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Scott Redford, Jackie Redgate, Robert Rooney, David Rosetzky, Slave (A Slave Project Organised by Nick Selenitsch, Rob Mckenzie, Christopher L

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Scott Redford, Jackie Redgate, Robert Rooney, David Rosetzky, Slave (A Slave Project Organised by Nick Selenitsch, Rob Mckenzie, Christopher L 2006 Adelaide Biennial of Australian Art: 21st Century Modern 4 March – 7 May 2006 Education Pack INTRODUCTION TO THE EXHIBITION The Adelaide Biennial of Australian Art was first staged at the Art Gallery of South Australia in 1990. The Biennial has a very important place in the contemporary visual arts calendar in Australia, providing regular surveys of current Australian art practice. Each of the nine Biennials (staged over sixteen years) has had a different curator who has brought an original and different perspective highlighting new and exciting trends of contemporary art practice in Australia. The 2006 Adelaide Biennial of Australian Art: 21st Century Modern, curated by Linda Michael, is a selective cross-section of contemporary art practice, highlighting several generations of artists whose work is influenced by modernism. Artists respond to the collaborative, experimental or utopian spirit of modern art movements, give a digital twist to modern forms, pay homage to modern artists, and revive their childhood encounters with modern design across its multidisciplinary forms. “In 2006 the Biennial recognises the continuing importance of modern art to contemporary artists, whether for its inventiveness, utopian spirit, or formal qualities. The exhibition shows a shift away from the melancholic or critical approach to modernist art history that was common in art of the 1980s and 1990s”, says Linda Michael, curator for the 2006 Adelaide Biennial of Australian Art. Artists participating: Brook Andrew, James Angus, Frank Bauer, Janet Burchill & Jennifer McCamley, Debra Dawes, Domenico de Clario, A. D. S. Donaldson, Gareth Donnelly, Diena Georgetti, Shane Haseman, Raafat Ishak, Narelle Jubelin, Anne-Marie May, John Meade, Arlo Mountford, Vanila Netto, John Nixon, Rose Nolan, Robert Owen, An- drew Petrusevics, Scott Redford, Jackie Redgate, Robert Rooney, David Rosetzky, Slave (A Slave Project organised by Nick Selenitsch, Rob McKenzie, Christopher L. G. Hill and Kain Picken, with contributions from Lizzy Newman, Mikala Dwyer and Grant Stevens), Daniel von Sturmer and Anne Wallace. 21st Century Modern 2006 Adelaide Biennial of Australian Art—Education Pack Page 1 of 24 VISITING THE EXHIBITION Please book in advance through Education Bookings on 8207 7033 to ensure your students maximise their viewing of the exhibition. If you would like to use the rear lawn area to have lunch, or use locker spaces, please indicate when you book your group. There is also a space available with shaded seating behind the Museum. The popularity of the Adelaide Biennial exhibition often means the exhibition space is busy, preventing its use as a lecture space. If possible, brief your students with tasks and expectations before they visit the exhibition, and if you have a large group, we suggest that you divide into smaller groups. HOW TO USE THIS PACK AND STRUCTURE YOUR VISIT The aim of this pack is to provide an introduction to the exhibition and information about several works on display, as well as themes and issues to consider and discuss. It also suggests ways of looking at contemporary art. This pack can assist with pre-visit preparation, as information for self-guided tours, and to develop post-visit activities. It is recommended that teachers adapt the education pack to suit their students’ needs, or to integrate areas of this resource into existing classroom units of study. Words in bold are defined in the glossary. EXPLORING THROUGH QUESTIONING One way to explore the exhibition would be to have a general look through, and then to focus on a selection of works, which may include those contained in this education pack. The works in this exhibition are primarily visual objects so being able to describe accurately what you are looking at is important. In doing this you will use words which enable others to know what you are thinking. What you see and what you think matters. Forget for a moment whether or not the works make sense. Try to respond to the works in terms of what you see and how you connect with them. Additional information and research will help you identify some broader art/social contexts. Right now, your first impressions matter. SCHOOL CHECKLIST Here are a few guidelines to assist your planning for the visit. Please check them out before the day of your visit as some items involve briefing students and other staff/helpers. Safe behaviour Two things to emphasize with students: • Don’t touch or stand too near works • Move slowly and carefully at all times Bag storage Bag storage is limited. Don’t bring bags unless necessary. The bag store is located next to the Information / Visit Registration Desk. This room is locked but for additional security advise students to retain small valuables (e.g. money, phones). Adults with large bags (e.g. back packs) will need to deposit these with security at the Cloak Desk (next to the Information Desk). Retain