ART ASSOCIATION OF AUSTRALIA AND NEW ZEALAND 2011 ANNUAL CONFERENCE
7-9 December 2011 Victoria University of Wellington Wellington, New Zealand CONFERENCE CONVENORS David Maskill, Victoria University of Wellington Sarah Caylor, Victoria University of Wellington
CONFERENCE COMMITTEE David Maskill, Victoria University of Wellington (Chair) Christina Barton, Victoria University of Wellington Geoffrey Batchen, Victoria University of Wellington Roger Blackley, Victoria University of Wellington Peter Brunt, Victoria University of Wellington Heather Galbraith, Massey University Raymond Spiteri, Victoria University of Wellington
HOSTS
CONTACT
SPONSORS
Victoria University of Wellington Art History Research Cluster 2010-2013 Theme: ‘Contact’
Cover: The ‘Contact’ assemblage is composed of wood types from the collection of Wai-te-ata Press : : Te Whare Tā o Wai-te-ata at Victoria University of Wellington. Such types were used in the heyday of nineteenth-century advertising posters, and were part of a common visual culture throughout the colonial world. The sans fonts shown here were manufactured by Stephenson & Blake (UK, 1818-2007) and Hamilton Wood Type (USA, 1880-present), Organized and hosted by the and distributed by F.T. Wimble & Co., (Australia, 1868-1991). Wai-te-ata Press keeps letterpress alive for the twenty- first century through teaching, limited edition fine press publishing, and research. For further information, please Art HistoryProgramme contact: [email protected] Te Tari Korero Toi Victoria University of Wellington Designed by Sarah Caylor, Victoria University of Wellington WELCOME FOREWORD
He mihi mahana ki a koutou katoa; warm greetings to you all! Twelve years ago in Wellington, a fledgling alliance of art historians from New Zealand and Australia met for the first time. This trans-Tasman adventure proved to be a very good idea In 1999, when Victoria University of Wellington hosted the Art Association of Australia and New Zealand became incorporated into the Art Association of Australia. Bonds were conference for the first time here in New Zealand, there were seventy papers presented formed, papers were published and five years later the University of Auckland hosted the over two days. Twelve years on, over one hundred and forty papers will be given together second NZ conference. It is my great honour and pleasure to welcome you to this our third with thirty post-graduate presentations. That such an increase has occurred over the same NZ conference, once again hosted by the Art History Programme at Victoria University of period when many academic art history programmes have contracted and art schools down- Wellington. sized, is a testament to our collective determination to maintain the profile of our chosen Our annual meetings have become a central part of the intellectual and institutional lineage disciplines. of art history in the region, giving artists, students, scholars and critics alike a regular forum The title of this year’s conference, ‘Contact’, seemed a natural one when we started to think in which to write and exchange ideas. In small nations, conferences play a particularly about a theme that would engage art historians, artists and arts professionals working in important role in offering mutual support as well as crucial opportunities for exchange and this region. The response has been overwhelming and is demonstrated by the enormous networking across the region. range of papers on offer this year. Our thanks go to all the speakers for taking up the chal- This year we are most fortunate to have two very distinguished keynote speakers: Okwui lenge of the theme of ‘Contact’. Enwezor, currently Director of the Haus der Kunst in Munich, and Professor Darcy Grimaldo We are grateful to our international keynote speakers, Darcy Grimaldo Grigsby and Okwui Grigsby from the University of California, Berkeley. Their scholarship is well-matched to the Enwezor. In the very early stages of planning the conference, their names were at the top of ‘Contact’ theme of the conference. A hundred and forty other scholars will speak over the our list of scholars who we felt would address the theme in stimulating and complementary next two days in addition to some thirty students who will give papers in the post-graduate ways. We thank them for their commitment to participating in the conference, not just by workshop. giving a lecture but also by agreeing to be part of the plenary sessions. However, the real stars are the conference committee led by the convenors David Maskill, No conference is possible without the support of many institutions and individuals. For Senior Lecturer and Programme Director, and Sarah Caylor. Their dedication, imagination sponsorship towards bringing Okwui Enwezor to New Zealand, we acknowledge the sup- and fund-raising activities enable members to come together this year. Most of the work is port of Creative New Zealand. For sponsoring five travelling scholarships for post-graduate hidden so please, thank them at the conference when you see them. This conference also students, we acknowledge the Chartwell Trust. For additional sponsorship, we acknowledge launches our new web-site, so a special thanks to our designer, Bec Paton, Dr Elisabeth Victoria University of Wellington, the Art History Research Cluster, the Adam Art Gallery, Findlay, our web manager and our Business Manager, Kate Sanetra. Thanks also to the the Museum of New Zealand Te Papa Tongarewa and Vic Books. Our thanks also go to the previous President, Peter McNeil, the Executive and our long standing Treasurer, Donna following individuals: Deborah Willis, Dean of the Faculty of Humanities and Social Sciences, Brett, who has greatly assisted me. Your contribution to the AAANZ over a very long period William McAloon, Megan Tamati-Quennell and Jude Turner at Te Papa, and our student of time is invaluable. Finally the conference launches the new issue of our Journal, which helpers. once again looks magnificent, so many thanks to the IMA/Robert Leonard and Queensland We hope you enjoy the conference. team. I hope everyone enjoys this conference. David Maskill and Sarah Caylor 2011 AAANZ Conference Convenors Ann Stephen President, Art Association of Australia & New Zealand Senior Curator, University Art Gallery and Art Collections, The University of Sydney CONTENTS
1 CONFERENCE INFORMATION
13 PROGRAMME SUMMARY
17 DARCY GRIMALDO GRIGSBY KEYNOTE AND OPENING RECEPTION
25 OKWUI ENWEZOR PUBLIC KEYNOTE
33 BOOK AWARDS, CLOSING RECEPTION AND CONFERENCE DINNER
35 AAANZ BOOK PRIZE ENTRIES
39 POST-GRADUATE STUDENT WORKSHOP ABSTRACTS AND BIOS
61 AAANZ ANNUAL CONFERENCE ABSTRACTS AND BIOS
159 SPEAKERS’ INDEX
vi CONFERENCE INFORMATION GENERAL INFORMATION
EMERGENCIES WiFi OPENING KEYNOTE AND RECEPTION PIPITEA CAMPUS Fire, Police, Ambulance For internet access at Darcy Grimaldo Grigsby (Rutherford House, main conference venue) 111 Rutherford House: Wednesday, 7 December 2011 Wellington Hospital Login and password 5.30pm-7.00pm Victoria University of Wellington, Pipitea 04 385 5999 information will be announced at the Rutherford House, LT1 Late-night chemist conference. 04 385 8810 PUBLIC KEYNOTE LECTURE TAXIS Okwui Enwezor Thursday, 8 December 2011 Wellington Combined 7.00pm-8.30pm Taxi (carboNZero) Museum of New Zealand Te Papa Tongarewa 04 384 4444 Soundings Theatre www.taxis.co.nz GreenCabs CLOSING RECEPTION (Trees for the Future) 0508 447 336 Closing Reception and Book Awards www.greencabs.co.nz Friday, 9 December 2011 6.30pm-8.00pm KELBURN CAMPUS Adam Art Gallery (Friday evening reception BANKING and conference dinner venue) Victoria University of Wellington, Kelburn TE PAPA ATMs (Thursday evening There are ATMs from keynote venue) several banks located CONFERENCE DINNER in the Wellington Bus not included in Registration Fee Terminal adjacent to Friday, 9 December 2011 Rutherford House. 8.00pm-11.00pm Milk and Honey Restaurant FOOD Victoria University of Wellington, Kelburn Lunch and Tea Morning tea, lunch, TE PAPA TOURS and afternoon tea will be provided on the Tour of Post-War New Zealand Art on Show in Mezzanine Foyer. ‘Toi Te Papa Art of the Nation’ Wednesday, 7 December 2011 3.30pm-4.30pm PUBLIC TRANSPORT Museum of New Zealand Te Papa Tongarewa Level 5 Cable Car Buses Tour of Contemporary Maori Art on Show The Cable Car runs from The following buses could at Te Papa Lambton Quay to Kelburn be of use to conference Saturday, 10 December 2011 Parade and is an excellent participants: 11.00am-12.00pm way to travel between the #17 & #20 - Wellington Museum of New Zealand Te Papa Tongarewa Pipitea campus (where Station to Victoria Entrance Foyer the main conference is University of Wellington being held) and the main Kelburn Campus Kelburn Campus (where the Adam Art Galley is #24 - Wellington Station located, and the closing to Te Papa reception and dinner are #3 - Wellington Station to being held). Zealandia
2 3 CONFERENCE VENUE ASSOCIATED EVENTS / ACTIVITIES VICTORIA UNIVERSITY OF RUTHERFORD HOUSE ZEALANDIA WAIRARAPA WINE TOURS WELLINGTON, Mezzanine Floor Home to some of the rarest and most extraordinary Gourmet Wine Escape / Tranzit Coachlines PIPITEA CAMPUS wildlife on the planet, ZEALANDIA is New Zealand’s Saturday, 10 December 2011 MZ04 (Opposite Parliament) award-winning ecosantuary. A must-see if you want 9.55am-6.30pm to get a real taste of New Zealand’s amazing natural MZ05 Departing from Wellington Railway Station, this heritage. Your ZEALANDIA experience includes an all-inclusive tour begins with a train journey from exciting new exhibition and walk in our ever-changing Wellington to the Wairarapa before joining the coach sanctuary valley. Or for an even more unique for a package that includes tastings at four award- experience check out our ZEALANDIA by Night tour—a winning Martinborough vineyards and lunch at the LT2 special nocturnal experience. MZ10 Village Cafe. Finish the day with a delicious cheese General Admission platter and coffee before your journey home. Includes entrance to sanctuary valley and exhibition $148 per person (Save 20% exclusive to AAANZ MZ11 $28.50 per person delegates, normally $185) ZEALANDIA by Night Tour Reservations are essential. Wednesday, 7 December 2011 0800 471 227 8.00pm-10.30pm www.tranzittours.co.nz $76.50 per person Transportation may be arranged from the conference LECTURE venue for an additional $15 per person. Coins of the People: the 1967 decimal coinage LT1 Guided Day Tour (Min 15 persons) Saturday, 10 December 2011 designs 2.00pm-3.30pm Mark Stocker $38 per person Tuesday, 6 December 2011 Reservations are essential for the tours. 12:15pm-1:15pm The #3 or #17 bus drops at the entrance to the park. Reserve Bank Museum RUTHERFORD HOUSE For bookings, please contact: 2 The Terrace (opposite Parliament) Ground Floor [email protected] 04 920 9209 LECTURE www.visitzealandia.com G02 ‘So Like & Beautifully Painted’: Franz Xaver G03 Winterhalter’s Portraits of Queen Victoria and Prince Albert Eugene Barilo von Reisberg Saturday, 10 December 2011 LT2 10:30am-11:30am Museum of New Zealand Te Papa Tongarewa Soundings Theatre, Level 2
BOOK LAUNCH Early Photography in New Zealand Erika Wolf, et al. Saturday, 10 December 2011 2:30pm-3:30pm LT3 VicBooks LT1 Victoria University of Wellington 1 Kelburn Parade, Gate 7 Student Union Building, Level 3
4 5
CLOSING RECEPTION/DINNER VENUE ART GALLERIES
BOOK AWARDS AND CLOSING RECEPTION ACADEMY GALLERIES MARK HUTCHINS GALLERY Adam Art Gallery Solo 32 Less than 3K, and Summer Catalogue Friday, 9 Dec, 6:30pm - 8:00pm 1 Queens Wharf 216a Willis Street 04 499 8807 04 385 9300 CONFERENCE DINNER* nzafa.com mhgallery.co.nz Milk & Honey Restaurant Friday, 9 Dec, 8:00pm - 11:00pm ADAM ART GALLERY *must be booked and paid for in advance MUSEUM OF WELLINGTON CITY & SEA 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 Behind Closed Doors, Sound Check, and Solo 32 Shadowgraphs Queens Wharf, 3 Jervois Quay e Kelburn Parad ac RT49 e (KP) err Tuesday-Sunday, 11am-5pm 04 472 8904 a d T Footpath to a el S) ng G Victoria University of Wellington, Kelburn Spri t ( Cable Car museumofwellington.co.nz ee VZS Str w GS7 Gate 3, Kelburn Parade asgo b Gl b 04 463 5229 Hugh MUSEUM OF NEW ZEALAND Te Herenga adamartgallery.org.nz North McKenzie Adams Tce Waka Marae (MR) (HM) TE PAPA TONGAREWA c PF4 c PF5 BARTLEY + COMPANY ART 93 24 Collecting Contemporary and various other K 42 Murphy 18 16 14 el 22 bu (MY) 20 10 8 91 r 50 48 46 44 von Zedlitz 6 4 Andre Hemer temporary and permanent exhibitions 77 n d Pa (VZ) d ra 56A Ghuznee Street 55 Cable Street d e
(K P Kelburn Parade (KP) 04 802 4622 04 381 7000 ) Gate 3 Bridge bartleyandcompanyart.co.nz tepapa.govt.nz e (KP) e Parade To Cable Car Kelburn Kirk (KK) Hunter Lawn 81 83 73 75 85 65 67 69 71 Easter eld BOWEN GALLERIES Hunter NEW ZEALAND FILM ARCHIVE MEDIA f Maclaurin (EA) Hunter f NZ School (MC) Courtyard (HU) 39 Ghuznee Street Creches of Music (MS) Sta GALLERY Fairlie Terrace (FT) Kirk 04 381 0351 CONSTRUCTIONQuad SITE Old Kirk Wing
(OK) (KK) R) Typical Girls g NO ACCESS (S Kelburn g bowengalleries.co.nz 94 d oa Park 84 Taranaki Street R 76 Laby Alan a 86 88 92 c 90 (LB) MacDiarmid Adam Art an Tennis Courts 04 384 7647 m (AM) Cotton Gallery (AAG) la CITY GALLERY h a h filmarchive.org.nz Te Puni (CO) Rankine Brown MILK & S Village Library HONEY Prospect: New Zealand Art Now, Ara-i-te-uru, (RB) Memorial Theatre (MT) and A Mobile Library i Student Union i NEW ZEALAND PORTRAIT GALLERY Civic Square, 101 Wakefield Street et (SU) tre n S 6 04 801 3021 The Makers of Modern New Zealand vo Recreation e 14 4 j D Central Centre 10 j citygallery.org.nz Shed 11, Queens Wharf 12 Services (RC) 16 2 04 472 8874 (CSB) oad (WR) portraitgallery.nzl.org ta R -a ENJOY PUBLIC ART GALLERY te k ai- Mount Street k W Cemetery Force-Morph: James Bowen Boyd-Wilson Field Level 1/147 Cuba Street PAGE BLACKIE GALLERY l Wai-te-ata l 04 384 0174 Apartments Karl Maughan Boyd-Wilson enjoy.org.nz 42 Victoria Street Arena m McKenzie Terrace m 04 471 2636
15 Mount St HAMISH McKAY pageblackiegallery.co.nz New paintings by Seraphine Pick 1st Floor, 39 Ghuznee Street PETER McLEAVEY GALLERY To City via The Terrace 04 384 7140 Footpath to Vivian Street (VS) Brendon Wilkinson: Hexagony hamishmckaygallery.com Wednesday–Friday 11–5, Saturday 11–4, by appt 147 Cuba Street 04 384 7356 petermcleaveygallery.com 6 7 ART GALLERIES (continued)
PHOTOSPACE VICTORIA UNIVERSITY OF WELLINGTON Shadowlands: Amelia Pascoe ART COLLECTION 1st floor, 37 Courtenay Place Campus-wide 04 382 9502 Select works from the Victoria University of photospace.co.nz Wellington Art Collection are on display around its three campuses, including Rutherford House, the 2011 AAANZ ROAR! GALLERY conference venue. 189 Vivian Street 04 385 7602 pablosart.org.nz/cms1/roar-gallery.html
ROBERT HEALD GALLERY Landscape Paintings: David Cauchi 209 Leftbank, Cuba Mall 04 384 4209 roberthealdgallery.com
SOLANDER WORKS ON PAPER 218c Willis St 04 920 0913 solandergallery.co.nz
{SUITE} GALLERY Two Front Teeth: Wayne Youle, Fiona Pardington, Arie Hellendorrn and Irene Ferguson Level 2, 147 Cuba St (c) Google Maps 04 976 7663 www.suite.co.nz
{SUITE} GALLERY ANNEX The Rocky Barron Hills: Bob Kerr 108 Oriental Parade 04 976 7663 www.suite.co.nz
TOI PONEKE ARTS CENTRE 61 Abel Smith Street 04 385 1929 wellington.govt.nz/services/arts/centre/exhibitions/ gallery.html
8 9 SHOPPING
RESTAURANTS, BARS, AND CAFES BOOKS CLOTHING MARKETS A DRIVE AWAY
Martin Bosley’s Matterhorn Quilters Bookshop Starfish City Market Maranui Surf Life award-winning, fresh, café and restaurant second-hand sustainable NZ designers foodies food market Saving Club local food on the water 106 Cuba Street 35 Ghuznee Street 128 Willis Street SUNDAY MORNING ONLY funky café with amazing 103 Oriental Parade 04 384 3359 04 472 2767 04 385 3722 8:30am-12:30pm views across Cook Strait 04 920 8302 matterhorn.co.nz Chaffers Dock Atrium The Parade, Lyall Bay martin-bosley.com Ferret Bookshop Zambesi citymarket.co.nz 04 387 4539 The Library second-hand International designers maranui.co.nz Foxglove lounge bar, sweets, music 123 Cuba Street 107 Customhouse Quay Frank Kitts Market restaurant and bar on the 53 Courtenay Place 04 384 8786 04 472 3638 craft and design market Queen Sally’s waterfront 04 382 8593 SATURDAY ONLY Diamond Deli 33 Queen’s Wharf thelibrary.co.nz Arty Bees Books Minnie Cooper 10am-4pm funky deli owned by the 04 460 9410 second-hand shoes, bags Frank Kitts Park Maranui folks Floriditas foxglovebar.co.nz 106 Manners Street Old Bank Arcade undergroundmarket.co.nz 200 Queen’s Drive café and restaurant 04 384 5339 29 Hunter Street Lyall Bay 161 Cuba Street Nikau Gallery Cafe 04 473 7946 Sheepskin Warehouse 04 387 2829 04 381 2212 café and restaurant Unity Books woolen products queens.co.nz City Gallery Wellington floriditas.co.nz new Karen Walker 312 Evans Bay Parade 04 801 4168 57 Willis Street NZ designer Greta Point Chocolate Fish Cafe Duke Carvell’s nikaugallerycafe. 04 499 4245 126 Wakefield Street 04 386 3376 funky and relaxed artisan local food and bar A COLLECTION OF INTERESTING blogspot.com 04 499 3558 style barbecued seafood 6 Swan Lane Te Papa Store karenwalker.com on Shelley Bay SHOPS, MARKETS AND EATERIES 04 385 2240 Boulcott Street Bistro new books and gifts 100 Shelley Bay Road dukecarvells.co.nz bistro and winebar Te Papa (Level 1) Trelise Cooper chocolatefishcafe.co.nz 99 Boulcott Street 04 381 7441 NZ designer Leuven 04 499 4199 131 Lambton Quay La Bella Italia boulcottstreetbistro.co.nz Belgian beer cafe 04 472 2122 authentic Italian 135 Featherston Street trelisecooper.com restautrant and shop Dahra 04 499 2939 ANTIQUES 10 Nevis Street Korean bistro leuven.co.nz Unity Collection Petone 8 Bond Street Memory Lane NZ designers 04 566 9303 Deluxe Cafe 101 Customhouse Quay 04 550 3522 Antiques labellaitalia.co.nz café, deli, espresso bar 04 471 1008 dahra.co.nz 356 Tinakori Road 10 Kent Terrace 04 499 2666 Chow 04 801 5455 Ziggurat Fashion fresh Asian (open late) Other antique shops Exchange vintage and second-hand 11a Woodward Street Hede myantiqueshops.co.nz/ designer clothing 04 472 8585 modern japanese café Wellington.html -and- 43 Cuba Street 144 Cuba Street 45 Tory Street 04 472 5249 04 385 1077 382 8585 chow.co.nz Missy’s Room vintage 175 Cuba Street 04 802 4434
10 11 PROGRAMME SUMMARY
12 13 WEDNESDAY afternoon 11.45pm - 1.00pm Registration / Lunch / Welcome (Mezzanine Foyer) 1.05pm - 1.50pm Post-Graduate Sessions
POST-GRADUATE STUDENT WORKSHOP .1 Room: MZ04 .2 Room: MZ05 .3 Room: MZ10 .4 Room: MZ11 .5 Room: G03 W1 Joanne Baitz Morag Dempsey Sandy Gibbs Alice Tappenden Tyler Rock Pathways back to Piero A post-internet God is back—pass the Man of the sea: ‘False Artifacts’: an from twentieth-century condition?: art after the plate photographs of Victor investigation of the Australian art internet Hugo in exile craft object and its Laura Dunham engagement with Corinne Brittain Matthew Warren Ties to the Motherland: Rodney Swan phenomena Unsettling Australia: the Fitche growing or shrinking? Passionate embrace; role of indigenous artists Tangible and ephemeral unity, bonding and the Caroline Ouellette in a re-imagined Australia correlations Marilyn Park untold romance of text The secret–the place John Elder Moultray: and image of curiosity in the Jane Ruck-Doyle Dianne Peacock history painter or artistic mechanism of seduction; Wangechi Mutu: Collage: the hidden, journalist? Amanda Peacock an investigation of traces Len Lye, Baby Dodds, 1947, pho- confounding afro- revealed and the Reflections and shadows: togram. Photo courtesy Len Lye pessimism temporary Chair the shifting identities Ximena Natanya Foundation, Govett-Brewster Art Robin Skinner of William Murrangurk Gallery. As part of the exhibition Briceño Shadowgraphs: Photographic Por- Chair Chair Buckley Filigree: a cross-cultural traits by Len Lye. 19 November-18 Ann Stephen and Susan Best practice December 2011. Kirk Gallery, Ngarino Ellis Chair Adam Art Gallery. Open Tuesday- Sunday, 11am-5pm. Alison Inglis Chair Julieanna Preston
1:55pm - 2:40pm Post-Graduate Sessions
The Chartwell Trust has generously sponsored .1 Room: MZ04 .2 Room: MZ05 .3 Room: MZ10 .4 Room: MZ11 .5 Room: G03 NZ$500 traveling scholarships for the following W2 post-graduate students: Rebecca Edwards David Wlazlo Ekaterina Abramova Chrisoula Lionis Janine Bruce Frank Brangwyn in The ‘Austrian’ question: Maria Fedorovna: self- From peasant to Fragmented narratives: Corinne Brittain Australasia Ian Burn and institutional representation through revolutionary: cinema meaning, time and Sydney College of the Arts, University of Sydney misrecognition ‘garden portraits’ as a Palestinian nation photography in the works Jane Ruck-Doyle Kim Clayton-Greene building project of Degas, Sickert and University of Auckland The collection of prints Ian Cooke Fiona Moore Vuillard in Australia and New Cultural contact: New Maintaining contact: Maria Sainsbury Joanne Baitz Zealand, pre-1950 Zealand art galleries and casts, collections and Internal landscapes: how Tane Moleta and University of Western Australia the United States in the colonists art addresses the ideas of Mizuho Nishioka Alice Tappenden Annika Sippel 1950s subjective experience in The effects of University of Canterbury Northern Renaissance Sukayna Al-Aaraji regards to chronic pain, resemblance Rebecca Edwards prints in the Museum Wendy Bolger Affectionately Maori: illness and trauma injury University of Melbourne of New Zealand Te Papa ‘Pleasure Framed’: the Gottfried Lindauer’s Chair Tongarewa Australian desert and the Ana Rupene and Child Jase Chia-Ching Lin Erika Wolf New Zealand coastline and western indigenous Folding paper lotuses Chairs make contact maternal bonding in art and the recovery of Melinda Johnston and ‘contemplation’ as a David Maskill Chair Chair reflection of slowness Zara Stanhope Roger Blackley and Richard Read Chair Ann Shelton
2.40pm - 3.00pm Afternoon Tea (Mezzanine Foyer) 14 15 WEDNESDAY afternoon/evening
3.30pm - 4.30pm Te Papa Tour (Te Papa, Level 5) TOUR OF POST-WAR NEW ZEALAND ART ON SHOW IN ‘TOI TE PAPA ART OF THE NATION’ William McAloon Curator, Historical New Zealand Art, Museum of New Zealand Te Papa Tongarewa
5.00pm Registration (Ground Floor Foyer)
5.30pm - 7.00pm Welcome and Keynote (Room: LT1)
WELCOME Professor Piri Sciascia Pro Vice-Chancellor Māori, Victoria University of Wellington Professor Deborah Willis Pro Vice-Chancellor and Dean of the Faculty of Humanities and Social Sciences Victoria University of Wellington Ann Stephen President, Art Association of Australia and New Zealand
KEYNOTE LECTURE WHEN CONTACT IS A BULLET: MANET’S (PAINTERLY) EXECUTION Darcy Grimaldo Grigsby Professor of the History of Art, University of California, Berkeley
In this paper, Grigsby addresses the persistent blindness of extant interpretations of Manet’s Execution of Maximilian of 1867, a painting long appreciated as a condemnation of Napoleon III’s intervention in Mexico. Darcy Grimaldo Grigsby was born in the Panama Canal Zone. She is Professor of the History of Art at U.C. Berkeley and author of Extremities: Painting Empire in Post-Revolutionary France (Yale University Press, 2002) and Colossal: Édouard Manet, The execution of Emperor Maximilian of Mexico, June 19, 1867, 1867. Oil on Engineering the Suez Canal, Statue of Liberty, Eiffel Tower and Panama Canal (Periscope Publishing, 2011). With canvas. Mannheim: Stäedtische Kunsthalle. (Photo: Lessing) Huey Copeland and Krista Thompson, she recently co-edited a special issue of Representations entitled New World Slavery and the Matter of the Visual (Winter 2011). Her essay for that issue, “Negative-Positive Truths,” concerns Sojourner Truth’s cartes-de-visite and introduces ideas from a book in progress called Shadows and Substance. Her talk “When Contact is a Bullet: Manet’s (Painterly) Execution” stems from another book project entitled Creole Looking: Portraying France’s Foreign Relations in the Nineteenth Century that examines France’s relationship to the Caribbean and Americas.
