives. the field of contemporary arts writing and technologies, and the evolution of human Email: [email protected] (iii) to read the maintenance of ‘critical thought concerning world being. The Charles Robb is currently a PhD student distance’ in contemporary art history processes that shape these relationships at Queensland University of Technology, against the priorities of the global art — those of world picturing, placemaking, Brisbane where he also holds the position market. and connectivity — are, perhaps, coming of Undergraduate Coordinator in Visual Dr Amelia Barikin is a postdoctoral into clearer focus. This paper will explore PANEL Q Art. He has been a practicing artist for research fellow at the University of certain recent hypotheses, asking what TOPOLOGIES OF PRACTICE almost two decades and his work has Queensland where she is researching the their profiles of our contemporaneity, been seen in numerous group and solo intersection of art and science fiction. Her and their explanations of how we exhibitions at venues including MONA book Parallel Presents: The Art of Pierre became contemporary, suggest for CONVENOR (Hobart), the Museum of Contemporary Huyghe was published by The MIT Press understandings of current art — and of CHARLES ROBB Art (Sydney) an the Ian Potter Centre: NGV in 2012. the modernisms, traditionalisms, and Queensland University of Technology Australia (Melbourne). He is represented indigeneity that preceded it, and persist, by Dianne Tanzer + Projects in Melbourne. Email: [email protected] transformed, through some but not all of Since the 1960s a significant shift in it. attitude can be observed in relation the Email: [email protected] role of medium in the art studio. For many PROFESSOR TERRY SMITH Dr Terry Smith, FAHA, CIHA, is Andrew artists, the examination of medium has Thinking Contemporary Art, World W. Mellon Professor of Contemporary Art yielded to a more fluid methodology of CHARLES ROBB Historically History and Theory in the Department practice characterised by self-reflexive Undulating matter: a topological analysis of the History of Art and Architecture and highly process-oriented approaches. of studio practice The currents that constitute contemporary at the University of Pittsburgh, and Discussions of this situation have art began to take on definite — albeit Distinguished Visiting Professor, included descriptions such as Post- With specific reference to the writings paradoxical and bewilderingly diverse National Institute for Experimental Arts, medium, or the earlier term, Post-studio. of Dan Graham and the experiences — forms throughout the world during College of Fine Arts, University of New As can be observed in the work of a range of creative practice, this paper will the 1980s. Big picture understanding South Wales. In 2010 he was named of practitioners from Bruce Nauman to elaborate an account of studio practice of these developments, and of their Australia Council Visual Arts Laureate Rachel Harrison, contemporary practice as a topology - a theory drawn from relationships to relevant contexts, by the Australian Government, and often achieves continuity through a mathematics in which space is eluded most commentators, or was won the Mather Award for art criticism complex network of referents, materials understood not as a static field but in rejected as premature, even improper. conferred by the College Art Association and processes that comprise their terms of properties of connectedness, Recourse to indefinite articles such as (USA). He is the author of Making the own extra-medial ‘logic’. Under these movement and differentiation. Taking ‘the contemporary’ continues to signal Modern: Industry, Art and Design in generative conditions, practice can be Joseph Nollekens’ portrait bust of Charles
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James Fox as a starting point, this paper they development their visual language. her studies she has presented at a points of contention: How do we avoid will trace a brief sequence of topological In this paper I will discuss the discipline number of conferences including Mimar a method that becomes enmeshed in formulations in art to draw together the demonstrated by artists working within Sinan Fine Arts University, Istanbul, a representational framework, where expression of topology as form and its the non-objective genre of abstraction. Turkey 2012 and 100 Years of Abstraction: outcomes aim to fit a prefigured gap? structural dimension as a methodology in The practice of artists setting themselves Theory and Practice, Jacobs University, the specific context of the author’s studio a pre-designated criterion within the Bremen, Germany 2013. She has an In this paper, I suggest that the diverging practice. In so doing, this paper seeks production of their work is a common extensive exhibiting history in Australia paths of representation and topological to expand the notion of topology in art practice in the creative process. However, and overseas. folding, as a basis for creative practices beyond its association with Conceptual remarkable results notwithstanding, in general and drawing in particular, can Art of the 1960s and 70s to propose that artists seem to set themselves an almost Email: [email protected] effectively be traced to a rereading of the topology provides a dynamic theoretical impossible task, and then go about familiar Butades myth, which depicts model for apprehending the generative resolving the problem. These problems the origins of drawing as the tracing of a ‘logic’ that gives direction and continuity can involve concept, matter, colour, SHARON JEWELL human shadow. I suggest, instead, that to the art-making process. materials, and methods. Matter and movement: expression as the myth can be read as a topological topological continuity, or a return to folding of sense, matter and expression See above for biography. Drawing upon examples of my own Butades’ wall over time. The fundamental problem with practice and the practice of others, the original reading of the myth is that it various processes, choices of medium, This paper expands on my current is grounded in representational thinking DR WENDY KELLY concepts and concerns will be considered. drawing practice research, aiming to from the outset. My critique makes use Topologies of Materiality and Process I will argue that current approaches to address the ways in which materials of Deleuze’s concept of expression as within Abstraction non-mimetic abstraction are broad and are folded into expression and sensory, a generative and inventive rather than eclectic and characterised by materiality, affective and reflective engagements representational force. In laying out this Artworks of all types are constricted seriality and process. They are set within with the world. The notion of the “fold” idea, I draw on a number of historical by the characteristics of the qualities the discipline of personally imposed is used in preference to representational depictions of the myth, including Antony of the chosen medium, and/or defined limits, rules and controls. To create mechanisms such as translation or Gormley’s (2008) rendering: The origins by the convention of media, tools and complications, within the new freedom of interpretation, as this movement implies of drawing. I also refer to works by Kiki practices. For many non-objective artists contemporary abstraction, artists switch a single plane or surface construed as the Smith and Anne Hamilton, as well as the exploration and experimentation of, or reinvent at will in order to keep the imbrication and concurrent emergence of my own drawing practice, suggesting and with, medium/media is a basic tenet challenges coming, thus as one method expression and expressed. that the topological reading of Butades, within their practice led methodologies. or problem is conquered, their practice is exemplified in the contemporary The role of the medium and its distortion will shift in order to create a new set of Once envisioned as a movement within imagination. within art practice lies primarily with self imposed rules or limits. a single plane, materials, experience or an examination of material as physical perception and expression are seen to be Sharon Jewell is a visual artist currently matter, its ability to reflect the individuals Dr Wendy Kelly is a Melbourne-based both inseparable and infinitely malleable, undertaking a practice-led PhD at QUT. concerns, its adaptability and freedom of practicing artist, curator and independent pointing to what David Morris (2004) has Over the past two decades, Sharon has interpretation. scholar who completed her PhD from referred to as a “topology of expression”. worked with a range of materials and Monash University’s Faculty of Art, This is important, I argue, for the creative forms, exploring both the sculptural In the conception and execution of their Design and Architecture, Department of practice researcher, particularly in object and installation, including kinetic work, some artists subject themselves Fine Art in 2010. Her research centred the visual arts, since the relationships and sound work. Sharon’s work is to seemingly pedantic material on non-objective abstraction and its role between theory and practice and between characterised by a lyrical contemplation interpretations and methodologies as contemporaneously, and since completing form and meaning are frequently that is often both humorous and tender.
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Sharon received an Australia Council in the 1963 An Anthology, a collection of matrix, and beyond it, the processes scholarship in a range of subjects that overseas studio grant, Helsinki in 2011 equivocal texts, instructions for works, of a dynamic world of nature, akin to address the theme ‘inter-discipline’. The and in Italy in 1994. She has been involved and documents that was soon associated Cage’s concept of nature’s ‘manner of papers presented here respond to the with international art and environment with Fluxus, are simultaneously text and operation’, in telescoping progression. I strength and breadth of perspectives symposia in Korea and Japan (1999 performance ‘score’, instructions for a argue that Forti’s dance/text works can across artistic practice, curatorial studies, and 2000). She has been working as a dance, and proto-Conceptual descriptions be approached as on a sliding scale. art history and interdisciplinary research sessional tutor at QUT since 2007. of events that Forti envisioned as ‘dance’, It becomes clear that Forti’s texts are practices. but which may lie outside the human ordered in a logical sequence (though capacity to enact them. it is heterogeneous, a concatenation of Dr Toby Juliff is a graduate of the Email: [email protected] incommensurabilities) on their single University of Leeds specializing in the Forti devised these strange works, page, moving the potential ‘reader’, or history and theory of sculpture. Before which have been little discussed in the ‘experiencer’, from the cosmically far to arriving at the Victorian College of the DR MEREDITH MORSE art history literature that has otherwise the radically, even dangerously, near. Arts he was lecturer in Critical and discoursed upon the text piece and the Dr Meredith Morse recently completed Contextual Studies at Leeds College of Process-surfaces: Simone Forti’s Dance/ Fluxus event, in tandem with her ‘dance a PhD in art history at the University of Art (2006-2012) and associate lecturer Text/Event Works in An Anthology constructions’. Equally liminal works Sydney. She has published on dance in Art History at the Open University, UK situated across sound, movement, and and performance in relation to visual art (2008-2012) where he taught on the MA This paper discusses US artist Simone object, Forti’s dance constructions practices of the early-to-mid-1960s in Art History program. He has presented Forti’s early 1960s meta-text pieces in were deeply influenced by experimental New York City. She is currently developing lectures at peer-review conferences at order to construct a chapter in a history composer La Monte Young’s refiguring the manuscript for a book on US artist the Courtauld Institute, University of since approximately the mid-1950s of sound as experiential, immersive Simone Forti’s work from 1960 to the London, the Universities of Amsterdam, of what might be termed topological listening, as a challenge to Cage. Because 1980s, which will be published in 2016 Gothenburg, Paris, Bristol, Warwick, practice: aesthetic acts that are situated Forti’s works not only seemed to cross by the MIT Press, and a catalogue essay Glasgow, Leeds & Birkbeck College, as transformations of a matrix, which, disciplines (the new dance, the Minimalist for the first retrospective of Forti’s work London. taken together, constitute a practice object, and even the text-as-Cageanscore) at the Museum der Moderne Salzburg in concerned with the modulation of effects but to exceed their limitations, her work 2014. Email: [email protected] and affects, rather than with medium- has remained to this day difficult to specific enquiry. Work by New York’s categorise within the terms of a more Email: [email protected] artists after John Cage in the late 1950s traditionally oriented, medium-specific DR GAY MCDONALD and to mid-1960s could well be described as art history. LAURA FISHER initiating this approach, readily combining Building cross-cultural connections materials and processes, movement and I suggest that these works reflect Forti’s things, ideas and bodies as equivalent coupling of Cage’s concern with the PANEL R In 2011, Warburton Arts Project, an art ‘events’ schematised through the revised ongoing, non-teleological processes of OPEN SESSION, DAY TWO centre located in the Ngaanyatjarra lands score form. Simone Forti was a centrally nature and the deeply embodied approach in Western Australia, toured the exhibition important, though hitherto unexamined, to the imagined inhabitation of other CONVENOR Tu Di Shen Ti – Our Land Our Body to figure in this rich, interdisciplinary worlds taught to Forti by her mentor, the DR TOBY JULIFF seven museums in Eastern China. It was milieu, and her practice is exemplarily improvisational choreographer and dance Victorian College of the Arts, The so successful that an expanded version ‘topological’. teacher Ann Halprin. These texts reveal University of Melbourne of the exhibition will tour a further eight Forti’s attempt not only to describe, but museums in Western China in 2013/2014. These meta-text works of Forti’s, included to approach through the human sensory The panel represents the breadth of This paper will offer critical reflection
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on the many remarkable features of this Dr Laura Fisher is researcher and paper will trace the links between Amongst these institutions was the exhibition, including the unique curatorial team member, National Institute for three spaces that, despite occupying London School of Art (LSA), established by philosophy which underpins it and the Experimental Arts. completely antagonistic ideological British artists Frank Brangwyn and John substantial interpretative material that and aesthetic positions, can each be Swan and host to hundreds of students has been translated and disseminated Email: [email protected] viewed as successfully proponents of a including Australians Jessie Traill, Kate to visitors. Using the exhibition’s Wagnarian Gesamtkunstwerk; whose O’Connor and James Jackson. Through presentation at the Shanghai Art Museum early exhibitions and events make reassessing its pedagogy and legacy as a case study our analysis will explore DR DAMIEN LENTINI them the logical forebears of today’s this paper seeks to re-contextualize the the strategies deployed to overcome the Creating a Trans-political interdisciplinary Kunsthalle-spaces. LSA within the networks of European art barriers to cross-cultural understanding Gesamtkunstwerk: Interdisciplinary education in the early twentieth century. It and to convey to visitors that the artworks Kunsthallen and the Formation of Dr Damian Lentini is Lecturer in will consider the ways in which Brangwyn are socially meaningful in the cultural Centres for Contemporary Art Contemporary Art, University of Ballarat. and his colleagues encouraged pupils present. It will also contextualise the He also tutors at the University of to engage with more formal concerns exhibition with respect to the significant This paper argues that developments Melbourne where he was awarded his associated with design and decoration diplomatic programme between China within the formation and programming PhD on ‘A Friendly Invasion of Spectacular which transcended subject-matter and Australia that has made the tour of post-World War Two institutes for Aliens: The Design and Function of and explore how this was a point of possible. contemporary art such as London’s ICA Contemporary Art Centres in the Twenty- difference from the emphasis on classical represent the first manifestation of the First Century’ in 2009. draughtsmanship of several comparative Dr Gay McDonald is Senior Lecturer so-called ‘Kunsthalle paradigm’ outside schools in London at the turn of the School of Art History and Art Education of German-speaking central Europe. Email: [email protected] century. at UNSW. Her current research centres on the construction and uptake of Although claiming to create a smaller Rebecca Edwards is Assistant Curator international touring exhibitions version of New York’s Museum of Modern REBECCA EDWARDS in Australian Prints, Drawings and circulated within the arena of Art, this paper will instead demonstrate The London School of Art: Illustrated Books at the National Gallery international relations. Gay is a founding how rhetoric surrounding the ICA’s contextualization and decoration of Australia, Canberra. She is also a PhD member of in.site: Contemporary founding, along with its programming candidate at the University of Melbourne. Curatorial and Education Research of early exhibitions and events actually The bohemian ateliers and academies (in.site.unsw.edu.au). Building on the align its activities with the idea of a of Paris have long been acknowledged Email: [email protected] success of Reprogramming the Art Gesamtkunstwerk (a ‘total work of art’). as a Mecca for art students travelling Museum, the in.site research group Moreover, by focusing on the ICA’s desire from Australia and New Zealand from will host Inside Out: The Dynamics of to create a multi-disciplinary ‘art space’ the late nineteenth century onwards. SUSANNA CASTLEDEN and New Museum Architecture on Display out of a combination of architecture, art This paper will explore the mirroring ANNE SCHILO in December 2013. This symposium will and music, the paper will argue that the privately run studios in London, which Water Cooler Conversations explore the impact that architecturally type of Gesamtkunstwerk desired by the also attracted many antipodean artists. significant art museums have on ICA’s founders is best exemplified by two Initially emerging to technically prepare This paper explores two interrelated curatorial agendas, exhibition projects of the most notorious spaces to have been students for the Royal Academy schools, concerns: the writing about art and the and audience engagement. built in the fifty years prior to its founding: by the turn of the century, several were potential influence of creative doctorates the Vienna Secession and Munich’s Haus marketed as a valid alternative to the in developing new ways of articulating Email: [email protected] der (deutschen) Kunst. conservative Academy and provided solid practice. It draws upon our respective artistic grounding complementing studies experiences as supervisors of Higher With the benefit of hindsight, this in Paris. Degree by Research students in the visual
