BACKFLIP: Feminism and Humour in Contemporary Art
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Feminist Perspectives on Curating
Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism. -
Identity, Gender, and Belonging In
UNIVERSITY OF DUBLIN, TRINITY COLLEGE Explorations of “an alien past”: Identity, Gender, and Belonging in the Short Fiction of Mavis Gallant, Alice Munro, and Margaret Atwood A Thesis submitted to the School of English at the University of Dublin, Trinity College, in fulfilment of the requirements for the Degree of Doctor of Philosophy Kate Smyth 2019 Declaration I declare that this thesis has not been submitted as an exercise for a degree at this or any other university and it is entirely my own work. I agree to deposit this thesis in the University’s open access institutional repository or allow the library to do so on my behalf, subject to Irish Copyright Legislation and Trinity College Library conditions of use and acknowledgement. ______________________________ Kate Smyth i Table of Contents Summary .......................................................................................................................................... iii Acknowledgements ...................................................................................................................... iv List of Abbreviations ..................................................................................................................................... v Introduction ..................................................................................................................................... 1 Part I: Mavis Gallant Chapter 1: “At Home” and “Abroad”: Exile in Mavis Gallant’s Canadian and Paris Stories ................ 28 Chapter 2: “Subversive Possibilities”: -
Mfa Title Page
Puppy Love: Understanding Identity and Emotion Through the Dog/Human Bond Jaya Deva Fausch Submitted in partial fulfilment of the requirements of the degree of M. FINE ARTS (Visual Art) (by Research) November 2014 School of Art Faculty Of The Victorian College Of The Arts And The Melbourne Conservatorium Of Music The University of Melbourne Abstract The central research focus is an exploration of identity, my childhood and my mother, told through the story of Irma-Dream, my dog. It examines the symbiotic relationship between dogs and humans; the banality and comforts of home life; and the ubiquity of amateur aesthetics. The works are informed by photography, with varying manifestations including photographic books, videos and images brought together in installation. The studio practice is contextualised with reference to contemporary artists and contemporary research. 2 Declaration This is to certify that (i) the thesis comprises only my original work towards the masters (ii) due acknowledgement has been made in the text to all other material used (iii) the thesis is 10,949 words In length, exclusive of tables, maps, bibliographies and appendices ………………………………………………….. (Jaya Deva Fausch) 3 Acknowledgements My most sincere thanks to my supervisor Cate Consandine. Your intelligence, talent and support has been a god send. Thank you to Stephen Haley and all the great staff at the VCA. Thank you to my Meredith Fuller, Brian Walsh and Atticus, Steph Hodson and Barry and all my family and friends. I would also like to express my deepest gratitude to Cienna Turpie. Your patience, understanding, quick wit and academic genius has been a life saver. -
Annual Report 2015
Artspace ARTSPACE Annual Report 2015 Prepared by Artspace Annual Report 2015 P.1 Artspace TABLE OF CONTENTS MISSION EVER CHANGING, EVER CHALLENGING 2015 Overview & Highlights 6 Artspace is Australiaí s leading interdisciplinary Expanded Artistic Program space for the production and presentation Exhibitions (including Volume 2015 | Another Art Book Fair) 10 of contemporary art. Through exhibitions, Ideas Platform 20 performances, artist residencies, and public International Partnerships & Commissioned work 32 programs, Artspace is where artists of all National and Regional Touring 34 Public Programs 36 generations test new ideas and shape public Studios 42 conversation. Committed to experimentation, Publishing 58 collaboration and advocacy, Artspaceí s mission Performance Against Goals 60 is to enhance our culture through a deeper Key Performance Indicators 76 engagement with contemporary art. Artspace Directors & Staff 80 ABOUT US Artspace Partners & Supporters 82 Artspace is an independent contemporary art space that receives public funding for its activities through the federal government through the Australia Council for the Arts and the state government through Arts NSW, and is also supported though benefaction and partnerships. ACKNOWLEDGEMENT We show our respect and acknowledge the traditional owners of the land, the Gadigal people of the Eora Nation. We pay our respects to their Elders past and present and their descendants. Cover image: Emily Floyd, Art as a Verb, 2015, installation view, Artspace, Sydney. Photo: Zan Wimberley -