7.00pm - 8.00pm Opening Reception (Mezzanine Foyer)
16 17 THURSDAY morning
8.30am Registration (Ground Floor Foyer)
9.00am - 9.45am Introduction / Tribute (Room: LT1) WELCOME Ann Stephen President, Art Association of Australia and New Zealand ON THE THEME OF ‘CONTACT’ Geoffrey Batchen Professor of Art History, Victoria University of Wellington TRIBUTE TO BERNARD SMITH Sheridan Palmer Honorary Fellow, Australian Centre, University of Melbourne
9.45am - 10.45am Morning Tea (Mezzanine Foyer) 10.15am - 11.55am Spatial / Temporal Sessions T1 .1 Room: LT1 .2 Room: LT2 .3 Room: LT3 .4 Room: G03 .5 Room: MZ05 .6 Room: MZ10 .7 Room: MZ11 Laini Burton Ann Stephen Anne Ferran Barbara Garrie William Platz Joanne Campbell John Di Stefano Projecting nationhood: No contact generates The habit of distance A dwelling perspective: Contacting a body Hotere, Baxter and Intermission: interstitial the Australian contact: the enigmatic Roni Horn’s Weather ‘from life’: historiated Dunedin’s Globe Theatre: moments in creative and provincialism problem case of JW Power Ann Shelton Reports You and portraiture and the artist/ a 1960s cultural nexus cruel practice revisited Seeing the wood and the Herdubreid at Home model/sitter transaction Roger Blackley trees: imaging ‘Hitler’s in portrait production Karin van Roosmalen Oliver Watts Pamela Zeplin King Tawhiao’s big O.E. Olympic Oaks’ Christopher Brew Fresh doubt: thoughts on Curated by Francesco Redefining the ‘Australian Street art and Eugene Barilo von recognition Bonami and Giorgio Richard Killeen, Welcome to crawl’? Australian art/ Alison Inglis Anne Brennan heterotopia: curating the Reisberg Vasari the South Pacific, 1979. Acrylic history, universities & the Symbolic surfaces. shell The archive stares everyday as resistance in Portraiture as contact: Ian Woodcock lacquer on aluminium in 16 parts. cultural cringe mosaic in Australian back: encountering liquid modernity ‘en route’: audience Georgina Macneil Dimensions variable. Victoria official representations of University of Wellington Art architectural decoration photography in history’s British monarchy abroad works and the Fra Filippo’s Palazzo Collection. Rex Butler records Helen Hughes relationality of place- Medici and Camaldoli Cities within cities: New Shelley McSpedden A molecular perspective: Joanna Gilmour identity Adorazione: public and Zealand art history in The tainted traveller: Bridie Lonie on global history and A bold intrepid private devotion, urban Australia and Australian retracing colonial Change tactics: artists Mike Nelson countenance: a reading of Flavia Marcello and hermetic devotional art history in New expeditions in a engaging with climate early Australian portraits Art, architecture and practices Zealand (Part 1) contemporary world change Jess Berry discourses of national Framing fashion through Elisabeth Findlay Identity: Italian exhibition A.D.S. Donaldson fiction: narrative and the Cultural cross-dressing: pavilions of the 1930s Cities within cities: New fashion image Benjamin West’s portrait Zealand art history in of Sir Joseph Banks Australia and Australian art history in New Zealand (Part 2)
18 19 THURSDAY afternoon
12.00pm - 1.00pm Lunch (Mezzanine Foyer)
1.00pm - 1.45pm Plenary Session (Room: LT1) IN CONVERSATION WITH OKWUI ENWEZOR Okwui Enwezor Director, Haus der Kunst, Munich Rex Butler Associate Professor, Art History, The University of Queensland Peter Brunt Senior Lecturer, Art History, Victoria University of Wellington
1.50pm - 3.10pm Cultural Sessions T2 .1 Room: LT1 .2 Room: LT2 .3 Room: LT3 .4 Room: G03 .5 Room: MZ05 .6 Room: MZ10 .7 Room: MZ11 Elizabth Rankin Ruth Simbao Sarah Scott Filma Anne Phillips Anne Neale Stella Ramage Harriet Parsons Subject(ivity) and Making way: Creating a ‘New Text, image and voice: Alexander ‘Greek’ Rev. Nicholson goes ‘Preliminary designs object(ivity): nineteenth- contemporary Commonwealth’: art, re-imagining the legend Thomson’s theory in to Hollywood: the for a new Australian century life casts from Afropolitan and nation and display at of Hinemoa terracotta: a fountain of thoroughly modern democracy’: Australian the Pacific Sinopolitan engagements the opening of London’s faith in Tasmania missionary and the landscape painting in Commonwealth Institute, Jonathan Marshall American movie-maker post-colonial practice and Ross Woodrow Lim Chye Hong 1962 Harmonising the space Suzanne Fraser the Homeland project Reading colonial heads A tale of two ‘cities’: of Modernism: Kemp, The rugged mountain’s Emmi Nevalainen translating sense and Stewart Reed Grounds, French & scanty cloak: There was and there was Jane Eckett Christine Dauber sensibility Gentleman and the NGV’s Great Hall Highlandism, Scottish not… telling different ‘Punctual, meticulous, ‘Uninhabited’, professionals commissions identity and colonial stories: Akram Zaatari and exact, implacable’: ‘Undiscovered’, a tale of Eric Riddler collecting, 1869 to 1880 Walid Raad professionalism as an ‘The Artist of the Chief Mourner’ Indigenous and European We’ll take the stage, Caroline Jordan Grace Carroll avant-garde strategy [Tupaia], An English Naval Officer encounter? ’cos it’s now or never: Born in the USA: the Illuminated spaces: Jessica Hood Susan Ballard among Melbourne’s post- bartering with a Maori’, c. 1769. New Zealand sculpture, Carnegie Corporation’s the aesthetic power of The Antipodean garden Curiosity killed the cat: war émigré artists Watercolour. (c) The British Library Board, 065691, Add. conceptual and ‘Art in Australia 1788- Christian Waller’s stained accidental encounters in 15508, f.11. performance art in 1941’ exhibition to the glass the art gallery Catherine De Lorenzo Australia 1967-1979 USA and Canada, 1941 Post-colonial points of contact: Australian exhibitions of colonial art and their impact
20 21 THURSDAY afternoon (continued)
3.10pm - 3.30pm Afternoon Tea (Mezzanine Foyer) 3.30pm - 4.50pm Cultural Sessions (continued) T3 .1 Room: LT1 .2 Room: LT2 .3 Room: LT3 .4 Room: G03 .5 Room: MZ05 .6 Room: MZ10 .7 Room: MZ11 Ian McLean Kate Robertson Laura Preston Ralph Body Laurence Simmons Helen Mitchell Damian Lentini Interpreting Namatjira Artists’ colonies: Scripting Spaces: ‘I really think it is scenery ‘Friends over the years...’: Tattoo renaissance and After the orgy: mapping Australians in Cornwall impressions on two that one can get heartily the antipodal haunting of cultural exchange, a case contemporary contact Raymond Spiteri and Brittany 1890-1914 contemporary New sick and tired of’: Hans Colin McCahon study from Hong Kong zones on both sides of the From l’Informe to Zealand artists’ book Heysen in New Zealand Central European corridor l’empreinte: The base- Lyrica Taylor projects William McAloon Duanfang Lu materialism of Rosalind Winifred Knights and Cristina Silaghi Victim mentalities Travelling Modernism: the Uros Cvoro Krauss and Georges Didi- interwar artists at the Martyn Jolly Stay in touch: Bandaranaike Memorial Turbo-sculpture: public Huberman British School at Rome, Australiana photobooks representation and Matt Plummer International Conference art and cultural context in 1920-1925 of the 1960s: new artistic abstraction in the early ‘God rot the bastard Hall, Colombo, Sri Lanka ex-Yugoslavia Chari Larsson collaborators in contact twentieth-century who opens this box’: Madness and unreason: Niki Francis with new audiences and writings of Wilhelm researching Malcolm Ross Lydia Baxendell Lynn Brunet ‘The Artist of the Chief Mourner’ Aby Warburg’s Encounter with a in exchange with each Worringer Invigorating the past to Contacting the chthonian [Tupaia], An English Naval Officer anthropological impulse strange country: Rosalie other engage with the present: world: mummers plays, bartering with a Maori’, c. 1769. Gascoigne in the Monaro Warren Feeney Nigel Brown’s exploration celtic fairy-lore and Watercolour. (c) The British Library Board, 065691, Add. Rebecca Kummerfeld The name’s Colvin. of Maori, Pasifika and initiatory rites in the art 15508, f.11. Teaching taste: public art Neville Colvin Captain Cook imagery of Peter Booth education in New South Wales, 1850 - 1915
22 23 THURSDAY evening
7.00pm - 8.30pm Public Keynote Lecture (Te Papa, Soundings Theatre)
INTENSE PROXIMITY: CONCERNING THE DISAPPEARANCE OF DISTANCE Okwui Enwezor Director, Haus der Kunst, Munich
Museum of New Zealand Te Papa Tongarewa Soundings Theatre, Level 2 (As this lecture is open to the public, delegates are advised to arrive early in order to secure a seat.)
The idea of Contact adopted as the theme of this conference is a timely one. Contact presupposes an encounter, as well as suggesting the possibilities that such an encounter could TE PAPA provoke. In the second decade of the 21st century, contact is on trial. It has become part of (Thursday evening keynote venue) the programme of a rising politics of negation, a xenophilic construct manifesting a rabid form of anti-difference. The troubled history of contact is well known. And its appearance in modern and contemporary art is known as well. In this lecture, I propose to use an upcoming exhibition to address the complicated issues that are part of the legacy of contact. The exhibition in question—Intense Proximity—which opens next year at Palais de Tokyo in Paris, is partly grounded in an examination of the lingering forms of ethnographic poetics that has shaped the world of contact. One of the project’s central curatorial features is the critical legacy of French ethnography in the first half of the 20th century, a discourse directly based on contact. The phenomenon of ethnographic poetics to which Intense Proximity refers could be understood as part of the great heritage of modernity, a model of global relations in which the precise measure between the near and far was blurred. Intense Proximity is in turn a form of curatorial speculation on the continuous fascination between ethnographic poetics and contemporary art, a probing into the metastasizing politics of anti-difference. Okwui Enwezor is a curator, writer, and scholar. He has recently been appointed Director of the Haus der Kunst in Munich. He is the founding publisher and editor of Nka: Journal of Contemporary African Art. He has held positions at the International Center of Photography, New York, the Art Institute of Chicago and the San Francisco Art Institute. He has held visiting professorships in Art History at the University of Pittsburgh, Columbia University, the University of Illinois, Urbana-Champaign, and the University of Umea, Sweden. In 2011 he will deliver the Alain Leroy Locke Lectures at Harvard University and, in 2012, he will serve as Kirk Varnedoe Visiting Professor at the Institute of Fine Arts, New York University.
Okwui Enwezor’s visit is made possible with a grant from Creative New Zealand.
24 25 FRIDAY morning
8.30am Registration (Ground Floor Foyer)
9.00am - 9.45am Plenary Session (Room: LT1) IN CONVERSATION WITH DARCY GRIMALDO GRIGSBY Darcy Grimaldo Grigsby Professor of the History of Art, University of California, Berkeley Mark Ledbury Power Professor of Art History and Visual Culture, Director of the Power Institute, The University of Sydney
9.45am - 10.45am Morning Tea (Mezzanine Foyer) 10.15pm - 11.55am Material Sessions F1 .1 Room: LT1 .2 Room: LT2 .3 Room: LT3 .4 Room: G03 .5 Room: MZ05 .6 Room: MZ10 .7 Room: MZ11 Wendy Garden Caroline Vercoe Helen Ennis Majella Clancy Rosemary Hawker John Finlay Mary Knights Ungrievable deaths: I am my other I am A photographic mystery: Hybrid spaces: cross- Chance, trace and glass Mesoamerican sources Hossein Valamanesh: photographic images and myself: artists in the Max after surfing, 1939 cultural engagement in painting: photography and ideas in Giacometti’s Longing belonging the politics of contact Pacific respond to contemporary women’s in Richter’s Sinbad and Mains tenant le vide Gauguin Caroline McQuarrie painting Aladdin (l’objet invisible) of 1934 Erika Wolf Ann Elias Lay me down: the Fiona Pardington’s Eight The treachery of images: Mary Healy flatbed picture plane Simone Schmidt Timothy Laurence Sally Butler Shells: reclamation of Peter Peryer, After Rembrandt, this is not the Great Reviving the forgotten in contemporary Voice as contact Out of contact–escape Ghost nets art: marine Te Ao Māori from the 1995. Black and white photo- graph. 34.6 x 52cm. Victoria Barrier Reef French women photographic assemblage and isolation in the works debris and material museum University of Wellington Art Orientalist artists, 1860- Victoria Wynne-Jones of Andrea Zittel activism Collection. Donna West Brett 1968: cross-cultural Cathy Tuato’o Ross Becoming-dance: dance Joanne Drayton Seeing and not seeing: contact and Western An ancestral gathering: concepts in relation to the Christina Barton Wayne Barrar Synergies of materiality photographing history in depictions of difference the effect of a day’s painting of Kushana Bush Selling out/buying in: the Trading ecologies: between Māori and Germany after 1945 sightseeing at Rotorua re-materialisation of art, species, landscapes, Viking Keren Hammerschlag followed by a little 1981 photographs Denise Ferris ‘Your health:’ celebrating Christmas cheer Monica Syrette So Much to tell you: surgeons in late-Victorian Mary Morrison Chris Braddock Turning the spotlight on affect, beauty, thought art Deidra Sullivan Pacific data Laresa Kosloff and the Susan Te Kahurangi King and photography In the absence of light: force of the name Rebecca Rice the ‘skotograph’ in the The academic versus the spiritualist photography avant-garde: a colonial of Madge Donohoe case study
.8 Room: G02 Joanna Mendelssohn Danielle Gullotta Mark Stocker Anna Lawrenson Felicity Milburn Chiara O’Reilly New frontiers for Removing social barriers: Cossons’ imperial lather Touching art: engaging When everything around The cult of the warrior: ROUND TABLE publishing: exhibition promoting inclusion in or how not to run a the senses in the us fell: How visual visitor experience at the catalogues and the 21st galleries through Access museum: the case of the experience of Western art arts organisations in Art Gallery of New South century programs BECM in Hong Kong Canterbury responded to Wales the earthquakes 26 27 FRIDAY afternoon
12.00pm Lunch (Mezzanine Foyer)
12.30pm - 1.45pm AGM (Room: LT1) ANNUAL GENERAL MEETING OF THE ART ASSOCIATION OF AUSTRALIA AND NEW ZEALAND
1.50pm - 3.10pm Social Sessions F2 .1 Room: LT1 .2 Room: LT2 .3 Room: LT3 .4 Room: G03 .5 Room: MZ05 .6 Room: MZ10 .7 Room: MZ11 David Cross Heather Galbraith Zara Stanhope Sasha Mullally David McNeill Ann Schilo Angela Goddard ‘Affective behaviors’: From glancing caress The curatorial Coming into contact with The transnational Amorous encounters: the Clement Meadmore: performance and the to limpet embrace; construction of ‘therapeutic craft’: craft sublime; digital poetics carnality of art design into art pleasures of risk depictions of intimacy artworlds: exhibition revival, rural uplift, and and the representation of in contemporary New making in the globalising health professionals in expanded space Louise Mayhew Matthew Holt Jennifer Kalionis Zealand art art museum Canada and the United VNS Matrix: infiltration Transformation of the Making contact with States, 1920-1950 Kura Puke aesthetic: the hybrid ‘unseen’ workers: Beth Anne Lauritis Simon Blond Taha wairua and the Luke Smythe nature of contemporary Gordon Walters, Kahukura, 1968. Acrylic and pva on canvas. 114 x Santiago Sierra’s 7 Forms Managing dissent: the Art, democracy and Rigel Sorzano visual trajectory Painting in the era of art and design 152cm. Victoria University of Wel- and moral shock in the Issue exhibition refigured authorship: an analysis Constructing the light-based images lington Art Collection. audience of the arguments local: New Zealand Kathy Cleland Deborah Prior Paul Tanchio surrounding relational contemporary studio Narcissus 2.0: portraiture Making the body: Llewellyn Negrin Negotiating and dialogic art furniture in the 1980s and in a digital age materiality and craft in Fashion as an embodied consciousness in 1990s practice-based research artform contemporary visual Holly Arden culture: an Expressionist Some people’s art Sylvia Schwenk theory of homeostasis Sylvia Schwenk: my art practice in the expanded field of performance art
28 29 FRIDAY afternoon (continued)
3.10pm - 3.30pm Afternoon Tea (Mezzanine Foyer) 3.30pm - 4.50pm Social Sessions (continued) F3 .1 Room: LT1 .2 Room: LT2 .3 Room: LT3 .4 Room: G03 .5 Room: MZ05 .6 Room: MZ10 .7 Room: MZ11 Andrew McNamara Richard Read David Maskill Gay McDonald Jennifer Milam Zanny Begg Sam Bowker The lost medium of Contact with ‘the real’ in Impressions of a print Culture Warriors as ‘Art Girls’: Russian women Art and activism in a post- Detachment contemporary existence: studio self-portraiture: dealer: Harold Wright cultural diplomacy and the making of a convivial World reflections on Sigmar a new reading of and his artists creative class Russell Rodrigo Polke’s We Petty Rembrandt’s Kenwood Sarah Wall Melissa Laing Between imagined Bourgeois! Comrades Self-Portrait, c 1665-1669 Catherine Speck Aratjara – Art of the First John Barrett-Lennard The fictional and and inhabited Space: and Contemporaries Epistolary contact: Australians It’s all mine: the recent aesthetic characteristics minimalist aesthetics and Leonard Bell Heysen to Heysen rise of the private art of politics. The political the encounter between Gordon Walters, Kahukura, 1968. Acrylic and pva on canvas. 114 x Susan Best No contact: back of the Logan Sisley museum in Australia act of the arts body and memory 152cm. Victoria University of Wel- Rosângela Rennó: head pictures Linda Tyler ANZART in Edinburgh in Peter Eisenman’s lington Art Collection. engagement and Art and science: an Ngarino Ellis Emilie Sitzia Memorial to the disengagement with the Grahame Kime analysis of nineteenth Art theft in Aotearoa New Against the death Murdered Jews of Europe disappeared Conceptualising conquest century New Zealand Zealand penalty: Victor Hugo’s in Nicolas Poussin’s, photographs collected by quill and brush Toni Ross the Rape of the Sabine artist and botanist John The assertion and Women Buchanan (1819-1898) suspension of contact in the art of Thomas Demand
5.00pm - 6.00pm Plenary Session (Room: LT1) REFLECTING ON THE THEME OF ‘CONTACT’ A CONVERSATION WITH DELEGATES Okwui Enwezor Director, Haus de Kunst, Munich Darcy Grimaldo Grigsby Professor of the History of Art, University of California, Berkeley Geoffrey Batchen Professor of Art History, Victoria University of Wellington Ann Stephen President, Art Association of Australia and New Zealand
30 31 FRIDAY evening SATURDAY morning
6.30pm - 8.00pm Book Awards and Closing Reception 11.00am - 12.00pm (SAT) Te Papa Tour (Te Papa, Entrance Foyer)
WELCOME TOUR OF CONTEMPORARY MAORI ART ON SHOW AT TE PAPA Laura Preston Megan Tamati-Quennell Curator, Adam Art Gallery, Victoria University of Wellington Curator Contemporary Māori, Indigenous art, Museum of New Zealand Te Papa Tongarewa
BEHIND CLOSED DOORS: NEW ZEALAND ART FROM PRIVATE COLLECTIONS IN WELLINGTON Introduced by Christina Barton Director, Adam Art Gallery, Victoria University of Wellington Curated by Christina Barton, Director, Adam Art Gallery This major exhibition sets out to canvass selective ‘moments’ in a history of New Zealand art from 1946 to the present, drawn exclusively from private collections in Wellington. This revealing exhibition provides a rare opportunity to see works that complement and extend the holdings of New Zealand’s public and corporate collections. The paintings, sculptures, and works on paper are simultaneously significant works by major figures and tributes to the often close relationships that accrue between artists and their patrons.
SHADOWGRAPHS: PHOTOGRAPHIC PORTRAITS BY LEN LYE Introduced by Geoffrey Batchen Professor, Art History, Victoria University of Wellington Curated by Professor Geoffrey Batchen and his Art History Honours students. Drawn primarily from the Len Lye Foundation Collection at the Govett-Brewster Art Gallery, this exhibition presents 26 of the cameraless portraits made by NZ-born artist Len Lye in New York in 1947, a body of work that until recently was neither well known nor fully understood. Here Lye’s work is contextualised in relation to the tradition of the silhouette portrait and the camera-less photograph. This is the Adam Art Gallery’s biennial student-led project which enables students to research, write about and present an exhibition on a unique body of work.
BOOK AWARDS Presented by Ann Stephen President, Art Association of Australia & New Zealand
8.00pm - 11.00pm Conference Dinner MILK & HONEY RESTAURANT & BAR Victoria University of Wellington Kelburn Campus
32 33 AAANZ BOOK PRIZE ENTRIES
34 35 AAANZ BOOK PRIZE ENTRIES BEST LARGE CATALOGUE ENTRIES BEST SMALL CATALOGUE ENTRIES Gustave Moreau and the Eternal Feminine The Grand Tour BEST BOOK ENTRIES Marie-Cecile Forest, Ted Gott, et al. Emilie Sitzia (SOFA Gallery) (National Gallery of Victoria) Asian Modernities: Chinese & Thai Art Compared, Joe Rootsey: Queensland Aboriginal Painter 1980-1999 John Davis: Presence 1918-63 David Hurlston, Charles Green and Robert Lindsay John Clark (Power Publications) Bruce McLean, Diane Hafner (Queensland Art Gallery) (National Gallery of Victoria) Images of the Pacific Rim: Australia & California James Fardoulys: A Queensland Naïve Artist 1850-1935 Ron Mueck Glenn R Cooke (Queensland Art Gallery) Erika Esau (Power Publications) David Hurlston (National Gallery of Victoria) Santiago Sierra An Expanding Subterra The First Emperor: China’s Entombed Warriors (Queensland Art Gallery) Wayne Barrar (Dunedin Public Art Gallery) Liu Yang and Edmund Capon (Art Gallery of New South Wales) Premier of Queensland’s National New Media Art Andrew Drummond: Observation/Action/ Award 2010 Reflection Victorian Visions: Nineteenth-Century Art from Russell Store, et al. (Queensland Art Gallery) Jennifer Hay, et al. the John Schaeffer Collection (Christchurch Art Gallery Te Puna o Waiwhetu) Richard Beresford (Art Gallery of New South Wales) Provocations: The Work of Christine Webster Anne Kirker 21st Century: Art for Kids Paths to Abstraction (Christchurch Art Gallery Te Puna o Waiwhetu) Russell Storer, et al. Terence Maloon (Art Gallery of New South Wales) (Queensland Art Gallery / Gallery of Modern Art, Utamaro: Hymn to Beauty Brisbane) Justin O’Brien Khanh Trinh (Art Gallery of New South Wales) Barry Pearce and Natalie Wilson (Art Gallery of New South Wales) Nuala Gregory: Exploded View Greg O’Brien and Peter Shand, Linda Tyler, ed. BEST ANTHOLOGY ENTRIES David to Cézanne: Master Drawings from the (Centre for New Zealand Art Research and Discovery) Prat Collection The Fashion History Reader: Global Perspectives Peter Raissis, ed. (Art Gallery of New South Wales) Alfred Stieglitz: The Lake George Years Giorgio Riello and Peter McNeil, eds. (Routledge) Judy Annear (Art Gallery of New South Wales) Wilderness: Balnaves Contemporary Painting Third World Modernism: Architecture, Develop- Wayne Tunnicliffe (Art Gallery of New South Wales) Mirror Mirror Then and Now ment and Identity Ann Stephen (IMA) Duangfang Lu (Routledge) Reinhardt Dammn (Queensland Art Gallery) I, Here, Now, Vivian Lynn Community: Building Modern Australia Christina Barton, et al. (Adam Art Gallery) Hannah Lewi and David Nichols , eds. (University of Unnerved: The New Zealand Project New South Wales Press) Maud Page, et al. (Queensland Art Gallery) Te Mata: The Ethnological Portrait Roger Blackley (Adam Art Gallery) 21st Century: Art in the First Decade Sightseeing Miranda Wallace, ed. Ann Shelton and Hanna Scott (Rim Books) The Asian: Heather Straka (Queensland Art Gallery / Gallery of Modern Art) Aaron Kreisler, Robyn Notman Before & After Science (Dunedin Public Art Gallery) Charlotte Day & Sarah Tutton (Art Gallery of South Australia) Mari Funaki: Objects Jane Devery (National Gallery of Victoria) A Beautiful Line Maria Zagala (Art Gallery of South Australia) Harrell Fletcher: The Sound We Make Together (Melbourne) Desert Country Alex Baker (National Gallery of Victoria) Nici Cumpstom (Art Gallery of South Australia) Wastelands Ann Shelton and Stephen Turner (Rim Books) 36 37 POST-GRADUATE STUDENT WORKSHOP ABSTRACTS and BIOS
Len Lye, Baby Dodds, 1947, photogram. Photo courtesy Len Lye Foundation, Govett- Brewster Art Gallery. As part of the exhibition Shadowgraphs: Photographic Portraits by Len Lye. 19 November-18 December 2011. Kirk Gallery, Adam Art Gallery. Open Tuesday-Sunday, 11am-5pm.