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arts, as a recent graduate of a creative as well as factual tracks and paths of underscore disputes of art authentication, Email: [email protected] doctorate, and our own research interests movement, she uses the visual tools are why do we authenticate? And why which intersect in ideas surrounding of mapping to question our sense of should the authenticity of works of art bodies, space and place; often geographical and spatial knowledge. be a concern? These questions have a DR NATALIE PIROTTA underscored by forays into the discipline profound impact for the discipline of Thinking through Making – Practical of cultural geography (Hawkins, 2013; 62). Email: [email protected] art history, which seeks to understand Research and its relevance to Scholarly While her central concern is in developing the artist’s oeuvre in context and with Research strong interdisciplinary ties between the Ann Schilo is an academic in the School integrity, but which can be threatened by two fields, her discussion is of interest of Design and Art at Curtin University the presence of problematic works of art The relevance of creative practice to because she not only draws attention to She has supervised numerous creative in circulation on the art market. traditional art historical scholarship is the impact of the dematerialisation of doctorates and guided students through the vexed issue teased out in this paper. art on its production and reception but the challenges of balancing studio and The ideal of art authentication in practice A traditional training method of artists also points to the importance of artistic written components. She has published introduces cross collaboration between since the Renaissance has been to copy practices and their materialities in the papers about the role of the exegesis art historical investigations (provenance) other artist’s work in order to uncover creation of knowledge. and the relationship between creative and materials science analysis (analysis their secrets, and there are many modern practice and exegetical writing. In my of the artist’s working materials and examples of artist’s engaging in this kind Our aim is to consider both the form and own research on Western Australian techniques), to establish verifiable of ‘practical criticism’ of artists of the the content of our writing; that through contemporary visual culture I have written evidence of an artist’s oeuvre. past. James Elkins conducts a graduate the use of voice and various theoretical and published numerous catalogue class in Chicago in which his students frameworks that challenge and excite our essays and articles on women’s artistic This paper aims to challenge the ‘attempt to make connections between scholarly imaginations we write towards practice. perception of art authentication as a the experience of replicating marks and an embodied understanding of artistic single disciplinary practice. To look the historical and expressive meanings practice. In so doing we hope to challenge Email: [email protected] at the process of art authentication of the works.’ The question his students more traditional approaches to art writing as a necessary cross-collaborative are asked to consider is does what they that distance aesthetic appreciation from undertaking between art history and art learn in their own studio practice expose corporeal and affective sensibilities. APRYL MORDEN conservation; and one through which knowledge that the ‘art history or art In water cooler conversations we Art Authentication: Interdisciplinary the evidence of an artist’s oeuvre can be criticism’ may have missed. Elkins seek a knowing that is born from the practice between Art History and Art secured. suggests that the answer is either no, materialities and practices of art and Conservation or unanswerable due to the problematic writing. This paper will be presented with nature of this kind of knowledge – as The methodologies that underscore art reference to on-going research into the Estelle Barret points out ‘the outcomes of Susanna Castleden’s studio practice is authentication in practice are of necessity oeuvre of the artist Howard Arkley. such research are not easily quantifiable… based in drawing and printmaking. Her interdisciplinary. This paper looks at [and] difficult to articulate objectively.’ recent research identifies with the field the process of art authentication as a Apryl Morden is a PhD candidate at of cultural geography to question how cross-collaborative discipline, exploring the Centre for Cultural Materials This paper reflects on the writer’s project the consequence and affect of global the process of authentication in bridging Conservation, University of Melbourne. to engage in practical research in order to mobility has changed the way we see art historical knowledge with materials With a background spanning architecture, learn more about the working practices and encounter the world, and how this science evidence (art conservation) in curation and cultural material of the nineteenth century Australian has necessitated alternative ways of investigations of problematic works of art. conservation she has worked at a number landscape painter W.C. Piguenit. The visualising our position within it. Drawing of public and private arts and heritage project involved following in Piguenit’s from imagined or anticipated travel Two of the fundamental questions that institutions. footsteps, travelling to the Tasmanian
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wilderness, recreating works in paint in Indeed, the prospect of encyclopaedic travel writer, and dabbled in fiction—but paleolithic art it symbolised water and the artist’s studio, experimenting with knowledge is an imperative for mainly he writes art criticism. fertility and was associated with the mediums, and working collaboratively enlightened society: knowledge compiled Snake Goddess. In weaving between with others. The ‘findings’ from these with clarity, authority, organization; Email: [email protected] chaos goddesses, science fiction, experiences were then woven into a fashioned with academic civility, courtesy and contemporary art, this meander scholarly PhD thesis. The writer reflects and good breeding; accessible to all who Dr Leon Marvell is Associate Professor attempts to direct a beam of pink data at on this aspect of creative research and seek it regardless of their discipline. We of Film and Digital Media at Deakin unsuspecting viewers – the eternal battle the relevance of her own ‘Finding and propose the very negation of this type of University. He is also a writer and between chaos and empire, swirling making’ to writing a scholarly dissertation enlightening erudition as a model for the occasional producer of digital art. vaginas and nice nails, in living colour. on W.C. Piguenit’s creative imagination. ‘interdisciplinary’ field. Email: [email protected] Dr Tessa Laird received her BFA and Dr Natalie Pirotta graduated from the Taking a cue from Negarestani’s MFA from the Elam School of Fine Arts, PhD program at La Trobe University in exhilarating book Cyclonopedia and is currently completing her DocFA Art History. She was previously Co- (2008)—we welcome the datastorm of DR TESSA LAIRD at the University of Auckland while coordinator, Centre for Creative Arts and ‘cyclonopedism’, a topological turmoil Beam of Pink Data: Tiamaterialism and teaching Contextual Studies part time. has worked in a number of management and convulsion of arcana forging a the Female Gnosis of Desire Tessa has written extensively on New positions across the university and public new interdisciplinary practice. The Zealand art, and was a regular columnist sector. darkness of this storm provokes chaotic Negerestani’s demonology Cyclonopedia for the New Zealand Listener. She has hydraheads, obscure demonologies, is prefaced with a semi-autobiographical also contributed to magazines such as Email: [email protected] speculative horrors and macabre, narrative by the American artist Kristen Art and Australia, Eyeline, Art on Paper, hermetic heresies in the study of art... Alvanson. Residing in a Turkish hotel, Artnet.com, Art New Zealand, and driving art toward its darkest aspirations. Alvanson finds a box of notes by the contributed essays to monographs on et Cyclonopedism foreshadows the fictional Iranian archaeologist Hamid al, John Reynolds, Len Lye, Sean Kerr PANEL S prospect of a black, cyclonic knowledge: Parsani, which end up forming the basis and Peter Madden. Tessa was a founding CYCLONOPEDISM unearthly and unearthed, it announces of Cyclonopedia. Alvanson has been editor of Monica Reviews Art in 1996, the interdisciplinary field not of ‘cultural infected by a computer virus from a and the director of the Physics Room studies’ but ‘occultural studies’. Papers dodgy CD that lead to her experience a in Christchurch in 1997-98, where she CONVENORS inspired by Gilles de Rais, Erzsébet ‘pink torrent’ of visual information, like founded and co-edited LOG Illustrated. DR EDWARD COLLESS Báthory, Sade, Ecce Homo-era Nietzsche, the ‘beam of pink data’ which bombards Victorian College of the Arts, The Huysmans, Bataille, Klossowski, Philip K. Dick’s alter-ego in his Gnostic Email: [email protected] University of Melbourne Lovecraft, et al are sought—we seek, parable VALIS. Drawing on speculative too, presentations invoking the esoteric colour theory and archeo-feminism, this LEON MARVELL and arcane, embracing the heretical, and paper attempts to answer the question, PRUDENCE GIBSON Deakin University gesturing towards aesthetic monsters why a beam of pink light? Does pink Art, Ancient Texts and Speculative Spells from beyond the pale. signify a specifically female gnosis, as Encyclopaedic knowledge provides exemplified by Camille Henrot’s 2013 Drawing on supernatural realities outside the measure for interdisciplinary Dr Edward Colless is Head of Critical Grosse Fatigue? What does Alvanson’s expected chronology, this paper responds study, demonstrated in compendia of and Theoretical Studies at the Victorian own art project have to do with a pink, to contemporary intersections between natural philosophy and cultural history, College of the Arts. He has worked feminised gnosis? art and the occult. It addresses the inspired by classical example during the in theatre, film, graphic design and work of installation artists Sarah Contos Renaissance and the Enlightenment. architecture, been a curator, worked as a Marjia Gimbutas declared the meander (voodoo, sexual identity, transformations), to be more than merely decorative: in 106 107 INTER-DISCIPLINE
Rochelle Haley/Monika Behrens (erotic Ontology theorists Graham Harman and and full of possible significance. Ananda DR JUSTIN CLEMENS witchcraft, aphrodisiacs and spells), and Tim Morton (an off-shoot of Negarestani- makes occultural incursions into Totally undignified and worthless Leah Fraser (magic bottles). These artists style Speculative Realism), the mystery, understandings of space, time, and make use of myths, ritual, incantation, allure and hyper-objectivity of the art matter through complex compositional If there’s one thing the so-called Western hallucination and contiguity to create a experience excites a particular kind of decisions, extrapolating upon the internal philosophical tradition loves to recoil new reality of fictional art options. Their responsive writing. How should I write logic of various topologies. His structures from, it’s abjection. As Plato’s Parmenides artwork engages and disperses virulent about art which delves into supernatural provide speculative portals that contradict proposes to Socrates in his eponymous power; a dangerous and untrustworthy possibilities? Perhaps one possible observational evidence of the knowable dialogue: ‘what about these, Socrates? vitality, a negotiation of contingent answer is: by writing Artaud-like magic world, probing theoretical holes that Things that might seem absurd, like hair, futures. spells. he has quarried into the universes that mud, and dirt, or anything else totally Lovecraft and Negarestani proffer. undignified and worthless?’ Such ‘dark Art which deals with devil-pacts, witchy Prudence Gibson is the author of The materials,’ as John Milton might say, brews of the erotic and conferrals of good Rapture of Death (Boccalatte: Sydney, This paper will examine Ananda’s totally undignified and worthless — that luck, given from one to another, becomes 2010), is a curator, catalogue essayist and explorations of the dualities of bleakness which strictly speaking has neither being an investigation into the aesthetic has written on art and design extensively and richness in Lovecraft’s tales, as nor non-being — are therefore at once experience of visual art. Speculative for journals such as Art Monthly, Artlink, user-generated mythos content that things that can never become a proper theory/fiction writer Reza Negarestani Australian Art Review, Australian Art further develops the great tensions of object for philosophy but which must uses ancient languages, theories of Collector, Artist Profile, Art and Australia being in-between states, of the multiform nonetheless be treated in some way, even sentient Middle Eastern fossil fuels, and Vogue. Her fiction has been published horrors of being. In particular, it will if only by sedulous evasions or apotropaic demon cults and various occult forms in in numerous anthologies and has been explore works from The Devourer, invocations. Material-yet-inarticulable, his book Cyclonopedia. The only things broadcast on ABC Radio. She is currently Contemporary Art Centre of SA, 2013. the ‘wild abyss’ (Milton, again) of these missing from his text are potent magic a PhD candidate at the University of New Like Negarestani, Ananda explores the irreparably equivocal things insists at the spells. This paper is inspired by the South Wales researching aesthetics and possibilities of redemption through the bright heart of all enlightenments. Take rich and densely complex imagination object-oriented ontology. human imagination, and interrogates the Immanuel Kant’s Critique of Judgement, of Negarastani and sci-fi writer spaces between existing and imagined for instance, the very emblem of modern H.P.Lovecraft, however it is primarily an Email: [email protected] worlds. Ananda constructs objects and systematic philosophical aesthetics, in enquiry into how ‘art writing’ might reflect environments that expose the rigidity of which, as Jacques Derrida has shown, the vitalism of magic-oriented art. existing structures and weakening points ‘vomit gives its form to the whole JENNIFER KALIONIS of collapse they harbour. system.’ In this paper, I will re-examine The gift of art can be a curse, especially Roy Ananda: The Devourer the problematic of vomit in Kant along if you refer to the wrong art catalogue Jennifer Kalionis is a freelance writer Derridean lines, to demonstrate that the ‘grimoire’ for explanation. The art This paper explores the recent work of and art history tutor at the University Kantian doctrines regarding the inexistent experience is a decision between good or South Australia-based artist Roy Ananda, of Adelaide, and has published in Art purity of form and its spiritual pleasures evil: potion or poison. Engaging with art as Lovecraftian world-building exercises, Monthly and Artlink. Her graduate studies depends upon a subterranean network of writing can be a dark ritual, a sequential as acts of caving through speculative presentations and publications deal with obscene surgical rewirings, whereby the give and take of affects and experience. realms and reimagining mysterious the aesthetics, politics and ethics of anus becomes connected to mouths that The contiguous proximity of stimulus and alien architectures proposed by the contemporary performance art. feast on their own auricular vomit, and response is a charged and potentially author. Lovecraft’s cosmic horror stories the most revolting excrementiousness dangerous exercise. describe worlds at once concrete and Email: [email protected] becomes the secret heart of aesthetic vague, and confound humans with arcane thought. Through the lens of Object-Oriented knowledge which is both meaningless
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Dr Justin Clemens - In addition to Anticipating Duchamp, William Talbot, air and lifts Dorothy’s farm house intact contingency of the aesthetic as a bad numerous publications of poetry and inventor of the calotype, botanist and from the Kansas dustbowl up and over the infinity: to navigate the maelstroÅNm is to art criticism, Justin Clemens has also member of the Royal Society, speculated rainbow into the dreamland of Oz, Poe’s amusingly speculate on the velocity of its published extensively on psychoanalysis that photography was capable of dark whirlpool performs an obscene flotsam heading toward doom. and philosophy. He has been contributing capturing invisible rays beyond the limits exhumation of its drowned and buried editor of major anthologies of texts and of the solar spectrum. This unrealised prey; in fact, this black storm is styled as Dr Edward Colless’ art criticism and criticism on Jacqueline Rose, Alain experiment illustrates Talbot’s fascination if it were itself a crypto archaeological if journalism have been published in Badiou and Giorgio Agamben. He is also with material and immaterial forces not crypto-ontological artifact, archaic numerous magazines, newspapers, a partner in re:press, publishing among coming together photographically. It also and unaccountable, rather than a catalogues and anthologies, within many other titles Reza Negarestani’s illustrates the extent to which the exact tidal phenomenon—and as alien and Australia and internationally. A selection Cyclonopedia (2008) and the anthology identity of photography eluded Talbot in unfathomable as the hideous, sinewy of his critical writing, titled The Error of The SpeculativeTurn (2011). Clemens the nineteenth century: was it borne of and titanic architecture of the vortices My Ways, was published in 1995 by the latest book is Psychoanalysis is an nature (light - photos) or culture (drawing and catastrophic currents within the Institute of Modern Art in Brisbane and antiphilosophy (Edinburgh: Edinburgh UP, - graphe), did it belong to science or art, oceanic planet of Stanislav Lem’s novel was shortlisted for the NSW Premier’s 2013). or is photography an infraslim marriage Solaris. ‘I must have been delirious,’ Literary Award. Colless has taught art of these things? observes Poe’s mariner scanning the history, film studies, performance and art Email: [email protected] maelstroÅNm’s other surging victims, ‘for theory in several tertiary institutions, he Sara Oscar and Jaime Tsai are I even sought amusement in speculating is a filmmaker and has also worked as a independent artists and critics upon the relative velocities of their theatre director. He has curated a number SARA OSCAR and JAIME TSAI several descents.’ Such an alluring of art exhibitions and has worked for the Photography/Infraslim Email: [email protected] cyclonic storm—whether meteorological National Gallery of Australia in Canberra. Email: [email protected] or intellectual—will be demonic. It forms He is the Head of Critical and Theoretical Georges Bataille’s Encyclopaedia its insurgent schemata (expressed by Studies at the Faculty of VCA and MCM’s Acephalia is a negation of the Poe’s narrator as equally delirious and School of Art. Enlightenment will to order knowledge. DR EDWARD COLLESS speculative) from a bad, indeed black, In his famous entry, Bataille identifies the Satanic Cornucopia infinitude. The blackness of a Satanic Email: [email protected] limitation of this attitude in the universe, cornucopia. This is the maddening, so amorphous that like a gob of spit, it is ‘Looking about me on the wide waste sinister infinitude of an eternal obscure, radically declassifying in its resistance of liquid ebony upon which we were esoteric configuration of any possible ANNA DALY to form. Bataille’s hostility to systems of thus borne’, recounts Edgar Allen collision, sequencing, contraction, I’m Looking in the Mirror and I Don’t Like classification is perhaps exacerbated by Poe’s survivor of A Descent into the integration, attenuation, encryption, What I See: Horror and Visuality in Early his profession as a librarian, a profession MaelstroÅNm, ‘I perceived that [ours] concatenation, implosion: eternal Modern Painting shared by his contemporary, Marcel was not the only object in the embrace topological transition —but not universal Duchamp. Like Bataille, Duchamp of the whirl’. Poe’s gargantuan, abyssal, (no proportionate unity, no consummate In “The Horror of Mimesis”, David Young undermined systematic knowledge with Nordic maelstroÅNm both vomits up and moral or aesthetic necessity)—the Kim observes that, despite its frequent his own writings: a collection of aphoristic sucks downward in an awful engulfing ‘nature’ of this black data-storm is evocation, the importance of horror to the and arcane fragments than ranged from plunge all its bizarre flotsam: house nothing but delirious speculation. Do not development of Western art in the early scientific speculations to imaginary furniture and fir trees as well as ships. think of this as liberating, other than in modern era is often overlooked. As Kim projects. We are concerned with one Unlike the redemptive twister (showing a Satanic or at least demonic way. What argues, though, horror was intertwined concept in particular – the infraslim – that off its Biblical pedigree like a dancer’s obscenity pours forth and is swallowed with ideals of mimesis underwriting early appears throughout Duchamp’s notes. legs under a skirt) that arrives out of thin by this hellmouth is the eternal modern art discourses since both were
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concerned with the“…penetration of the Museum of Chinese Australian History. landscapes of the Tatra Mountains, the the eater and theeaten? Can it change the fictive world into lived experience…”. In Her art and media criticism has been Caucasus and Mongolia, the wandering consumer irrevocably, especially when accordance with this line of reasoning, published in LOG, Photofile, Un Magazine, figures within the mise en scene they venture beyond the boundaries of this paper seeks to demonstrate the Sense of Cinema, Metro and Screen. engendering a somatic aesthetics of the known so as to immerse themselves way in which the mirror as a model for tendon, bone and uterine screams. in and assimilate the forbidden? What mimesis spawned its own discourses of Email: [email protected] of the dangerous penumbra between horror and uncanniness. Considered in Mirroring Żuławski’s inversion of the detachment and submersion? This panel this way, paintings such as Parmigianino’s relationship between narrative and style, is interested in the intersections between Self Portrait (c.1525), Caravaggio’s DR LEON MARVELL this paper will attempt an eversion of the the unknown and the forbidden, and Medusa’s Head (c.1597) and Gijsbrechts’ Jagging the Whorl: Żuławski’s Silver whorl and unstitch the eye at the heart of material and metaphorical consumption Easel with Still Life (c. 1670) can be Maelstrom the Silver Globe. in art and visual culture. Consumption understood as works that elaborate on will be approached in multiple ways, the mechanics of perspective in ways that Andrzej Żuławski’s filmOn the Silver See above for biography. including the literal act of eating; the draw specific attention to the mirror’s Globe is an adaptation of the first volume imaginative consumption of images and role in structuring early modern visuality. of his grand uncle’s science fiction saga, the theoretical subject addressed by Formally and iconographically speaking, The Lunar Trilogy. scholars such as Veblen, Baudrillard that is, these are paintings that use the PANEL T and Bourdieu. Through engaging with mirror as a point of reference whilst Began in 1975, but shut down in 1977 CONSUMPTION AND multiple disciplines and media, this presenting it as a model of vision with by the Polish vice-minister of cultural INTERDICTION sessionconsiders visual manifestations serious implications for the location of the affairs, a reconstructed version of the of consumption, and what emerges in the viewing subject. Against this backdrop, film finally premiered at Cannes in 1988. interstices between the illicit or taboo, the the mirror emerges as an instrument The fragmentary remains were spliced CONVENORS concealed and the uncanny. that allows early- and late- modern fears together with a bricolage of random GEORGINA MACNEIL concerning the relationship between street scenes accompanied by Żuławski’s University of Sydney Georgina Macneil recently handed in her viewers and representation to be fused voice-over stitching together the missing PhD thesis at the University of Sydney. together, its horrifying potential as narrative elements. KATE ROBERTSON Her thesis examined the genesis of the evident in the psychoanalytic subject’s University of Sydney boy Baptist figure in Renaissance art, confrontation with the uncanny as it is in Already known for his vertiginous style, focusing on fifteenth-century Florentine the threat it poses to the maintenance of the ‘reconstruction’ of the film catapults Visual culture is replete with connections painting. Her conference papers have boundaries between life and art. it into a transcendent level of delirium, to consumption. To create and display reflected her broader art historical Żuławski’s stylistic excesses becoming a work is to invite the viewer to ingest interests, including her AAANZ paper in Anna Daly received her Honours degree the very substance of the film itself. it. Yet, sometimes artis designed to 2012 which examined Kanye West’s use in Politics from Victoria University The interior of Żuławski’s skull radiates be devoured, with literal feasts such of cathedral imagery in his clip for his in Wellington, New Zealand, and her convulsions at 24 frames a second, and as Rubens’ Bacchanal, and corporeal 2012 song with Jay-Z, ‘N****z in Paris’. Masters in Creative Writing from the the audience tries desperately, vainly to feasts such as Ingres’ Odalisques. Such The author’s upcoming paper at the 2014 University of Melbourne. She is currently catch up. consummation reeks of lust and gluttony, CAA conference will examine the Baptist a PhD candidate in the History and Theory but the delectation of aesthetically figure (from cherubic infant to ascetic of Art and Design at Monash University, This paper will read the violent pleasing imagery has always offered prophet) as a representative of Foucault’s where she has been working as Tutor. gestures of Żuławski’s film as a type of loopholes into forbidden realms of earthly heterotopic wilderness in Renaissance art She has also worked as a curator, both cinematographic action painting: the delights. But what are the implications of and thought. for independent exhibitions and at the the act of consumption, and the fates of