and carry medical packs as required or leave for ready access at the Cloak Desk. Scribing/drawing - Bring pencils (not biros/pens) and clip boards Photography inside the Gallery is not permitted Enter the Gallery via the West Wing (round doors) – not the North Terrace entrance Register your group on arrival at the Information Desk 21st Century Modern Wheelchair access is available throughout the Gallery 2006 Adelaide Biennial of AustralianAustraian Art—EducationArt—Education PackPack PagePage 21 ofof 24 1 FIRST IMPRESSIONS OF THE EXHIBITION What are your first impressions of this year’s Adelaide Biennial of Australian Art: 21st Century Modern? What do these selected artists seem to be interested in? (Students could make a list) Do any of the artists share any common interests and/or themes? QUESTIONS TO ASK WHEN LOOKING AT INDIVIDUAL WORKS FIRST IMPRESSIONS? • What was your first reaction to the work? Can you think of any reasons for that reaction? • What did you notice first? • Does the work connect at all with your way of thinking or with past memories? If so, how? • Did you find that others held similar or different views to you, about the work? What were these views? • What do you think the artist wants to communicate? WHAT CAN YOU SEE? • What materials and processes has the artist used to make the work? • What is the work? (Is it a sculpture, film / video, photograph, painting, installation, design object or a combination of these or, perhaps, something else?) • Does this work have an unusual design, layout or composition? Can you describe or sketch this? • What size or dimension is the work? WHAT IS IT ABOUT? (Subject and Meaning) • Is the work about a subject, issue or theme? • Could the work have a symbolic, moral or political meaning? • Does it encourage you to think about aspects of life or art in a new way? • What information is available in the Gallery? (e.g. wall text or caption) Does this information influence or change the way you see the work? WHAT INFLUENCES HAVE SHAPED THE WORK? (Art in context: The making and meaning of a work) • Do you think that the artist’s background can tell us about why or how it was created? (Have a look at the individual artist pages in this education pack.) • What questions would you ask the artist about this work, if they were here? • Does the work link to other works made by the artist in this exhibition? (Research other works created by artist’s that you connect with from this exhibition.) • How does this artists work link to that of other modern artists? Who are they, and what are the similarities? • What , if anything, does the work show us about the idea of valuing the influences of others? • What have critics, curators and / or writers said about this artist and their work? (See artist pages in this education pack and make a collection of the wide range of reviews and press coverage made prior to, and during the exhibition.) • Does this work link or comment on contemporary social, cultural and political issues such as consumerism, materialism, globalisation and design? Explain how the artist communicates this. • Is there a connection between the materials, the way they have been used, and the artist’s meaning? 21st Century Modern 2006 Adelaide Biennial of Australian Art—Education Pack Page 3 of 24 Peace, The Man and Hope 2005 2005 Hope Man and The Peace, Biography century European propaganda art, and objects of consumer desire – including Born in 1970, Sydney. packs of Japanese cigarettes with the Lives in Melbourne. names Hope, Peace and Frontier – words 1993 Bachelor of Visual Arts, University of that suggest an aspiration for freedom Western Sydney and change, wryly re-presented by 1998 Master of Fine Arts, University of Andrew as appropriated brand-logos. New South Wales, Sydney These works are brightly coloured, graphically intense, presenting an Selected Solo Exhibitions ambiguous take on consumerism 2005 Greenaway Art Gallery, Adelaide; through the engaging veneer of Pop-Art Stills Gallery, Sydney; Gallery Gabrielle style imagery. Pizzi, Melbourne 2004 Stills Gallery, Sydney; Gallery Artist works Gabrielle Pizzi, Melbourne 2003 Greenaway Art Gallery, Adelaide; Peace, The Man and Hope 2005 International Perspectives on Peace and screen-print collage, triptych Reconciliation University of Melbourne Kalmadain/Composer 2005 2002 Republic Tower Visible Art screen-print collages, silver and gold gun Foundation, Melbourne edition with Swarovski crystals, blue and 2001 Experimental Art Foundation, red gun edition with Swarovski crystals Adelaide; Artspace, Sydney; Sanskriti Kendra, Dehli, India Against all Odds 2005 screen-print collages with variations Selected Group Exhibitions 2005 Black on White Centre for Blackblack 2005 Contemporary Photography, Melbourne screen-print collages, above works The Butterfly Effect Australian Museum, printed by Brook Andrew & Larry Rawling Sydney Untitled 2005 C’town Bling Campbelltown Arts Centre, wood, bicycle parts, Fabricated by Marley Sydney Dawson, Sponsored by a Sydney College Colour Power National Gallery of of the Arts residency, 2005 Victoria, Melbourne SHIMA—SISTERS Fujieda City Museum, Untitled 2005 Japan; Penrith Regional Gallery and wood, steel, Fabricated by Shaun Kirby.
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