38 39 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.05pm - 1.50pm Room: MZ04 W1.1
1.05pm-1.15pm 1.15pm-1.25pm 1.25pm-1.35pm PATHWAYS BACK TO PIERO FROM 20TH UNSETTLING AUSTRALIA: THE ROLE WANGECHI MUTU: CONFOUNDING CENTURY AUSTRALIAN ART OF INDIGENOUS ARTISTS IN A RE- AFRO-PESSIMISM The revival of interest in Piero della Francesca IMAGINED AUSTRALIA At first glance, Kenyan-born artist Wangechi that occurred in Europe in the early twentieth- What is the function of contemporary urban Mutu’s collaged hybrid women entrance century was due in part to the Modernist Indigenous art in post-contact Australia? through their bizarre richly-coloured beauty, interest in the use of geometric order, When anthropologist WEH Stanner coined yet on close inspection they tease and confuse rationalised space, colour and light. Australian his now iconic phrase, The Great Australian in the complexity of their fragmented reality. artists inherited this interest through their Silence in the 1960s, the implication was of a They are vulnerable yet vital, wounded yet interpretation and interrogation of European white historical amnesia about the getting of not disabled, and seem to glimmer with inner Modernism. This paper looks broadly at colonial settlerhood; but it could just as well energy – seemingly organic and animalistic how the works of Piero were referenced by have referred to muted blacks as to the silent but also alluding to hard-edged shiny glamour Australian artists in the twentieth-century. whites. The subsequent and meteoric rise of along with mutilation, disease and affliction. ‘traditional’ Indigenous art has been integral Mutu’s images evoke clichéd images of black to the general shift in perception of Indigenous African women but defy easy interpretation, CHAIRS cultural worth; but in this still fiercely and can also be read as poetic metaphors for Ngarino Ellis and Ann Stephen contested space, the role of the new breed of Africa – the continent – in all its multiplicities, academically trained, urban Indigenous artists contradictions, diversities, rich detail, beauty remains somewhat ambiguous. By positioning and dirt. Mutu does not avoid stereotypes but themselves firmly within the bastions of “hunts them down” to investigate how they dominant culture, does their often politicised are constructed. She literally dismantles and output add potency to the necessary efforts reconfigures images to better understand their of undermining conveniently forgotten white power and to give a broader consideration of narratives, or has entrenchment in the lexicon what it means to be human, not just African, in of mainstream, non-Indigenous Australian art contemporary society and into the future. potentially diluted the message?
Joanne Baitz Corinne Brittain Jane Ruck-Doyle Joanne Baitz is a PhD candidate at the University of Corinne Brittain is a PhD candidate at the University Jane Ruck-Doyle is a BA Honours student in Art History Western Australia under the supervision of Winthrop of Sydney. Her key research areas include the role of at the University of Auckland. She was awarded The Professor Richard Read. Her thesis title is: Art in art in a re-imagined Australian hegemony through Louise Perkins Prize in Art History in 2011. Australian art: Anachronism in 20th Century Modernist exploration of the historiographical origins and Her previous professional life has been in community- Australian Art. She graduated from UWA with a consequences of WEH Stanner’s Great Australian based paediatrics and associated public health Bachelor of Art (Honours) in English in 2000. Silence in the getting of Australia, with its ensuing education. ([email protected]) ([email protected]) dispossession of the incumbent. ([email protected])
40 41 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.05pm - 1.50pm Room: MZ05 W1.2
1.05pm-1.15pm 1.15pm-1.25pm 1.25pm-1.35pm A POST-INTERNET CONDITION?: ART TANGIBLE AND EPHEMERAL COLLAGE: THE HIDDEN, REVEALED AND AFTER THE INTERNET CORRELATIONS THE TEMPORARY Contemporary art has increasingly been A work that is ephemeral by design could Collage figures prominently in my attempts transformed by technological developments be replaced by documentation as the to articulate the concerns of my practice. I that have changed the media in which artists real device or tangible evidence of its am interested in what collage reveals and work, and the modes of production and existence. Public art and contemporary hides, and how its physical material and circulation of their practice. My research seeks ephemeral artworks may have a need to be imagery connect the past to the present. The to examine the impact of the widespread documented. This research into transiently paper describes minimalist compositional proliferation of the Internet and rise of social sculptural works and installations, reveals techniques and procedures developed media upon areas of cultural production the importance of documenting ephemeral through three series of collages produced by and society in order to locate the ways in artwork. Technological advancement and the author. Beginning with sources resonant which artists are responding to the broader the digital republication of images onto the with obscure personal interests, the first aesthetic, social and political implications internet invite questions of the importance extracts an image from its context and of these new tools and media. How has the for documentation of ‘temporal’ artworks. without cutting, pastes it onto another. The CHAIR introduction of new technologies impacted Exploration into the use of mediums for the second eschews the use of glue, producing Susan Best contemporary artistic practices? How are delicate form or for ‘the traditional sculpture’, temporary collages from bulldog clips and that artists responding to a cultural landscape complete this inquiry into public art. perennial source of collage material, National transformed by the Internet and Web 2.0 Geographic Magazine. The third attempts technologies? I am concerned with identifying a shift in emphasis from juxtaposition to modes of artistic practices that are engaged superimposition; that is, a shift to that which is with technology’s rapid integration into hidden in the process. aspects of daily life and whether it is possible to define the presence of a ‘Post-Internet’ condition in contemporary art.
Morag Dempsey Matthew Warren Fitche Dianne Peacock Morag Dempsey is a postgraduate student at the Matthew Warren Fitche is currently completing Dianne Peacock is a Melbourne-based architect University of Melbourne. Master of Art Curatorship, in The Graduate School and artist with an interest in spatial mystery. Her ([email protected]) of Humanities & Social Sciences, The University of architectural practice, Subplot, operates alongside Melbourne, part of the Cultural Management program. projects in collage, video, installation and zine making. This thesis is expected to be complete by 2012. Current An ongoing project collates examples of architects’ research concerns itself with ephemeral artwork, public collages. Dianne is a PhD candidate in Architecture and art and the public exhibition space. Design by project at RMIT. ([email protected]) ([email protected])
42 43 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.05pm - 1.50pm Room: MZ10 W1.3
1.05pm-1.15pm 1.15pm-1.25pm 1.25pm-1.35pm JOHN ELDER MOULTRAY: HISTORY GOD IS BACK—PASS THE PLATE TIES TO THE MOTHERLAND: GROWING PAINTER OR ARTISTIC JOURNALIST? Internationally, cultural theorists and artists OR SHRINKING? J. Elder Moultray, who arrived from Scotland are engaging with ‘the return of God’ – a rise The ties that colonial Cantabrians felt existed in 1883, depicted notorious incidents from the in interest in religion. Drawing a close link with between themselves and their British colonial-Māori wars of the 1860s and has been economics, it has been argued that this is a homeland are very clear to see in the domestic criticised recently for depicting the colonial result of the collapse of communism in the late commissions of the Christchurch firm, Collins trooper as a hero. My thesis argues that a lack 1980s and the subsequent global dominance and Harman. Continuing the legacy of W.B. of prior art-historical research has contributed of capitalism. During the same period, Armson, who established his practice in towards both his diminished reputation and international neo-liberal free-market reforms Christchurch in 1870, the firm grew in size the poor condition of his paintings in the were applied to the New Zealand economy – and reputation, eventually becoming one public domain. As the only New Zealand resulting in the corporatisation of institutions, of the two oldest architectural firms in New artist to consistently paint incidents from the and with churches reinventing themselves as Zealand. Following their work from the early colonial wars, from a colonial viewpoint and businesses in the highly competitive ‘faith’ 1900s to the end of the World War One, based on primary research, his writings and industry. Among the casualties was Futuna we see how the very idea of one’s home CHAIR his paintings are of great value to both New Chapel and Retreat Centre in Karori. implied a great deal about those who lived As a case study, this paper will tease out Robin Skinner Zealand art history and military history. in it, including a display of social status and connections with Futuna Chapel and how ideas economic wealth. These burgeoning architects of economic and religious colonisation have were able to translate the needs of their contributed towards an unlikely dichotomy of clients into visual and physical forms and in hybridity and dislocation - and will consider doing so, contributed to the development of the notion of ‘religious retreats’ located within Canterbury’s domestic architecture. the context of heterotopian spaces.
Marilyn Park Sandy Gibbs Laura Dunham Marilyn Park is an MA student in Art History at Victoria Sandy Gibbs graduated from Massey University with a Laura Dunham is an MA student at the University University of Wellington with a Museum Studies BFA (First Class Honours) in 2005. She is interested in of Canterbury and is the current editor of Oculus: Diploma from Massey University. She is interested in exploring video art as a means of critiquing the complex Postgraduate Journal for Visual Arts Research. Her nineteenth- and early twentieth-century New Zealand and often slippery relationships between institutions research explores the impact of the architectural firm art, particularly of history paintings, and their relevance and the individual, and the depth at which these are of Collins and Harman and their contemporaries on to contemporary historians and art historians. played out in contemporary society. Christchurch’s colonial domestic architecture. ([email protected]) ([email protected]) ([email protected])
44 45 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.05pm - 1.50pm Room: MZ11 W1.4
1.05pm-1.15pm 1.15pm-1.25pm 1.25pm-1.35pm MAN OF THE SEA: PHOTOGRAPHS OF PASSIONATE EMBRACE; UNITY, REFLECTIONS AND SHADOWS: THE VICTOR HUGO IN EXILE BONDING AND THE UNTOLD ROMANCE SHIFTING IDENTITIES OF WILLIAM The political situation of France in the mid OF TEXT AND IMAGE MURRANGURK BUCKLEY nineteenth-century was one that would force The mid-19th century French artist’s In 1803 convict William Buckley escaped one of its most eminent writers, Victor Hugo, illustrated book, known as the livre d’artiste, from the short-lived settlement at Port Phillip into exile in the Channel Islands. Here he allowed artists to imaginatively interpret in what was soon to become the state of would spend fifteen years that proved to be text, fashioning a new class of text-image Victoria. He entered local Aboriginal society both saddening and artistically invigorating. relationships. after some months where he was accepted During this time, Hugo’s sons Charles and I will argue that although the text-image by the Wathaurong people as the returned François-Victor, together with poet Auguste dynamic of individual illustrated books have spirit of the deceased warrior Murrangurk. Vacquerie, began to photograph their new been well codified, this has not extended to Thirty-two years later he re-crossed this lives as exiles. Though they pressed the the genre as a whole. Missing is a rigorous threshold, returning to European society at shutter, it soon became Victor who directed taxonomy. This omission is surprising as the point when settlement of Victoria began, the portraits, determined to ensure that such taxonomies have been well established making himself known to a surveying party CHAIR adequate accounts would survive of him in other like genre, for example, children’s at Beangala (Indented Head) on the Bellarine Alison Inglis as the tragic exile on the rocky coast. The illustrated books and newspapers. Peninsula. The story of Buckley’s sojourn with photographs have not only formed some I will present my argument in three stages, the Aboriginal people of Victoria achieved of the earliest-known family albums, but first I will analyse some significant research mythic proportion almost immediately. also reflect the art and literature that Hugo relating to the grand artist’s book to show This paper will explore the meanings which produced on the island. When studied, we the complexity and variety of the text-image Buckley’s experiences had for European and begin to understand why Hugo once wrote to dynamic. Second I will evaluate some of the Aboriginal societies in nineteenth-century the seamen of the Channel Islands that ‘I am key taxonomic research relating to children’s Australia through consideration of the ways in one of you, a combatant of the abyss.’ illustrated books. In conclusion I will propose which the story is depicted by European artists a cross-disciplinary methodology to develop C. H. T. Costantini, Frederick Woodhouse, O. R. a taxonomy for the grand artist’s book by Campbell, Henricus van den Houten and the appropriating and applying one from children’s Indigenous artist Tommy McRae. illustrated books.
Alice Tappenden Rodney Swan Amanda Peacock Alice Tappenden is currently a BA(Hons) student at Rodney is a MPhil Research Candidate at COFA, UNSW, Amanda Peacock is the coordinator of Aboriginal and the University of Canterbury. With a background in Sydney. He is researching the causes of the post-war Photography education programs at the Art Gallery of practical photography, she is interested in the history of resurgence of the 20th century French derived artist- New South Wales and is currently undertaking a Master this medium, and recent studies abroad have confirmed illustrated book. Rodney has presented papers on of Art History at the University of Sydney. this. In 2012 she plans to undertake a Masters degree artist-illustrated books and is curating an exhibition for ([email protected]) focusing on its development in New Zealand. 2013/14 called “Matisse, Miro, Picasso and Chagall; Art ([email protected]) and Literature - Their Grandest Grand Livre”. ([email protected])
46 47 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.05pm - 1.50pm Room: G03 W1.5
1.05pm-1.15pm 1.15pm-1.25pm 1.25pm-1.35pm ‘FALSE ARTIFACTS’: AN INVESTIGATION THE SECRET–THE PLACE OF CURIOSITY FILIGREE: A CROSS-CULTURAL PRACTICE OF THE CRAFT OBJECT AND ITS IN THE MECHANISM OF SEDUCTION; AN As part of my PhD research, I studied the ENGAGEMENT WITH PHENOMENA INVESTIGATION OF TRACES traditions and the trade in decorative arts The practice-based research discussed in this The artist shapes the matter in hope of across the Indian and Pacific Ocean. My studies paper explores the use of the craft object as touching the viewer on a deep, somatic revealed a cross-cultural pattern similar to the an instrument to reveal liminal and interstitial level. The artist’s desire is to penetrate the seventeenth-century Sino-English porcelain spaces through the use of glass, light and spectator’s psyche, to structure his/her trade. In my case study, I followed the old other media. I contend that the material thoughts in a kind of mise en abîme bouncing galleon route to Peru, travelling to Catacaos, a properties of the craft object can provide the and reverberating between the work and the traditional filigree-making village on the north potential to activate moments of heightened viewer’s perception. This mirror game has the coast of Peru, and asked four filigree makers awareness of the environment around the power to precipitate corporeal sensations, to reinterpret a pencil drawing of a landscape object. In doing so, it functions as a medial psychological reflections, and investigation I had made in silver filigree. The brief was to point by which everyday experience might through the viewer’s memories traces. The create seven individual filigree landscapes in be transformed into a moment of awareness viewer becomes part of the performance, from silver that I would later turn into brooches. CHAIR of temporality and space, a moment when a static to ecstatic, the viewer and the work The results of this cross-cultural contact were Julieanna Preston ‘slowness of seeing’ can occur. amass information through the experience and extraordinary raising the following questions: this exchange is as significant to the work as 1. Is the outcome considered an ‘authentic’ what the artist dissipated in it. object? My research aims to investigate traces, be it 2. Is the outcome considered a ‘production’ sensory traces, memory traces, or traces on object? artefacts and seeks to validate the importance 3. Given that the cultural context was of affect and corporeal response to an metropolitan versus ‘provincial’ centre, could embodied aesthetic experience. the outcome be considered hybrid?
Tyler Rock Caroline Ouellette Ximena Natanya Briceño Tyler Rock is a Masters by Research candidate in Caroline Ouellette has been working with glass for over Born in the USA I spent my developing years in Lima, Art, Architecture & Design at the University of South a decade. Colourful and curvy, intrinsically feminine, Peru where I learnt silversmithing. I studied Art History Australia in Adelaide. Rock has taught and lectured her sculptures heighten the senses of their observers, at the University of Florida, arriving in Australia in extensively in the field of glass since 1995. He is faculty filling their eyes with heady colours and their fingertips 2004. I am completing my PhD studies in the Gold and at ACAD in Calgary Canada, and is currently a sessional with varying textures. Her work can be found in many Silversmithing workshop at the Australian National instructor at UniSA. ([email protected]) collections such as Quebec National Museum collection. University. ([email protected]) ([email protected])
48 49 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.55pm - 2.40pm Room: MZ04 W2.1
1.55pm-2.05pm 2.05pm-2.15pm 2.15pm-2.25pm FRANK BRANGWYN IN AUSTRALASIA THE COLLECTION OF PRINTS IN NORTHERN RENAISSANCE PRINTS IN Although relatively overlooked in accounts of AUSTRALIA AND NEW ZEALAND, PRE- THE MUSEUM OF NEW ZEALAND TE British art in the early twentieth century, Frank 1950 PAPA TONGAREWA Brangwyn enjoyed widespread international Prior to the outbreak of World War II the The print collection of the Museum of New fame during his lifetime and was an admired display of prints in the homes of Melbourne’s Zealand Te Papa Tongarewa boasts a significant figure in Australia and New Zealand. He elite and fine art conoissuers was an number of Northern Renaissance prints received particular attention for his black and established practice. Figures such as Sir John by artists from the fifteenth and sixteenth white works which were a desirable addition Connell, Sir Keith Murdoch, Sir Daryl Lindsay, J. centuries, including Martin Schongauer, to Australian galleries establishing print T. Collins and Dame Nelly Melba all decorated Albrecht Dürer and Lucas van Leyden. The collections from the 1900s onwards. their homes with original artist proofs. They appreciation and systematic collecting of prints This paper will examine the dissemination and preferred work that was traditional and by these artists began towards the end of the reception of Brangwyn’s etchings in Australia conservative, favouring the established sixteenth century, thus establishing a canon in the first half of the twentieth century, a masters such as Rembrandt, Dürer, Haden, of Northern European master printmakers period of renewed interest in the printmaking and Whistler and their modern disciples that has stood the test of time. The heart of CHAIRS medium. Employing the acquisition of his Bone, Cameron, Robins and Short. They also Te Papa’s print holdings is made up of the Melinda Johnston and David Maskill work by State Galleries from the Baillie collected prints by Australian practioners such generous gifts presented by Bishop Ditlev Exhibition of British Art in Wellington in 1912 as Lionel Lindsay, John Shirlow and Blamire Gothard Monrad (1811-1887) and Sir John as a case study, this paper will consider the Young, which were more readily available than Moody Albert Ilott (1884-1973), who despite impact of Brangwyn as an etcher during the those by European artists. their differences in time and location both first half of the twentieth century. This paper will examine ideas of taste, subscribed to this canon. The result of their considering what type of prints were combined passion is a national print collection particularly sought after and also the manner that illustrates the stylistic developments of in which the collection of prints correlated Northern Renaissance engraving. with a specific interior design aesthetic.
Rebecca Edwards Kim L. R. Clayton-Greene Annika Sippel Rebecca Edwards is a postgraduate student in the Art Kim L. R. Clayton-Greene is currently working towards Annika Sippel is an MA candidate at Victoria University History department at the University of Melbourne. Her a Masters of Arts in art history (by research) at the of Wellington. current research focuses on the work of British artist University of Melbourne on the collection of James ([email protected]) Frank Brangwyn in Australia. McNeill Whistler’s black and white works in Victoria. ([email protected]) As part of her studies she spent six months at the University of Glasgow, Scotland in 2011. ([email protected])
50 51 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.55pm - 2.40pm Room: MZ05 W2.2
1.55pm-2.05pm 2.05pm-2.15pm 2.15pm-2.25pm THE ‘AUSTRIAN’ QUESTION: IAN BURN CULTURAL CONTACT: NEW ZEALAND ‘PLEASURE FRAMED’ AND INSTITUTIONAL MISRECOGNITION ART GALLERIES AND THE UNITED STATES THE AUSTRALIAN DESERT AND THE NEW Ian Burn, an Australian artist, is currently listed IN THE 1950S ZEALAND COASTLINE MAKE CONTACT on the MoMA website as being of Austrian From the mid-1950s, exhibitions of American I construct art installations on the dry lake nationality. Burn is often lauded as being the art began to be shown in New Zealand art bed of Mungo, or Mokau beach, and watch only Australian artist ever to occupy a central galleries, there were visits to New Zealand them come alive as vibrant colours. Beauty role in an international art movement due to by American artists, critics and museum is present here, and experienced within the his involvement with Conceptual art in New professionals, and New Zealanders undertook camera frame. However, feelings of conflict York in the 60s and 70s, and this error on the opposite journey. These events coincided surface; at my shoulder is an old fence post, the part of MoMA seems to place that view with the professional development of New a reminder of my colonial background and its of his practice in sharp irony. Burn’s practice Zealand art galleries, and introduced the impact on the land and the Indigenous people. itself saw the institution of the museum as country to first-hand examples of the dynamic My project attempts to address this flattening the discontinuous and specific in art being created in America. However, they incongruity by exploring the relationship a frame of ideological continuity which was also occurred in a broader political context between constraint and freedom in art making, CHAIR congruous with the expansion of free market dominated by the Cold War. and its potential for my positive connection Zara Stanhope capitalism. In this light, mis-recognition by the My thesis will consider the America-New with places of Western displacement history. institution has its benefits, which my paper Zealand exchange and examine its impact Through aesthetic expression I find resolution will frame alongside the question: should we in terms of the context of the times, to the conflict between constraint and tell MoMA, or should we not? Burn’s own developments within the art institution in freedom, which enables my enjoyable work seems to show the answer. New Zealand and the opportunities that it encounter with places of past colonisation. provided for exposure to new artistic forms. A holistic means is promoted in response This paper will focus specifically on the 1950s, to environmental and cultural concerns the changing circumstances that allowed for a experienced today. relationship to develop, and how it manifested itself through exhibitions and visits.
David Wlazlo Ian Cooke Wendy Bolger David Wlazlo was born in Melbourne, grew up in I am currently undertaking my PhD in Art History at Wendy Bolger was born in Matamata, New Zealand Tasmania, then moved back to Melbourne to study fine the University of Auckland. My topic is the relationship and now lives in Ballarat, Australia. Her Master of art. He is currently an MA candidate in Theory of Art & between the United States and New Zealand art Visual Arts is being undertaken at the University of Design at Monash University. ([email protected]) galleries from 1950 to 1980. Previously I worked as the Ballarat. She participates in environmental art festivals, image archivist and publications coordinator for the such as the Mildura Palimpsest (Australia), promoting London brach of Gagosian Gallery. positive contact with the land and cultures through art ([email protected]) installations and photography. ([email protected])
52 53 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.55pm - 2.40pm Room: MZ10 W2.3
1.55pm-2.05pm 2.05pm-2.15pm 2.15pm-2.25pm MARIA FEDOROVNA: SELF- MAINTAINING CONTACT: CASTS, AFFECTIONATELY MAORI: GOTTFRIED REPRESENTATION THROUGH ‘GARDEN COLLECTIONS AND COLONISTS LINDAUER’S ANA RUPENE AND CHILD PORTRAITS’ This paper will discuss the collection of plaster AND WESTERN INDIGENOUS MATERNAL Maria Fedorovna was a Russian empress and casts that formed part of the first acquisitions BONDING IN ART a wife of Russian Tsar Paul I, son of Catherine for the Museum of Art in Melbourne from A woman; an infant; swathed together in a the Great. She spent more than 30 years the late 1850’s to the early 1870’s. Particular cloak. What could be more exotic as a visual creating and developing her favourite estate emphasis will be placed on how these casts, metaphor for maternal bonding? A portrait by Pavlovsk, which became the finest landscape representing the great European sculptural Gottfried Lindauer (1839 – 1926), entitled Ana park in Russia. This paper explores her tradition, became key objects in the teaching Rupene and Child (1878) won a gold medal self-representation in portraits with garden curriculum of the National Gallery Art School in 1904 when it was exhibited at the St Louis backgrounds. which opened in 1870. The casts and copies World’s Fair, a demand for approximately thirty The development of Pavlovsk park of Antique and Classical sculptures as well more copies, and an internationally recognised emboldened Maria Fedorovna’s ‘garden as ‘modern’ sculptures depicting renowned image of an indigenous mother and her child. portraits’ to become more realistic and composers, writers and philosophers acquired Was it a genuine representation of how Maori CHAIRS detailed. Real views of Pavlovsk replaced for the opening of the Museum in 1861 were women mothered their children, or was it a Roger Blackley and Richard Read props or abstract views of gardens. By 1800 designed to instill a sense of educational and romanticised or exoticised image? What gave Pavlovsk park was articulated through aesthetic refinement in the viewer and for this image such eminence and interest? This portraiture as a place for creativity and family many colonists were their first introduction to paper will explore these issues in relation to life. ‘fine art’. In focusing on the theme of copies Lindauer’s famous portrait by contextualising Maria Fedorovna used garden portraiture to and reproductions within the ‘material’ strand it with the rise of photography during this communicate her identity, promote her role of the Conference, this paper will consider the era, and how this affected portrait painting. as a mother of the Heir to the throne and to relationship between these collections and the It will also discuss the real Ana Rupene; who please Catherine the Great. Maria Fedorovna’s wider educational model they represented. she was, where she came from, and how she garden portraits will be compared to similar has come to be the most recognisable Maori portraits created around the same time for woman to have ever been painted. aristocrats in Russia, France, Germany and England. This comparison will help to establish unique features of Maria Fedorovna’s garden portraits.