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Email: [email protected] devour men (as opposed to instances of submits to his or her own consumption, forthcoming book, ‘The Monster in the metaphorical or sexual consumption, for replicating the process in miniature inside Garden’. Kate Robertson is a PhD candidate within example). The often interwoven responses the grotto (the Hell Mouth at Bomarzo the Department of Art History and Film of allure, fear and revulsion provoked by was designed as an alfresco dining room). Email: [email protected] Studies at the University of Sydney who such a display of female power emerge submitted her dissertation ‘The Siren in the works that will be focussed on: the On the level of aesthetics, the effect is Song: Australian Artists Abroad, 1890- film Teeth (2007), the music video ‘Sick, grotesque. The Hell Mouth epitomises DR LAINI BURTON 1914’ mid-2013. Aside from tutoring Sick, Sick’ by Queens Of The Stone Age Mikhail Bakhtin’s definition of the Swallowable Parfum: Product or within the department, she also writes for (2007), and the characters Poison Ivy from grotesque body as ‘a body in the act of Provocation? the Sydney branch of The Thousands, an DC comics (1966-) and Mileena from the becoming. It is never finished, never online magazine and directory published video-game franchise Mortal Kombat completed’. The Hell Mouth appears The resounding emphasis when it comes by Right Angle Studio. Kate’s research (1993-). The dangers inherent within the as if perpetually frozen in the moment to consumption of the flesh remains with interests range from explorations of female body manifests in these examples of swallowing, devouring, rending and ocularity. Sidelined as abject, our body identity and the connections within in various ways, envisioned variously – change. Its appetite is never sated. It has odour, or scent, is equally evocative while and between communities of artists to and often simultaneously – as abject, not previously been suggested, however, being entirely ephemeral. The perfume more specific concerns, such as how erotic, maternal, monstrous, natural and that on the level of cultural reference industry has capitalised on the social the manipulation of the female body can ultimately unknowable. the Hell Mouth alludes to ancient and fears of malodour and today is a billion facilitate a viewer’s engagement with a contemporary fantasies about human- dollar industry, flooded with luxury work. See above for biography. flesh-eating monsters, once imagined brands and celebrity scents. However, to inhabit the unknown outer edges of where perfume was once the domain Email: katerebeccarobertson@hotmail. the world, but by the end of the sixteenth of alchemists, it is now firmly within com DR LUKE MORGAN century, thought to actually exist in the the purview of artists and scientists. Hell Mouth: Consumption and Americas. In this paper I propose that the Wresting smell back into the realm of the Cannibalism in the Renaissance Garden patron of the Sacro Bosco, Pierfrancesco conceptual, self-labelled ‘body architect’ KATE ROBERTSON ‘Vicino’ Orsini’s knowledge of Aztec Lucy McRae has, along with synthetic Ladies Who Lunch: Man-Eaters in The Hell Mouth in the Sacro Bosco artefacts, along with his demonstrable biologist Sheref Mansy, developed the Contemporary Visual Culture (Sacred Wood) at Bomarzo (late interest in travellers’ tales, implies a Swallowable Parfum (2011). McRae’s sixteenth century), a colossal sculptural neglected meaning of the Hell Mouth. product proposes the release of a unique John Longstaff’s The Sirens (1891) is representation of a monstrous open Orsini’s curiosity could, without genetic scent ‘synthesized from the body’s an intriguing painting, drawing from mouth, suggests a continuing fascination contradiction or constraint, embrace natural processes’, emitted through the classical mythology that had held with the chthonic symbolism of the cannibalism and garden grottoes. These perspiration. Aestheticising this much the artist spellbound as a child. This monstrous gaping maw. The medieval two ostensibly quite different themes are maligned sense, McRae’s campaign work captures the fin de siècle type of portal to hell is relocated to the secular uniquely combined at Bomarzo, a garden video envisions the body as an atomiser the femme fatale, with the predatory environment of the mannerist garden, that makes explicit reference to the visual and crosses the dermal threshold by creatures whose song lured men to their where its potency as a demonstration of culture of the New World. As the world internalising what has previously been an deaths personifying the danger inherent the wages of sin is muted. The gaping expanded the allusions of the garden, as external bodily practice. This paper will in the feminine. This paper will explore mouth in the garden also implies a microcosm, followed suit. examine Swallowable Parfum to explore the legacy of the Sirens in contemporary peculiar transaction with the visitor. whether it has potential to widen the visual culture, considering the persistent Like Alcofrybas in François Rabelais’s Dr Luke Morgan is a Senior Lecturer in scope of olfaction, or if this is yet another theme of women who, like these mythical Pantagruel, upon entry the visitor Art History at Monash University. This way of colonising bodily functions which beings, would bewitch and then literally willingly, perhaps even ritualistically, paper introduces an idea in Dr Morgan’s are recuperated back into commodity.
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Dr Laini Burton is a Lecturer in Fine Art at and a wider art historical context of gain (κερδία), greediness (λαιμαργότης) Email: [email protected] Griffith University. consumption, the forbidden and the and gluttony (λιχνεία) already in ancient occult. Greece, the paper examines endearing Email: [email protected] Falstaffian aspects of the capitulation JENNIFER KALIONIS and See above for biography. to desire, the frequent fondness for MELANIE COOPER-DOBBIN corpulence—as seen in art from the The Censured Touch: Looking as GEORGINA MACNEIL renaissance to Courbet—and the equal Soixante-Neuf Azealia Banks, ‘Yung Rapunxel’ and the ASSOCIATE PROFESSOR and opposite injunction against excess Dark Other ROBERT NELSON and profusion. Special attention is given This paper (divided into Parts 1 and 2) Toward a history of greed: cultural to baroque conventions, which unusually will explore works of art that invite and Azealia Banks, a young, black, female ambivalence in indulgence valorize excess and superabundance in evoke consumption by the viewer. In these rapper, has quickly carved out a niche copious language as well as ornaments examples, to look is not only to consume and following for herself, for everything Visual culture is heavily implicated in and corpulent bodies. Consumption as a but to be consumed by the art object from her rapid-fire, aggressive rhymes, commercial strategies for boosting strategy to control the body is integral to or experience, and in these exchanges to her antagonistic online presence, and consumption. Advertising recommends the story which still challenges the ethics boundaries are blurred. Broadly, the her individual style. Banks’ film clip for indulgence and luxury; industry of nutrition. paper is about the ways in which audience ‘Yung Rapunxel’ (2013), directed by artist celebrates temptation in joyful denial of members react to sexual suggestion, Jam Sutton, is an excellent manifesto of moral and ecological incumbencies to Associate Professor Robert Nelson is erotic display and the exhibition of sexual one dimension of Banks’ multi-faceted save the precious resources of the earth. Associate Director Student Experience acts as works of art. Their responses media personality. In this clip, Banks While contemporary wisdom exhorts at Monash University in the Office to and experiences of these artworks and Sutton draw heavily on the idea of us to limit our consumption of energy, of the Pro Vice-Chancellor Learning include the invitation to, touch, gaze, the femme fatale as a ‘dark’ or exotic goods and services, mainstream culture and Teaching, where he also teaches mimic, seduce and otherwise ingest the woman, using both Banks’ skin colour encourages profligacy. However, the Responsible Research and the art of object or performer. and her provocative performance to tension between the two impulses is not HDR supervision. The focus of Robert’s confront the viewer. Banks and Sutton new. The ancestry of the contradiction own research is the link between the Furthermore, implications of the acts tap into two other key currents of visual is inherent in the very conceptions of aesthetic and the moral in art and design, of forbidden, sexual consumption and symbolism in the clip: first, the idea of greed and gluttony, which pertain to extending to urban planning and the way the fates of the viewer and artwork the hellmouth, which relates to Banks’ privilege but which are stigmatized by that societies handle space and energy. will be explored through examining the identity as a rapper, her many vociferous puritanical discipline. Inheriting a mean His books include The Jealousy of ideas viewer as active participant (consumer). online stoushes with other artists and parsimonious disapproval from ancient (Fitzroy and London 2009), The visual In particular this paper explores media figures, and stereotyped imagery moralists against happier shades of language of painting (Melbourne 2010), the audience’s often out-of-control of people of colour. Second, Banks and hedonism, environmental resistance to The space wasters (Melbourne 2011), responses, including improper touching, Sutton cannily tap into a contemporary mainstream consumption labours under Moral sustainability (Fife 2010) and The and the enactment of depictions as sexual online counter-culture of pan-occultism, an unfashionable kill-joy stereotype, spirit of secular art (Melbourne 2007), manuals. The paper will specifically which both allies Banks with young which ultimately marginalizes Green with a forthcoming title Instruments of examine representations of earthly or fans online across such platforms as culture in a market-driven society. In contentment (Fife 2013). He is the author carnal love, excess, self-love and orgiastic Instagram and Tumblr, and also plays combinations of iconographic analysis of many articles in the refereed literature, scenes in the eighteenth, twentieth and back into the historic visual trope of the and philology, this paper traces attitudes plus 1000 newspaper reviews and twenty-first centuries. dark Other woman. In this paper I will to covetous consumption, from antiquity articles. Robert is also a scene painter examine Banks and Sutton’s clip, both to the industrial period. Identifying fine (polixenipapapetrou.net) and art critic for As Peter Cryle writes, ‘erotic art, within Banks’ existing visual oeuvre, distinctions such as unseemly zeal for The Age in Melbourne. typically mise en abyme, can be seen
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to have a double function: it serves to PANEL U and overseas, including the Australian Corner della Regina in Venice. In August arouse desire, of course, spurring on the ON CURATING Centre of Contemporary Art (ACCA); 2013, 1969: The Black Box of Conceptual narrative, but it also gives a shape, in CONVENOR the Museum of Modern Art, Oxford Art was presented at the University Art the most literal sense, to the action that DR REBECCA COATES (MOMA, UK); the National Gallery of Gallery, Sydney, curated by Ann Stephen. will follow’. Ultimately, the paper asks, The University of Melbourne Victoria, Melbourne, and the Visual Arts Like the earlier exhibitions, it too focused can the audience be held responsible for Program for the Melbourne International on an exhibition that place in 1969, and irrational behaviours which manifest in Over the last twenty years, the role of the Arts Festival (MIAF). She has curated presented a reconstruction of the first those who succumb to the influence of curator has undergone unprecedented over forty exhibitions. In 2013 she was Conceptual art exhibition in Australia works of art? change. The contemporary curator awarded a PhD from the University of sent by Ian Burn, Roger Cutforth and now works in an ever-expanding field. Melbourne. The rise of the private art Mel Ramsden to Pinacotheca gallery, Melanie Cooper-Dobbin is an artist and Shifts in this field include the rise of the foundation: John Kaldor Art Projects Melbourne. This paper examines the PhD candidate in the School of History nomadic or über curator of biennale 1969-2012 examines the rise of not-for- recent phenomenon of restaging historic and Politics at the University of Adelaide. and international temporary exhibitions; profit foundations presenting temporary exhibitions in a contemporary context. Specializing in eighteenth-century conceptualisations of curation as art projects and their role within a It explores the role of the curator, the art history, her research interests are practice; new approaches to modes of globalized contemporary art world. motivations for reconsidering and primarily focused on representations of display; research into exhibition histories; remaking seminal exhibitions of our mythology and gender. Her most recent the role of artist as curator; and the Email: [email protected] times, and the possible status of the publication, ‘The Horror of the Horns: educational turn. Expanding audiences, exhibition as a form of ‘ready-made’. Pan’s Attempted Rape of Syrinx in Early the proliferation of graduate curatorial Eighteenth-Century Visual Art’, pp.163- courses, and the professionalization of DR REBECCA COATES See above for biography. 174 appears in (ed) Anne Greenfield, the role of the curator have also played Curating Histories and the restaged Interpreting Sexual Violence, 1660-1800 important roles in these shifts, both exhibition (Pickering and Chatto, 2013). within and beyond the institution. This DR WES HILL panel invites papers from curators, art In 2012, Jens Hoffmann curated the Curatorial Politics and the Asia Pacific Email: [email protected] historians, artists and those with an exhibition Life in your head, When Triennial interest in reflecting on the diversity Attitudes Became Form Become Jennifer Kalionis is a PhD candidate and and development of curatorial roles, Attitudes, A Restoration – A Remake – A The Asia Pacific Triennial (APT) – an Asian tutor at the University of Adelaide, and a the practice of other curators, their Rejuvenation – A Rebellion, a homage to and Pacific region-themed contemporary freelance arts writer. She has previously predecessors and peers, exhibition and Harald Szeemann’s much mythologized art exhibition inaugurated in 1993 at the been the Director at Adelaide Central curatorial histories, or on other areas When Attitudes Become Form (1969). Queensland Art Gallery – is a leading art Gallery and the Manager Community Arts related to the curatorial field. At the same time, it also attempted to event in Australia that has been widely and Culture at City of Prospect, South deconstruct the myth, or at least assist praised for its facilitation of non-Western Australia. Dr Rebecca Coates is an independent visitors to develop an informed opinion art practices and dialogues on Global Art. curator and writer, Associate Curator at about the historic exhibition. In June Conceived by former director Doug Hall, Email: [email protected] the Australian Centre for Contemporary 2013, Szeemann’s exhibition again the APT helped to promote Australia’s Art (ACCA). She lectures in the Art became the focus of another remake, international cultural identity in the early History Department, University of the Fondazione Prada’s When Attitudes 1990s; reconciling its antipodean history Melbourne, and is a research associate Become Form: Bern 1969/Venice with its proximity to Asia. In the proposed with Professor Charles Green. She has 2013, curated by Germano Celant with presentation, I will reflect on the twenty- over twenty years experience working as Thomas Demand and Rem Koolhaas year history of the APT, focussing a curator at institutions both in Australia and presented in the historic palazzo Ca’ particularly on its in-house curatorial
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approach in relation to the curatorial APT at the Curatorial Practices Reframed understand changing institutional and Email: [email protected] methodologies of other large-scale art symposium in Cyprus in November this curatorial attitudes towards photography exhibitions on the global contemporary year. and photographers. art-festival circuit. Unlike many other ALANA KUSHNIR festival-style art exhibitions, the APT Email: [email protected] Dr Daniel Palmer is a Senior Lecturer A Brief History of Unauthorised- has always maintained an acquisitive in the Art History & Theory Program Exhibition Making agenda, and the apparent success of at MADA (Monash Art, Design & the Queensland Art Gallery | Gallery of DR DANIEL PALMER and DR Architecture). He has a long-standing This paper will outline key historical Modern Art (QAGOMA) in recent years MARTIN JOLLY involvement with the Centre for instances of the practice of unauthorised is due in part to the gallery’s prescient Curating Photography in Australia Contemporary Photography in Melbourne, exhibition-making and examine related investment in contemporary art from Asia. as a former curator and current board curatorial approaches. Taking the As well as acquiring significant works by How does photography fit into member. His publications include the practice of appropriation by artists and Takashi Murakami, Cai Guo-Qiang, Zhang contemporary curatorial discourse? books Twelve Australian Photo Artists various national court cases, statutes Xiaogang and Xu Bing, QAGOMA owns Addressing the history of photography (2009), co-authored with Blair French, and international agreements as points more works by Ai Weiwei than any other curating in the Australian context, and the edited volume Photogenic: of reference, it will examine how the museum in the world — a relationship this paper seeks to understand the Essays/Photography/CCP 2000–2004 legal and ethical rights held by artists that was principally forged through the contingencies and qualities that have (2005). His scholarly writings on may impinge on curators’ freedom of APT. With its acquisitive agenda and in- distinguished it from art curating photography have appeared in journals expression. It will feature a number of house curating, the APT poses a relatively more broadly. Much has changed since such as Photographies, Philosophy older case studies beginning with Giorgio unique model of curatorial practice; photography curating emerged in of Photography and Angelaki, and he de Chirico’s law suit against the Venice one that highlights the capacity of the Australia with the establishment of the regularly contributes to art magazines. Biennale organisation for the inclusion contemporary art institution to spawn NGV’s Department of Photography in of a fake work in the Italian Pavilion in local cultural industries, and to propel 1967, and the opening of the Australian Email: [email protected] 1948, the physical removal by Vassilakis political exchange. Centre for Photography in 1974. At Takis of his own work from an exhibition that time, the aim was to establish Dr Martyn Jolly is a photographer and at the Museum of Modern Art, New York Dr Wes Hill is an art historian and curator photography as a fine art, and establish a writer. Since the 1980s he has worked in 1969 and Robert Morris’ requested who is currently employed as a lecturer a tradition. Today, photography is firmly in photography museums, galleries and withdrawal from Harald Szeemann’s of Art Theory and Curatorial Studies embedded within contemporary art, at Schools of Art. He is currently Head documenta 5 in 1972. It will also feature at Southern Cross University (SCU), while digital technology is radically of Photography and Media Arts at the more recent examples including the 2011 Lismore. He has a PhD in Art History from changing how images are made and Australian National University School case of Joseph Beuys’ estate against the the University of Queensland (supervised seen. From Instagram to citizen of Art. His work as an artist is in the Museum Schloss Moyland in Germany for by Dr. Rex Butler), and his writing has journalism, a new wave of imagery is collections of the National Gallery of the exhibition of photographs of Beuys’ appeared in magazines and journals such transforming photography as an art, and Australia, the National Gallery of Victoria performances from its own collection. as Artforum, Frieze, Broadsheet and Art the relationship between photographer and the Canberra Museum and Gallery. As and Australia. He has conducted extensive and curator is at a crucial moment of a writer he frequently writes reviews and The lack of publicised examples of research on the Asia Pacific Triennial transformation. This paper, part of an essays. His book Faces of the Living Dead: deliberate unauthorised use by curators (APT) for his PhD studies, as well as for ongoing research project supported by The Belief in Spirit Photography was in the past will then be contrasted to the delivery of Curatorial Studies units the Australia Council, introduces our published in the UK, the US and Australia the strategies of a number of curators at SCU. His critical review of the 2012/13 research into photography curating in in 2006. Recently he was a fellow at the working today. One example which will be APT was published in Frieze magazine, Australia, specifically addressing the National Library of Australia and the closely looked at will be the unauthorised and he will be delivering a paper on the initial phase in the 1970s as a context to National Film and Sound Archive. retrospective exhibitions curated by