Curating in Feminist Thought
ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism. A Feminist Perspective The Six Enemies of Greatness on Independent and Co-Dependent Curating Video programme compiled Elke Krasny by Susanne Clausen and Dorothee Richter 108 27 Performing Feminism ‘Badly’: Slapping Scenes Hotham Street Ladies and Brown Council Susanne Clausen Laura Castagnini 29 116 Feminism Meets the Big Exhibition: Taking Care: Feminist Curatorial Pasts, -
2018 January February March April May June July August September
04 HAMSTERAN AOTEAROA REVIEW ANTHOLOGY TĀMAKI-MAKAURAU 2018 AUCKLAND KIRIKIRIROA JANUARY HAMILTON TE WHANGANUI-A-TARA FEBRUARY WELLINGTON ŌTAUTAHI MARCH CHRISTCHURCH ŌTEPOTI APRIL DUNEDIN WAIHŌPAI MAY INVERCARGILL JUNE There are 52 weeks in a (Gregorian calendar) year. With 52 reviews, from contributors spread across Te Ika-a-Māui and Te Wai Pounamu, HAMSTER’s Aotearoa Review Anthology Issue challenges the lack of representation of contemporary artforms in established JULY mainstream media. Though short—between 500-600 words—these reviews present nuanced, contextualised opinions on contemporary creative practices and institutional AUGUST activity from writers active in the local contexts they comment on. There is no desire for objective judgement or distance here, only the constant interaction of friends and strangers, ideas and objects, divergent experiences, SEPTEMBER and shared practices. Considering books and zines, visual art, dance, theatre, a symposium, comedy, performance, websites, vandalism, soul records, and punk gigs, the writers in HAMSTER 4 speak to ideas and artists they relate to, OCTOBER and rail against. Readers can also browse the Anthology through the concise ‘For Fans Of (FFO)’ line to find spaces and artists active in Aotearoa to look out for in 2019. NOVEMBER No more nibbling. We hope you find something to sink your chompers into this year. DECEMBER HAMSTER 04 Serene Velocity in Practice: Stevenson’s work highlights parallels between Thiel and Wimber’s classes. Both courses were taught in California MC510/CS183, 2017 and have a mass following spurred by best-selling books based on the course content and both have reached Michael Stevenson New Zealand: Wimber bringing the evangelical Vineyard Auckland Art Gallery Toi o Tāmaki Church to New Zealand, and Thiel controversially acquiring citizenship after spending twelve days in 12 November 2017 - 6 February 2018 New Zealand. -
Sounding Subjectivity: Music, Gender, and Intimacy
Sounding Subjectivity: Music, Gender, and Intimacy DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Lindsay Marie Bernhagen Graduate Program in Comparative Studies The Ohio State University 2013 Dissertation Committee: Professor Barry Shank, Advisor Professor Mary E. Thomas Professor Maurice E. Stevens Copyright by Lindsay Marie Bernhagen 2013 Abstract This dissertation centers on the role of musical experience in the production and maintenance of intimate, interpersonal relationships. Music acquires meaning in its ability to enable and amplify personal relationships among participants who share musical experience—not only through the semiotic decoding of lyrics and musical sounds that characterizes much music scholarship. Because there is scant language available for describing musical experience without reference to non-sonic elements such as lyrics, communal identity, or performers’ personae, this research relies on textual and ethnographic methods to examine how human experiences of musical sound are understood via racialized and gendered discourses of embodiment, intimacy, pleasure, and danger. Specifically, this project consists of textual analyses of music censorship discourse and ethnographic analyses of female musicians and listeners who seek out shared musical experiences in explicitly gendered contexts including a feminist punk movement, a girls’ rock music camp, and a long-standing women’s music festival. The introductory chapter offers an overview of the scholarship and theory that has influenced this project and sets up the theoretical framework I have developed through my own research. To establish the stakes of this project, the second chapter focuses on discourses of musical danger to reveal ii a persistent and anxious fascination with music’s relationship to the body and intimacy in the American imagination. -