Ekaterina Abramova Fiona Moore Sukayna Al-Aaraji Ekaterina Abramova graduated from the University Fiona Moore is a PhD candidate in the Art Sukayna Al-Aaraji holds a BA(Honors) 2011 and intends of Sydney in 2009 (Master of Art Curatorship). She is History Department in the School of Culture and to begin a Masters at Victoria University in 2012. She currently employed at the University of Sydney as a Communication at the University of Melbourne, is currently employed at the Auckland Art Gallery Toi research assistant and a tutor and in the Art Gallery researching the development of the National Gallery o Tāmaki as a Gallery Educator, and has taken a keen of NSW as a teacher lecturer and Public Programs Art School in Melbourne. She has also worked in the interest in studying the representation of children in the Coordinator. She has worked as a guide in the Pavlovsk gallery sector for over thirteen years as a Registrar and history of art. ([email protected]) museum and park. ([email protected]) Collections Manager. ([email protected])
54 55 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.55pm - 2.40pm Room: MZ11 W2.4
1.55pm-2.05pm 2.05pm-2.15pm 2.15pm-2.25pm FROM PEASANT TO REVOLUTIONARY: INTERNAL LANDSCAPES: HOW ART FOLDING PAPER LOTUSES AND THE CINEMA AS A PALESTINIAN NATION ADDRESSES THE IDEAS OF SUBJECTIVE RECOVERY OF ‘CONTEMPLATION’ AS A BUILDING PROJECT EXPERIENCE IN REGARDS TO CHRONIC REFLECTION OF SLOWNESS For the past twenty years, the media coverage PAIN, ILLNESS AND TRAUMA INJURY Through thousands of years in a broad range of the Palestine/Israel conflict has relegated I am interested in the relationship I have with of cultures, human kinds have developed Palestinians to either bleeding victims or my body from my experience of chronic pain techniques such as yoga, meditation for stilling heroic figures of resistance. This paper after a trauma injury and four subsequent the mind and cultivating attention. Given the will argue that these images also mirror a spinal surgeries. I am suggesting that pain predicament of our world, including rampant deliberate construction of collective identity manifests as an abstract form within my body. suffering and alarming ecological disasters that has been facilitated by the Palestine I have sought to extract it from an experienced worldwide, the idea of inviting audiences Liberation Organization since 1968 using both interiority by exploring an abstract vocabulary to be immersed in artworks inspired by photography and film. By looking at the birth of audio, sculpture, photography and video. contemplative practices, could be an ecological of PLO efforts, this paper will illustrate how I seek to locate an external embodiment of renewal. cinematic output created the potential for the physical, emotional and pyschological This studio investigation aims to address CHAIR cinema to successfully forge a new collective processes of recovery which I suggest humanity’s obsession with speed. It appears Ann Shelton identity at the time. may provide an insight into the subjective that today’s information technologies may be Looking to the Palestinian ‘militant cinema’ in experience. blamed the most for the speedup of everyday the years between 1968 and 1982 this paper My research has led me to various artists life and fragmented attention. Referring to the will investigate the particular role cinema and philosophers, finding I was influenced by contemplative practices, I hold that the activity plays in the facilitation of contact between a the works of artists Frida Khalo, Eve Hesse, of folding paper lotuses is contemplative cultural group living in exile. Focusing on the Kiki Smith, and philosophers Elaine Scarry not only in terms of its process, but also its cinematic modes and distribution techniques and Arne Vetleson, who suggest our internal philosophical heritage derived from Buddhism of the time, the paper will reveal that cinema states of consciousness and imagining occur culture. In addition, an alternative view was crucial in formulating what anthropologist with objects in the external world. But pain is through the eyes of the meditative traditions Rosemary Sayigh describes as a ‘Palestinian not an object, it is impossible to imagine the may be provided. Inspired by this ritual, I revolutionary identity’. sensation of pain without a tangible platform resolved to bring this practice into secular for a shared experience. contemporary art.
Chrisoula Lionis Maria Sainsbury Jase Chia-Ching Lin Chrisoula Lionis is a PhD candidate at the CCAP, NIEA, I spent seventeen years as a successful Commercial I am interested in current social trends and stress UNSW. Having completed a Bachelor of Art Theory Advertising Photographer. In 2004 I had an accident enhancing situations such as speed driven culture and (Hons) at UNSW in 2006, Chrisoula’s PhD thesis is resulting in a spinal injury which drastically altered my modern development. My works mainly offer a reaction entitled Disoriented Laughter and locates its focus on life and ended my career for seven years. I am currently against the impact of what modernity has taken place the relationship between collective trauma and ethnic studying for a Post Graduate Diploma of Fine Art at in order to develop the awareness for the negative side humour in contemporary Palestinian art and film. Massey University with the intention of undertaking of modern life. ([email protected]) ([email protected]) Masters in 2012. ([email protected])
56 57 POST-GRADUATE STUDENT WORKSHOP Wednesday: 1.55pm - 2.40pm Room: G03 W2.5
1.55pm-2.05pm 2.05pm-2.15pm FRAGMENTED NARRATIVES: MEANING, THE EFFECTS OF RESEMBLANCE TIME AND PHOTOGRAPHY IN THE Current photographic technology not only WORKS OF DEGAS, SICKERT AND possesses the ability to capture the image, VUILLARD but also to capture (or create) photographic metadata as a form supplemental information. Photography’s invention provided a new vision This research notes the appending of of the world: that of a suspended moment metadata acknowledges the obscurity of the of real life. This new mode of vision was rich photographic image and is used to supplement fodder for artistic exploration with many the photographic image as a means to restore artists taking up photography or referencing or alleviate the difficulties of photographic photography’s pictorial conventions in other discourse. art mediums. In this paper I demonstrate how Engaging in the premise that the photographic Hilare Germain Edgar Degas, Walter Sickert image exists as an incomplete medium to the and Edouard Vuillard utilize photographic transfer of information, this research and body principles within their paintings to create of associated work identifies the acquisition of CHAIR avant-garde works that eschew painting’s data as a means to resolve interpretation and Erika Wolf traditional narrative structures. In their quantify the photographic image. Inhabiting works, time shifts from aiding a painting’s a complex territory within this structure, the meaning to instead enable these artists to procedures of exposing a photographic image fulfil modernistic tendencies. All three artists manifests multiplicity and operate as source, incorporate photographic time differently. production, and capture of both image and Degas suspends time, thus creating ambiguous information. This paper and body of connected meanings. Vuillard uses the sudden moment to work challenges the perceptions of how to visually realise his personal sensations. Sickert engage with the dialogues created between employs the static form of photographic the photographic image, and the externally studies to aid him in relaying his personal appended metadata. experiences to viewers. *Paper co-authored with Mizuho Nishioka
Janine Bruce Tane Moleta I am currently studying towards my Masters in Art Tane Moleta B.Des, M.Arch Merit, PhD candidate, History at the University of Canterbury in Christchurch, Victoria University, Wellington, New Zealand New Zealand. My thesis explores the relationship Mizuho Nishioka B.A (Law, Political Science), M.FA Dist, between time and photography in the artistic output PhD candidate, Massey University, Wellington, New of Pierre Bonnard, Hilare Germain Edgar Degas, Walter Zealand ([email protected]) Sickert and Edouard Vuillard. ([email protected])
58 59 AAANZ ANNUAL CONFERENCE ABSTRACTS and BIOS
60 61 SPATIAL / TEMPORAL
Richard Killeen, Welcome to the South Pacific, 1979. Acrylic lacquer on aluminium in 16 parts. Dimensions variable. Victoria University of Wellington Art Collection.
62 63 SPATIAL / TEMPORAL Thursday: 10.15am - 11.55am Room: LT1 T1.1
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am PROJECTING NATIONHOOD: THE REDEFINING THE ‘AUSTRALIAN CITIES WITHIN CITIES: NEW ZEALAND CITIES WITHIN CITIES: NEW ZEALAND AUSTRALIAN PROVINCIALISM PROBLEM CRAWL’? AUSTRALIAN ART/HISTORY, ART HISTORY IN AUSTRALIA AND ART HISTORY IN AUSTRALIA AND REVISITED UNIVERSITIES & THE CULTURAL CRINGE AUSTRALIAN ART HISTORY IN NEW AUSTRALIAN ART HISTORY IN NEW Terry Smith’s article ‘The Provincialism Is Australian art/history in universities ZEALAND (PART 1) ZEALAND (PART 2) Problem’ (1974), has seen Australian art drowning under a second wave cultural In this paper, we want to present the story Co-presented with Rex Butler (see description scholars deliberate over his charge that cringe? Recent indications suggest that of New Zealand art in Australia and of to left). Australia is strongly anchored to Western appreciation of ‘Australian’ culture, from Australian art in New Zealand. Our point is ‘centres’ that exert an ever-present force literature to visual art, is undergoing a that because of the two countries’ cultural despite the deconstruction of Western profound sea change that threatens to and geographical proximity, the ongoing hegemony through postcolonial discourse. redefine the iconic ‘Australian crawl’. Within presence of the artists of one country in Recent shifts in attitudes about provincialism an academic research environment dictated the art history of the other has been almost by art historians Ian McLean and Rex by ERA metrics, demand-driven economics invisible. Certainly, the national art histories Butler suggest that Australian art occupies and savage course rationalisations, ‘world of each country is constituted by a kind of an ambivalent position neither for nor class-ness’ and ’international’ standards are blindness towards what happens in the other: against Eurocentrism; a condition that has increasingly equated with ‘overseas’ models once an ‘Australian’ artist leaves for New the possibility of negating Smith’s original of value. Since ’it is widely recognised that Zealand they are never heard of in Australian conclusion of inescapable condemnation auditing regimes change the activities they art history again; when a ‘New Zealand’ artist to provinciality. This paper will reflect on seek to measure’ (Cooper & Poletti, 2011), arrives in Australia, their prior activities in developments of the provincialism problem Australian art /history and publishing may well New Zealand are paid little or no attention. through the analysis of Australia’s top two diminish in volume, status and confidence But today artists move freely between both grossing international films, Crocodile Dundee as newly aspiring generations of students– countries and indeed around the world. What (1986) and Australia (2008). Specifically, I will already adopting ersatz US accents– look ever would be the pre-history to this contemporary speculate on the projection of nationhood northwards. situation? It would be a way of writing a new, in both films, demonstrating the cinematic Deluged by Euramerican paradigms, are ‘UnAustralian’ art history and, of course, a way shift from the vernacular ‘Ozploitation’ style local/Australian/regional histories once again of writing a new, ‘UnNew Zealand’ art history. of the 1970s and 1980s, to the homogenous ‘beached’ on the shores of (revivalist) 1970s Hollywood style of today. I will argue that this provincialism? Do cultural narratives of lived shift counters the progression in attitudes reality–and surreality–in the global south about Australia’s provincialism problem. require resuscitation? If so, who–or what–will administer the kiss-of-life? Laini Burton Pamela Zeplin Rex Butler A. D. S. Donaldson Dr Laini Burton is an Associate Lecturer in Art Theory Dr Pamela Zeplin is a writer, artist and Research Rex Butler is Associate Professor in the School of A. D. S. Donaldson is Lecturer in the Painting at the Queensland College of Art, Griffith University, Education Portfolio Leader (Art, Architecture & Design) English, Media Studies and Art History at the University Department at the National Art School. He studied at Brisbane. Dr Burton’s research interests include at the University of South Australia. Pamela regularly of Queensland. He is currently working on a critical the University of Sydney, the Kunstakademie Düsseldorf, body politics and gender theory, critical theory of publishes on and participates in contemporary art biography of Colin McCahon with Laurence Simmons the Royal Danish Academy of Fine Arts, Copenhagen spectacle, Situationism, contemporary art criticism and events throughout the Asia-Pacific region. Her research and a history of ‘UnAustralian’ art with A.D.S. and the École des Beaux-Arts, Paris. He is an artist, contemporary Australian art. ([email protected]. focuses on ‘aesthetic relations’ between New Zealand, Donaldson. His most recent book is the edited collection art historian and curator specialising in the history of au) Australia and the South Pacific. Jeremy Gilbert-Rolfe: Art after Deconstruction (2011). Australian art in the 20th century. His current research ([email protected]) ([email protected]) includes working on a history of ‘UnAustralian’ art and the cultural interrelationship between Australia and France since 1900. ([email protected]) 64 65 SPATIAL / TEMPORAL Thursday: 10.15am - 11.55am Room: LT2 T1.2
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am NO CONTACT GENERATES CONTACT: KING TAWHIAO’S BIG O.E. SYMBOLIC SURFACES. SHELL MOSAIC THE TAINTED TRAVELLER: RETRACING THE ENIGMATIC CASE OF JW POWER King Tawhiao’s 1884 excursion to London IN AUSTRALIAN ARCHITECTURAL COLONIAL EXPEDITIONS IN A Engagement with the avant-garde underwrote is usually framed as a failure, since Queen DECORATION CONTEMPORARY WORLD the short but fascinating art career of Victoria was advised not to meet him and This paper examines the cultural interaction History and place can no longer be seen as JW Power (1882-1941), as a member of the other chiefs. Insisting instead on the present in the decoration of two Australian stable or easily definable subjects for artistic Abstraction-Création in Paris, an art writer importance of this trip, my paper unpacks buildings – the Grotto at Werribee Park near investigation. This paper will examine works and a collector of modernism. Thus Power is a range of representations of Tawhiao by Melbourne (c. 1870s); and the Sacred Heart by Tom Nicholson (Aus), Renee Green (US) and a rare example of an Australian artist involved metropolitan artists. I argue that the famous Church at Beagle Bay in the Kimberley region Joachim Koester (Den) in which the indexical in a major international art movement. His photograph of Tawhiao in a kiwi-feather cloak (built c.1918), which both incorporate vast mediums of analogue photography and film desire to work entirely in cosmopolitan terms was made in London, despite its universal numbers of shells, including pearl shell, into are utilised to chart a contemporary retracing meant he had no contact with Australia after attribution to an Auckland photographer who their interiors. It will be argued that the of a colonial expedition. Reaching across leaving in 1906. When his visionary bequest pirated the image. There was a lost oil portrait Werribee Grotto’s ornamentation represents a time and space, this paper will suggest that to ‘bring the people of Australia in more direct by a society painter, for which regalia was playful inversion of the European shell house’s the motif of the historical expedition offers touch with the latest art developments in borrowed back from a remote Victoria, and emphasis on exotic spectacle; while the Beagle artists a means through which to reflect on other countries’ was announced in 1962, he the most spectacular and ephemeral portrait Bay church reveals that the separate cultural the economic, political and environmental was virtually unknown. Even today Power’s of all: Tawhiao’s moko realised in fireworks on myths associated with shell’s iridescent legacy of the enlightenment project, whilst philanthropic vision still overshadows his art. ‘Fireworks Thursday’ at the Crystal Palace. material – found in Catholic iconography and addressing changing notions of place in My paper will begin to situate his art in the It was the hey-day of celebrity journalism and Aboriginal ‘dreaming’ – intersect in this unique contemporary society. The exploits of the context of the cosmopolitan modernist circles Tawhiao was briefly subjected to paparazzi interior. In fact, the mother of pearl’s symbolic colonial adventurer were founded on rigid in which it was shaped. I will show that Power frenzy, with more nuanced accounts appearing surfaces will be shown to interweave Western notions of fixed alterity, however in this paper is a fascinating example of an artist who in New Zealand newspapers. Above all, such and Indigenous spiritual traditions into a new I will argue that the artists under review sought no contact with his culture of origin – texts reveal the fun to be had by elite Maori synthesis. Both case studies demonstrate that perform an epistemological flip, appropriating and yet whose significance is only now being visitors undertaking research in the Pakeha cultural intersection can emerge from the historical expeditions to reflect on an recognised. heartland. “spark” of direct contact between peoples and emergent ‘mobilities paradigm’ predicated on material objects. a notion of place as multifarious, transnational and open-ended.
Ann Stephen Roger Blackley Alison Inglis Shelley McSpedden Ann Stephen is an art historian and curator, her recent Roger Blackley teaches nineteenth-century and colonial Alison Inglis is an Associate Professor in the Art History Shelley McSpedden is a PhD Candidate at Monash exhibitions include: Mirror mirror: 2009-10; Cannibal art history at Victoria University of Wellington and Program in the School of Culture and Communication at University, Melbourne, where she also teaches and is tours, 2009; and Modern times: The untold story of was previously a curator at Auckland Art Gallery Toi the University of Melbourne. She teaches, researches assisting on a research project on photography and modernism in Australia, 2008-9. Her books include: o Tamaki. Best known for his exhibition and book and publishes on nineteenth-century art, the history of climate change. Her book on Australian artist Nicholas On looking at looking: The art and politics of Ian Goldie (1997), Blackley is continuing his research into artistic materials and techniques, and art curatorship. Mangan was published in 2010. She has published Burn, 2006; Modernism & Australia: 2006 (co-eds., Maori representations in colonial art and literature. ([email protected]) numerous articles and catalogue essays and is a regular McNamara and Goad). ([email protected]) ([email protected]) contributor to Eyeline. ([email protected])
66 67 SPATIAL / TEMPORAL Thursday: 10.15am - 11.55am Room: LT3 T1.3
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am THE HABIT OF DISTANCE SEEING THE WOOD AND THE TREES: THE ARCHIVE STARES BACK: CHANGE TACTICS: ARTISTS ENGAGING A prime source for my artwork has been IMAGING ‘HITLER’S OLYMPIC OAKS’ ENCOUNTERING PHOTOGRAPHY IN WITH CLIMATE CHANGE the past melancholy situations of others, Depicting a very particular group of oak trees, HISTORY’S RECORDS A central set of questions around living approached via what remains of the evidential gifted as seedlings to gold medalists at the Over the course of 1919, a large collection of with climate change can be found in our record. Over time, as an outcome of this 1936 Berlin Olympics in Nazi Germany, the photographs was amassed by concerned Jews relationships with objects. Artists are approach, something has established itself now geographically dispersed and fully-grown in Ukraine, documenting the pogroms which particularly adept interrogating such in the work that I privately term a ‘habit of oaks are charged as symbols of the political raged across the country at the time. These relationships. distance’. and sporting pride of nation-states. In this images have found their way into the archives It begins by considering the significance My paper will explore some intertwined sense they represent a failed attempt, through of the Jewish historian Elias Tcherikower, and that the idea of nature has for artists in implications of this phrase: the idea of a the appropriation of the oak tree as symbol, now form part of the enormous photographic the southern hemisphere, and considers distance that is efficacious, that can alleviate to assert an ideology via the seedlings sent archive of the YIVO Institute for Jewish challenges to the notion of ‘nature’ as a or diminish suffering; and the managerial—the out around the globe. These images, initially Research in New York. The photographs separate entity, drawing on the work of Bruno habit of setting things aside and apart. engaging with the surface information that were taken by a wide range of people both Latour and Timothy Morton, and the related It will refer to two recent projects, Lost to forms part of public or collective memory, also amateurs and professionals, in a wide range thinking of the object-oriented ontology of Worlds (2008) and Songbirds are Everywhere uncover the very real and shifting ideological of places and conditions, from the sites of speculative materialist philosophers such as (2011). Both lament the fact of distance and status of these trees, their locations and the atrocities themselves to the unlikely Graham Harman and Levi Bryant. attempt to overcome it while, inescapably, idiosyncratic historical contexts. I consider context of the commercial photographer’s It discusses these ideas in relation to works they represent it. The paper will consider these, often conflicting, meanings through the studio. Presumably for Tcherikower and his by Rachael Rakena, Janet Laurence, Natalie the relative contributions of these works’ fractured lens of post-war memory, history colleagues, the purpose of the collection Jeremijenko, Amy Balkin and other artists manifest content and such aspects as time and and photographic theory. This paper will was evidentiary. However, over time, whilst who address the problematics of a simplistic movement, surface and depth, density, detail present artworks from in a forest, discussing the subjects of these images have become division between nature and culture, or nature and reflection. the shifting indexical status of their content lost to us, the transactions between them and ourselves. in relation to the crucial representational and the makers of the photographs are still These artists use strategies generated by and installation devices adopted in their legible, seeming to insist on the possibility of understandings of indigenous identity, affect, exhibition. other meanings that lie somewhere between sustainability and the commons and in doing portraiture and relics. so change the ways that art functions in contemporary society.
Anne Ferran Ann Shelton Anne Brennan Bridie Lonie Anne Ferran is a Sydney-based artist. She is Ann Shelton is a visual artist, and Director Anne Brennan is an artist and writer. She is the head Bridie Lonie (MA, Art History and Theory, University of Senior Lecturer in the Photomedia Studio, Undergraduate Studies Photography, SoFA, Massey of the Art Theory Workshop at the ANU School of Art. Otago) teaches Art History and Theory at the Dunedin Sydney College of the Arts, University of Sydney. University, as well as Chair, Enjoy Public Art Gallery. Her research interests focus on history, memory and School of Art, Otago Polytechnic. A recent publication ([email protected]) Shelton’s work is exhibited internationally including commemoration; she is especially interested in the way is ‘Representation, Use and Participation, Three Ways at Images Recalled (Bilder auf Abruf), Germany’s in which these are configured in public artifacts and of Looking at Art/Science’ in Unseen, Junctures, The largest photographic biennale, and winner of the 2010 institutions such as the museum and the memorial. Journal for Interdisciplinary Dialogue, No 13 2010, CoCA Anthony Harper Award for Contemporary Art. ([email protected]) www.junctures.org. ([email protected]) Conference presentations include ‘The Event Horizon: Returning “after the fact”’ co-authored with Donna West Brett. ([email protected]) 68 69 SPATIAL / TEMPORAL Thursday: 10.15am - 11.55am Room: G03 T1.4
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am A DWELLING PERSPECTIVE: RONI STREET ART AND HETEROTOPIA: A MOLECULAR PERSPECTIVE: ON FRAMING FASHION THROUGH FICTION: HORN’S WEATHER REPORTS YOU AND CURATING THE EVERYDAY AS GLOBAL HISTORY AND MIKE NELSON NARRATIVE AND THE FASHION IMAGE HERDUBREID AT HOME RESISTANCE IN LIQUID MODERNITY Using the work of the British artist Mike Compelling stories of romance, drama, Much of Roni Horn’s extensive body of Through their position of otherness, Nelson as a model, this paper outlines the mystery and suspense have been constructed work has taken the landscape of Iceland heterotopia represent opportunities to disrupt terms of a new spatio-temporal methodology around clothing, providing the fashion object as its subject. This paper explores two everyday spatial order, to contest and invert for considering contemporary art. Reflecting with its mythic and symbolic quotient. In such examples of Horn’s work, the book all other sites existing within society (Foucault, the structural realities of Nelson’s work, this particular, contemporary fashion photography projects Weather Reports You (2007) and 1967). As such, they offer the potential to methodology is multi-axial, but essentially and film have cast garments as characters, Herdubreid at Home (2007), considering them develop or imagine new orders broader than dualistic in its approach to thinking through portraying these objects in roles that evoke within the context of Heidegger’s notion of their intended function. But with theories of transnational art histories — or historiography identification and desire in the viewer. In ‘human dwelling-in-the-world’. The dwelling modernity moving beyond solidity of meaning after globalisation — based on the telescoping comparing the spatial narrative of serial perspective is a phenomenological position and space (Bauman, 2000, 2007, 2011; perspective of scale employed by Charles photographic images with the temporality of that moves beyond ocularcentric notions of Augé, 1995), and spatial dimensions being and Ray Eames in their 1968 film Powers of the short fashion film this paper will consider landscape as a ‘way of seeing’, suggesting altered by mobile and internet technology, Ten. This telescoping methodology promotes how fashion fantasy is constructed. It will instead that the production of landscape is do heterotopia escape their spatial a model of thinking that is simultaneously argue that these structures are central to how a function of interactions between an agent boundedness? anchored in the local and the global, the still and moving images are perceived in their and their environment. I thus argue that both Buried within ambivalent spaces of a liquid micro and the macro. I argue that this form of negotiation of the tension between commerce Weather Reports You and Herdubreid at Home order, can street art make contact? Can it thinking is immanent in global citizens today and art. Further, this paper will contend that assert a definition of landscape as becoming connect enough to disrupt? Using examples mainly due to the issues of climate change the convergence of still and motion images in meaningful only through the ongoing process from Sydney-based street artists – particularly and, more sceptically, global financial crises. hybrid fashion media forms offer an alternate of its habitation. Will Coles (2004-2010) and Hobart Hughes This methodology is useful for negotiating experience that subverts clothing as character (2010-2011) – I will explore the potential multiple and concurrent histories, by and instead frames the garment as the for different modes of street curatorship simultaneously zooming in to analyse different unfolding action, revealing dress as a nuanced to rupture everyday ambivalence through localities and temporalities, and zooming out and enigmatic narrative in and of itself. contact and connection. I will question the to envision them locked in parallel grooves to nature of heterotopia within liquid modernity, one another. and whether they can now exist outside formal space.