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Shelly Bancroft and Peter Nesbett at their be justified. A deviation in the history of Although interdisciplinary practices and Tyger, Tyger, a new commissions (recently closed) New York gallery, Triple exhibition-making will be revealed, where have been visible for decades – from the series including projects by Philip Brophy, Candie. Another will be Germano Celant’s the freedom of expression of the curator Ballets Russes to Bauhaus, De Stijl to Constanze Zikos and Juan Davila (West restaging of Harald Szeemann’s seminal is not subordinate to that of the artist. Fluxus – current Australian contemporary Space, 2011-12). Phip also writes about 1969 exhibition, When Attitudes Become visual arts infrastructure still largely art: projects include The NGV Story, a Form at the Fondazione Prada in Venice, Alana Kushnir is a freelance curator takes the museum as its model and is book published by the National Gallery which is still on display. and researcher. She completed a MFA largely concerned with presenting objects of Victoria to commemorate their 150th (Curating), Goldsmiths, University of in space. Yet, contemporary artists’ anniversary; a text for ArtLink exploring This paper will also examine a number London in 2013, with two independent practices are far more diverse than this. artist-led projects and experimentation; of ongoing instances of unauthorised research projects. The first year Many ‘interdisciplinary’ artists – those and a catalogue essay to accompany exhibition-making which specifically project proposed a series of roundtable who work with performance, sound, live Dan Monynihan’s exhibition Lost in relate to, reference or operate by means discussions with artists who adopt art or participatory art, for instance – Space at Gertrude Contemporary. She of the internet. It will demonstrate curatorial methodologies as part of have struggled to fit into the conventional is an alumnus of the AsiaLink Leaders’ that the internet has proved to be their art practices, including Luis Jacob, infrastructure. Similarly, artists who are Program and the Australia Council for the a particularly fruitful tool for the Fiona Abicare, Alex Martinis Roe, No fluidly producing work across disciplines Arts’ Emerging Leaders’ Program. She advancement of such practices. One of Fixed Abode, A Constructed World – working from theatre-making or film is chair of the board of the independent the longest-running examples of this kind and Francesco Pedraglio, which is to production as much as visual art, for arts publication un Magazine and a board which will be discussed is UbuWeb, a be published in a forthcoming issue instance – are not supported by funding member of Liquid Architecture Sound website which hosts thousands of avant- of Discipline. The second year project structures or production infrastructure Art Festival. Her most recent research garde films, videos and sound recordings, proposed a touring exhibition of the where the traditional notion of the artist project, commissioned by the Australia performance documentation, papers Agency archive initiated by Belgian as one engaged in a solo studio-based Council for the Arts, was a qualitative about audio, performance, conceptual art, artist Kobe Matthys to several university practice is still the normative model. profile of the Australian contemporary art and poetry, as well as full-length PDFs of galleries in Australia, which is currently in While there is increased (and increasing) sector based on over 90 interviews with literature and poetry, and contemporary development. She has curated exhibitions fluidity across arts disciplines, current contemporary art practitioners. and historical conceptual writing. A in London and Australia. She has a terminology and infrastructure are not specific focus will be its resourceful BA Honours (Art History), University of totally adept at supporting these shifts. Email: [email protected] approach of complementing its mission Melbourne (2010); BA (Art History) and To some extent, the attitudes have not ‘for a different sort of revisionist art LLB, University of Melbourne (2008). become form. history’ by featuring guest-curated GORDON BULL sections of works. Email: [email protected] Phip Murray is an independent writer and Curating in the field: Djon Mundine and Finally, this paper will also focus on the curator and History/Theory Coordinator Perspecta ’83 practices of artist-curators whose works in the Interior Design program at the ‘live’ online and which, by their very PHIP MURRAY School of Architecture and Design at This paper will discuss the exhibition nature, incorporate other artists’ works When attitudes do not become form RMIT. Phip was Director of West Space of indigenous art in Perspecta ’83, with into their own, including Ben Vickers, This paper argues that new models from 2008-12 and prior to that worked particular consideration for the activities Jennifer Chan, LuckyPDF and 0Day Art. within contemporary art infrastructure as an Associate Producer for the Next of one participant, the curator and With these instances in mind, this paper are required, and greater flexibility in Wave Festival. She has curated a series writer Djon Mundine. It will show that will propose that where curators re-use art terminology is needed, to support of interdisciplinary curatorial projects, in the complex interactions between an artwork in a curated project without the – not new – but certainly increased such as Time Has Come Today, a program remote communities, where Mundine the artist’s authorisation, but with a proliferation of interdisciplinary art exploring sound, moving image and principally worked, and metropolitan measure of criticality, those actions may practices within contemporary art. performance projects (West Space, 2012) centres, where he regularly travelled
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and also worked, the distinctions that Gordon Bull is an art historian and exhibitions, conversations and ideas. Duchamp sat in his studio spinning appear in the reception of exhibitions at theorist. He has taught at Australian Over the past three decades, he has his bicycle wheel, watching the spokes this time – particularly between fine art universities since 1984. He a currently a conducted thousands of interviews with make patterns in front of his eyes, he and anthropological frames of reference Senior Lecturer in Art Theory at the ANU, artists, architects, curators, philosophers, was embedded in a curatorial problem. - did not operate in any clearly defined School of Art, and was Head of the School writers, poets, sociologists, historians Or that, through his participation in manner, and indeed anthropological from July 2006 to May 2013. He has a and scientists among others. These this performative act, he gained a and fine art interests can be seen to particular interest in Indigenous art in interviews form the basis of numerous new conceptual understanding that overlap considerably. Although it is clear contemporary art contexts. publications. As a whole, these interviews highlighted that artworks could only that Mundine viewed the contemporary form an archive of ideas that Obrist refers appear under certain conditions and art context as strategically useful - Email: [email protected] to as the Interview Project. By tracing the required the framing of the exhibition both in terms of reaching its audience curatorial techniques that Obrist employs structure to make them visible. and market and in terms of placing in compiling the Interview Project, I would Indigenous art within the parameters PIPPA MILNE aim to illustrate his ubiquitous curatorial ‘Performing the curatorial’ is presented of fine art discourse, and so raising the Han Ulrich Obrist curates: the Interview presence within the project, to the extent as an extreme of contemporary curatorial status of Indigenous art - working in the Project that he becomes a both a participant activity. Jens Hoffmann states that its community involved him in employing and director within the project, thus methodology is ‘completely untethered methods developed in anthropological Over the course of the twentieth century, challenging the status quo of curating. to works, artists, spaces, audiences, or field work and in anthropological the role of the curator has changed any particular outcome of the encounter institutions, and he produced very similar significantly, and art discourse has Pippa Milne is currently completing between “viewer” and “artwork’. exhibitions for both anthropological and engaged with the definitions of art, the a Masters of Art Curatorship at the Described as similar to aspects of a fine art contexts. exhibition, and the subsequent role of the University of Melbourne. Her professional post-production art practice it defines exhibition maker. Swiss curator, Hans experience includes Interim General a process enacted within a particular The story that drives this chapter is the Ulrich Obrist is a key exemplar of these Manager, Centre for Contemporary Art, time and space related framework. As collaboration of Mundine, then community changes. He curates his projects as a Melbourne (present); Venice Biennale an ongoing, active, multidimensional Art Adviser in Ramingining, with Bernice facilitator, but also as a participant and Intern, the Australian Council of the Arts process it requires a performativity on Murphy and others in metropolitan fine content generator within each exhibition. and the University of Melbourne (2013); the part of artists, curators and a public. art contexts. The first key exhibition in a This paper would aim to illustrate the Venice Biennale Pavilion Attendant, This creates the potential for construction fine art context isPerspecta ’83 produced changing involvement of the curator Creative New Zealand (2013); and and change and generates an ‘embodied with Bernice Murphy, then a curator in exhibitions by focussing on Obrist’s experience in a range of other private criticality’. Irit Rogoff articulates it as at the Art Gallery of New South Wales Interview Project, which consists of and public galleries in Australia and New being the act of being inside something. (work from which, along with work from myriad interviews conducted by Obrist Zealand. She holds a Bachelor of Arts It is quite different to criticism and Perspecta ’81, subsequently went to Sao over the last 30 years. Obrist functions as in Art History and a Law Degree from critique that are generated from the Paulo). The point is to account for the part of the international superstructure of Canterbury University, New Zealand. outside. A complexity arises when the process of developing exhibitions and the contemporary art world at a level of notion of ‘embodied criticality’ of an commissioning work, where Mundine was art discourse; working as an international Email: [email protected] artist undertaking curatorial activity is in dialogue with Murphy, and in dialogue curator and writer gathering information in question. It could be posited that the with artists and others in or visiting the and opinions from constituents within ‘artist as curator’ begins the curatorial community, doing the work of curatorship the cultural landscape and mediating KIM DONALDSON process on the inside and that a counter in field, and then presenting work in and archiving this data so that it forms Re-framing – Artist as curator move is necessary. This shift, to the exhibitions. a non-linear narrative about recent outside is where theoretical evaluations history, within which he is a curator of It could be argued that when Marcel and analysis are made. Re-immersion is
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then required to fully test the knowledge travelled to Zbludza, Berlin, Birmingham, interconnected examination of certain where she teaches late medieval and gained. This oscillation between Singapore, Venice and London with objects and practices that challenge Renaissance art. Her research focuses perspectives may need to happen many collaborative iterations involving over notions of artistic quality, iconographic on Italian Renaissance plague imagery. times. As Dorothea von Hantelmann 15 artists. Kim lectures at the Victorian continuity, hierarchical value and Recent publications include articles states the act of repetition, which is never College of the Arts in Melbourne. ephemeral presence. Whether the earlier on a cycle of St Roch by Tintoretto in identical and includes deviation and scholarly neglect arises from institutional Artibus et Historiae and a plague miracle difference, can produce effects that go Email: [email protected] or aesthetic assumptions, the delimitation by Giovanni di Paolo for Renaissance beyond language and create change. of disciplinary boundaries has been Studies. crucial, relegating certain media and Can the methodology of ‘performing the functions to the “minor” or “decorative” Email: [email protected] curatorial’ be used to understand the PANEL V arts, for instance, and causing us to working methods of the contemporary LOOKING AT THE overlook objects without easy attribution, Dr Patricia Simons is Professor of History ‘artist as curator’? The historical example OVERLOOKED IN EARLY categorized as “popular,” consigned to of Art at the University of Michigan, Ann of Marcel Duchamp’s Readymades and museum storerooms, or disconnected Arbor. She is author of The Sex of Men in a contemporary project, Technopia MODERN EUROPE from contextual ideas as remnants of Premodern Europe: A Cultural History Tours, map activities where outcomes interior or garden spaces. This session (Cambridge University Press, 2011) and are not defined. WithTechnopia Tours instead seeks to demonstrate the co-editor of Patronage, Art, and Society (art) workers wearing orange uniforms CONVENORS significance and insight of scholarship in Renaissance Italy (Clarendon Press, offer trips, or experiences, that unfold PROFESSOR JENNIFER MILAM that moves across and between 1987). Her numerous essays analysing over time in diverse locations. The The University of Sydney institutional and conventional fields to the visual and material culture of Early phenomenological conditions that prevail explore the margins of art history. Modern Europe have been published in direct its course. The task of this paper is DR LOUISE MARSHALL anthologies and peer-review journals to highlight differences in the perception The University of Sydney Dr Jennifer Milam is Professor of Art such as Art History, I Tatti Studies, and use of an ‘embodied criticality’ to History and Eighteenth-Century Studies Journal of Medieval and Early Modern create new knowledge that adds to the PROFESSOR PATRICIA SIMONS at the University of Sydney. Her books Studies, Renaissance Quarterly and discourse surrounding ‘the curatorial’. University of Michigan at Ann Arbor include the Historical Dictionary of Renaissance Studies, ranging over such Rococo Art (2011), Fragonard’s Playful subjects as female homoeroticism and Kim Donaldson is an artist and curator. This session takes as its theme the variety Paintings. Visual Games in Rococo Art the visual role of humour. Her self-initiated projects challenge the of perspectives offered by close looking at (2006) and Women, Art And The Politics Email: [email protected] exhibition form through multi-layered previously marginal or neglected works Of Identity In Eighteenth-Century Europe and many faceted processes that engage of art, objects or/and sites. Traversing (2003). Currently an ARC Future Fellow, institutions, collections, artists and the a variety of media, locales, time frames her project addresses garden history and DR LOUISE MARSHALL public in various locations. Often going and interpretative approaches, the ideas of cosmopolitanism, nationalism The collaboration from hell: a plague beyond the field of art these projects have session foregrounds the inter- and and imperialism in eighteenth-century strike force at S. Pietro in Vincoli, Rome included the establishment of Techno cross-disciplinarity characteristic of Europe. Park Studios, a gallery/exhibition space the field today, and the benefits of close The focus of this paper is an extraordinary (http://www.technoparkstudios.com) and engagement with the object of study Email: [email protected] representation of angelic and demonic the solo exhibition Between the Lines engineered by way of an interdisciplinary collaboration, encountered in a little- at Heide MOMA which researched the focus. In some ways, the very Dr Louise Marshall is Senior Lecturer studied fifteenth-century fresco in the private library of the Reids. Her most marginalization of the past now enables a in the Department of Art History and Roman church of S. Pietro in Vincoli, recent project Technopia Tours has fresher, less encumbered, more densely Film Studies at the University of Sydney, Rome. The fresco depicts a posthumous
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miracle of St Sebastian, whose ASSOCIATE PROFESSOR publications include articles on households, women played a special intervention ended a pestilence ravaging CHRISTINA NEILSON Verrocchio and the meaning of wood in role in its patronage and sociable value. Italy in 680 AD. Yet the saint is barely Living Devotion: Secreted Prayers and Renaissance sculpture. She has been Too often regarded as a cheap substitute visible. Instead, death and destruction Animated Statues in Early Modern the recipient of fellowships from the for metalware and as subserviently dominate, thanks to the combined Sculptural Practice National Endowment for the Humanities, imitating more expensive forms, maiolica efforts of an angel and a demon, whose Villa I Tatti-the Harvard University was instead a new complement in apparently amicable partnership is seen Notes have been discovered inside Center for Italian Renaissance Studies Renaissance culinary and display culture, at the very centre of the picture. While a number of late medieval and early in Florence, and the Andrew W. Mellon ingenious, entertaining, colourful and pope and cardinals process through the modern sculptures by artists such as Foundation. Before joining the faculty at alchemical. corpse-strewn streets, the angel guides Lando di Pietro, Tilman Riemenschneider Oberlin College, she worked at the Frick the demon to a palace and watches with and Luisa Roldán, and this paper aims Collection in New York, where she curated See above for biography. approval as he strikes the portal with his to address their meaning. Literally an exhibition on Parmigianino’s Antea. spear. Resistance is obviously futile, and overlooked (one example was inserted Her talk is sponsored by the Lila Wallace the dire fate of the building’s inhabitants into the nostrils of a statue, while another – Reader’s Digest Endowment Fund at DR NICHOLAS CHARE under the menace of combined angelic was composed in runes and covered with Villa I Tatti. Investigating Art History’s Dirty Laundry: and demonic assault is shown by the polychromy), these notes pose fascinating The Great Bed of Ware dead body sprawled face down over methodological challenges to modern Email: [email protected] the threshold. My paper explores the art historians. Why did artists do this, Acquired by the Victoria and Albert significance of this unique representation and who were the intended readers Museum in 1931, the Great Bed of Ware of plague’s causes for what it reveals of of the notes? In attempting to answer PROFESSOR PATRICIA SIMONS was built in the late sixteenth-century. Renaissance responses to the disease. these questions, this paper emphasizes Culinary Culture in Renaissance Italy: The elaborately carved and painted oak What would it mean to see an angel how considerations of materials and multiple evaluations four-poster has been described as one and a demon collaborating in the role of processes of creation can bring to light of the museum’s greatest treasures. It humanity’s executioners? What might early modern attitudes about art and art Scholars estimate that one silver is not, however, usually listed alongside such a representation of causes imply making. saltcellar cost the equivalent of 200 works such as Jan van Eyck’s The with regards to strategies for avoidance maiolica pieces. Yet fifteenth- and Arnolfini Portrait, Vincent Van Gogh’s and protection? By considering the content of the notes sixteenth-century comments rarely and Bedroom in Arles, Robert Rauschenberg’s alongside the processes involved in only ironically address cost, instead Bed and Tracy Emin’s My Bed. The Great Dr Louise Marshall is Senior Lecturer making sculptures, this paper proposes favourably comparing maiolica with silver. Bed of Ware is not thought of as one of in the Department of Art History and how the practice of sculpturing itself was The praise chiefly occurs as thanks for the great beds of art. Given that paintings Film Studies at the University of Sydney, regarded as a kind of spiritual exercise. gifts, but it nevertheless reveals the of beds and readymade beds are part of where she teaches late medieval and In addition I aim to highlight broader problem with using monetary expense the art historical furniture, why is the Renaissance art. Her research focuses methodological issues, such as the as a yardstick for cultural value and Great Bed sinfully omitted? This paper on Italian Renaissance plague imagery. importance of materials and techniques appreciation. This paper examines the begins by considering why so called Recent publications include articles of making for understanding how works of documentary evidence anew, pointing to decorative works such as the Great Bed on a cycle of St Roch by Tintoretto in art were believed to operate in the Middle the importance of novelty and skill but are excluded from conventional visions Artibus et Historiae and a plague miracle Ages and early modern period. also to such factors as maiolica’s contrast of what comprises high art despite their by Giovanni di Paolo for Renaissance to cheap pewter and its absorption into significant stature. It then engages in Studies. Dr Christina Neilson is Assistant the fantasized re-creation of antiquity a close analysis of the bed, including Professor of Renaissance and Baroque well before the development of actual its carving and paintwork, as a means Email: [email protected] Art History at Oberlin College. Her istoriato ware. As a new medium in to demonstrate some of the insights