Pink Pink 04 Feb - 08 Mar 2021
PINK PINK 04 FEB - 08 MAR 2021 A hue where feminine and feminism collide. Featuring artwork by Anastasia Klose, Tracey Lamb, Lola-Mae Pink, Maja Malou Lyse & Arvida Byström, Honey Long & Prue Stent, Jessie Adams and curated by Caroline Esbenshade. Presented in the lead-up to International Women’s Day this exhibition explores the use of pink and other feminine motifs in creative practice by women. Once maligned for being girly and diminutive, pink is reclaimed and presented in hues ranging from hot pink to millennial with works exploring the social, biological and performative intersections of the colour in practice. Intended as a platform for dialogue, PINK explores where the combination of second wave feminism and neo-liberal feminism has brought womxn artists today. Covering a range of mediums and approaches the pieces in this show present a variety of creative practices and approaches to feminist narratives, each using pink as an element to strengthen their work, not minimise it. Wyndham Art Gallery Great Art. Deep West. Image (Left) : Honey Long & Prue Stent -Venus Milk - 2015 - image courtesy of the artists and Arc One Gallery Image (Cover) : Anastasia Klose - Miss Spring 1883 (detail of dress) - 2016 at the time that lockdown would be everyone’s chance to finish writing that novel they never started, but also PINK an honest look at how a pandemic increases the gaps Curator’s Note by and inequalities including social and economic. Looking to past health crises she reflected on how Caroline Esbenshade coronavirus would roll back the clock on feminism, not just placing women back in the kitchen and increasing the phenomenon of the “second shift” but also trigger an increase in domestic violence.1 Last year, in 2020, I was working at an It made me consider not only where we were heading International Women’s Day event and saw – straight into a pandemic, but what ground recently first-hand the impact COVID-19 was already gained could be lost. -
Download Projected to an Appreciative Local Audience
© The contributors 2007. This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part may be reproduced by any process without written permission. Enquiries should be directed to the publisher. Published by VIA-N — the Victorian Initiatives of Artists Network [email protected] www.via-n.org The views expressed in this publication do not necessarily represent those of the editor, publishers, or funding partners. Printed in Australia. ISBN 978-0-9803554-0-6 Editor: Din Heagney Designer: Brad Haylock Editorial Committee: Brad Haylock, Din Heagney, Brett Jones, Sophie Knezic, Emma McRae, Claire Mooney Prepress & Printing: BPA Print Group Typeset in TheSerif, Lubalin Graph and Courier New. acknowledgements The Australia Council and Arts Victoria, for financially supporting Making Space through the Visual Arts and Crafts Strategy. Thanks in particular to Billy Crawford (Australia Council) and Stuart Koop (Arts Victoria) — who saw the opportunity to present an event celebrating the work of Victorian ARIs, with an ambitious accompanying publication. Further thanks to Lainie Kluska, Peng Foong and Kate Warren for their work at Arts Victoria on Making Space. Din Heagney, the managing editor of the Making Space program and publication. Brad Haylock, the designer of the Making Space project logo, program and publication. The Making Space editorial committee, who volunteered their time and knowledge on many nights after work to see this project happen: Brett Jones and Brad Haylock (West Space), Din Heagney (Platform), Emma McRae (Seventh), and particularly Claire Mooney (bus) and Sophie Knezic (Kings) who chased down interviews with many of the artists who established artist-run spaces in the past. -
'Creative Dystocia': Exhibiting the Relationship Between