Barbara Garrie Christopher Brew Helen Hughes Jess Berry Barbara Garrie recently completed her PhD at the Christopher Brew is a Sydney-based writer who Helen Hughes is a PhD candidate in art history at the Dr Jess Berry is Lecturer Art Theory, Queensland College University of Canterbury, studying the work of tutors in the Faculty of Arts and Social Sciences at University of Melbourne. She is also Assistant Curator at of Art, Griffith University. Her research interests include American artist Roni Horn. Barbara was founding the University of Technology, Sydney. He is primarily Utopian Slumps, and co-editor of the Melbourne-based fashion history and theory and visual culture and editor of Oculus: Postgraduate Journal for Visual Arts concerned with the concepts of utopia and resistance contemporary art journal Discipline. consumerism. ([email protected]) Research and is currently involved in administering the within modernity, and how affecting experience ([email protected]) photographic archive A Place in Time Documentary reconstructs our world. ([email protected]) Project. ([email protected])
70 71 SPATIAL / TEMPORAL Thursday: 10.15am - 11.55am Room: MZ05 T1.5
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am CONTACTING A BODY ‘FROM LIFE’: PORTRAITURE AS CONTACT: OFFICIAL A BOLD INTREPID COUNTENANCE: CULTURAL CROSS-DRESSING: BENJAMIN HISTORIATED PORTRAITURE AND THE REPRESENTATIONS OF BRITISH A READING OF EARLY AUSTRALIAN WEST’S PORTRAIT OF SIR JOSEPH BANKS ARTIST/MODEL/SITTER TRANSACTION MONARCHY ABROAD PORTRAITS When Joseph Banks returned from his IN PORTRAIT PRODUCTION Portraits of Queen Victoria (1819-1901) by The first portraits created in Australia voyage to the South Seas in 1771, his uncle commissioned Benjamin West to paint a full- Working ‘from life’ remains a core component Franz Xaver Winterhalter (1805-1873) have functioned primarily as records of the features length portrait of the young explorer. In this in undergraduate Fine Arts curricula and in long been regarded as definitive images of of the people encountered by colonisers and large oil the flamboyant Banks is wrapped in a the provisions for major portrait awards. the British monarch. A prodigious number of explorers. Yet for curators researching and precious Maori cloak and is surrounded by all The phrase indicates an immediate material copies after these portraits were disseminated interpreting portraiture, these works are the paraphernalia of his trip to the South Seas. encounter between observed bodies – artist by the Queen and her Government not only rich historical documents with significance This paper explores the reasons why Banks and model – in the studio, but whether or in the British Isles, but also throughout the surpassing their ethnographic intentions. They chose to pose in such extravagant dress. Is not that model is characterised as a sitter official establishments, offices and institutions offer contemporary viewers the possibility of he simply creating a sense of the exotic to resonates with concerns about portrait in the farthest outposts of the British intimate encounter with their subjects; and entertain eighteenth-century British society? production, figuratism and posing. Contained Commonwealth. present a unique means of plotting the shift in Or are there more complex readings? Beth within this discourse are the contemporary Winterhalter’s portraits of Queen Victoria thus colonial attitudes towards Indigenous people Fowkes Tobin in Picturing Imperial Power historiated portraits that intentionally became the first point of contact between the that occurred during the immediate post- categorises such images as ‘cultural cross- disrupt the artist/model/sitter transaction. monarch and the millions of her culturally and contact decades. dressing’ and poses a range of questions that The historiated portrait (portrait historié) religiously diverse subjects. As an allegorical This paper will consider early portraits of are pertinent to the Banks portrait. Should is a deliberate construction in which a embodiment of the British Empire, they also Indigenous Australians with reference to it be interpreted as a statement of cultural model is portrayed in disguise, and, through became one of the veritable cornerstones of colonial intentions in New South Wales; appropriation or cultural accommodation? masquerade and dissimulation, it accords their national identity. thereby examining the way in which portraits Should it be understood as a parody of British the artist a specific strategy to expose the The paper examines the complex iconography mirrored the impact wrought on Aboriginal codes of behavior and is Banks’s dress actually pretence implicit in the act of portrayal. of official royal portraiture and investigates the society as British presence in Australia subversive and transgressive? Through the survey of contemporary procedures underpinning the dissemination hardened and expanded. In considering the historiated portraiture, and a practice in which and distribution of royal images, which came links between portrait collections in Australia, I construct such portraits, it becomes possible to play an important part in Queen Victoria’s New Zealand, and America, this paper will also to confront the counterfeit in portraiture performance of her royal duties and in the explore the place of portraiture in the colonial drawn ‘from life’. continued visibility of the British Monarchy. endeavour and discuss the distinct nature of National Portrait Galleries as museums dealing in the intersections of art, history, and biography. William Platz Eugene Barilo von Reisberg Joanna Gilmour Elisabeth Findlay Artist and lecturer William Platz studied Fine Arts Eugene Barilo von Reisberg is a Melbourne-based arts Joanna Gilmour has worked in exhibitions and curatorial Dr Elisabeth Findlay is a lecturer in Art History in the and Art History in New York (Pratt Institute & Regents writer, curator, and blogger. His expertise on Franz roles at the S.H. Ervin Gallery and the Historic Houses School of Cultural Inquiry at The Australian National College) before joining the Southwest University of Xaver Winterhalter is widely recognised, and he has Trust of NSW. She is currently Assistant Curator at University. In 2010 she was an Academic Visitor at Visual Arts faculty in New Mexico. In 2009, Mr. Platz contributed numerous articles and presented papers the National Portrait Gallery, Canberra, her research the University of Oxford, where the research for this immigrated to Australia and began pursuing a PhD in on the artist in Australia and internationally. He is focussing on colonial history and portraiture. Her book paper took place. She is currently the ACT regional Fine Arts at the QCA. ([email protected]) currently pursuing a doctoral thesis on the artist at the on nineteenth century portrait photography, Husbands representative for the AAANZ. University of Melbourne. ([email protected]. & Wives, was published in 2010. ([email protected]) edu.au) ([email protected])
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10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am HOTERE, BAXTER AND DUNEDIN’S FRESH DOUBT: THOUGHTS ON ‘EN ROUTE’: AUDIENCE WORKS AND ART, ARCHITECTURE AND DISCOURSES GLOBE THEATRE: A 1960s CULTURAL RECOGNITION THE RELATIONALITY OF PLACE-IDENTITY OF NATIONAL IDENTITY: ITALIAN NEXUS The paper provides a framework for thinking Practices of art (and architecture) have EXHIBITION PAVILIONS OF THE 1930s In the early 1960s Patric and Rosalie Carey through aspects of process-based practice. recently turned towards theories of This paper explores modalities of social converted part of their home into the Globe Its conception comes out of van Roosmalen’s relationality, embodiment and affect, engagement of art with its audiences. During Theatre, a venue that promoted interaction teaching of contemporary art practices and accompanied by a shift towards discourses and the late 1930s, the Italian government invested and exchange between practitioners of the difficult terrain for students and artists design practice that emphasise doing things considerable effort and expense to present diverse art forms. It functioned as the hub of choosing potential paths for developing with space and engaging with what spaces idealised representations of Fascist society in of the local arts community and was a vital work. This process of recognising potential in do. Hence, city spaces can engage socially by national and international exhibition pavilions. meeting ground for writers, artists, musicians something is of constant concern and rather becoming the choreographers and agents of These combined entertainment, tourism and academics. The Globe also functioned as than attempting to answer directly to its its audiences. This paper focuses on what we and propaganda as integral to a constructed an art gallery, exhibiting works by significant dynamics the paper explores the idea through can learn from audiences of live art in urban discourse of Italian national identity and local and national artists. One example of the various texts with which van Roosmalen is environments. ’en route’ is an audience work culture. Through a comparative study of remarkable collaborative efforts facilitated by engaged in her own research, turning around conceived by Melbourne-based ensemble ‘one four examples, this paper considers forms the Globe was the inaugural performance of a discussion of recognition across a number of step at a time like this’, a walk with an iPod of exchange between artists and architects; James K. Baxter’s last play The Temptations cultural contexts. through laneways and buildings in the central formal aesthetics and spatial sequence; art of Oedipus in 1970, which featured a set In urban theory, Henri Lefebvre and city. Using interview material from audiences works and exhibition design. These exchanges and costumes designed by former Frances contemporary proponents Warren Magnusson who have performed ‘en route’ in Melbourne, are essential to the exhibitions’ success as Hodgkins Fellow, Ralph Hotere, and music and David Harvey discuss the broader Brisbane and Adelaide, this paper describes intersections between art, architecture and composed by the first Mozart Fellow, Anthony ramifications of planning for a social and and analyses the effects of a site-responsive propaganda. They occurred in an orchestrated Watson. This paper explores the Theatre’s empathetic urban environment. At another performance that awakens its urban audiences space that played an intermediary role role in supporting the arts, establishing artistic point on the spectrum, in feminist theory, from their blasé state of distraction. ‘en between the individual and a specific, networks and encouraging collaborative Judith Butler closely examines the semiotics route’ is the affective experience connecting idealised representations of Italian life. endeavours. of recognition. And in art historical terms, subjectivity, place and identity as relationally Further, these Modernist pavilions remain 1950 – 60’s critical art practices form a link and mutually constitutive. as examples to counter the perception that to manifestations in van Roosmalen’s post- Italian architectural production of the 1930s minimal painting/installation practice. was confined to the hard and authoritarian lines of monumental classicism.
Joanne Campbell Karin van Roosmalen Ian Woodcock Flavia Marcello Joanne Campbell is currently completing a PhD in Art Working at the intersection of painting and object- Ian Woodcock is an architect, urban designer, teacher, Dr. Flavia Marcello teaches in design, history and theory History at the University of Otago on the history and based installation, Karin van Roosmalen’s project and currently Research Fellow, Urban Design at at Deakin University. An expert on Rome, her areas influence of the Frances Hodgkins Fellowship, New engages with issues of space and its habitation. The University of Melbourne. Since 2009 Ian has of interest include: the Italian Fascist period, spatial Zealand’s first visual arts residency programme. Until She lectures in The School of Fine Art, Massey collaborated with Melbourne-based ensemble ‘one step practices within architecture both as ephemera and as recently, she served as a trustee of the Blue Oyster Art University, Wellington and holds an MFA in painting, at a time like this’ on ‘PastCityFuture’, a work combining an integral element of urban space and relationships Project Space. ([email protected]) RMIT. Van Roosmalen is currently facilitating a audience work and architectural design, hybridizing between education and sustainable practice. collaborative project for the Gapfiller initiative, architectural teaching/learning and live art. ([email protected]) Christchurch. ([email protected]) ([email protected])
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10.15am-10.35am 10.35am-10.55am 10.55am-11.15am INTERMISSION: INTERSTITIAL CURATED BY FRANCESCO BONAMI AND FRA FILIPPO’S PALAZZO MEDICI AND MOMENTS IN CREATIVE AND CRUEL GIORGIO VASARI CAMALDOLI ADORAZIONE: PUBLIC PRACTICE Francesco Bonami was commissioned by AND PRIVATE DEVOTION, URBAN AND Sited in the cinema/theatre’s auditorium, the Florence Council to enliven Florence as HERMETIC DEVOTIONAL PRACTISES this paper explores the transformative a ‘living’ destination. Needing a sign of the In 1455, Fra Filippo Lippi was engaged to moment that occurs when the homogeneity contemporary, he chose Damien Hirst’s For paint the altarpiece for the Palazzo Medici of theatrical space and time is interrupted the Love of God, a celebrity work. It was capella, in the city dwelling of the wealthiest, and broken by the uncanny presencing of placed within a secret room, the Camera of most powerful family in Florence. Far from an unscripted and unimaginable element. Duca Cosimo, which leads off the (usually being a space for private devotion, the chapel By looking at a recent work of Venezualan by appointment only) Studiolo of Francesco was the site for a mixture of business and contemporary artist Javier Téllez—in which I, Palazzo Vecchio. Bonami’s curation was religion. Fra Filippo presents the viewer with a live lion encounters a live audience in a yet another State-sanctioned exhibition in a an unexpected rendering of his subject matter, small-town cinema—discussed alongside place designed to display power and wealth a wilderness Adoration. Fra Filippo painted a the 2002 Moscow Theatre Siege—in which a (by Vasari). Focusing on the Palazzo Vecchio variation of the Adoration for the Camaldoli staged performance was violently disrupted – architecturally, art historically and plotting Hermitage near Arezzo. It was likely a gift from by Chechen rebels who took performers and its place within the city – the complexities the Medici, to furnish a cell dedicated to the public hostage—we examine the temporal of Bonami’s achievement will be discussed. Baptist. This figure is key to understanding how site that opens up between the real and the He has recovered a psycho-geography of two similar compositions could suit two very imagined when the continuity of narrative and the Studiolo and shown how images in a different audiences. In this paper I will examine assumed spatial practices are disrupted. We wunderkammer have a strange history which how Fra Filippo’s composition, featuring the posit the concept of intermission as a means encompasses not only art but State magic and youthful Baptist, becomes the point of contact of considering these ruptures which provoke effigies. The sovereign’s study is host to the between the performative devotion of the a precarious state where awe, fear, and power sovereign artist, in a formation that found its wealthy urban elite, and the pentitential, collide. apotheosis in Renaissance humanism. private devotion of the segregated faithful. *Paper co-authored with Dr. Dorita Hannah, *Paper co-authored with Anna Ciliberto Massey University, Wellington
John Di Stefano Oliver Watts Georgina Macneil Dr. John Di Stefano is the Head of Postgraduate Studies Dr. Oliver Watts is a sessional lecturer at the University Georgina Macneil is a PhD candidate at the University at the National Art School (Sydney). He is an artist, of Sydney and at the College of Fine Arts, University of Sydney. Her research focuses on the significance writer and curator whose current research examines of New South Wales (UNSW). He focuses on modern of the youthful John the Baptist in paintings of the the relationship betweenidentity, displacement and art and on the image magic surrounding sovereignty Virgin and Child from Florence, ca. 1455-1500. She is transnationalism. His recent videowork is included and effigies. Anna Ciliberto is a graduate architect and keenly interested in teaching and has tutored in the in the Videonale (Kunstmuseum, Bonn). He is a sessional studio tutor at UNSW. She works in the urban department throughout her candidature. (gmac2209@ contributing editor to Art AsiaPacific (New York). design and architecture firm, Johnson Pilton Walker. uni.sydney.edu.au) ([email protected]) ([email protected])
76 77 CULTURAL
‘The Artist of the Chief Mourner’ [Tupaia], An English Naval Officer bartering with a Maori’, c. 1769. Watercolour. (c) The British Library Board, 065691, Add. 15508, f.11.
78 79 CULTURAL Thursday: 1.50pm - 3.10pm Room: LT1 T2.1
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm SUBJECT(IVITY) AND OBJECT(IVITY): READING COLONIAL HEADS ‘UNINHABITED’, ‘UNDISCOVERED’: A NINETEENTH-CENTURY LIFE CASTS This paper contradicts the view that the TALE OF INDIGENOUS AND EUROPEAN FROM THE PACIFIC interest in phrenology in colonial Australia ENCOUNTER? To support his identification of two Pacific peaked in the mid-nineteenth century and Working in the area of post-production digital races, for his 1837 voyage Dumont d’Urville faded to the distant margins of quackery by image making, contemporary Australian recruited phrenologist Dumoutier, skilled in the 1870s. Instead, the material for analysis is photographer Michael Cook creates a making life casts for his readings of human drawn from the second half of the nineteenth- provocative and sensitively presented heads, who succeeded in persuading more century, demonstrating that phrenology was intervention into Australian history. My than fifty indigenous subjects to agree to his more pervasive than has previously been paper examines images taken from his casting their heads. Preceding photography, acknowledged. Also, taking Sharrona Pearl’s recent exhibition (held at Andrew Baker casts were perceived as accurate, objective lead, I subsume phrenology into the wider Gallery in Brisbane) entitled ‘Uninhabited’ records, avoiding the contingency of drawings. paradigm of physiognomy. (Pearl, Harvard and ‘Undiscovered’. Through the imaginative Installed at the Muséum d’Histoire Naturelle, Univ. Press, 2010) I particularly highlight images which sustain the narrative of the the casts, and lithographs of them in the direct influence of North American separate suites, Cook explores his Aboriginal d’Urville’s Atlas Anthropologique, became the phrenological texts in the transmission of heritage. His images ask the questions: how subject of close study, ironically demonstrating physiognomical thinking in popular illustration do we encounter ‘the other’ or how does ‘the that they were as open to subjectivity as and photography to demonstrate that the other’ encounter us? If colonization was the any other records. The only objective ‘truth’ image economy used to define racial, criminal goal of the European mind at the moment of they record is evidence of contact between and social types in Australia was governed by contact what aspirations and hopes arose in French voyagers and indigenous peoples. the codes of physiognomy. Even in its highly the minds of those ‘colonized’? Their ongoing potential for subjective determined manifestation of phrenology, This paper engages with these images at the interpretation has been vividly demonstrated this influence reached into the twentieth point of intersection between two cultures to in their reinvention as photographs by Fiona century as a measure of social standing and elucidate a different way of seeing the past Pardington. Reversing the path of d’Urville’s occupational potential. and with it the potential of a more positive travels, she has returned the images from and imaginative future. France to the southern hemisphere in an unusual act of repatriation.
Elizabeth Rankin Ross Woodrow Christine Dauber Elizabeth Rankin was appointed Professor of Art History Professor Ross Woodrow is Deputy Director of the Christine Dauber’s research/publishing interests lie at the University of Auckland in 1998. Her research, Queensland College of Art at Griffith University. He in the area of imposture and museums’ exhibition writing and curating has focused on cross-cultural has a long-established research interest in visual of Aboriginal culture. Her doctorate on the National exchanges in South African art, particularly sculpture image analysis, racial science and the related areas of Museum of Australia addresses how the inclusion of and printmaking, but since coming to Auckland she has physiognomy and phrenology. His MPhil and PhD at the the Gallery of the First Australians within a national enjoyed extending her studies to include New Zealand University of Sydney encompassed these areas and he museum context inflects concepts of the national in artists. ([email protected]) has published internationally in the field. Australian cultural life. ([email protected]) ([email protected]
80 81 CULTURAL Thursday: 1.50pm - 3.10pm Room: LT2 T2.2
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm MAKING WAY: CONTEMPORARY A TALE OF TWO ‘CITIES’: TRANSLATING WE’LL TAKE THE STAGE, ’COS IT’S NOW AFROPOLITAN AND SINOPOLITAN SENSE AND SENSIBILITY OR NEVER: NEW ZEALAND SCULPTURE, ENGAGEMENTS “When names are not correct, what is said will CONCEPTUAL AND PERFORMANCE ART The art exhibition, Making Way, is about not sound reasonable...” (The Analects 13.11) IN AUSTRALIA 1967-1979 forging new pathways physically, psychically, In the cross roads of global cultural exchange, A look back to the 1960s and 70s, when terms and conceptually in a time of unmoored the introduction of Aboriginal art to one of like ‘internationalism’ and ‘provincialism geographies. The concept “making way” is a the fastest growing economies in the world, problem’ circulated throughout the global art metaphor for the making of socio-political, China, should be celebrated. One could world, many artists and curators in Australia economic or personal progress, as well as for argue that art transcends cultural barriers and New Zealand worked towards a trans- headway beyond stagnation—making way and has the ability to bridge understanding. Tasman dialogue which, they hoped, would for new traditions, new spaces, new ways of However, much could be lost in translation if ensure that the region’s art was recognised seeing and new ways of being. one does not take into consideration cultural on the world stage. Yet the 1970s ended Referring to this exhibition, this presentation difference and sensitivities. This paper is a in something of an atmosphere of mutual considers African migration that fuels critical analysis of the word choices for the tension. It was a time of collaborative yet positive aspects of Afropolitanism as well as translation of the term ‘aboriginal art’ in the curtailed exhibitions, enthusiastic curatorial negative outbreaks of xenophobia. Further, it Chinese language, and in particular, the terms praise met with patronising reviews and, then, considers revived interest in the Global South, yuanzhuming yishu and tuzhu yishu. Yishu if the New Zealand contingent thought that particularly relationships between Africa and refers to the arts, while yuanzhuming may Mildura 1978 was going to offer a respite from China, with Sinophobia hot on the heels of be loosely translated as ‘original inhabitants’, the ongoing ‘Crucifixion’ controversy at home, Afrophobia. and tuzhu as ‘belonging to the earth’ or ‘earth well, guess again… Through an analysis of artworks by Machona, bound’. For this enquiry, I will use Tu di - Shen Meistre, Nyoni, Chiurai, Chen, Hartzenberg, ti: Our Land - Our Body, a recent exhibition of Haloba, Qiu, Maleon, Kouélany, Leye and Aboriginal works from Australia in China, as a Hua, this presentation opens up positive case study. The aim is twofold. The first is to ways of dealing with cultural contact and question the interchangibility of the two terms understanding in a context of economically and the blatant acceptance of the ‘neutrality’ determined fears and stereotypes. of the latter. The second, to examine the commensurability of translating cultural difference and cultural sensitivity, thereby presenting an interesting tale of two ‘cities’.” Ruth Simbao Lim Chye Hong Eric Riddler Ruth Simbao is Associate Professor in Art History Dr Lim Chye Hong is a specialist in Chinese Art. Prior to Eric Riddler is Image Librarian and Project Researcher and Visual Culture at Rhodes University, South Africa her move to Sydney, she has curated exhibitions and at the Art Gallery of New South Wales. He has also and has a PhD in African Art History from Harvard taught Art History and Curatorial Studies in Singapore. recently worked for the Design and Art Australia Online. University. Her research in Zambia considers issues of In the recent past, she was visiting curator for the He has assisted with research for books and exhibitions performance, heritage and politics in cultural festivals. Wollongong City Gallery for Memories of Silk. Currently on both sides of the Tasman. ([email protected]) Other research interests are ‘place’, site-specificity and she is the coordinator of Asian Programs at the Art performance in the contemporary arts of Africa; China- Gallery of New South Wales. ([email protected]) Africa relations, and the Global South. www.research-africa-arts.com ([email protected])
82 83 CULTURAL Thursday: 1.50pm - 3.10pm Room: LT3 F2.3
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm CREATING A ‘NEW COMMONWEALTH’: GENTLEMAN AND PROFESSIONALS BORN IN THE USA: THE CARNEGIE ART, NATION AND DISPLAY AT In 1891, the Art Gallery of New South Wales’ CORPORATION’S ‘ART IN AUSTRALIA THE OPENING OF LONDON’S Trustees met at the annual exhibition of the 1788-1941’ EXHIBITION TO THE USA COMMONWEALTH INSTITUTE, 1962 Art Society of NSW and purchased five works AND CANADA, 1941 - a practice that would last approximately On the 9th of November, 1962 the New The philanthropic Carnegie Corporation seventy years. Commonwealth Institute was opened in of New York had a considerable impact on A few years before, open warfare broke out London. At its heart lay a three-tiered circular Australia’s (and NZ’s) small, isolated and between the Trustees and the Society. In 1884 area housing trade, historical and geographical economically depressed art worlds of the the Trustees said they would only buy works displays relating to each of the countries then 1930s, mainly in promoting the modernization that ‘possess sufficient merit to entitle it to a in the Commonwealth. Alongside this main and internationalization of museums and place in the National Art Gallery.’ The warfare buidling was a gallery reserved for the use of galleries. This paper explores the significance resulted from a letter from the Trustees after Commownealth artists. This venue presented of one of the Corporation’s most popular the Society’s 1885 exhibition stating that ‘they work of numerous Australian artists including initiatives, an Australian art exhibition that have been unable to select anything’. Len French and David Boyd. extensively toured the US and Canada from The Society was formed in 1880 by artists as This paper will consider the interconnections 1941. Conceived in peacetime as a neutral they were unhappy with the NSW Academy between the main building displays and cultural exchange with a British dominion, with of Art. Some Trustees had been Council the activities of the Art Gallery. It will the ostensible aim of educating Americans members of the Academy and the professional focus upon the opening exhibition entitled about Australia, it was delivered at a critical artists considered them ‘amateurs’. Commonwealth Art Today which included time for the US-Australian alliance during the Another source of antagonism was the works by Contemporary artists from every Pacific War. The exhibition’s effectiveness as European focus of the Gallery’s collecting commonwealth country.It included17 political propaganda, however, has eclipsed prior to 1891. This paper investigates the two Australian artists, primarily selected by the its other important function, which was for bodies and their relationship. Contemporary Art Society of Australia.This Americans to educate Australians about and later exhibitions featuring Australian modernism. Clashes over the content of the artists, were intended to support the exhibition gave Australians a foretaste of the Commonwealth Institute’s broader agenda new postwar order in which the terms of to educate the British public about the ‘New’ global modernism would be dictated from Commonwealth. New York.