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embedded in it. Drawing on a range of Carlo and founder saints worshipping PROFESSOR JEANETTE PANEL W disciplinary approaches, the paper will a revealed Trinity, with the dead Christ HOORN PORTRAITURE AND IDENTITY focus particularly on the bed as a form of supported in the lap of God. Beginning Rereading Gainsborough’s Officer of the material testimony to the Early Modern (Annunciation) and end face each other, Fourth Regiment of Foot CONVENOR and on its status as a locus of memory activating the interior as a room framed MARK SHEPHEARD through time. It will conclude by arguing by the conception and death of Christ. The This paper reinterprets Gainsborough’s The University of Melbourne that an art history that marginalises lateral altarpieces by Domenico Cerrini Officer of Fourth Regiment of Foot (NGV) works such as the Great Bed needs to be completed the ensemble of painted focusing upon the emotional regime The study of portraiture has always put to bed. images and architecture, taking their that comes into play when the viewer crossed inter-disciplinary boundaries, chromatic scale from the works on the considers the main business of the involving scholars from diverse fields Dr Nicholas Chare is Senior Lecturer long axis and illuminated by a fictive light picture – an image of a soldier leaning such as art history, political history, social in Gender Studies at the University of source equivalent to the Dove hovering against a rocky outcrop on the coast history, musicology, and psychology, Melbourne. He is the author of Auschwitz above Christ’s belly on the high altar. of Galway and the gaze of his faithful to name just a few. One of the common and Afterimages (IB Tauris, 2011) and hound. While the picture has been areas of interest is the way in which After Francis Bacon (Ashgate, 2012), Despite the significance of the paintings interpreted around the ideals of the man portraiture has been used to define and and co-editor of Representing Auschwitz within San Carlo, their existence of sensibility, so influential in the middle represent identity, either personal or (Palgrave, 2013). has all but been ignored. In part this of the eighteenth century, little has been collective. This session presents eight is a consequence of them being so said about the way in which Gainsborough interdisciplinary papers that explore the Email: [email protected] compromised: the Annunciation is mostly has represented the relationship between way in which identity has been expressed destroyed, Cerrini’s paintings were Mansergh St George and his dog. This through portraiture, from buffoons at the removed and now languish in the Convent paper considers Gainsborough’s low court of Pope Urban VIII to photographic DR MICHAEL HILL hallway, while the main altar painting is church background, the emergence to portraits of the Kelly Gang. The Paintings in San Carlo alle Quattro reflective and difficult to see. Yet a further opposition to Cartesian philosophy and to Fontane reason must surely be that architectural cruelty to animals, among the humanist Mark Shepheard is a PhD candidate historians have been so blinded by the circles in which the artist moved as well in Art History at the University of When Borromini took on the commission white purity of Borromini’s church that as his ‘canine portraits’ in general. Melbourne. His thesis is a study of Italian in 1634 to rebuild San Carlo alle Quattro its theatrical colour has been rendered musician portraits of the seventeenth Fontane, the key datum of corporate invisible. Dr Jeanette Hoorn is Professor of Visual and eighteenth centuries, which charts identity was Orazio Borgianni’s 1612 Cultures and Director of Gender Studies the development of professional identity altarpiece showing San Carlo Borromeo Dr Michael Hill is Head of Art History and at the University of Melbourne. Her through portraiture and explores the adoring the Holy Trinity. Borromini, who Theory at the National Art School, Sydney. recent books include Hilda Rix Nicholas personal and professional relationships changed his name to identify himself with His recent publications include ‘Practical and Elsie Rix’s Moroccan Idyll: Art and that often connected painters and Borromeo, took his cue from the painting, and Symbolic Geometry in Borromini’s Orientalism (2012), Reframing Darwin musicians during this period. Mark is designing a church that in its lobed San Carlo alle Quattro Fontane’, Journal (2009), and Australian Pastoral, The the convenor of the European Visual rhomboidal shape evokes the doubled- of the Society of Architectural Historians, Making of a White Landscape (2007). Culture Seminar Series at the University triangle scheme of the Trinitarian Throne December, 2013, and a study of the art Her current research project funded by of Melbourne and is also a broadcaster of Grace. The paintings installed 1641-45 historian Leo Steinberg for the Oxford the ARC addresses the emotions and for Melbourne radio station 3MBS FM and furthered the theme of embodied space. Encyclopedia of Aesthetics, ed. Michael representations of animals in 18th-19th produces ‘Recent Releases’ and the long- The first was Pierre Mignard’s over-door Kelly (forthcoming, 2014). century British and French academic running ‘Early Music Experience’. fresco of the Annunciation. Mignard also painting. painted the high altarpiece showing San Email: [email protected] Email: [email protected] Email: [email protected] 130 131 INTER-DISCIPLINE
ESTHER THEILER DR MARK DE VITIS court, and the role of image-making in between human and animal subjects Valentin de Boulogne’s Portrait of The Portrait as Assemblage: realising these ambitions. within a portrait. Research into the Raffaello Menicucci: A Buffoon in the Representing Foreignness at the Court of human-animal bond, attachment theory, Court of Urban VIII Louis XIV Mark De Vitis holds a PhD in Art History gaze and the role of animals in society from the University of Sydney and his will be used to reconsider some of the Among the last works of the French Marie-Thérèse d’Autriche (1638-1683), thesis was entitled On Foreign Relations, nuances of human-animal portraiture. Caravegesque painter Valentin de Infanta of Spain, arrived in France Or Difference as Distinction at the Boulogne is an extraordinary portrait to marry King Louis XIV in 1660 as a Bourbon Court of France. He is currently Katherine Kovacic is a PhD candidate at of Rafaello Menicucci, a buffoon in the condition of the Treaty of the Pyrenees a lecturer at the National Art School, the University of Melbourne. Her thesis is courts of the Grand Duke of Tuscany and (1659). Cultivating the political importance Sydney, in the Department of Art History entitled The Human-Animal Bond in Art. of Pope Urban VIII (Portrait of Raffaello of the union, representations of the new & Theory. Menicucci, c. 1628-1632, Indianapolis queen sought to position her as a point of Email: [email protected] Museum of Art). In his satirical biography contact between the French and Spanish Email: [email protected] of Menicucci, Gian Vittorio Rossi (also monarchies. Rather than erase traces of known as Erythraei) stated that Menicucci cultural difference, portraits of the Marie- DR GEORGINA COLE had begged him to be included in Thérèse openly displayed her cultural KATHERINE KOVACIC Imaging identity in eighteenth-century his Pinacoteca, his collection of 300 hybridity as an emblem of the status of Putting on the Dog: Animals in Human portraits of the blind contemporary biographies. Rossi said the Bourbon regime within a period of Portraits that Menicucci was “able to pour forth change and renewal. Of all the art forms in eighteenth-century extemporary verse, make witty remarks, Almost as soon as artists began painting Britain, portraiture was by far the most move to laughter”. These are features of Charles and Henri Beaubrun, who hailed portraits of the great and good of human significant. For both sitter and artist, it the ancient art of buffoonery, a profession from a long line of royal portraitists, were society, animals have also found a place was an important way of generating and that relied on the art of rhetoric to disturb commissioned to produce the first images on canvas. From the dog in the corner, maintaining social standing; but while social equilibrium and to puncture of the queen. While locating her within an to the noble steed and, occasionally, an primarily concerned with issues of status, pretension. Valentin’s portrait, which established lexicon of Bourbon imagery, unexpected bird or exotic creature, these politics, and identity, the portrait form was painted when the influence of the Beaubrun simultaneously broke animals convey something about the was often used as a forum for exploring Caravaggio had all but died out, expresses recognised conventions to construct human sitter. Art historians have tended other ideas. Through various modes of the contradictions and psychological the queen’s portraits as an assemblage to consider the symbolism of animals in portraiture, artists responded acutely complexity presented by Menicucci. I of Habsburg and Bourbon pictorial human portraits, a furred or feathered to the development of Enlightenment will argue that the portrait is both an traditions, drawing together attributes evocation of some human quality that the thinking in natural history and philosophy, ironic example of the fluidity of early associated with the imagery of the two sitter wishes to espouse. Certainly, the particularly its emphasis on sensation, seventeenth-century social ambitions and dynasties into a single, harmonised animal as symbol is a part of portraiture; experience, and knowledge. in accord with tendencies in portraiture image. The pictorial hybridity of this however, there are also more subtle in these decades towards the depiction of representation sought to validate the influences at play. Irrespective of any The mingling of the portrait’s traditional more complex layers of identity. provisions of the Peace of the Pyrenees symbolism – intended or otherwise – an functions with the new priorities of the and promote its longevity to a population animal alters the reading of a portrait. Enlightenment can perhaps be most Esther Theiler is a PhD candidate in Art wearied by a quarter-century of violence This paper will examine how a viewer’s clearly seen in eighteenth-century History in the School of Historical and and uncertainty. For modern scholars, perception of a sitter can be coloured portraits of the blind. This paper Cultural Studies at La Trobe University. the queen’s portrait offers an opportunity by the presence of an animal, exploring addresses the intersections of portraiture to consider the political applications of the significance of different species and and philosophy in two paintings of Email: [email protected] cultural exchange at the royal Bourbon breeds, and the nature of the interaction celebrated blind individuals: Nathaniel
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Hone’s portrait of the blind magistrate DR MONICA LAUSCH historical and modern representations of the History Program at La Trobe and social reformer Sir John Fielding of Imaging the interdisciplinary of the of art historical practitioners and their University and from 2003 to 2011 was the 1762, and George Romney’s historical Vienna School of Art History: the art of discourse. Assistant Director at the British School at portrait of the poet John Milton and his conversation between art and other fields Rome. daughters of 1793. These paintings are Dr Monica Lausch is the Curator of chosen for the ways in which they suggest This paper examines how artistic Historical Collections for Monash Health. Email: [email protected] a critical rethinking of blindness. While representations of art historians She completed her PhD in Art History acknowledging its severe disadvantages, contributed towards the professionalising at the University of Melbourne in 2005 both artists emphasise the ways in of the art historical discipline in with a thesis entitled Art history and the DR VIVIAN GASTON which blindness can be overcome by Vienna around 1900. It will explore the Museum: Julius von Schlosser (1866- Self-enlightenment: Joseph Wright of rational and intellectual means, or interdisciplinary qualities of art history 1938) and the Vienna School. Derby’s Self-portrait in the National compensated by heightened poetic as reflected in portraits of Viennese art Gallery of Victoria insight. In contrasting these portraits, historians, including those of Julius von Email: [email protected] this paper explores the social identity of Schlosser, Hans Tietze and Erica Conrat- This important work by Joseph Wright blind people, the functions of the portrait, Tietze. In particular, it will engage with left England in late 1841 when the artist’s and artists’ engagement with changing the notion of the art historical portrait as DR SUSAN RUSSELL daughter, Harriet, and her relatives attitudes towards visual impairment. a visual form of discourse that enables ‘The Vertù Scavenger’, Paul Sandby’s emigrated to Australia. In late 2009 it a dialogue to occur between art history portrait of Dr Robert Bragge (1770-1777) re-emerged into the public domain as the Dr Georgina Cole holds a PhD in Art and other fields through the composition, gift of Mrs Alina Cade to honour her late History from the University of Sydney. Her iconography and texture of such portraits. Little is known of the life of Dr Robert husband Joseph Wright Cade, the artist’s thesis, entitled Painting the Threshold: Bragge, art dealer, collector and direct descendant. Doors, Space and Representation in Julius von Schlosser (1866-1938), connoisseur, or of his entry into the Eighteenth-Century Genre Painting, renowned for his 1934 chronicle of the burgeoning art market of eighteenth- Painted at the time of his most celebrated analysed the role of doors and other Vienna School of Art History, revised century London. His biography is sketchy ‘candlelight’ inventions in the 1760s, architectural motifs in eighteenth-century notions of portraiture and identity in and his activities largely undocumented. does this work, with its gleaming effects French and British genre painting. Taking essays including his 1906 Gespräch He was clearly, however, a figure to of light and candid address to the a transnational and interdisciplinary von der Bildniskunst (“Dialogue on the be reckoned with if the numerous viewer, shape a new model for the self? approach to the art of this period, it Art of Portraiture”) and in his ground- contemporary portraits of him are any This paper will assess the historical examined the pictorial representation breaking 1911 analysis of wax portraiture indication. Paul Sandby’s satire, The Vertù and artistic contexts for the work, its of space in relation to issues of privacy, (Die Geschichte der Porträtbildnerei Scavenger and Duper by Permission is place within Wright’s oeuvre and its sensibility, charity, and architectural in Wachs. Ein Versuch). Significantly, the most virulent of these, depicting a relation to the intellectual concerns design. Georgina is currently a lecturer in Schlosser also attempted to widen the grotesque figure accompanied by verses of his enlightened social circle. It will Art History & Theory at the National Art discursive parameters of art history attacking both Bragge’s qualifications and ask whether this depiction represents School, Sydney. as it was practised in his time through the honesty of his professional dealings. a strategy for professional promotion, correspondences with contemporaries, This paper will investigate the motives a testament to friendship and social Email: [email protected] such as the aesthetic philosopher, for Sandby’s caricature and consider networks or a proto-romantic self- Benedetto Croce. Bragge’s status as that new phenomenon reflection. in eighteenth-century London, the The paper takes a synchronic and professional art dealer. As part of the presentation I will diachronic approach by investigating how also outline the ARC linkage project the interdisciplinary has shaped both Dr Susan Russell is a Research Associate ‘Transforming Identity in Australian and
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British Portraits in the National Gallery photographs.” Evidentiary status was Dr Chris McAuliffe is an Honorary advantages in pursuing their association. of Victoria 1700-1900’ for research to be sought for the photograph; Kelly’s Fellow with the Australian Centre at the By approaching advertising in the undertaken at the University of Melbourne trial saw an early attempt (denied) to University of Melbourne. In 2011-2012 broadest terms of reference, including in conjunction with the National Gallery of introduce photographs as evidence he was Visiting Professor of Australian its role as communicative medium, as Victoria from 2013 to 2016. in court. At the Glenrowan siege, the Studies at Harvard University. From 1991 discourse for commercial agency, and portrait was shaped by a hunger for to 2000 he was Lecturer in Contemporary its multifarious forms as inspiration for Dr Vivien Gaston is Senior Research media spectacle; it was simulated (a Arts at the University of Melbourne and new art, this session aims to articulate Associate for the Australia Research policeman wearing Ned Kelly’s armour) from 2000 to 2013 he was Director of the the formative nexus of the art-advertising Council project ‘Human Kind: and the boundaries of ethics exceeded Ian Potter Museum of Art at the University interconnection affecting artistic process transforming Identity in Australian (in a portrait of Dan Kelly’s charred of Melbourne. and consumption in the modern era. and British Portraits 1700-1900 in the remains). Implicitly acknowledging a National Gallery of Victoria’ in the School new economy of the portrait—shaped Email: [email protected] Papers will explore concepts such of Culture and Communication, University by law, media and celebrity—Ned Kelly as cultural construction, patterns of of Melbourne. Her publications include sought to ban court sketchers from his representation, ideology, aesthetics, The Naked Face: self-portraits (2010), trial and commissioned a pre-execution social theory, occupational practice, The Long Portrait Gallery: Renaissance photographic portrait “for his friends.” PANEL X professional competition and critical and Baroque Faces (2010), and articles on ART AND ADVERTISING: A recognition. subjects ranging from 16th-century Italian Iconic portraits of the Kelly gang form CASE OF SIBLING RIVALRY OR art to 20th-century Australian portraits. an early chapter in an Australian history Dr Eve-Anne O’Regan is adjunct lecturer She curated the major exhibitions The of interdisciplinarity. Their use in a SYMBIOTIC EXCHANGE at the University of Western Australia Naked Face: self-portraits, National judicial context suggests a familiar, even and consultant in branding and audience Gallery of Victoria, in 2010-11 and classical, form of interdisciplinarity; a CONVENOR engagement to the University’s Cultural Controversy: the Power of Art, Mornington Foucauldian archaeology encompassing DR EVE-ANNE O’REGAN Precinct. She has recently completed her Peninsula Regional Gallery, in 2012. law and representation, power and The University of Western Australia PhD in Art History at the University of knowledge. But J. W. Lindt’s notorious Western Australia. Eve-Anne’s research Email: [email protected] photograph of a second photographer While the histories of art and advertising and scholarship focus is the interface of making a portrait of Joe Byrne’s are conventionally perceived as mutually promotional culture and art, and engaging strung-up corpse opens an historical exclusive, their interdisciplinary audiences in culture and the arts. DR CHRIS MCAULIFFE fissure: there new portrait media, new association has led to the development Live fast, die young and have a good- operatives, new channels of circulation. of new forms of process, aesthetics, Email: [email protected] looking corpse: interdisciplinarity in Lindt’s photographs suggests that perception, motivation and consumption; portraits of the Kelly Gang the interdisciplinary was a moment and an altogether new kind of producer of uncertainty and unknowing as the and consumer. DR EVE ANNE O’REGAN The pursuit, trial and execution of categorical status of the portrait as Advertising, ideology, and identity: members of the Kelly gang, between likeness was superseded by its new In recent years there have been symbolic structures within Manet’s 1878–80, generated multiple portraits, status as event. Likewise, Ned Kelly’s significant shifts in the two disciplines mirror including photographs, newspaper effort to manage his own representation and a convergence through the political illustrations and a death mask. With suggests a shift from conventional economy and representations of the Édouard Manet’s painting, A Bar at the the use of photographic portraits in self-representation (the carte de visite) commodity, and it is now timely to Folies-Bergère, shares much in common the pursuit of the Kelly gang, we hear towards a meta-consciousness of self-as- reflect upon dimensions of the exchange with Lewis Carroll’s, Through the Looking of subjects being “recognised by their image. to further our understanding of the Glass, written eleven years before. This