Feminist Encounters: A Journal of Critical Studies in Culture and Politics, 3(1-2), 05 ISSN: 2542-4920 Curating ‘Creative Dystocia’: Exhibiting the Relationship between Artists, Identity and Motherhood in Twenty-first Century Australian Art Courtney Pedersen 1*, Rachael Haynes 1 Published: September 10, 2019 ABSTRACT The past five years have seen a reinvigoration of debate regarding the significance and impact of motherhood on artists’ careers, suggesting that this remains unfinished business for feminism and feminist researchers. Such conversation reflects an ambivalent and ambiguous relationship between motherhood, art and creative identity. While a number of artist-driven initiatives tackling these ongoing concerns have emerged in the United Kingdom and United States, responses in Australia have been less clearly defined. Suspicious of essentialist arguments regarding the maternal in second wave feminist art, contemporary artists are just as likely to address motherhood as an industrial issue as a philosophical position or symbolic motif, suggesting a strategic negotiation of motherhood. Building on previous research analysing the barriers that inhibit women artists in Australia and the creative strategies they employ, this article applies a blended methodological approach to map the current relationship between artists and motherhood. It outlines the curatorial development of an upcoming feminist group exhibition Creative Dystocia, discusses a sample of contemporary artists, and contextualises these historically and conceptually. -
Performing Feminism 'Badly': Hotham Street Ladies and Brown Council
Performing Feminism ‘Badly’ Curating in Feminst Thought Performing Feminism ‘Badly’: Hotham Street Ladies and Brown Council Laura Castagnini Women’s Art Movement? Why might contemporary feminist artists work collaboratively, use domestic techniques and materials and, in doing so, appropriate second wave feminist methodologies? Finally, what’s so funny about this approach? I will suggest that the humorous and revisionist tendencies evident in You Beaut! can be characterised as ‘parafeminist parody’. Situated within the post- 2000s resurgence of interest in feminism worldwide, parafeminist parody refers to the current trend in contemporary feminist art to mimic or cite aspects of earlier feminist practices. Parafeminist parody is an interpretation of art theorist Amelia Jones’ concep- tual framework of “parafeminism” read through the lens of Linda Hutcheon’s revised theory of parody, and intends to explicate the forms of humour cur- rently emerging in contemporary practices such as the Hotham Street Ladies. The term parafeminism, first articulated in Jones’s groundbreaking book Self/Image (2006), uses 1 the prefix “para” to denote a model of contemporary art practice that runs “parallel to,” rather than “post,” If you needed to pop to the loo during my earlier forms of feminism: it is “a conceptual model of curated exhibition Backflip: Feminism and Humour in critique and exploration that is simultaneously parallel Contemporary Art, you would have stumbled across a to and building on (in the sense of rethinking and cake-frosted uterus spurting -
How Has Performance Influenced Visual Arts? Chris Braddock Associate Professor, Postgraduate + Visual Arts
How has Performance influenced Visual Arts? Chris Braddock Associate Professor, Postgraduate + Visual Arts School of Art + Design, AUT University | Te Wānanga Aronui O Tamaki Makau Rau Visual Arts Master of Performance + Media Arts MPhil/ PhD www.christopherbraddock.com Alicia Frankovich, Performance 2 as part of the work A Plane for Behavers, Artspace Auckland, 2009 This paper discusses the ways in which modes of performance have profoundly influenced contemporary visual arts with an emphasis on how performance art engages with sculpture and installation practices. Performance practices—and notions of ‘performativity’—privilege ideas of art as process and as operating within temporalities of unwitting participation and so on. This paradigm shift is driving much pedagogical and research thinking in art schools and art history departments around the world. This paper takes a close look at artists from New Zealand and Australia that engage with performative installation practices. These will include Darcell Apelu, Alicia Frankovich, Laresa Kosloff and Kelly McDowell. Pollock Painting by Hans Namuth, 1951 “My painting is direct…. Having the canvas on the floor, I feel nearer, more a part of the painting. This way I can walk around it, work from all four sides and be in the painting…. I can control the flow of the paint. There is no accident just as there is no beginning and no end. Sometimes I lose a painting. But I have no fear of changes, of destroying the image. Because a painting has a life of its own I try to let it live”. Amelia Jones coins the term ‘Pollockian performative’ in which the artist is “…self- consciously performed through new, openly intersubjective contexts (including video or ironicized modes of photographic display) which insist upon the openness of this and all subjects to the other” (1998: 67).