Sarah Scott Stewart Reed Caroline Jordan Dr. Sarah Scott is the convener of the Museums Stewart Reed is a research student at COFA writing Caroline Jordan lectures in art history at La Trobe and Collections Graduate Coursework (Liberal Arts) about the development of the collections of the University. She specialises in Australian art and has program at the Australian National University. She is Art Gallery of NSW. He has worked at a number of written on colonial and modernist women artists, public currently developing an Australian Research Council cultural organisations. He presented a paper at the art and modernist buildings, and the colonial art world. Discovery Grant to examine the cultural history of AAANZ conference in 2010 and runs courses at Sydney She is writing a book on Australian regional art galleries London’s Commonwealth Institute. (sarah.scott@anu. University Centre for Continuing Education. of the late nineteenth-century. edu.au) ([email protected]) ([email protected])
84 85 CULTURAL Thursday: 1.50pm - 3.10pm Room: G03 T2.4
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm TEXT, IMAGE AND VOICE: HARMONISING THE SPACE OF ILLUMINATED SPACES: THE AESTHETIC RE-IMAGINING THE LEGEND OF MODERNISM: KEMP, GROUNDS, POWER OF CHRISTIAN WALLER’S HINEMOA FRENCH & THE NGV’S GREAT HALL STAINED GLASS This paper looks at representations of the COMMISSIONS The communicative power of ecclesiastic legend of Hinemoa. What is important here This paper surveys the relations between the stained glass is born from the relationship is the legend as it was spoken, written and commissions associated with the National between its material properties, its pictured, communicated diverse messages to Gallery of Victoria’s Great Hall, namely architectural setting and the viewer. Intended different audiences. the built environment (Roy Grounds), the as a point of contact between the parishioner Further investigation shows how colonisation stained glass ceiling and those lighting effects and religious narratives, the medieval medium shaped the legend during the late nineteenth produced by it (Leonard French), and the was revitalised by a number of modern artists and twentieth-centuries. I was told the legend recently expanded collection of tapestries in the twentieth century. Australian artist by my mother at our home in Hokianga; (executed by the Victorian Tapestry Workshop Christian Waller (1894–1954) was one of her version elicited different interpretations from paintings by Roger Kemp). While Philip these. and insights. In painted representations Goad sees Grounds’ design as a work of Using Christian Waller’s modernist stained romantic and nostalgic versions of the legend Post-Modernist architecture avant la lettre, it glass as a case study, this paper examines predominated. The artists Nicholas Chevalier, is my contention that when these pieces are how the material and cultural considerations Gottfried Lindauer and Charles F. Goldie seen as part of a larger whole, they are more of ecclesiastic stained glass affect viewers’ communicated different perspectives for properly understood in the terms of Ferdinand experience of the medium. It is argued that influential European patrons and spectators. Léger’s rappel à l’ordre: a highly classicising the strength of her work resulted from her Tene Waitere’s carved gateway (waharoa) and mediated version of Modernity in which recognition of these concerns, coupled with also represented Hinemoa and Tutanekai. It historic allusions are harnessed to present her distinctive aesthetic. Waller’s stained mediated between indigenous ways of seeing Modernism as consistent with historical glass, therefore, exemplifies the medium’s and the expectations of tourists. Different and historicist continuities. Like the formal potential to powerfully convey spiritual interpretations of the legend also liberated arrangement itself, this is an aesthetics of narratives. As such, this paper asserts that Tiki from his subordinate role as the helpful literal and metaphoric harmony and tonal Waller’s unique work aligns itself to radically friend of Tutanekai to a more intimate reinforcement, not one of disruption, radical modern interests over narrative and picture relationship. The decisive ideological shift of eclecticism, noise, or fragmentation. making. post-colonialism has allowed Māori voices to emerge from the shadows into the light.
Filma Anne Phillips Jonathan Marshall Grace Carroll Dr Anne Phillips is a postgraduate student in Art Dr Jonathan W. Marshall is an interdisciplinary scholar Grace Carroll is a doctoral candidate in the Department History at Victoria University of Wellington. Her with a background in history. He teaches Theatre and of Art History and Curatorship at the Australian current research focuses on post-colonial theory and its Performing Arts Studies at the University of Otago, NZ. National University. Her thesis examines the art and implications for Māori art and artists. Prior to pursuing Marshall has published on Roger Kemp (Art Bulletin of life of Christian Waller. She has worked at the National Art History, Phillips enjoyed a distinguished career in Victoria, 2007), Kleist, Bauhaus and Dada (Fischer & Portrait Gallery of Australia, and contributes regularly law. ([email protected]) Mehigan, eds, Kleist and Modernity, 2011), and other to Canberra arts magazines. topics. ([email protected]) ([email protected])
86 87 CULTURAL Thursday: 1.50pm - 3.10pm Room: MZ05 T2.5
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm ALEXANDER ‘GREEK’ THOMSON’S THE RUGGED MOUNTAIN’S SCANTY THE ANTIPODEAN GARDEN THEORY IN TERRACOTTA CLOAK: HIGHLANDISM, SCOTTISH This paper will address intersection and A FOUNTAIN OF FAITH IN TASMANIA IDENTITY AND COLONIAL COLLECTING, divergence in forms of correspondence Scottish architect Alexander ‘Greek’ Thomson 1869 TO 1880 in the Adelaide Botanic Garden, through an investigation into its living and cultural (1817-75) was famous for incorporating Through an examination of the catalogues of collections. The botanic garden will be ancient Greek motifs in his distinctive designs, Australia’s early art collections, it becomes considered as an assemblage of diverging most of which were executed in the Glasgow clear that the Scottish landscapeone was a intersections, exchanging locations and area, beginning in the late 1840s. Thomson prerequisite in the accession narratives of the temporalities. Two major colonial features of did not revive Greek design simply for its own time. Indeed paintings of the romanticised Adelaide Botanic Garden will be considered sake, or for the pagan associations it might Scottish Highlands were some of the most in their differing structures of enclosure: the evoke in the classically educated. As a devout prominent and popular works in both the Palm House and the Museum of Economic Christian, Thomson sought to express what he public and private collections of colonial Botany. The Palm House, a Victorian believed to be the eternal truths of his faith Australia. Yet it might seem incongruous that glasshouse, imported from Germany and in his designs. He believed that these truths, such landscapes were so highly esteemed in opened in 1877, currently houses a collection precisely because they were eternal, could this context. Such portrayals actively denied of plants from Madagascar. The Museum of be found in, and conveyed through, design the hardships of nineteenth-century Highland Economic Botany, the last remaining purpose ideas originating in pre-Christian civilisations. life which led a proportion of the area’s built museum of its kind in Australia, houses A public fountain in Launceston, Tasmania, is population to immigrate to the colonies in the substances, specimen and crafted objects significant not only as a previously unknown first place. Thus the context of settler society collected between 1865 and 2009. The work of Thomson, but also as an exemplary in Australia more immediately necessitates a photographic art practice accompanying this expression of his design ethos. Analysis of reading of landscape Highlandism as neglectful research will be presented alongside archival the iconography of this fountain in the twin of both historical fact and marginalised images, investigating methodologies of contexts of classical mythology and Christian experience. This paper will explore the extent exchange in the production and recording of theology sheds new light on Thomson’s to which Highlandism found expression images within the botanic garden. remarkable oeuvre. in the art collections of colonial Australia, with a particular focus on works collected in metropolitan Melbourne during the second half of the nineteenth century.
Anne Neale Suzanne Fraser Jessica Hood Dr Anne Neale is a cultural historian and was formerly Suzanne Fraser is a PhD candidate in art history at the Jessica Hood is a post-graduate student completing Coordinator of History & Theory in the School of University of Melbourne. Her thesis explores the role a PhD at Monash University, Melbourne. Her studio- Architecture & Design at the University of Tasmania, of Scottish art and cultural identity in Victoria to 1945. based research is focused on the temporal implications where she is now an Honorary Fellow. Her research Suzanne has undertaken internships in London, Glasgow of photography within the Australian botanic garden. embraces the history of architecture and gardens, as and Sydney; she is a student ambassador for the Ian She exhibits regularly in Melbourne, and is the ongoing well as 19th century art and design. Potter Museum of Art. ([email protected]) recipient of the Australian Postgraduate Award. ([email protected]) ([email protected])
88 89 CULTURAL Thursday: 1.50pm - 3.10pm Room: MZ10 T2.6
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm REV. NICHOLSON GOES TO THERE WAS AND THERE WAS NOT… CURIOSITY KILLED THE CAT: ACCIDENTAL HOLLYWOOD: THE THOROUGHLY TELLING DIFFERENT STORIES: AKRAM ENCOUNTERS IN THE ART GALLERY MODERN MISSIONARY AND THE ZAATARI AND WALID RAAD The art gallery is a cultural space, traditionally AMERICAN MOVIE-MAKER This paper presents reflections on four months understood as an active mediator between In 1920 the Rev. Reginald Nicholson, an of fieldwork in Beirut, related to my thesis artworks and viewers. In this paper I will show Australian Methodist missionary stationed in on the art practices of two Lebanese born, how accidental and unexpected encounters in Vella Lavella in the western Solomon Islands, globally recognized, contemporary artists, the art gallery open up vibrant material spaces made contact with a visiting American film Akram Zaatari and Walid Raad. where impossible geometries become coupled crew headed by producer Edward A. Salisbury. What the fieldwork begins to reveal is the to improbable experiences. Most accidents The result of their collaboration was a silent complexity and paralyzing irreducibility of (as long as they do not harm or threaten life) motion picture – The Transformed Isle – later the historical-cultural milieu which Zaatari can be forgiven, and new things often emerge toured to much acclaim around Australia and and Raad reference. It begins to expose the from the chaos. Accidental encounters in New Zealand. ambivalence, at best, and suspicion, at worst, the art gallery occupy a critical space that The use of moving film for missionary fund- that informs local audiences’ attitudes towards moves us beyond established behaviours and raising was a distinctly modern venture, with their art. What emerges is a portrait of a expectations. Artworks that experiment with Nicholson its enthusiastic advocate. But who memory culture that has all but collapsed the lingering sonic trace and uncontrolled was Edward A. Salisbury and what was the upon itself, where Raad and Zaatari’s ‘socially motion can be most challenging. In Work No. nature of this serendipitous collaboration? and politically engaged art’ probing ‘truth’ and 850 (2008) Martin Creed sent runners through The Transformed Isle is an intriguing amalgam memory finds more affinity in the global art the halls of Tate Britain. Tino Sehgal fills of fictional narrative, pseudo-ethnography scene than in the disillusioned and fatigued spaces with matter––formative, kinetic and and Methodist propaganda. Analysis of local psyche. generative. In their embrace of the accidental the film and its afterlife reveals a host of encounter and the curious audience Sehgal fractures that draw attention not only to the and Creed challenge our understanding of art unstable categories of visual representation as singular and fixed. superimposed on early twentieth- century Solomon Islanders but also the profound tension that underpinned the presentation of the missionary project to ‘home’ congregations.
Stella Ramage Emmi Nevalainen Susan Ballard Stella Ramage is a PhD candidate at Victoria University Emmi Nevalainen is a post graduate student completing Dr Susan Ballard is principal lecturer in electronic arts, of Wellington with a provisional research topic of a PhD at the College of Fine Arts, University of New photography and art theory at the Dunedin School missionaries, modernity and the moving image. Since South Wales, Australia. Her thesis formulates a of Art. Her research addresses utopia and elsewhere, graduating with first class honours in Art History in unique parallel reading of two Lebanese-born artist’s the art gallery, noise, machines, accidents and digital 2008, she has been working as research assistant to Dr approaches to the notion of historical truth in Beirut’s aesthetics. Su is a director of The ADA Network and Peter Brunt on his Marsden-funded book project, Art in post-civil war social and political conditions. co-edited the The Aotearoa Digital Arts Reader in July Oceania: a History. ([email protected]) 2008. www.suballard.net.nz ([email protected]) ([email protected])
90 91 CULTURAL Thursday: 1.50pm - 3.10pm Room: MZ11 T2.7
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm PRELIMINARY DESIGNS FOR A ‘PUNCTUAL, METICULOUS, EXACT, POST-COLONIAL POINTS OF CONTACT: NEW AUSTRALIAN DEMOCRACY’: IMPLACABLE’: PROFESSIONALISM AS AUSTRALIAN EXHIBITIONS OF COLONIAL AUSTRALIAN LANDSCAPE PAINTING IN AN AVANT-GARDE STRATEGY AMONG ART AND THEIR IMPACT POST-COLONIAL PRACTICE AND THE MELBOURNE’S POST-WAR ÉMIGRÉ Innovative interpretation in art exhibitions HOMELAND PROJECT ARTISTS is often associated with the presentation In 1988 the actor Ernie Dingo commented, Professionalism as a modus operandi of avant-garde and new media art. The ‘People are always talking about the is usually regarded as the avant-garde’s rise of post-colonial studies, however, has Aboriginal problem. We haven’t got a dialectical ‘other’, signalling either trenchant reinvigorated art historical research in the problem: it’s a White problem’. The ‘White academicism or commercial compliance. area of colonial art and fresh academic problem’ is nowhere more apparent than in Yet professionalism characterized the approaches are encouraging contemporary the Australian relationship to landscape, in the approach of many post-war European artists, artists to revisit and draw inspiration from contrast between the metaphor of ‘lost in the particularly those engaged with architects this earlier historical period. But dothese new bush’, from McCubbin to ‘Wake in Fright’, and on public rebuilding projects. Hence, in academic perspectives also open up new the embodiment of homeland in the QANTAS 1950, Le Corbusier could declare that the possibilities in the display and interpretation dot-painted airline. ‘serious arts are punctual, meticulous, exact, of nineteenth-century and /or contemporary If Australian culture were merely commodities implacable’. A number of émigré artists who Australian art? This paper shows a selection and entertainment, it might be possible to arrived in Australia after World War II devoted of recent Australian exhibitions and questions relegate the failure of Australian first contact themselves to this particular philosophy of the extent to which new modes of writing to history, but landscape painting is a cultural hard work, sobriety and exactitude. This paper about art history are reflected in innovative practice which maintains history in the examines a group of mainly émigré sculptors interpretation and display strategies. The contemporary culture. – Vincas Jomantas, Julius Kane, Inge King, exhibitions selected for evaluation include: The research project, Homeland, proposes Clifford Last, Lenton Parr, Norma Redpath, and Lines in the Sand, 2008, (Hazelhurst Regional that before an Australian post-colonial culture Teisutis Zikaras – who united in Melbourne in Gallery, Sydney); Eugene von Guerard: Nature can emerge, its relationship in the Pacific must 1961 under the banner of Centre Five, arguing Revealed, 2011(National Gallery of Victoria); be defined and it turns to the collaborative art that they constituted a local professional The Stony Rises Project exhibition, 2010- practices of Cook’s Endeavour voyage and the avant-garde. This affords a reappraisal of 11 (RMIT Gallery; Art Galleries of Ballarat, relationships they reveal between the British post-war migrants’ contribution to Australian Horsham, and Warrnambool; and Riddoch Art and Tahitians, to develop the ‘prototype culture, resituating a perceived lack of Gallery). artifacts’ for the practice of an Australian post- radicalism as, in itself, an avant-garde strategy. *Paper co-authoured with Alison Inglis. colonial culture. Harriet Parsons Jane Eckett Catherine De Lorenzo Harriet Parsons is a Masters research student from the Jane Eckett is a doctoral researcher and tutor in art Dr Catherine De Lorenzo teaches courses on art history Victorian College of the Arts. She has been exhibiting history at the University of Melbourne. She holds in the Faculty of the Built Environment, UNSW.A/Prof since 1996, including Gallery 4A in Sydney, Gertrude degrees in science and arts from the University of Alison Inglis (Art History, U. Melbourne), teaches various Contemporary Art Spaces in Melbourne, the National Queensland and the University of Sydney and a Masters subjects and co-ordinates the MA in Art Curatorship. Gallery of Victoria and Eastlink Gallery in Shanghai by research (MLitt) from Trinity College Dublin. With A/Ps Joanna Mendelssohn and Catherine Speck, and has received a number of State and Federal ([email protected]) Museums Australia , NGA, NGV and AGNSW, they government grants. ([email protected]) were recently awarded an ARC Linkage for Australian Art Exhibitions 1968-2009: a generation of cultural transformation. ([email protected])
92 93 CULTURAL Thursday: 3.30pm - 4.50pm Room: LT1 T3.1
3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm INTERPRETING NAMATJIRA FROM L’INFORME TO L’EMPREINTE: MADNESS AND UNREASON: ABY The artworld’s intense interest in Indigenous THE BASE-MATERIALISM OF ROSALIND WARBURG’S ANTHROPOLOGICAL art in the mid-twentieth century was a KRAUSS AND GEORGES DIDI-HUBERMAN IMPULSE legacy of surrealism, which had championed This paper considers points of contact and Aby Warburg has traditionally assumed a Indigenous art as a means to attack the values divergence between two exhibitions organized marginal position in the discipline of art of European civilization. This avant-garde by prominent art historians held at the Centres history, long overshadowed by his predecessor attitude to Indigenous art framed the initial Pompidou in 1995 and 1997: L’Informe: mode Erwin Panofsky. Over the past two decades, reception Albert Namatjira paintings, which d’emploi, organized by Rosalind Krauss and however, Warburg’s intellectual legacy has more than any other Indigenous art at the Yve-Alain Bois, and L’Empreinte, organized undergone a significant reappraisal, and time, acted like a lens that focused the deep by Georges Didi-Huberman. Although both Warburg is now recognised as clearly standing ideological issues at stake. Also caught up in exhibitions shared a number of common at the intersection between anthropology and this debate was an intense anthropological concerns, perhaps converging in an interest art history. This surge of interest has recently reaction to his art that, in many ways, paralleld in the writings of Georges Bataille, their been given visual form in the exhibition “Atlas: the avant-garde reception. Namatjira’s art influence would differ markedly in the English- How to Carry the World on One’s Back?” opened two contact zones, one between speaking world. Indeed, L’Empreinte could curated by French art historian Georges Didi- the avant-garde artworld and Indigenous be considered as a response to L’Informe, Huberman for the Museo Nacional Centro de art, and the other between the artworld and illuminating key differences in the reception Arte Reina Sofia in Madrid. Taking its point anthropology. This paper disccusses these two of Bataille’s writings in France and the United of departure from Warburg’s Mnemosyne contact zones and the relationship between States. Atlas (1925-1929), the exhibition reflects the them. critical proximity of Warburg’s cultural and anthropological ideas within Didi-Huberman’s own project. This paper will discuss the parameters of a Warburgian art history in the work of Didi-Huberman and Hans Belting, demonstrating a radical divergence between the two approaches.
Ian McLean Raymond Spiteri Chari Larsson Ian McLean is a well-known commentator on Australian Raymond Spiteri teaches art history at Victoria Chari Larsson is a PhD candidate in art history at the art. His most recent book books is How Aborigines University of Wellington, New Zealand. His research school of English, Media Studies, and Art History at Invented the Idea of Contemporary Art. A Research interests converge on the culture and politics of the University of Queensland. She is writing her thesis Professor of Australian Art History at University of surrealism. ([email protected]) on the French art historian Georges Didi-Huberman. Wollongong, he serves on the advisory boards of the She has a BA Hons in art history from the University of journals Third Text, World Art and National Identities. Queensland and the University of Sydney. ([email protected]) ([email protected])
94 95 CULTURAL Thursday: 3.30pm - 4.50pm Room: LT2 T3.2
3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm ARTISTS’ COLONIES: AUSTRALIANS IN WINIFRED KNIGHTS AND INTERWAR ENCOUNTER WITH A STRANGE CORNWALL AND BRITTANY 1890-1914 ARTISTS AT THE BRITISH SCHOOL AT COUNTRY: ROSALIE GASCOIGNE IN THE ‘As the spring advances’, observed the ROME, 1920-1925 MONARO Australian artist Hilda Rix Nicholas, ‘the My paper will explore the artistic education New Zealand-born Australian artist Rosalie painting world of Paris (armed with all the and significant artistic contributions of Gascoigne struggled to make sense of her new impediments for work) flies to the country one of the women artists who particularly landscape when she left Auckland in 1943 to or further afield’. By the late nineteenth represents the innovative artistic education marry fellow Aucklander Ben Gascoigne. century there was an established trend for of the interwar years at the British School Gascoigne felt dislocated and isolated in her artists to escape the city and spend time in at Rome, Winifred Knights (1899-1947), new home at Mt Stromlo on the Monaro’s rural regions. Popular destinations were St the first woman to win a Scholarship to the highland plateau near Canberra. Her Ives in England and Étaples in France, where British School at Rome (1920-1925). The encounter with the strange new landscape there developed artist colonies which were a early-twentieth-century work of Knights is led her to make the art that gained her retreat from the urban, with artists seeking to critical to a comprehensive understanding of prominence on both sides of the Tasman; move away from the social world of the city the education of the Rome Scholars to the the Monaro’s crisp dry landscape with its and discover places (and peoples) untouched formation and character of British Modernism. ‘great blond paddocks’, red earth and bright by the developments that were swiftly and My paper will place the work of her formative screechy birds was dramatically different constantly changing urban cityscapes. As much years in Rome within the context of her Rome from Auckland’s lush green volcanic hills, blue as artists desired a physical and emotional Scholar colleagues to develop larger issues harbours and birds of muted colours that sing distance from the modern world, the regarding interwar artistic education at the rather than shriek. development of these communities reveals British School at Rome including the history Using Czech-born philosopher Vilem Flusser’s that the bohemian world extended beyond of women artists at the School during the notion of exile, this paper explores Gascoigne’s the city. Whilst abroad, many Australian artists 1920s and 1930s, motivations behind British exile to and encounter with the ‘strange participated in this practice, many of whom artists adopting an “Italian style,” and artistic country’ and how Gascoigne’s initial loneliness had already made similar journeys. responses to the horrors of World War I. and desperation for the familiar provided the rich loam in which her art ripened to maturity.
Kate Robertson Lyrica Taylor Niki Francis Kate is a PhD candidate and tutor at the University Lyrica Taylor is a PhD candidate and is writing her Niki Francis is a PhD candidate in the Australian of Sydney researching Australian expatriate artists dissertation on the early-twentieth-century artwork National University’s National Centre of Biography between 1890 and 1914, focusing on the processes of Winifred Knights. Lyrica has held internships at the where she is writing a biography of the New Zealand- of travel and the negotiation of national, artistic, Smithsonian National Portrait Gallery, the Huntington born Australian artist Rosalie Gascoigne exploring how gendered and spatial identities. Library and Art Collections in California, the National Gascoigne’s emigration from New Zealand to Australia ([email protected]) Endowment for the Arts in Washington, DC, and Tate influenced her sense of identity and her development as Britain. ([email protected]) an artist. ([email protected])
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3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm SCRIPTING SPACES: IMPRESSIONS ON AUSTRALIANA PHOTOBOOKS OF THE TEACHING TASTE: PUBLIC ART TWO CONTEMPORARY NEW ZEALAND 1960S: NEW ARTISTIC COLLABORATORS EDUCATION IN NEW SOUTH WALES, ARTISTS’ BOOK PROJECTS IN CONTACT WITH NEW AUDIENCES 1850 - 1915 Two New Zealand artists Ruth Buchanan and AND IN EXCHANGE WITH EACH OTHER In 19th century New South Wales, there Simon Denny, both currently working from The publishing sensation of 1966 was a was little formal training available to those Berlin, have recently published books projects. handsome coffee table photobook called The interested in fine arts or art appreciation. Both books were produced in collaboration Australians. The product of a collaboration Schools, technical colleges and private classes with Amsterdam based, New Zealand designer between the American National Geographic offered a little basic training to the interested David Bennewith. The books are presented photographer Robert Goodman, the recently few, but the vast majority received no formal as significant components of their sculptural returned expatriate writer George Johnston, art education. based practices that invite and interrogate and the London-trained graphic designer Exhibitions and public galleries became notions of ‘scripted spaces’. Both projects Harry Williamson, the book brought a vibrant important sites for art education. For the present idiosyncratic narrative structures discussion of Australian identity to new average working adult, exhibitions were and render reflexive translation and the audiences. A year later a second Australiana the only place to cultivate a knowledge mechanics of distribution. The books are photobook came out in reply. Southern and appreciation of high art. Politicians, articulated repositories of parallel texts rather Exposure was a product of the collaboration educators and gallery trustees championed than catalogues focused on documenting between the writer Donald Horne, whose the establishment of public galleries for their the exhibition. This paper will act like a book ironically titled book The Lucky Country had capacity to instruct and elevate standards of review examining how these printed forms been published in 1964, and the photographer taste. provide an expanded view on the artist’s David Beal, whose photography had heavy Drawing on a wide range of historical sources, production of space. A series of impressions, traces of contact with the social commentary this paper will focus on both the educational the paper will further consider how these of photographers like Bill Brandt, as opposed intentions of those who designed and books-as-exhibitions reflect the artists’ to the glossy ‘National Geographic’ style of mounted the displays, as well as the ways exposure to the critical distance this place Robert Goodman. By discussing page spreads in which individuals used these events as an necessitates from their recent reckoning with and sequences I will analyze the artistic opportunity to improve their knowledge and the still-assumed centre for contemporary art. exchange between these two important, but understanding of art. now virtually forgotten photographic works.