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paper examines Manet’s last great GEORGIA ROUETTE museums, in the areas of exhibitions, Pamela Tuckett retired from teaching work as an allegorical representation A democratic art form: The Hobart research, organisation management and at post-primary level and has returned of Paris in its late nineteenth-century Panorama at the Strand Panorama, curating. She is the author of Exhibitions: to university to continue her studies in velvet modernism—a piercing depiction London 1831 a practical guide for small museums Art History. She has a Masters degree of the dualisms bound up in the great and galleries and Exhibition Design for in Education and has embarked on a city’s identity as ‘le vie modern’— The paper will focus on the 360 degree Galleries and Museums: an insider’s view. Masters in Art History, with the view to cultural complexities we gain access to panorama of Hobart by London artist She is currently completing her doctorate progressing to a PhD. only through the device of the mirror, and proprietor, Robert Burford, (1791- on early views of Hobart Town at the accompanied by the painting’s central 1861) which was exhibited at the Strand University of Melbourne. Email: [email protected] character, Suzon the barmaid, just as Panorama in 1831. View of Hobart Town Alice accompanies the reader through Van Diemen’s Land and the Surrounding Email: [email protected] Caroll’s study of Victorian class in Country, 1831 was seen not merely Through the Looking Glass. as a documentary entertainment or PANEL Y travelogue, rather this image as with PAMELA TUCKETT INHERITANCE OF THE Within the intrigue of its ambiguous other British panoramas, were bound Academia versus Advertising READYMADE composition, A Bar at the Folies- up with discourses of imperialism. I will Bergèreis a sophisticated reading of the position my investigation of the panorama The paper will set out to examine coupling of advertising and ideology as within the imperial gaze, through the differences in the visual language used in requisite imperatives of entrepreneurial examination of the watercolours which academic painting and advertisements. CONVENOR capitalism and its attendant codified were produced by Augustus Earle (1793- Questions of how advertisements, in ASSOCIATE PROFESSOR social politics and symbolism. This 1838) and Robert Burford’s interpretation comparison with academic painting, TARA MCDOWELL presentation posits that Manet had of Earle’s watercolours, through the use context, lines of sight with relation Monash University a more penetrating measurement of program key and the etching which was to the viewer, position, scale, and light the depiction of modern life than the produced to accompany the panorama and colour, will be discussed. Image- This session’s panel comprises artists representation of sites of urban leisure. itself. producing technologies in relation to Lou Hubbard, Spiros Panigirakis, Charlie Within the mirror’s reflection, A Bar at the two modes of visual communication Sofo, and curator Sarah Farrar, who will the Folies-Bergère depicts the mental The Hobart Panorama will be used as will also be examined and their effects discuss the inheritance of the readymade transactions of culture’s ideological and the key reference in the examination of analysed. with a focus on artistic practice, symbolic content that inhabit the twilight the ‘imagined’ reality of place and the particularly as practice intersects with space between concrete reality and the empirical observations and data available This paper will present works from appropriation, the ethics and aesthetics of psychological dimension where identity for the development of Hobart. Essentially different eras in conversation to examine choice, domesticity and institutionalism, takes form. Drawing on contemporary the panorama will be considered within how similarities and differences in the everyday, national identity, and the theories of cultural politics, advertising the matrix of materiality, performance, scale, reproduction and destination of residue of history. Monash University and economics, this paper confronts production that advertised and a work effect the artist’s approach to Museum of Art’s exhibition Reinventing thematic concerns of the political encapsulated imperial perceptions of new form and aesthetics. The presentation the Wheel: The Readymade Century economy of commodity culture to explain lands appropriated by Empire. will include a comparison in the visual (3 October – 14 December 2013) Manet’s engagement with advertising. language between John Everett Millais’s coincides with the centenary of Marcel Georgia Rouette is Manager, Exhibition advertisement for Pears Soap, 1888, and Duchamp’s Bicycle wheel (1913), and See above for biography. Services, Museums Australia (Vic), Michelangelo Buonarroti’s Sistine Chapel explores the history and legacy of the and has more than sixteen years of ceiling, 1508 and 1512. readymade, arguably the most influential experience of working in and with development in art of the twentieth
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century. Reinventing the Wheel traces the materials, forms and processes? How LOU HUBBARD Festival; Making It New, Museum of many trajectories of the readymade over does an artist grapple with the arbitrary Readymades in the Practice of Lou Contemporary Art Sydney; NEW 010, the past century, with a particular focus measures that determine success, Hubbard Australian Centre for Contemporary Art; upon everyday and vernacular contexts; failure and indifference? What are the and Melbourne NOW, National Gallery the mysterious and libidinous potential of social implications of the decisions that The Readymade is a language through of Victoria. Hubbard is the recipient of sculptural objects; institutional critique artists make, that refer to community which I investigate the poetics of Australia Council Residencies at the and nominal modes of artistic value; pop contexts and subjective identifications? sculptural assemblage and video Cite Internationale des Art in Paris and and minimalism; and post-Fordist labour Often an answer to these questions is installation. I am interested in how Barcelona and the international artists’ and industrial manufacture. to refer to the almost sanctified position materials of domestic or institutional residency Air Antwerpen Belgium. of the concept in contemporary artistic utility can express the dynamics and Her work is in the collections of the Tara McDowell is Associate Professor production. In this paradigm the idea duration of force and compression using Museum of Contemporary Art, Sydney; and Director of Curatorial Practice determines and influences the material formal, structural and sculptural devices. Monash University Museum of Art; and at Monash University in Melbourne, and formal decisions of a given project In moments of heightened awareness, the University of Southern Queensland. Australia. She was Founding Senior in a systematic manner. The concept memories are enacted according to Hubbard is represented by Sarah Scout, Editor of The Exhibitionist, and has held bypasses the over-determination that formal rules that I invent. I choose Melbourne. curatorial appointments at the CCA Wattis comes with crafting and the whimsy of sites that are disciplinary spaces where Institute for Contemporary Arts in San stylistic shifts. This paper explored the subjectivity and knowledge are formed: Email: [email protected] Francisco, the San Francisco Museum artist’s rarefied approach to this conceit. academies of surgery and music, dog of Modern Art, and the Massachusetts obedience and soccer, dressage and Museum of Contemporary Art, where she Spiros Panigirakis is an artist based in desire. Of particular interest are the CHARLIE SOFO mounted over two dozen group and solo Melbourne and a lecturer in the faculty nature and effects of submission in acts of Reading Things exhibitions. She publishes and lectures of Art Design & Architecture at Monash training: the aesthetics of sentimentality. frequently, and writes criticism for art- University. He is interested in how The title of this paper refers to the book agenda and artforum.com. McDowell presentational devices, furniture and I perform operations on everyday objects, Reading Things: The Alibi of Use, edited holds a PhD in the History of Art from the organisational frameworks influence Readymades that I have come to know by Neil Cummings. My talk will be an University of California, Berkeley. the construction of meaning, form and and given the role of ‘stand-in’. My objects inventory of everyday materials, ready- sociability. Panigirakis often works are then tried and tested, subjected to made objects, and concepts. I will argue Email: [email protected] with groups in both a curatorial and acts of duress and shaped into formal for an artistic strategy of sampling that collaborative capacity to address the sited relationships until the object is rendered regards history and use as integral. conditions of art. In 2011 he completed unfamiliar. As videos, these strategies are Through a personal understanding of DR SPIROS PANIGRAKIS a practice-driven PhD at MADA. Entitled witnessed and captured through a camera the material world, I will discuss my I Can’t Decide STUDIO CONDITIONS, the research was a lens, playing on photography’s power to sculpture and video works and more site-driven art project that explored how index untenable actions. As sculptural broadly, the context of the exhibition As an artist, making decisions is institutional structures and subjective assemblages, the same strategies are Reinventing the Wheel: The Readymade difficult. In the borrowing, appropriating identities frame one another. He was fitted and measured and precariously Century. and referencing of outside systems, a founding member of the artist-run balanced. narratives and forms, what is my initiative CLUBSproject Inc. and is Charlie Sofo holds an MFA from the authority and how do I make it public? represented by Sarah Scout, Melbourne. Lou Hubbard has exhibited in solo and Victorian College of the Arts and How does one bypass the hierarchical group exhibitions across Australia is a current resident at Gertrude taste making of the connoisseur? How Email: [email protected] and internationally. Major shows Contemporary. Recent exhibitions include does one choose between endless include the Perth International Arts Melbourne Now, National Gallery of
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Victoria, 2013; Reinventing the Wheel: The Sarah Farrar is Curator of Contemporary original net.artists such as jodi.org producer/artist and seeks to document Readymade Century, Monash University Art / Acting Senior Curator Art at the and Olia Lialina who worked with basic the role this plays in the meaning Museum of Art, 2013; Everyday Magic, Museum of New Zealand Te Papa web-browsers we have moved to a production of interactive artworks. Gallery of Modern Art, Queensland Art Tongarewa in Wellington. In 2010, she more complicated and some would Gallery, 2013; Desire Lines, Australian was guest curator at Foundation dertien suggest, inter-disciplinary Web practice. Email: [email protected] Centre for Contemporary Art, Melbourne, hectare, and until August 2007, Farrar The Internet forms part of first-world 2012; NEW12, Australian Centre for was Curator at City Gallery Wellington, culture’s existence and artists may now Tara Cook is a Melbourne based Contemporary Art, Melbourne, 2012; and New Zealand. From 2004-2006 Farrar work exclusively online, or cross the contemporary media artist, PhD candidate Volume One, Museum of Contemporary was Assistant Curator at City Gallery liminal space between the on and offline and the Gallery Director of New Low. Art, Sydney, 2012. Wellington where she organised over worlds. Either way, these practitioners She is interested in better understanding twenty exhibitions for the Michael bring together technologic and artistic our relationship with technology through Email: [email protected] Hirschfeld Gallery. She holds a BA in Art mediums through the very nature of artistic research, curatorship and History (First Class Honours) from the their practices, embedded as it is within practice. Her PhD research is focused on University of Canterbury, Christchurch. a consideration of code and data. But digital aesthetics. SARAH FARRAR Farrar attended de Appel’s Curatorial does this bringing together of computer NO U TURN: How a ‘Kiwi-Made’ Truck Programme with the support of Creative sciences and artistic practice then Email: [email protected] Become an Icon of New Zealand Art New Zealand Toi Aotearoa. signify an interdisciplinary practice? History This panel aims to question the nature Email: [email protected] of (supposed) interdisciplinary practices KAREN ANN DONNACHIE In This is the Trekka (2003-05), installed online, highlighting the coming together Resist the normalising forces: Entangled at Te Papa in October 2013, Michael of what are often considered disparate disciplines in contemporary Net Art Stevenson uses the story of the Trekka, disciplines, such as computer sciences practice New Zealand’s only locally produced and visual art, and posing questions such automobile, as a case study to reveal PANEL Z as: This paper will argue that contemporary an intriguing nexus of political and THE INTERDISCIPLINARY artists have redefined the boundaries trade negotiations, cultural exchanges NATURE OF ONLINE • What is the nature of an online art of their disciplines in seeking new and nationalist agendas. Widely CREATION practice? channels for expression in electronic promoted as ‘New Zealand made’, • Is working online or with technology environments available to them since the the Trekka was actually based on always interdisciplinary? introduction of the Internet, continuing an imported Czechoslovakian Škoda CONVENORS • If working online is inherently a tradition of alchemic activities (early chassis and motor—a fact all the more TRAVIS COX interdisciplinary, does it represent chemistry/alchemy evolved as a trade remarkable given New Zealand’s official Victorian College of the Arts, The a threat to established systems of and art - not as a science) designed to relationship to countries behind the Iron University of Melbourne research and creation? resist normalizing forces (hierarchies Curtain during the 1960s. This paper • How does the computer modify or and hegemonies) perceived to be at explores points of connection between TARA COOK affect an art practice? work in networked society through Duchamp’s work and Stevenson’s. It Victorian College of the Arts, The the appropriation, disruption or also examines Stevenson’s ongoing use University of Melbourne Travis Cox is a researcher and visual deconstruction of their architecture. of the readymade and the relationship artist at the Victorian College of the of his work to post-Fordism and social The World Wide Web as a medium Arts, University of Melbourne. His visual The tools at the service of the artists sculpture, with particular attention to for artistic creation has existed for practice and PhD research explores are the building blocks and languages Joseph Beuys. approximately 20 years. From the digital code’s inherent link to the of the very constructs themselves, so
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while the artist labours over the code his photographer and publisher. She recently in the discipline of art. In the future, it Paris, for which he has legally bought role, practically speaking, is arguably no relocated to Australia after two decades is possible that their output will propel and is now using registered intellectual different from a software professional in Milan, Italy, where she founded the substantial developments in the discipline property. or computer scientist, however it is the influential This is (not) a Magazine an of law, specifically in the area of law perspective and ephemeral concern of on- and off-line curatorial art project known as intellectual property. The paper will suggest that there is a the artist that sets his activity apart. with Andy Simionato, publishing growing interest amongst young artists The interdisciplinarity of the artist’s experimental kinetic book-works of This paper will first look at the numerous who use internet technology as a subject practice remains fleeting – time and digital and networked art, as well as ways in which intellectual property of their practices to challenge the law and (Internet) space specific. ‘What makes monographic artists’ books under the law has been influencing the ways in encourage reforms. As the art market transdisciplinary art trans is that it is imprint Atomic Activity Books. Karen which young artists are using internet begins to consume net art and post- addressing an artistic problem which Ann’s photography has been featured technology. Website blocking and de- internet art, it is only a matter of time exists outside the scope of the disciplines in numerous international publications indexing, as well as takedown notices, before these artists will gain sufficient and methods used to explore it. (Jason and her algorithmic, photographic and are a constant threat whose potential leverage to push for the reforms to Rockwood, MIT) video work has been exhibited throughout impact on artistic expression is yet to be intellectual property law that their works Europe and the Americas, including most seriously evaluated in academic circles, both respond to and rely upon. At that Beyond those who deliberately infiltrate recently the Triennale Design Museum, either from the perspective of legal or art future point in time, the multi-disciplinary the network, artists who exploit Italy and KVN (kunstverein Neuhausen) historical scholarship. Several examples nature of net art and post-internet art will networked services (www, social media) Stuttgart. She has lectured worldwide where these threats have materialised become even more apparent. in their artistic production as medium or and is currently editing several books will be raised and discussed. channels of distribution are extending of art from in and around the Internet. Alana Kushnir is a freelance curator their practice into other dimensions, Karen Ann is a PhD candidate in Art under The paper will then turn to examining and lawyer. She recently completed the transposing, translating or extending scholarship at Curtin University and her more in-depth case studies of recent net MFA Curating program at Goldsmiths in their relative disciplines. Beyond doctoral research is centered around the art and post- internet art works which London. She also holds a Bachelor of whether this demands a redefinition of networked self-portrait. actively engage with the possibilities and Arts (Art History) and Bachelor of Laws - the disciplines themselves or requires limitations of intellectual property law. each with First Class Honours - from the attributing to these artists the label Email: [email protected] These case studies will include: Rafael University of Melbourne. Her curatorial of interdisciplinary, this paper will Rozendaal’s art website sales contract, practice and research explores the demonstrate that the works being an updated version of the classic The intersections of the law, curating and art produced in post Internet environments ALANA KUSHNIR Artist’s Reserved Rights Transfer and practices influenced by internet culture. and the practices established by net New Age IP Wars: The Battles of Art, Sale Agreement, which was originally Recent curated exhibitions include Open artists are outpacing our taxonomies. Technology and the Law conceived by curator Seth Sieglaub; Curator Studio at Artspace, Sydney and This paper will present the work of an Jeremy Bailey’s commission for the New online at joeyholder.com (2013), Fourth array of artists whose work from in and While this paper will be premised on the Museum’s First Look series, Jeremy Plinth: Contemporary Monument at the around the Internet can serve as case notion that internet technology is part of a Bailey: Famous New Media Art Patent ICA, London (2012- 2013), Paraproduction studies for contemporary interdisciplinary wider discipline of technological science, Office, which creates new hypothetical at Boetzelaer|Nispen Gallery, Amsterdam methodologies as they work in those its focus will be on the internet’s presence patents as a way of satirizing the (2012), TV Dinners at BUS Projects, ephemeral, fleeting, liminal spaces, in the disciplines of art and law. This recent patent lawsuits brought by such Melbourne (2012), Acoustic Mirrors (co- occasionally re-wiring the circuitry that technology is now being used by countless technology companies as Apple, Google curator) at the Zabludowicz Collection, surrounds and contains us. young artists as the subject of their and Samsung; and Artie Vierkant’s works London (2012). In 2013 she will be artistic practice. Currently, their output that are presently being created for his curating an exhibition at the Sherman Karen Ann Donnachie is an artist, is propelling substantial developments upcoming solo exhibition at New Galerie, Contemporary Art Foundation in Sydney.