Laura Preston Martyn Jolly Rebecca Kummerfeld Laura Preston is the curator at the Adam Art Gallery, In 2011 Martyn Jolly completed fellowships at the Rebecca Kummerfeld is a doctoral student at the Victoria University of Wellington. She has a Master National Library of Australia, working on their University of Sydney. Her research focuses on the of Arts in Art History from the University of Auckland. Australian photobook collection, and the National Film history of art education in New South Wales from 1850- Her thesis examined the philosophy of space and its and Sound Archive, working on their magic lantern slide 1915 in a wide range of contexts including: schools, relationship to the histories of time-based media. collection. His book Faces of the Living Dead: The Belief technical colleges, art galleries and private studios. ([email protected]) in Spirit Photography came out in 2006. ([email protected]) ([email protected])
98 99 CULTURAL Thursday: 3.30pm - 4.50pm Room: G03 T3.4
3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm ‘I REALLY THINK IT IS SCENERY THAT STAY IN TOUCH: REPRESENTATION THE NAME’S COLVIN. NEVILLE COLVIN ONE CAN GET HEARTILY SICK AND TIRED AND ABSTRACTION IN THE EARLY New Zealand artist Neville Colvin (1918-1991) OF’: HANS HEYSEN IN NEW ZEALAND TWENTIETH-CENTURY WRITINGS OF achieved international success as illustrator Between January and April 1907 the South WILHELM WORRINGER of the popular comic strip Modesty Blaise in the early 1980s through its syndication in Australian artist Hans Heysen made his first This paper focuses on the psychological, newspapers around the world. Yet his artistic and only painting trip to New Zealand. While cultural, and formal differences and reputation remains almost unknown in the even the strongest paintings from this visit connections Wilhelm Worringer traces country of his birth. As an expatriate and an hardly rank among his best works, his letters between representation and abstraction illustrator, Colvin has been doubly cursed as a to his wife provide a fascinating insight into in Abstraction and Empathy (1908) and contender for the attention of art historians. his views of New Zealanders, art in New Form in Gothic (1912). Worringer begins his In spite of his profile as a New Zealand Zealand and the New Zealand landscape. inquiries by asserting the opposition between war cartoonist (1941-945), and political Heysen, who had recently completed studies abstraction and representation. He shows commentator for Wellington’s Evening Post in Paris, found New Zealand decidedly that the art of representation relies on the (1946-1956), his emigration to Great Britain provincial, remarking “the artistic taste in bonds between human beings and their in 1956 and comic-book illustrations for the N.Z. is at lowest ebb tide”. This paper will environments, while abstract art provides Evening Standard have ensured that his work primarily consider Heysen’s contact with New occasions for artists and viewers to disengage is perceived to be of little relevance in New Zealand as expressed in words rather than from phenomena they regard as tormenting. Zealand. paint. However, his descriptions, especially Yet Worringer also addresses the meeting The Name’s Colvin. Neville Colvin reconsiders his way of viewing the landscape, are heavily grounds of abstract and representational his contribution to New Zealand’s art history, inflected by artistic conventions. These tendencies. For instance, he emphasizes the highlighting the way in which his illustrations letters chronicle a series of frustrations and hybrid aspects of the Gothic – a mode of engaged national and international audiences disappointments, while nonetheless offering making where abstract form and the direct in the popular media, beyond the world of the interesting insights regarding both art in observation of nature interweave. In his art gallery. Edwardian New Zealand and the development explorations of cultural and psychological and articulation of Heysen’s own aesthetic aspects of form, Worringer brings to light the concerns. antithesis of abstraction and representation as well as their zones of contact.
Ralph Body Cristina Silaghi Warren Feeney Ralph Body completed a Master of Arts in Art History Cristina Silaghi is a practising artist currently completing Warren Feeney lectures at the Design & Arts College and Theory at Otago University in 2008. He is doctoral research in Art History and Theory with the of New Zealand. He is also an arts commentator, critic currently working with the Dunedin Public Art Gallery University of Canterbury, Christchurch. Silaghi’s art and author of ‘The Radical, the Reactionary and the on an exhibition of the Dunedin artist Alfred O’Keeffe. practice inquires into forms of dialogue between Canterbury Society of Arts 1880-1996,’ published by He is also studying languages at Otago, while working abstraction and representation. The exploration of Canterbury University Press in November 2011, as well as a teaching assistant. ([email protected]) collage strategies informs her work in painting, drawing as co-founder of the dealer gallery, Chambers@241 in and photography. ([email protected]) Christchurch. ([email protected])
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3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm ‘FRIENDS OVER THE YEARS...’: THE VICTIM MENTALITIES ‘GOD ROT THE BASTARD WHO OPENS ANTIPODAL HAUNTING OF COLIN New Zealand art history seems to have a habit THIS BOX’: RESEARCHING MALCOLM MCCAHON of presenting its artists as victims. Focusing ROSS In the 1970s Colin McCahon observed that on their purported neglect – whether by the Operating at one remove from the art world his prolific Waterfall series of 1964, ‘grew out public, the market, critics, or institutions – the for the entirety of his career, Malcolm Ross of William Hodges’ paintings on loan to the task of art history becomes righting these (1948-2003) sidestepped the conventional Auckland City Art Gallery from The Admiralty historical wrongs. Recent studies of Rita Angus avenues for artistic reception. Rather than London. Hodges and I eventually realized we and Milan Mrkusich have presented their publicly exhibit his work, he preferred to were friends over the years and got talking subjects in these terms, while myths of the deposit a selection of his photographs, about his painting… Hodges is my hero in all critical dismissal of Colin McCahon and the paintings, and sketches in the Auckland Art these paintings...’ Hodges’ paintings, I want to marginalistation of Gordon Walters continue Gallery Research Library archives. suggest, were not simply a network of sources to abound. Drawing on a range of archival In addressing his work to posterity, Ross places that McCahon more or less explicitly recalled sources, contemporary criticism, and an particular demands on anyone who wishes but something more like a fundamental analysis of the art market, this paper will offer to write about his oeuvre. Focussing on one architectural principle of his Waterfall a more historically substantive account of the photographic self-portrait from the archive, series. What is figured in the relationship conditions in which the works of these artists this paper will explore issues arising from (of gift) between Hodges and McCahon is a were produced and received. Ross’s novel approach, and will contend that literalisation of what Ian Wedde has defined much of his work is in fact addressed to an as ‘antipodal haunting’. According to Wedde, imagined, posthumous researcher. Pakeha settler existence in Aotearoa is ‘a way of being and of being identified that accepts a haunting, that incorporates difference rather than retiring behind its distancing physical, cultural and psychological borders’.
Laurence Simmons William McAloon Matt Plummer Laurence Simmons is Head of the Department of Film, William McAloon is Curator, Historical New Zealand Art Matt Plummer completed his MA thesis Legendary Television and Media Studies at the University of at the Museum of New Zealand Te Papa Tongarewa. He Obscurity: the working life of Malcolm Ross in 2010. Auckland. He has published a book on Freud’s papers is editor of Art at Te Papa (2009) and with Jill Trevelyan He currently works in the Art History Programme at on art and aesthetics entitled Freud’s Italian Journey was co-curator of the exhibition Rita Angus: Life and Victoria University of Wellington. (2006). His latest book is Tuhituhi, William Hodges, vision, and the accompanying catalogue (2008). His ([email protected]) Cook’s Painter in the South Pacific (2011). other publications include Gordon Walters: Prints and ([email protected]) design (2004), and Home and away: Contemporary Australian and New Zealand art from the Chartwell Collection (1999). ([email protected])
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3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm TATTOO RENAISSANCE AND CULTURAL TRAVELLING MODERNISM: INVIGORATING THE PAST TO ENGAGE EXCHANGE, A CASE STUDY FROM HONG THE BANDARANAIKE MEMORIAL WITH THE PRESENT: KONG INTERNATIONAL CONFERENCE HALL, NIGEL BROWN’S EXPLORATION OF This paper examines the photographic COLOMBO, SRI LANKA MAORI, PASIFIKA AND CAPTAIN COOK documentation of the evolution of a new Since the founding of the Third World coalition IMAGERY tattoo culture within Hong Kong society over in 1955, China has consistently identified Established visual artist Nigel Brown’s effective the past decade. A renaissance in tattooing is itself with the Third World and considered juxtaposition of past and present to stimulate noticeable in societies where identity is being strengthening cooperation with other debate about cross-cultural encounters redefined. This is evident in post-colonial Third World nations its basic foreign policy. between settler and indigenous cultures Hong Kong where tattooing has shifted from Extensive Chinese architectural export began continues to be a focus in his practice. In this subculture to popular culture. Tattoo provides in 1956 as part of overseas aid programs. In paper, I will present research undertaken for a medium or catalyst for the exchange the decades that followed, Chinese architects my Masters thesis which argues that through of symbols and cultural icons; it appears built construction projects ranging from major the deployment of Māori, Pasifika and Captain to function as reinforcement of personal national buildings to factories in Africa, Asia, Cook imagery, Brown effectively provides us identity. Tattoo in Hong Kong is becoming and the Middle East. Completed in 1973, with an active and innovative vision of history, a mainstream activity with media attention the Bandaranaike Memorial International invigorating the past and engaging with the focusing on contemporary tattoo practice. Conference Hall (BMICH) in Colombo, Sri present. In August 2010, academic and photographer Lanka, represents one of the most prominent As a Pākehā male artist, Brown’s approach Helen Mitchell and video artist Tam Webster examples of foreign aid commissions. This to such subject matter challenges accepted visited Hong Kong where a body of work paper provides an account of the trans-spatial notions of what should remain Māori and ‘Shifting Identity’ was created combining production of the design and construction of Pacific – and in turn European. Brown is photographic portraits of tattooists with BMICH. Situating the design of BMICH in the cognisant of the high stakes of recounting documentary video and panoramic still images history of modernist architecture, this paper aspects of cultural and historical importance. of street scenes from around their parlours. highlights the entanglements of different Ultimately though, Brown’s deployment of The interview material collected in the visit knowledge systems within transnational such imagery adds meaning and weight to also provided background research for this contexts and demonstrates the power of an ongoing debate as he questions western paper. architecture in elaborating a political vision of history and its previously accepted notions of the future between nations. progress.
Helen Mitchell Duanfang Lu Lydia Baxendell Helen Mitchell is a photographer and photographic Duanfang Lu is Senior Lecturer in the Faculty of Lydia Baxendell is the art collections curator for researcher whose work is characterized by in an Architecture, Design and Planning at the University of University of Canterbury. With an interest in interest in archiving contemporary culture through the Sydney, Australia. She has published widely on modern predominantly New Zealand art history, she has spent practices of portraiture and documentary photography. Chinese architectural and planning history. Her recent the last decade working in curatorial roles within dealer, Her ongoing explorations examine tattooing and publications include Remaking Chinese Urban Form public and institutional arts environments. Baxendell popular culture, locally and internationally and include (Routledge, 2006, 2011) and Third World Modernism was recently awarded a Master of Arts with Distinction photographic projects on tattooing and identity within (Routledge, 2010). ([email protected]) in Art History, University of Otago. its non-indigenous forms. ([email protected]) ([email protected])
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3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm AFTER THE ORGY - MAPPING TURBO-SCULPTURE: PUBLIC ART AND CONTACTING THE CHTHONIAN WORLD: CONTEMPORARY CONTACT ZONES CULTURAL CONTEXT IN EX-YUGOSLAVIA MUMMERS PLAYS, CELTIC FAIRY-LORE ON BOTH SIDES OF THE CENTRAL This paper discusses the emergence of a new AND INITIATORY RITES IN THE ART OF EUROPEAN CORRIDOR kind of public art on the territories of ex- PETER BOOTH This paper examines the various contemporary Yugoslavia that uses statues of popularculture The work of Peter Booth (b. 1940) is regarded art networks that facilitate points of exchange and celebrity figures as symbols of ethnic as playing a major role in Australian art. Booth and discourse across both sides of the former unity. Dubbed ‘turbo-sculpture’ by migrated to Melbourne with his family from iron curtain. Drawing upon James Clifford’s commentators, it has been described as a Sheffield in England at the age of seventeen idea of museums as potential ‘contact zones’, symptom of identity crisis caused by the wars and a number of scholars have noted themes it seeks to chart recent projects and spaces of the 1990s. This paper considers how this of destruction in his work based on the fact that have emerged in the previous decade; trend in public sculpture might be understood that as a child he witnessed the bombing that is, after the initial euphoria surrounding as contact between local and global cultures. It of Sheffield during the Second World War. the East/West ‘reunification’ had subsided and will argue that turbo-sculpture demonstrates However, there is another layer of disturbance the wave of academics and arts professionals how the cultural space of Yugoslavia was an in Booth’s work, derived from his dreams and who initially flooded into the ‘new’ East have attempt to forge a shared culture that could nightmares, that has remained more difficult left in search of more exotic locales. Expanding only find its true expression in hybridized to account for. These elements have been Clifford’s initial concept to incorporate a symbols of popular culture. Turbo-sculpture described in general terms as representing the variety of non-collecting and ephemeral demonstrates how in ex-Yugoslavia popular unconscious, or a spiritual journey through contemporary cultural networks, it will proffer culture was the stage on which collective darkness. This paper will trace the many a series of rhizomatic organisational models identity was forged, the premise on which parallels between Peter Booth’s imagery through which contemporary art is exhibited, national differences were constructed, and and the folk customs, traditions and beliefs disseminated and discussed within this remains as the only shared culture in the associated with the history of labour in the ‘central-peripheral’ region. region. Sheffield region and ask whether the artist might have been exposed to these practices in his youth.
Damian Lentini Uros Cvoro Lynn Brunet Dr. Damian Lentini lectures on modern and Uros Cvoro lectures in Art History/Theory at the Dr Lynn Brunet is an independent art historian living contemporary art at the University of Ballarat, as well Australian Catholic University in Sydney. in Melbourne. She is the author of A Course of Severe as undertaking sessional tutoring in contemporary art ([email protected]) and Arduous Trials: Bacon, Beckett and Spurious at the University of Melbourne. His research examines Freemasonry in Early Twentieth-Century Ireland (2009) the history, design and function of contemporary and The Masonic Presence in Contemporary Art: exhibition spaces; with a particular focus on the Initiatory Themes and Trauma (2008). architecture of non-collecting or temporary sites. ([email protected]) ([email protected])
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Peter Peryer, After Rembrandt, 1995. Black and white photograph. 34.6 x 52cm. Victoria University of Wellington Art Collection.
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10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am UNGRIEVABLE DEATHS: PHOTOGRAPHIC THE TREACHERY OF IMAGES: THIS IS SEEING AND NOT SEEING: SO MUCH TO TELL YOU: AFFECT, IMAGES AND THE POLITICS OF CONTACT NOT THE GREAT BARRIER REEF PHOTOGRAPHING HISTORY IN BEAUTY, THOUGHT AND PHOTOGRAPHY The indexicality of photographs is mobilized Reproduced in André Breton’s book Mad GERMANY AFTER 1945 From the perspective of a maker and viewer I in newspaper reportage to facilitate post- Love (1937) is an underwater photograph When Thomas Demand commented that explore the significance of materiality and the witnessing of events depicted, allowing people captioned ‘The treasure bridge of Australia’s his photographs are about the act of seeing impact of beauty on the senses, thinking and around the world to have vicarious contact Great Barrier Reef, Photo N-Y.T’. It symbolized as much as what is seen, and a picture of feeling when viewing photographs. Examining with war, natural disasters and atrocities for Breton nature’s ‘constant formation and something but also not a picture of something, strategies in contemporary photographs I in the safety of their distant lives. When destruction of life’. Rosalind Krauss (1981) and he asks us to think of the photograph not as suggest a sublime aesthetic is utilised beyond the terrorist attacks on the World Trade Dawn Ades (1985) have discussed the image in an image but as a means to see something. the mere compensations of beauty, facilitating Centre in New York took place ten years ago, the contexts of surrealist photography and the This prompts a conflicted condition of seeing affective and thoughtful viewing. photographic images enabled the world to optical unconscious. Antipodean readers value and creates a tension between seeing and The potency of these photographs under stand witness. These photographs roused the photograph as a sign of their inclusion not seeing. Demand’s photographs reference consideration resides in their withheld a nation to demand revenge. Judith Butler in the artist’s international orbit. Breton’s an event but are not of the event, but rather emotion. While feeling is held back, it is still comments upon the way in which some image, however, is not true to its caption. are after-images that represent the potential very present, enabling viewers to instigate media images are marshalled in the service The photograph is of the Bahamas, taken by collective memory of an event. Post-event or their own emotions. I intend to foreground of war, inflaming demands for retribution underwater photographer and filmmaker after the fact photography frames a central how aesthetic strategies work to offer the while others, particularly those showing the J. E. Williamson and published in the New question of how places of trauma or places viewer an opportunity to engage with the suffering of enemy victims, are omitted. In York Times in 1929 as well as Williamson’s of memory change our mode of looking and work’s ideas. this respect newspaper photographs subtly 1936 autobiography. This paper speculates constitute a new way of seeing. This paper I suggest there is a kind of careful attention mediate our contact with world events, on the disjunction in Breton’s book between presents an analysis of photography and place revealed in these photographs, an assiduous deciding what will be a ‘grievable death.’ This coral image, referent and text and questions in Germany after 1945 as a conflicted state consideration that approaches beauty of paper examines the work of Giuseppe Romeo, whether the misnaming of the photograph’s of looking that engages with seeing and not a kind. This ‘kind of beauty’, a meticulous Peter Lyssiotis and Theo Strasser who draw geographical location was intentional or seeing places of history and trauma. watching and knowing in the photographs, is upon the currency of photographs to consider mistaken. a call to attention for viewers, making contact the aftermath of 9/11. and with so much to tell them.
Wendy Garden Ann Elias Donna West Brett Denise Ferris Dr Wendy Garden is the Curator at the Maroondah Ann Elias has two research specializations: camouflage, Donna West Brett is a doctoral candidate in Art Denise Ferris supervises graduate students in Art Gallery, Melbourne. Her research and writing especially the shared interests of artists, zoologists, and History and Film Studies at the University of Sydney, Photography and Media Arts, School of Art, The interests have focussed on photographs in nineteenth military strategists; and the visual language of flowers, (Documenting place in German photography after Australian National University and is the recipient of a century Australia and the reinterpretation of these by especially the flower as an object of camouflage. 2011 1945). Publications include: ‘The uncanny return: 2011 Distinguished Teaching Award from the Australian contemporary artists. In addition to a Masters of Arts saw publication of Camouflage Australia: art, nature, documenting place in post-war German photography,’ Council of University Art and Design Schools. she holds a Doctor of Philosophy from the University of science and war by Sydney University Press. Photographies, vol 3, issue 1, March 2010; The Ferris’ photographs are held in Australian public Melbourne. ([email protected]) ([email protected]) stranger’s eye, Peloton Gallery, Sydney, 2010 (writer collections including the National Gallery, National and curator). ([email protected]) Library and the Australian War Memorial. ([email protected])
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10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am I AM MY OTHER I AM MYSELF: ARTISTS REVIVING THE FORGOTTEN FRENCH ‘YOUR HEALTH:’ CELEBRATING THE ACADEMIC VERSUS THE AVANT- IN THE PACIFIC RESPOND TO GAUGUIN WOMEN ORIENTALIST ARTISTS, 1860- SURGEONS IN LATE VICTORIAN ART GARDE: A COLONIAL CASE STUDY Gauguin has become a mythical figure for 1968: CROSS-CULTURAL CONTACT AND In this paper I identify the emergence, in The 1890s are time and again cited as having many, representing polarized and polemical WESTERN DEPICTIONS OF DIFFERENCE the final decades of the nineteenth century, heralded great promise for a new era in New tropes relating to artistic creativity, adventure Through empirical research in numerous of a new type of ‘aestheticised’ surgeon, Zealand’s art history, with the arrival of a and freedom as well as colonial fantasy, French archival bodies, I have databased over exemplified by the celebrity surgeon and trinity of foreign artists to New Zealand’s sexual exploitation and disease. While ninety, largely ignored female artists whose amateur artist, Henry Thompson, and I shores: Girolamo Nerli to Dunedin; Petrus the artist and his works play a key role in works show influence of Orientalist subject consider the social and professional network van der Velden to Christchurch; and James popular representations of French Polynesia, matter. Many of these women were hugely of surgeons and artists to which he belonged. McLauchlan Nairn to Wellington. Together, surprisingly, little attention has been paid successful artists in their day, however, today, Historically, artists and surgeons collaborated these artists undoubtedly had influence on to responses to Gauguin from the Pacific. we know little to nothing of their artistic in the study of anatomy, and this no doubt the teaching and development of art in New Discourse relating to Gauguin the artist contributions to the Orientalist movement. continued throughout the nineteenth century Zealand, but in the case of Nairn, the tendency seem intricately entwined and defined by Focusing on a few artists, I will explore their in Britain and France. But there emerged in the to account for him within the mythology of the reflections and judgments of Gauguin the contact with Maghrebi peoples and cultures, 1880s and 90s a social network of gentleman rebellious avant-garde artist has improperly man. Arguably, very few artists can claim to their gendered gaze upon the ‘Orient’ as artists and surgeons, in which Thompson was isolated him from his contemporaries. This have been interpreted through such a range of well as their employed painterly methods of a central figure, who were more likely to be paper examines the impact that contact with discursive lenses. The polemics of Gauguin’s description. I place particular emphasis on photographed and painted dining together the ‘bohemian’ Nairn had on the Wellington life continues to stir the collective imagination paintings portraying Maghrebi women in their than dissecting together. It is to this body of art scene by reconsidering the critical and create new frameworks to analyse interior domestic spaces – through which I visual material that I turn in order to elucidate discourse of this decade. By doing so, the and understand his art practice. This paper argue that the female Orientalist shifted the the nature of the contact between artists and social contexts of exhibition of colonial art in explores the ways in which contemporary western perception of Arabic and Berber surgeons during this period. Wellington in the 1890s are proven to be both artists living in the Pacific have responded women from mere exotic ‘objects’ to that of more complicated and richer than is often to Gauguin, both in terms of his body of ‘makers’. I aim to generate a discussion on the acknowledged. work and the scholarship that has emerged crossing view of the ‘other’ with the female contexualising his life and legacy. ‘other’, cultural hybridity in women’s art as well as the postcolonial response to Western women artist’s activities in the colonies.
Caroline Vercoe Mary Healy Keren Hammerschlag Rebecca Rice Dr. Caroline Vercoe is the Head of the Art History Mary Healy, B.A., M.A., is a final year PhD Candidate, Keren Hammerschlag is a Wellcome Postdoctoral Rebecca Rice is Collection Manager for the Adam Art Department at The University of Auckland. She teaches Fulbright Scholar (Yale University) and Government Research Fellow on the ‘Medical Portraiture’ strand Gallery at Victoria University of Wellington, where she and researches in the area of Pacific art. of Ireland Scholar at the Department of History, in the Centre for the Humanities and Health at King’s also lectures part-time in Art History. She was awarded ([email protected]) University of Limerick, Ireland. She is working under the College London. She completed her PhD at The her PhD titled ‘The State Collections of Colonial New supervision of Dr Catherine Lawless, UL, and Professor Courtauld Institute of Art in 2010. Her thesis is entitled Zealand Art: Intertwined Histories of Collecting and Carol Armstrong, Yale University. Mary is also a ‘Death and Violence in the Art of Frederic Leighton.’ Display’ in 2010. ([email protected]) practicing artist and curator. www.mary-healy.com ([email protected]) ([email protected])
112 113 MATERIAL Friday: 10.15am - 11.55am Room: LT3 F1.3
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am A PHOTOGRAPHIC MYSTERY: MAX LAY ME DOWN: THE FLATBED AN ANCESTRAL GATHERING: THE EFFECT IN THE ABSENCE OF LIGHT: THE AFTER SURFING, 1939 PICTURE PLANE IN CONTEMPORARY OF A DAY’S SIGHTSEEING AT ROTORUA ‘SKOTOGRAPH’ IN THE SPIRITUALIST This paper takes the form of a story which PHOTOGRAPHIC ASSEMBLAGE FOLLOWED BY A LITTLE CHRISTMAS PHOTOGRAPHY OF MADGE DONOHOE is concerned with a mystery surrounding a In ‘Other Criteria’ (1972) Leo Steinberg posited CHEER Skotographs, from the Greek skotos photograph by Olive Cotton, one she titled the ‘flatbed picture plane’ as a radical new This paper examines a full-page photomontage (‘darkness’) and graphien (‘to write’) are Max after surfing and dated 1939. Cotton point of view adopted by contemporary which was published in the Auckland Weekly cameraless spirit images or writings that had her own contact print, but after Max artists. Emulating fluid horizontal fields such News Christmas Supplement, Thursday appear on photographic plates, channeled by Dupain’s death another larger version was as tabletops and charts, this way of working December 22, 1910, p3. In this montage, a psychic medium. Madge Donohoe, a psychic discovered in his collection. Inexplicably it freed the artist from the traditional upright a group of Maori women, standing in the medium based in London, began producing was inscribed by international photographer viewpoint. Mari Mahr’s Two Walk in Paris verandah of a wharenui, have had their skotographs in 1922, creating approximately George Hoyningen-Huene, who visited Sydney (2007) and Two Walk in Edinburgh (2010), heads pasted over with photographs of 4,500 during her lifetime. During a séance, in 1937. On Dupain’s print Hoyningen-Huene and Stephen Gill’s Hackney Flowers (2007), heads of carved ancestors and figures Donohoe would hold an unexposed wrote ‘To Max/with friendship/from/George’. expose the physicality of the photographic taken from a number of different tribal photographic glass plate, still sealed in its Whose photograph was it? When exactly was print by using it as a flatbed background areas. This photomontage is fascinating, packet, and enter into communication with the it taken and in what circumstances? How did for an assemblage, which is then re- in that it is neither characteristic of the ‘unseen operators.’ the existence of two prints of this now iconic photographed. Use of the flatbed picture work of the photographer (Auckland-based This paper will consider Donohoe’s image come about? plane in photography disrupts photographic Henry Winklemann), nor of the style of the skotographs as a partial solution to problems In this story ‘contact’ is used to fashion a conventions of single perspective viewpoint photomontages frequently reproduced in facing spiritualist photography at this time. narrative dealing with ideas about modernity, and the decisive moment. Steinberg suggests that newspaper. The context and methods Given frequent, proven cases of fraud gender, sexuality and intimacy. The aim is not this is more democratic, encouraging a way of production and construction will be against camera-based spirit photographers, to solve the mystery surrounding Max after of working that is process driven rather than elucidated. A second interpretation will be the skotograph offered new and unspoiled surfing but instead to render the image, and purely visual, allowing photographers to utilise offered, one which centres on the common evidence of the afterlife. In denying both the the forms of exchange it represents, more multiple narratives, literally laid on top of one practice of appropriation of Maori carving use of the camera and the presence of light, complex and more potent. another. Thus challenging the relationship through photographing, cutting and re-use and Donohoe’s skotographs became talismanic between photographer and subject, and considers how such images can be approached objects, quietly referencing a historic viewer and photograph. today. understanding of photography as visual proof, while prioritizing touch-as-evidence.