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She has presented her research in a wide Ry David Bradley is the producer of predigital modes of communication,’ PANEL ZX range of contemporary art publications popular global website PAINTED, as signified by the proliferation of retro ASSESSING INTEGRATIVE and academic journals, including the ETC. (www.paintedetc.com). His work or vintage aesthetics. Limiting her LEARNING IN CREATIVE Journal of Curatorial Studies. investigates painting after the internet. argument to mainstream contemporary INTERDISCIPLINARY The relationship between the image, art, Bishop suggests that, over the last TEACHING ENVIRONMENTS Email: [email protected] its history in painting and the tension 20 years or so, the artworld has shifted between the rarefied gallery object and its its perspective on digital art, from the online velocity is central to his practice. hype about virtuality in the 1990s, to the RY DAVID BRADLEY He won First Prize at the VCA Masters current situation where contemporary CONVENOR Inversion Graduate exhibition as the recipient of artists are more inclined to employ digital DR MELISSA MILES the VCA Athenaeum Club Award (2011), media as discrete tools within their Monash University In 2013 the materiality of art continues The Myer Foundation Award (2011), The installation or sculptural practices. The to undergo a cycle of inversions not JM Kerley Travelling Scholarship (2012) proposed presentation will detail these An increased focus on interdisciplinary only in its production but also in the and is completing an MFA by scholarship issues pertaining to Bishop’s essay, in conversations in the creative arts, where dispersal of its exhibition, cataloguing at the VCA with recent shows at Monash attempt to provoke discussion about the the boundaries between literature, and archiving. With a reflection we have Gallery of Art & Design (The Lies of Light, interdisciplinary nature of contemporary philosophy, history, science, politics, an object and it’s mirror images. With 2013) and a solo exhibition (<3, 2013) at digital art, and its relation to outmoded technology, environmental studies inversion we may have an object and its Nellie Castan Gallery. forms and technologies. and creative practice merge, demands degradations or reversals, particularly new methodologies and practices for as it travels within the network. Each Email: [email protected]. Dr Wes Hill is an art historian and models of assessment in the higher instance of inversion begins to produce au freelance curator and currently a lecturer education sector. This panel focuses on a chain effect where one may enter of Art Theory and Curatorial Studies collaborative event-based assessment into a deep cycle of encounters across at Southern Cross University (SCU), practices in interdisciplinary and creative various platforms and locations. It may DR WES HILL Lismore. I have a PhD in Art History from teaching environments. In 2012 the be entered arbitrarily at any point, but The ‘Outmoded’ in Contemporary Digital the University of Queensland (supervised conveners of this panel were awarded tends to become more apparent the Art by Dr. Rex Butler), and his critical writing funding by the Federal Government’s second time you see something – not has appeared in magazines and journals Office for Learning and Teaching to the first. In a printed world, you may see In a 2012 Artforum essay titled “Digital such as Artforum, Frieze, Broadsheet and evaluate these assessment practices the scanned or photographed copy of the Divide: Whatever Happened to Digital Art and Australia. We Hill has published in the undergraduate elective unit Art object before you see the object. On the Art?” Claire Bishop, the well-known critical writings on digital art in a variety and Social Change. Interdisciplinary by internet, you may find the anonymously art critic and associate professor of art of art journals and magazines, and nature, Art and Social Change addresses authored alteration of this copy in a chain history at the City University of New delivered a paper on the rise of self- the political potential of contemporary of events before ever locating its parental York, asked: ‘While many artists use broadcast aesthetics in contemporary art and design, its role in establishing linkages, if at all. Yet once entered into digital technology, how many really video art at the Pop Culture Association of different paradigms for public discourse each inversion calls upon an array of confront the question of what it means Australian and New Zealand conference and its possibility to function as a pivot associates. How these link back to both to think, see, and filter affect through earlier this year. of critical social thinking. Using the key a semiotic or archetypical state and the the digital?’ Bishop’s essay, which findings of this research, the panel brings modification of affect at each juncture is provoked much criticism from digital art Email: [email protected] together experts to discuss, explore and paramount to understanding the hidden advocates, reflected on contemporary critique the ways in which alternative locations of such instances. culture’s pervasive interest in ‘the assessment techniques can enhance and analog, the archival, the obsolete and improve students’ learning achievements,
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knowledge development, professional However clarity around the goals desired SARAH RAINBIRD educator and has recently been engaged competencies, and the quality of their from interdisciplinary learning, and Designing Interdisciplinary Assessment by MADA to manage the OLT project educational experiences, and establish consequently the models adopted, is Tasks to Facilitate Integrative Learning Rethinking assessment to enhance new connections. variable. interdisciplinary collaborative learning Interdisciplinarity has been described in the creative arts and humanities. She Dr Melissa Miles is a Senior Lecturer This paper will explore a range of as an increasingly important skill, has also worked as a teaching associate in Art History and Theory at Monash interdisciplinary models in order to essential to addressing the complexities at MADA developing and teaching Art University’s Faculty of Art, Design and develop a ‘diagnostic tool’ for considering, of professional working life beyond and Social Change. Prior to this Sarah Architecture (MADA). Her interest in the through case studies, whether the higher education. Accordingly, it is worked at the Australian Centre for interdisciplinary qualities of photography teaching and assessment modes important to develop learning and Photography and subsequently, Gasworks informs her first book, The Burning employed relate to the outcomes desired teaching innovations that meet student Arts Park where in 2006 she received a Mirror: Photography in an Ambivalent of interdisciplinary learning. and employer needs and provide the basis grant from the Australia Council for the Light, and more recently a large project for ongoing personal and professional Arts to produce the publication Harmonic completed with colleagues from MADA Associate Professor Kit Wise is Associate development for students. But how do Tremors, 2009 (and national symposium, and the Faculty of Law on restrictions on Dean (Education) and an Associate we use strong and effective assessment Contention or Consensus). Sarah is also a photography in public space. Melissa’s Professor in Fine Art in the Faculty of design to teach interdisciplinarity, qualified lawyer. research papers have been published in Art Design & Architecture (MADA) at enable students to become more leading international journals including Monash University, Australia. He has interdisciplinary, and advance beyond Email: [email protected] Journal of Visual Culture, Word and led the development interdisciplinary specified learning outcomes? The Image, Photographies, History of education for MADA, as well as actively Federal Government’s Office for Photography, International Journal of Art contributing to the implementation of Learning and Teaching seed project ASSOCIATE PROFESSOR and Design Education, and Law, Culture interdisciplinarity across the university, Rethinking assessment to enhance GRAHAM FORSYTH and the Humanities. and has published research on the interdisciplinary collaborative learning Lessons from the Boundary Riders: topic. He is a member of the Steering in the creative arts and humanities interdisciplinary assessment in art and Email: [email protected] Committee for the Creative Arts Learning tested and evaluated a model for a design and Teaching Network the new peak body collaborative event-based assessment for Creative Arts Education, the Board practice in the interdisciplinary elective The prevalence of interdisciplinary ASSOCIATE PROFESSOR of Deans and Directors of Creative Arts unit Art and Social Change at MADA. practice in art and design and the KIT WISE (DDCA). He has been a voting member This paper will discuss the findings of widespread acceptance that breaking Diagnosing Interdisciplinarity of the ACUADS Council and an external this project and identify, describe and down disciplinary and media barriers examiner for disciplines across Australia. analyse the elements of high quality is a key underpinning of twenty-first Interdisciplinarity is accepted as a key He regularly engages with art schools interdisciplinary assessment practices century practice has changed the strategy of many contemporary creative across nationally and internationally in and pedagogies, such as, inquiry-based expectations of the ways in which artists arts institutions, relevant to both its an advisory capacity on course design and open-ended research practice, that and designers should be educated. A educational and research agendas. It and interdisciplinarity, including LaSalle, can facilitate students’ interdisciplinary variety of inter/multi/trans-disciplinary enables multiple benefits: including Singapore and Massey, New Zealand. thinking/learning by encouraging the models are being implemented in a enriching the student experience and integration of knowledge from a variety of number of institutions. In this context it their real-world problem solving abilities; Email: [email protected] disciplines; ultimately improving students’ is important to recall that contemporary allowing for more complex research professional skills and attributes. pedagogical research emphasises the outcomes; and promoting wider impact of importance of assessment in influencing research / practice beyond the academy. Sarah Rainbird is a freelance writer and student learning and structuring
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curriculum. This paper addresses the Performing Disciplines addresses notions in the School of Art & Design, AUT Klocker, a theory of enigmatic gesturing is question of how it is possible to structure of performance—and the operations of University, New Zealand. From 2003-2013 developed in relation to the contemporary assessment practices both to address performativity—in relation to those of he was Chair of AUT ST Paul St Gallery. performance art of Layne Waerea. I interdisciplinary learning and to facilitate disciplinarity. His art practice involves performance, frame Waerea as the irresponsible it. It will use the recent introduction of a video and sculpture. His theoretical public conjurer for whom the force of partially interdisciplinary first year into John L. Austin’s (1911–60) notion of research stems from the disciplines of art cantation—linked to signs, slogans and the Fine Arts, Media Arts and Design performative speech acts paved the way history, anthropology, and performance gestures in public events (‘Free Queue’, undergraduate degrees at COFA UNSW to for an expansive blossoming of visual arts studies. Key terms that underscore ‘Free Tour’, ‘Silent Injunctions’)—can explore the opportunities and pitfalls of and performance practices that privilege Braddock’s art and writing: absence make anything happen. Like Austin’s interdisciplinary assessment. notions of art as process and as operating and presence of the body, moulds and ‘performative utterance’, Waerea’s Dr Graham Forsyth has been Associate within temporalities of unwitting casts, material trace, labour of making, gestures escape clear categorization. Dean (Academic), responsible for learning participation and so on. This paradigm modes of participation, performance They are temporal and inscrutable. They and teaching strategies and policies at shift is driving much pedagogical and and its documentation, part-object/ form an ‘epistemological slide’ that COFA UNSW, since 2003, prior to that research thinking in art schools and art part-sculpture, animism, contagion, art challenges ideas of artistic, legal and he was Head of the School of Art History history departments around the world. and spirituality, blasphemy. See www. social discipline. and Theory and Presiding Member of the Jon McKenzie describes in Perform christopherbraddock.com. Faculty. In 2009 Graham was awarded a or Else ‘the theory explosion’ from See above for biography. Citation for Outstanding Contribution to the mid 1970s that opens up ways of Email: [email protected] Student Learning by the ALTC and in 2011 negotiating the notion of disciplinarity was awarded the Vice-Chancellor’s Award that is itself performative—a shift from DR DAVID CROSS for Teaching Excellence for contributions disciplinarity to performativity. Hubert DR CHRIS BRADDOCK Level Playing Field: Performing Public to student learning. He was on the Klocker (quoting Vilém Flusser) refers to Layne Waerea—Public Conjurer Art on Shaky Ground organising committee of ConnectED a ‘theory of gestures as the “discipline of International Conference on Design an emerging post-historical future”’. He This paper introduces the Performing Negotiating place in the development Education in 2007 and 2010. Graham describes these theoretical and practical Disciplines session. In the opening of temporary public art commissions is was also joint leader of the ALTC-funded gestures as ‘a possible “discipline” of passages of Roland Barthes’s seminal always fraught with an assortment of Studio Teaching Project. the so-called “new human being”’ While 1977 essay “From Work to Text” he contextual issues. Negotiating place in Flusser employs the term ‘discipline’, his alerts us to the fashionability of the term a city partly destroyed by earthquakes is Email: [email protected] inference is similar to that of McKenzie ‘interdisciplinarity’. Almost apologetically, another matter entirely. In considering where ‘post-historical’ describes a he writes: ‘It is indeed as though the how to develop a public art project in a threshold moment in the face of an interdisciplinarity which is today held up city without residents, without almost half enlarged sense of performativity. as a prime value in research cannot be its buildings and with an uncertainty as to PANEL ZY accomplished by the simple confrontation which locations would be building sites or PERFORMING DISCIPLINES This session is convened under the of specialist branches of knowledge’. For gravel car parks, this paper will examine auspices of the new Art and Performance Barthes, a kind of ‘epistemological slide’ how performance and participatory art Research Group (est. 2012): a doctoral between disciplines creates the text as a practices can operate to re-examine the CONVENOR research group in the School of Art & new object. This paper links a notion of ‘disciplines’ or categorisations of urban ASSOCIATE PROFESSOR Design at AUT University, Auckland. the ‘text’ with John L. Austin’s notion of city spaces. Using the participatory CHRIS BRADDOCK performative speech acts. installation Level Playing Field, Auckland University of Technology Dr Chris Braddock is an artist and commissioned for Scape in September academic. He is Associate Professor of With reference to the writing of Hubert 2013 as the critical touchstone, I will visual arts and Head of Postgraduate 150 151 INTER-DISCIPLINE
outline how reactive fear and instability selected as a New Zealand representative 1984) as a project that commands docility, Félix Guattari (1930-1992) would call ‘a might be re-performed in transformatory at Prague Quadrennial in 2011. His work or coercion that ‘partitions as closely as set of practices’ or ‘experimentation’ experiences. Where unstable ground has Hold was shown at Performance Space possible time, space, and movement.’ that is ‘biological and political’ or Body been a constant reality for the people and in the 2012 Melbourne International Here Harris and Harvey, while performing Without Organs. Such counter-practices of Christchurch who have been forced Festival. With Claire Doherty he co-edited also survey and coerce their audience might create interdisciplinarity or an into negotiating a certain psychological One Day Sculpture and in 2013 edited members, manipulating them spatially, in-between, a sort of ‘alliance’ between mindset of reactive fear, Level Playing Iteration: Again. He is Associate Professor sometimes subtly, sometimes directly. disciplines ‘becoming communicative or Field attempts to recast the reality of a in Fine Arts at Massey University. contagious.’ In performing discipline and moving surface as something pleasurable On another level are disciplines as various eliciting in-discipline, Harris and Harvey to be negotiated and overcome. Email: [email protected] branches of academic instruction or art allow such ‘spaces of dizziness’ and practices that have been specifically ‘generative thought’ to be activated. In seeking to identify and interrogate how and historically constructed. These socially engaged modes of performance VICTORIA WYNNE-JONES disciplines can be negotiated or Victoria Wynne-Jones is a doctoral provoke threshold moments in the face of A Space of Dizziness: New Zealand explored so that interdisciplinarity or candidate in the Art History department of a city experiencing accelerated transition, artists Brent Harris and Mark Harvey a wilful crossing between branches the University of Auckland. She maintains I will examine how participatory Performing Choreography can be performed. Harris and Harvey’s her own curatorial and writing practices environments can operate as a mode practices commingle and confuse the and her research interests include that draws together both playful and Auckland-based artists Brent Harris and disciplines of performance art and contemporary art theory, installation, provocative gestures. Indeed it is this Mark Harvey use performance as a way choreography, occupying a territory continental philosophy, feminism and potentially incongruous combination of to in fact choreograph their spectators. French philosopher Gaston Bachelard intersections between dance theory and pleasure and fear that allows for a highly Though trained in contemporary (1884-1962) might refer to as a “space contemporary art. engaged public negotiation of unstable dance both artists prefer to situate of dizziness.” This generative space of territories to be performed and potentially their practices within the discipline of thought created by situated instances of Email: [email protected] reconfigured. By working to break down performance art. However in various performance enables an interrogation and the innate disciplinary strictures of recent works Harris and Harvey engage in destabilisation of underlying concerns public space through performance, this choreography as a manipulative strategy shared by both choreography and DR JONATHAN W. MARSHALL paper will highlight how the re-writing in order to control or manoeuvre their performance art. Dramaturgy as Political Pathosformel: of Christchurch offers new possibilities audience members. Performing the work of Montage for trans-disciplinary practices to drive a Dynamic and interpersonal, the situations different, more fluid, understanding and The title of this session evokes the created by Harris and Harvey activate The author, critic and theatre maker experience of the urban sphere. performative as posited by British possibilities and agency for the audience Bertolt Brecht is an archetypal philosopher J. L. Austin (1911-1960) in members participating in them. Both figure for modernist practice in part Dr David Cross is an artist, writer relation to concepts of discipline and artists may be said to encourage what because his approach to dramaturgy and curator based in Wellington, New although Austin’s performative involves Foucault has called technologies of the (the construction and analysis of Zealand. His practice extends across utterances that ‘do’ something or are self or ‘operations that permit individuals theatrical material) constituted a form performance, installation, sculpture, part of action (rather than referencing, to effect by their own means... a certain of performative montage. Amongst public art and video examining ideas of reporting or describing) - the notion number of operations on their own the many characteristics which might risk, pleasure and participation often of disciplines is more ambiguous. This bodies... conduct and way of being so as define cultural modernity, division, utilizing inflatable structures. He has ambiguity is fruitful; on one level the term to transform themselves.’ Harris, Harvey fragmentation—and hence cultural performed in international live art discipline evokes the notion described by and their audience members enact what practice through the arrangement of festivals in Poland, Croatia and was French theorist Michel Foucault (1926- Deleuze, in tandem with psychoanalyst fragments, precedents, and possibilities
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(montage)—can be found amongst a Richard Gough) will also be considered, RUTH MYERS the medical/scientific visual apparatus. wide range of artists and critics. From sketching the performative relations Technologies of Early Film and Thus, desires to reveal and ‘know’ unseen Walter Benjamin to Aby Warburg, Sergei which might be established between Interdisciplinary Performances parts of bodily processes are explored. Eisenstein to Siegfried Kracauer, the Warburg’s dancing nymph from the These include the early physiological dynamic interplay of disparate elements Classical tradition, to Helene Weigel’s Kiss, sneeze, dance, flirt, fight—some material in Thomas Edison’s 1894 within a nominally unified visual or portrayal of Mother Courage as one of the bodily displays performed Kenetoscopic record of a sneeze as well rhetorical field serves as a strategy physically divided by the constraints of directly for the lens in late-nineteenth- as his disturbing 1903 Electrocution of an for the generation of art and engaged history (an “irresolvable composite”, in century and early-twentieth-century elephant. criticism. For Brecht and others, montage Warburg’s words), from Grüber’s open- popular film. This paper explores how acts to translate dialectic commentary ended staging of theatrical montage, performance in early film, and film’s This paper will explore contemporary into visual and scenographic form. The through to collapse of progress and technical apparatuses, challenges the artists, including my own practice. As space of art becomes a theatre within modernity in Caspar David Friedrich’s disciplinary regulation of gender, sexual such, it locates cinematic performance which partial elements and motifs are shattered image of The Sea of Ice. codes and decency. Whether to titillate in an interdisciplinary shift across early rearranged to generate new kinds of Through these strategies of dramaturgical or amuse, educate or inform, these film conventions and contemporary knowledge and experience. Dramaturgy montage we might perform a historicist self-conscious performances share an performance and media arts. How as dialectic montage performs its critique which accords with Brecht’s overt address of the lens; an explicit does the apparatus of the kinetoscope own critical practice, making manifest exhortation: “The dislocation of the world: exploration of technological mechanisms draw attention to our own politicised within its very structures of enunciation that is the subject of art.” with a direct address of an audience. In performances? those disturbances and interpretive this way the complexities and politics possibilities which it enacts (what Brecht Dr Jonathan W. Marshall is an of viewing, and being viewed, within the Ruth Myers is a doctoral candidate in the called gestus). Dramaturgical montage interdisciplinary scholar with a larger frameworks of leisure, work and School of Art & Design at the Auckland therefore has applicability beyond background in history. He teaches theatre amusement are explored. With a focus on University of Technology. She is a lecturer theatre, and can be directed at cultural and performance at the University of film loops presented via the kinetoscope— at the Southern Institute of Technology in practice as a whole—what one might Otago, New Zealand. Marshall has an individual peephole viewing device Invercargill, New Zealand. Her research characterise, to paraphrase Rosalind published on the connection of Kleist’s often deployed in arcades and preceding focuses on performance and media arts Krauss, as performance in the expanded work to the history of medicine (Fischer cinematic projection—this paper locates with a strong interest in historical film field. Indeed, dramaturgy might best be and Mehigan, eds, ‘Kleist and Modernity’, observer and observed within political practices and feminist theories of gender defined asa performative way of thinking 2011), the relationship of contemporary complexities of performing self and and sexual identity. Her PhD project about art and society, instead of simply photography to theatre and global other. Michael Foucault’s production questions intersections of identification as a methodology for the combination of capitalism (‘Double Dialogues’, Vol. 14, of manageable subjects in Modernity, and performativity via video and reflexive elements within a performance. With this 2011), dance and photography (‘About via a policy of the body, suggests that body performance. in mind, I argue from precedents within Performance’, Vol. 8, 2008), butoh and early cinematic performances involved iconography and visual culture—drawing European Modernism (‘TDR’, Winter an accumulation of knowledge and Email: [email protected] particularly on Georges Didi-Huberman’s 2013), and other topics. assessments of ‘normality’. In this vain, reworking of Aby Warburg’s concept of Jonathan Crary locates the ‘visual’ within the Pathosformel in the Mnemosyne Email: [email protected] relations between the body and operation Atlas—to offer an iconographic model of social power. Furthermore, as Lisa PANEL ZZ of dramaturgical practice. The work of Cartwright points out, body displays THE COLLABORATIVE performance makers who draw on the within kinetoscope films can often share PERFORMANCE PARADIGM - history of visual arts (Brecht, Eisenstein, a disciplinary regulation and surveillance Eugenio Barba, Klaus Michel Grüber, similar to material produced through WHERE IS THE ARTIST?
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CONVENOR including: Museum of Contemporary expected to be tolerant, co-operative recent Australia artworks. Please leave SARAH RODIGARI Art, (Australia), Melbourne International towards free aesthetic expression, and these windows open overnight to enable University of Wollongong Arts Festival, South Project (Yogyakarta), are made vulnerable by the trust that the fans to draw in cool air during the PACT Zollverein (Germany), Shunt (UK), supports their tolerance. This implicit early hours of the morning (2010), by This panel will address the rise of Centre for Contemporary Art Glasgow, pact is made upon entry to the gallery Bianca Hester included a horse called performance in contemporary art and the The National Review of Live Art (UK), space, a discretionary act that proffers Moose as one of several performers, collaborative nature of this work. Since Anti-Contemporary Arts Festival consent towards the artist for whatsoever and in Gruffling (2009) by Lucas Ihlein, the advent of the solo performance artist (Finland). Sarah has a BA (Hons) in the audience might be exposed to. Bob, a goat, was the central focus of the in the 1970s the notion of performance Sociology (UNSW) Masters in Fine Art This paper examines the reception of performance. These artworks are united has continued to evolve beyond the (RMIT) and is a PhD candidate in Creative delegated participatory performances by their use of language in the form of use of the artists own body as the Arts at the University of Wollongong. that expose spectators as complicit to instructions and textual documentation in sole medium. A recent example is the She has recently published a chapter on performative actions invoking cruelty, order to build a discursive site that is both exhibition 13 Rooms in which twelve performance art, and transformation for which test human behaviour at the the form and outcome of the work. My of the thirteen artists outsourced the the Royal Geographic Society and lectures interface of art and ethics and in doing paper will explore the tensions in using labour of their performances. When an at the University of Wollongong and so, disturb audience trust. The selected language in animal-centric artworks artist is no longer the central agent of Sydney University. works reveal a catalogue of cruelty; as this highlights the limits of humans’ their own work, but operates through a from the maliciously insensitive to the ability to communicate with them. range of individuals, communities and Email: [email protected] torturous: psychological experimentation, Thus, artists interested in discursive surrogatese, questions of authorship, administrative degradation, labour- works might use animal participants to ethics, labour and representation come related humiliation, and punishment. self-reflexively problematise their own to the fore. This panel invites speakers to JENNIFER KALIONIS position and resist the notion that they address the complexities of collaborative Tryst: delegated performance and the Jennifer Kalionis is a PhD candidate and are able to represent others. Animal performance, in the expanded field of audience as accomplice tutor at the University of Adelaide, and a performers heighten the question of contemporary art practice from different freelance arts writer. She has previously ‘good’ collaborative models as animals’ perspectives; art history, performance This paper focuses on delegated been the Director at Adelaide Central subjectivity is effectively an uncertain studies, museum curatorship and performances that posit the spectator Gallery and the Manager Community Arts human speculation. My paper I will focus activism. as an accomplice and exploit their and Culture at City of Prospect, South on how the artists frame the performative instinctive (dis)trust in art. It will examine Australia. experience, creating multi-layered Sarah Rodigari’s artwork resides in the a formulation of the concept of ‘trust’ complex meanings for, and with, the relationship between artist and audience in terms of reception theory, in relation Email: [email protected] audience, while resisting the impulse to that calls into question the limits of to the specific circumstances of works interpret the animal’s presence. artistic practice. Through this Rodigari of art that exploit the vulnerability of addresses notions of power pertaining the audience and bring attention to a DR RAQUEL ORMELLA Dr. Raquel Ormella is an artist and to socio-political engagement, shared tacit understanding of spectatorship. Performing Openness: Two recent academic based at the School of Art, authorship and institutional critique. Relationships of trust between spectator, Australian artworks with animal ANU. Her recently completed PhD The form of her work is responsive and artist, and work of art are intermittently performers examined human relationships with context specific. It has been presented constructed, eclipsed, and refashioned urban birds. She has been exhibiting as lecture, speech, duration, dialogue, throughout art history informed by This paper will consider how we might regularly in national and international narrative and podcast. Rodigari has peripheral entities such as museums, think about artistic authorship when it is exhibitions for over a decade. Recent shown work nationally and internationally critics, and theorists. Audiences are shared with animals performers in two exhibitions include: The 1st Californian
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Pacific Triennial, Orange County Museum they need to and use what they must reality. Some such performances, often of Art, USA, and Direct Democracy tying together elements of time, live unwittingly, employ participation as a MUMA, Melbourne, 2013 and the 8th performance, dialogue, text, object strategy and yet don’t manage to move Shanghai Biennial, China, 2012, the 1st making, drawing, installation, and beyond the conventional logic of a ‘direct Aichi Triennale, Nagoya, Japan and In sometimes technology. As a writer, transmission’ from artist to audience. the balance, MCA, Sydney, 2010; Making educator and founding member of Live it new, MCA, Sydney, 2009; Revolutions: Art advocacy collective Field Theory Drawing on the work of Jacques Rancière forms that turn, Biennale of Sydney, and he is an ardent supporter of work that and his theory of power inequality within The ecologies project, MUMA, Melbourne, crosses disciplines and contexts and performance, this paper will examine 2008. seeks new languages and strategies for recent participatory works, including intervening in the public sphere. Jason’s Boni Cairncross’ You must follow me Email: [email protected] recent projects include Fuguestate, a carefully (2012) and Brian Fuata’s Call musical collaboration with a Melbourne and Response (Changing Title: 2010 chapter of Freemasons and Physician, to now), to prompt considerations of JASON MALING an institutional treatment program for how participatory performances are Full disclosure? cultural anxiety that premiered at the constructed, framed and experienced. Museum of Contemporary Art, Sydney in As such, this paper asks can we re- How and why a participant enters the play 2012. frame such artist-audience relationships zone of a work can determine the tone from one of participation to one of of their actions and subsequently define Website: http://www.jasonmaling.com collaboration? If so, what are the roles WESTERN ART AND the form and content of an experience. Email: [email protected] and responsibilities of both artist THE WIDER WORLD What is the ethical relationship between and audience and what would be the explores the evolving relationship an artist’s desire to successfully shape or subsequent impact on our notion of between the Western canon of art, as it facilitate a work and their responsibility BONI CAIRNCROSS authorship? has developed since the Renaissance, to inform a participant of that work’s Rethinking Participation: The Artist- and the art and culture of the Islamic intentions? Audience Collaboration Boni Cairncross’ interdisciplinary practice is an ongoing exploration into world, the Far East, Australasia, Africa Using three examples of past public The mid-twentieth century saw the methods of framing and capturing and the Americas. projects that employ different strategies proliferation of performance practices ‘experience’ in a contemporary of entry, The artist will discuss the in the field of visual arts. Performance’s art context. Primarily informed by By Paul Wood conceptual reasoning behind the conflation of creation and reception performance, installation and textile art Keynote speaker at the invitation process and consider how the offered an opportunity to question the practices, she is currently investigating 2013 AAANZ Conference, work ‘played out’ with regard to ethical notion of authorship and to re-imagine the notion of ‘intersensoriality’ and the Melbourne Dec 7 - 9, 2013 issues revealed through participant’s in the artist-audience relationship. relationship between individual and game choices and out game reflections. Participatory performance, in particular, shared experiences. Boni is a currently AU$37.95 | 9781444333923 was often seen as a more egalitarian undertaking a PhD in Theatre and Pbk | 320 pages | Jan 2014 Jason Maling is an artist and facilitator experience based on a two-way dialogue. Performance Studies at the University whose work explores individual and However, frequently the audience finds of New South Wales and is employed Order your copy of this insightful new collective expressions of play through themselves participating within tightly as a sessional lecturer in textiles at the book today from your local bookseller processes of public invitation, exchange constructed situations, where exchange University of Wollongong. or online at www.wiley.com and quote and negotiation. Projects happen where exists simply as a gesture rather than DDS13 for a 20% discount. Email: [email protected] 158 159 INTER-DISCIPLINE
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Art Association of Australia and New Zealand (AAANZ) Rm 225, Lvl 2, Fisher Stack F04 The University of Sydney NSW 2006 Australia
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Front cover (detail) and title page: Bianca Hester a world fully accessible by no living being, 2011 A three-part project including an architectural construction at Federation Square, a broadsheet distributed freely (2000 copies), and a series of propositions performed over a two-week period in November 2011. Image detail: cinder block wall, Saturday November 19th, 2011. Photo: Bianca Hester
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