Helen Ennis Caroline McQuarrie Cathy Tuato’o Ross Deidra Sullivan Helen Ennis is an independent writer and curator, Caroline McQuarrie is a Senior Tutor in Photography at Cathy Tuato’o Ross is an artist and writer who lives at Deidra Sullivan is a freelance writer and researcher specializing in Australian photographic practice. Her the School of Fine Arts, Massey University, Wellington, Whangarei Heads with her partner and four daughters. based in Wellington, New Zealand. She has completed latest book is on photographer Wolfgang Sievers. She who has exhibited throughout New Zealand and in the She currently works part-time as an Academic undergraduate degrees in History and Design, and was recently awarded the Peter Blazey Fellowship to USA. She is an interdisciplinary artist whose research Advisor at NorthTec, while continuing to research the her MFA (from Massey University, 2007) explored the support the writing of her biography on photographer engages primarily with combining the conventions of production and reproduction of photographs in early relationship between history, memory, and imagination Olive Cotton. Helen is based at ANU School of Art. photography and hand-crafted textile objects. twentieth century New Zealand. ([email protected]) within the family photography album. ([email protected]) ([email protected]) ([email protected])
114 115 MATERIAL Friday: 10.15am - 11.55am Room: G03 F1.4
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am HYBRID SPACES: CROSS-CULTURAL VOICE AS CONTACT BECOMING-DANCE: DANCE CONCEPTS ENGAGEMENT IN CONTEMPORARY The voice as a medium in art has been IN RELATION TO THE PAINTING OF WOMEN’S PAINTING present since the first cries of Marinetti. Its KUSHANA BUSH This paper examines aspects of contemporary presence has continued with the babbling This paper looks at momentary intersections women’s painting, exploring social, cultural, of Ball, the libidinal vocalisations of Acconci, or points of contact between painting and and geographical space in my own painting the confessions of Lucier, the screams of dance concepts. Figures within the paintings practice and in those of the African-American Abramovic and the repetitious words of of Kushana Bush (b.1983) engage in a myriad painter Ellen Gallagher, and the Pakistani- Nauman. The voice continues to sound of acts- they spread their legs, fling their arms born, American-based painter Shahzia in contemporary art as song, speech, outwards, crane their necks and gnash their Sikander. This paper argues that, by operating and whispers. In the 20th century, vocal teeth. Some grasp at each other, others lie still, in an expanded space, contemporary female explorations revealed a concern to break certain figures even seem to dance. painting transforms static notions of sexual, the bounds of rational language, to highlight It has been proposed that the relationship cultural, and racial difference. I consider my the presence of the body and the impact of between visual art and dance is on the level own painting practice where other cultural technology. Today, the relationship between of mere representation and that dance can experiences, namely, Sri Lanka are examined language, body and technology continues only be a motif in painting- however the in relation to a specific Irish rural history. in voice aesthetics. However, the examples relationship is more nuanced and complex. Equally, both Gallagher and Sikander address I explore do not produce severe tensions Perhaps there are moments when dancing cross-cultural experiences in relation to between language, body and technology. and painting merge, when they share common particular histories, creating new meaning Rather, they engage this relationship more concerns and blur only to separate again. and alternative narratives. In our separate subtly and expand it in terms of a spatial If an area of paint captures a particular practices multiple visual strategies fuse onto encounter that resonates with ethical outstretched limb that could never be known one surface creating fluid, hybrid spaces. concerns. In these examples, the voice otherwise, then for a moment a dancer These hybrid strategies result in part from negotiates the relationship of the individual to becomes paint and paint behaves like a dancer. globalization and transcend cultural divides. the collective, and registers both the singular Certain concepts interrogated in dance theory I argue that these engagements are feminist and the multiple. may therefore be utilised while unfolding the strategies in painting; they speak to and from relationship between painting and dance as the marginalization of history, gender and well as reading Bush’s paintings. cultural identity, transforming modernist codes and conventions.
Majella Clancy Simone Schmidt Victoria Wynne-Jones Majella Clancy is a painter and practice-led PhD Simone Schmidt has graduated with first class honours Victoria Wynne-Jones has a background in French student at The University of Ulster, Belfast. Her in Honours and Masters by Research program in Art studies, philosophy, theatre, film and dance. In 2009 research is in contemporary female painting. Her History from the University of Melbourne. She has she began her formal studies in Art History and attendance at the conference is made possible through recently commenced a PhD at Monash with the Art is currently working on her Masters thesis at the funding from the Research Graduate School at The Theory Department. Her current focus is the medium of University of Auckland. Her central research concerns University of Ulster.. the voice in contemporary art. are: installation, performance, dance, the body, ([email protected]) ([email protected]) contemporary art, art theory and curatorial practice. ([email protected])
116 117 MATERIAL Friday: 10.15am - 11.55am Room: MZ05 F1.5
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am CHANCE, TRACE AND GLASS PAINTING: OUT OF CONTACT – ESCAPE AND SELLING OUT/BUYING IN: THE PACIFIC DATA PHOTOGRAPHY IN RICHTER’S ‘SINBAD’ ISOLATION IN THE WORKS OF ANDREA RE-MATERIALISATION OF ART, 1981 What happened when a cargo ship, a tropical AND ‘ALADDIN’ ZITTEL In 1981 Billy Apple staged a ‘sell-out’ show storm and a conceptual artist were on a collision course in the midst of the Pacific While Gerhard Richter’s paintings are Over the past decade, an abundance of at Peter Webb Galleries in Auckland New Ocean? Billy Apple was about to cross the commonly considered in relation to articles have appeared in international art Zealand. This marks the end of a decade of Equator as a passenger aboard the Chiricana, photography, such discussions centre upon publications commenting on a seemingly new rigorous conceptual practice in which the artist a refrigerated cargo vessel transporting high his figurative photopaintings. I argue that phenomenon in the art world, design art. An worked with nothing other than the ‘givens’ quality squash from New Zealand to Japan. Up his diverse oeuvre, including his abstract artist who exemplifies this development in art of gallery spaces. Was this shift in his practice ahead the rapid escalation of the first of 1993s works, can be understood as engaging with practice is Andrea Zittel. Her work is a hybrid a surrender to the truth that ‘the artist destructive tropical storms was in progress. photography and as articulating debts and of sculpture, installation, and performance has to live like everybody else’ (as he later The conditions surrounding these events serve differences across mediums. This paper which resides on the edge of design due to the described it); a renegotiation of the terms of as the conceptual impetus for Severe Tropical extends this argument to some of Richter’s design-like aspects of her artistic process and conceptualism, or a continuation of the artist’s Storm 9301 Irma, a work by Billy Apple. most recent works that are also among his her claims that her art works are usable. long-standing relationship with the ‘dirty truth’ To realise the work, Apple aestheticised most abstract, the series Sinbad (2008) and Zittel’s work engages with issues addressed by of commodity culture and art’s peculiar place information rich data about the sea and storm Aladdin (2010). designers, that is the production of functional within it? By endeavouring to answer these into elegant parred back conceptual systems These paintings, said to respond to the story solutions to the problems of living. Her A-Z questions, this paper will explore a particular that have an inherent scientific clarity and of One Thousand and One Nights, show the Living Units are highly compact environments, juncture in art history (the early post-modern endorse the historic links between conceptual mass and substance of paint–vivid, smeared best described as moveable domestic living return to the object) and the lessons we can art and science. and sandwiched between glass sheets. Like modules, accommodating a variety of learn about the embedded but often obscured I would like to discuss S.T.S. 9301 Irma and much of Richter’s work, they draw attention to household activities: cooking, clothes storage, relations between art and artists and their all- aspects of Apple’s practice in relation to the the stuff of paint as immediate and physical. work and sleep. Her practice highlights many too-material support systems. techniques and history of scientific ideas and At the same time, they connect to the history aspects of contemporary life: Habitation, their methodologies. of painting on glass and its place in a very Apparel and Leisure through Escape. It is the different type of art. More curiously still, last of these themes that is the focus of this they connect us to tropes and concepts that paper. My emphasis will be on the aspect of are central to the photographic, that is, to humor in Zittel’s work, to which there is little spontaneity, indexicality, authenticity and direct reference in the literature. reproducibility.
Rosemary Hawker Timothy Laurence Christina Barton Mary Morrison Rosemary Hawker’s research and teaching centres on in Tim Laurence holds the position of General Manager Christina Barton is an art historian, curator and writer, Mary Morrison’s interests lie in the intersection interpreting contemporary art with particular attention Education at UTS: Insearch and is an Adjunct Professor known for her work on New Zealand art post 1960. She between art and science. She is a graduate of Elam to medium relations, theories of representation and in the Faculty of Design Architecture and Building at is also co-editor of Reading Room: A Journal of Art and School of Fine Arts, University of Auckland and Victoria in particular, the relationship between photography UTS. His academic discipline is Design. His area of Visual Culture. She is currently researching the work of University. Her MA, titled ‘Posthuman pathology: and painting the work of Gerhard Richter. She recently research is Design Art, artists whose work crosses the Billy Apple, New Zealand’s leading conceptual artist. a postmodern art project located in critical care,’ spoke at the Panorama: New Perspectives on Richter boundaries of Art and Design. ([email protected]) investigated the culture of hi-tech medicine at Auckland symposium at Tate Modern. ([email protected]) ([email protected]) City Hospital. The results were presented at the World Congress of Intensive Care Medicine, a 4 yearly meeting. ([email protected])
118 119 MATERIAL Friday: 10.15am - 11.55am Room: MZ10 F1.6
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am MESOAMERICAN SOURCES AND IDEAS GHOST NETS ART: MARINE DEBRIS & TRADING ECOLOGIES: SPECIES, LARESA KOSLOFF AND THE FORCE OF IN GIACOMETTI’S ‘MAINS TENANT LE MATERIAL ACTIVISM LANDSCAPES, PHOTOGRAPHS THE NAME VIDE’ (‘L’OBJET INVISIBLE’) OF 1934 Recognition of non-western cultural autonomy Following Alfred Crosby’s influential text Laresa Kosloff’s artwork Cast (2011), The sculptural work of Alberto Giacometti is a firmly implanted ethic in contemporary Ecological Imperialism (1986), the impact of commissioned by ACCA, Melbourne, has long been a rich source for art historians art discourse, but what lies beyond this colonialism on disparate ecologies and the involved the artist attending the vernissage interested in its association with Surrealism. recognition? What is the potential for a complex inter-relationships of cultural and of the current Venice Biennale and asking This article examines the true impact of genuine shared discourse that neither ecological ‘contact’ have been recognised and well-known artists to sign her leg cast. This Surrealism upon Giacometti’s early sculptural imposes hegemony nor ghettoizes the considered in a number of contexts. paper focuses on the notion of ‘contact,’ or productions, and suggests that the Surrealist ‘Other’? Through a concept of what I term This paper briefly considers the impact of ‘contagion,’ in so-called ‘savage’ theories of movement may not have been as important to ‘material activism’ I examine how the Ghost introduced species on local ecologies and ritual and magic with its close association with the early history of Giacometti’s sculpture as Nets Art movement from northern Australian construction of landscapes in New Zealand, the concept of animism. Animism provokes, at his engagement with Mesoamerican figurative Indigenous communities initiates a mode drawing on early visualisations of this process a fundamental level, questions such as: What art and culture. It considers the extent to of cross-cultural socialization. Indigenous and on my photographic project Imaging is a thing? Do things think? As such this paper which Mexican and other Mesoamerican communities across Australia’s northern Biosecurity. asks: How are the objects of performance art artefacts and ethnographic objects were coastlines are involved in an environmental It then focuses on the traffic of species in the contaminated through contact? Can things available in Paris at the beginning of the project to retrieve and document marine opposite direction – the ‘reverse colonisation’ command responses from us? In a provocative Twentieth century, and discusses Giacometti’s debris fishing nets (called Ghost Nets). Many of New Zealand species introduced back to argument that asserts Kosloff’s right leg involvement with Mesoamerican art prior to of these communities are transforming this the colonial centre. Cordyline australis (tī as taboo, animated and full of mana, the his connection with Surrealism. toxic material into fibre art, helping in disposal kōuka, the cabbage tree) will serve as an early contrasting opinions of Sigmund Freud and of the material but more importantly creating and ongoing example, particularly in relation Walter Benjamin are employed as they discuss awareness of the problem and stimulating to Southwest England where, as the ‘Torbay magic. Freud degrades ‘savage’ animism while cross-cultural environmental ‘events’. This palm’, it has become the defining symbol of Benjamin asserts it. A theory of ‘magical paper draws on ideas derived from Paul the ‘English Riviera’. This discussion draws discourse’ emerges in which contagious Carter’s Material Thinking, Nicolas Bourriaud’s on my project Torbay tī kōuka investigating animism knows no distinction between Relational Aesthetics and Australian the current status of this plant in its revised subjects and objects. Indigenous concepts of healing Country, to globalised setting. examine cross-cultural socialization in art as material activism.
John Finlay Sally Butler Wayne Barrar Chris Braddock John Finlay studied Art History and Theory at Essex Dr Sally Butler is Senior Lecturer in Art History at the Wayne Barrar, Associate Professor, School of Fine Chris Braddock is an artist and academic. His art University (1989-92) and received his doctorate from University of Queensland. Publications and curated Arts, Massey University is a photographer whose practice involves performance, video and sculpture. See the Courtauld Institute of Art, London in 1998. He is an exhibitions include Our Way, Contemporary Aboriginal work has been widely exhibited in New Zealand and www.imageandtext.org.nz. His theoretical research independent art historian of French history and culture, Art from Lockhart River (UQP 2007 and touring UQ internationally. His books include Shifting Nature stems from the disciplines of art history, anthropology specialising in the field of twentieth century modern Art Museum exhibition to Singapore & USA) and (2001), and An Expanding Subterra, published in 2010 and performance studies. Braddock’s forthcoming art. His book Picasso’s World is published by Carlton Before Time Today, Reinventing Tradition in Aurukun by the Dunedin Public Art Gallery in association with his book Performing Contagious Bodies discusses objects Books, London, 2011. He is currently a Teaching Fellow Aboriginal Art (UQP 2010/UQAM exhibition). currently touring exhibition. that stem from performance through the theories of in art history at Victoria University of Wellington. ([email protected]) ([email protected]) animism in magic. ([email protected]) ([email protected])
120 121 MATERIAL Friday: 10.15am - 11.55am Room: MZ11 F1.7
10.15am-10.35am 10.35am-10.55am 10.55am-11.15am 11.15am-11:35am HOSSEIN VALAMANESH: LONGING FIONA PARDINGTON’S ‘EIGHT SHELLS’: SYNERGIES OF MATERIALITY BETWEEN TURNING THE SPOTLIGHT ON SUSAN TE BELONGING RECLAMATION OF TE AO MĀORI FROM MAORI AND VIKING KAHURANGI KING Hossein Valamanesh’s oeuvre is informed by THE MUSEUM This paper assumes the special significance Since the 1950s the family of self-taught artist his Iranian heritage, Australian landscape, Eight Shells (2004) consists of six photographs to an object of its materiality. Traditional Susan Te Kahurangi King has been collecting relationships and journeys. In 1974, soon of shells collected by the ethnographer perspectives have privileged the iconography, and storing her artwork and are now the after arriving in Australia, Hossein travelled James Herries Beattie during fieldwork in style and socio-cultural and historical context custodians of over 7000 individual works, from with a group of artists to remote desert 1920 that are now in the collection of the of an object over its substance. This offers a tiny scraps of paper through to five-metre-long communities. People from the Aranda, Loritja, Otago Museum. Written inside the shells visual rather than tactile investigation of the rolls. King slowly ceased verbal communication Pintupi and Walpiri cultural groups had are the names given to the shells by various object where seeing and reading, dominate, between the ages of four and six and, being been relocated to Papunya, a government local Māori, the geographic locations of to the extent, that touching and making often a compulsive drawer, her artwork gave her settlement. Here Hossein met men, including Beattie’s informants, and the museum’s become obscured. As well as historical and family insights into how she was interpreting Nosepeg Tjupurrula, who had worked with inventory number. In photographing these theoretical research, this paper reflects on the world. The collection also includes the Geoffrey Bardon in 1971–72. The artists shells, Pardington draws attention to multiple research resulting from a 21st century bone diaries of Susan’s grandmother Myrtle Murphy, encouraged Hossein to work alongside them, overlapping discourses of knowledge within workshop established to carve a chess-set the homeopathic treatment notes made by her and it was in the painting shed at Papunya that which they might have significance, including inspired by both the Lewis chess pieces and mother Dawn King and family photographs, he completed his first painting in Australia. ethnography, structural linguistics, cultural traditional Maori carving. On one side of the primarily taken by father Doug King. memory, intercultural dialogue, whakapapa board is the Scandinavian inspired pieces While some knowledge of the great challenges (kinship & genealogy), and the reclamation of and on the other figures influenced by a that King has faced in order to pursue her Indigenous culture in Aotearoa/New Zealand. Maori tradition. This is both a post-colonial artistic practice can contribute to a greater This presentation will situate Eight Shells metaphor and a strategy to explore synergies understanding of her oeuvre, her family are within Pardington’s larger series of museum in materiality between Maori and Viking committed to ensuring that it is her art that photographs that explore related theoretical cultures as the figures take shape and assume is placed in the spotlight, rather than the issues of cultural identity and the transmission their positions on the board for a game that’s circumstances in which it was made. of knowledge to subjects with both explicit interiority encompasses movement, strategy, Māori content (i.e. taonga/treasures) and power and possession. related objects that are not overtly Māori (i.e., specimens of extinct birds that are similarly preserved in museums).
Mary Knights Erika Wolf Joanne Drayton Monica Syrette Mary Knights, Director, SASA Gallery, UniSA, is a writer, Erika Wolf’s primary field of research is Soviet art, Associate Professor Joanne Drayton (PhD) is the author Monica Syrette is Assistant Curator at the Grainger curator and academic. She was awarded a PhD in 2010 photography and visual culture. Her research and post- of Edith Collier Her Life and Work, 1885-1964 (CUP, Museum, University of Melbourne. She is a PhD by UTAS for her thesis ‘On the Brink of the Abyss,’ which graduate supervision also encompasses photography 1999); Rhona Haszard: An Experimental Expatriate candidate at Sydney College of the Arts, researching focused on J.K. Huysmans. Her most recent publication, in New Zealand and the Pacific. Recent publications New Zealand Artist (CUP, 2002); and Frances Hodgkins: the history and practices of studios for artists with co-written with Prof Ian North is Hossein Valamanesh: include an essay on Shigeyuki Kihara in Pacific Arts and A Private Viewing (Random House, 2005) She was intellectual disabilities. From 2004 to 2008 she was Out of Nothingness (Adelaide: Wakefield Press: 2011). the anthology Early New Zealand Photography: Images awarded a National Library Fellowship to write a Archivist at Arts Project Australia, her main case study ([email protected]) and Essays (co-edited with Angela Wanhalla). biography Ngaio Marsh: Her Life in Crime (HarperCollins site. ([email protected]) ([email protected]) NZ, 2008; HarperCollins UK 2009). ([email protected])
122 123 ROUND TABLE Friday: 10.15am - 11.55am Room: G02 F1.8
10.15am-10.25am 10.25am-10.35am NEW FRONTIERS FOR PUBLISHING: REMOVING SOCIAL BARRIERS: EXHIBITION CATALOGUES AND THE 21ST PROMOTING INCLUSION IN GALLERIES CENTURY THROUGH ACCESS PROGRAMS This paper will discuss the extent to which This paper addresses the issue of accessibility exhibitions and their catalogues have in the area of disability. The Art Gallery of New spearheaded new directions in art history as South Wales has been committed to removing well as the growing impact of the Web. social barriers and promoting inclusion Once seen as a (possibly illustrated) through Access programs such as Signing art, supplementary souvenir of an art exhibition, Touch tours, Starting with art school education catalogues have evolved into one of the most program and the Community Access tours. important sites for publishing art historical In the recent past Access programs have research. In this country, with its limited been consolidated and integrated into the publication outlets, catalogues may be the organisation wide approach. This paper aims first (sometimes only) publication for scholars to address barriers to access and explore the undertaking original research in Australian art. structure of programs which aim to increase Exhibitions have long been one of the primary participation and to provide opportunities for vehicles for the communication of ideas and life-long learning. art to wider audiences. 450,000 visitors came to GOMA’s ‘21st Century: Art in the First Decade.’ While traditional blockbuster catalogues have print runs of over 30,000; QAG, along with the NGA, has a major web presence with its exhibition catalogues, and this is a growing trend. *Paper co-authoured with Catherine Speck
Joanna Mendelssohn Danielle Gullotta Joanna Mendelssohn is (joint) Editor in Chief of Design Danielle Gullotta has been developing, promoting and and Art of Australia Online (http://www.daao.org. delivering Access programs at the Art Gallery of NSW au) and author of studies on Sydney Long, the Lindsay since 2008. Access programs are delivered to both family, George Gittoes, Richard & Pat Larter. She is the education and the general public. This role has included coordinator of Art Administration at COFA, an award training and in-servicing gallery staff and volunteer winning art critic and contributing editor for Artlink. guides and ensuring the gallery is accessible to the wide ([email protected]) range of people in the community. ([email protected])
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10.35am-10.45am 10.45am-10.55am 10.55am-11.05am 11.05am-11:15am COSSONS’ IMPERIAL LATHER OR HOW TOUCHING ART: ENGAGING THE SENSES WHEN EVERYTHING AROUND US FELL: THE CULT OF THE WARRIOR: VISITOR NOT TO RUN A MUSEUM: THE CASE OF IN THE EXPERIENCE OF WESTERN ART HOW VISUAL ARTS ORGANISATIONS EXPERIENCE AT THE ART GALLERY OF THE BECM IN HONG KONG IN CANTERBURY RESPONDED TO THE NEW SOUTH WALES The British Empire and Commonwealth Throughout the nineteenth century museums EARTHQUAKES The First Emperor: China’s Entombed Warriors, Museum (BECM) has recently attracted major became spaces of quiet contemplation, From destroyed works and damaged at the Art Gallery of New South Wales, coverage in the New Zealand Listener, the visually delightful but bereft of any haptic studios through to cancelled exhibitions was the second most visited exhibition in Art Newspaper and The Independent over engagement with objects. This reflected and red-stickered venues, the impact of the the Gallery’s history. It was supported by a a complex saga involving the problematic their responsibility to protect and conserve earthquakes of 2010/11 on Canterbury’s range of public programs aimed at attracting disposal of art works, which have included collections. Today, museological literature visual arts scene has been intense and communities outside of the traditional gallery both indigenous and colonial related champions varied, multisensual encounters, wideranging. The response to this complex demographic. The programs were interactive, items. In addition, the BECM’s evident in an effort to be more accommodating and ongoing situation from artists, dealers, conversational and inclusive—in stark contrast shortcomings in collection care are now of different modes of learning. One such project spaces, galleries and audiences is a to the exhibition space which highlighted a causing considerable concern especially example of this was the exhibition Touching story of adversity, change, adaptation and purely aesthetic and scholarly context for the among the historical profession in the UK. Art: Louvre’s Sculptures in Movement (2010) ingenuity. This paper will discuss how existing objects. This contrast reflects the double bind Following the publication of Janet Marstine’s at the Hong Kong Museum of Art. It featured visual arts organisations dealt with a variety of for institutions in which they are challenged edited Routledge Companion to Museum 18 plaster and resin replicas of sculptures challenges—finding new premises, supporting to be places of accessible enjoyment and Ethics (2011), I will summarise how, where, borrowed from the Louvre Museum. Visitors artists, re-establishing the confidence of popular entertainment while maintaining why and why the BECM has fallen short were ‘invited to appreciate the true beauty of their audiences—and also considers the new their authority as places of scholarship and of the ethical standards that it might have art by actually reaching out and touching great visual arts venues, temporary art projects and research. This paper will critically examine the been expected to have upheld; I will provide works’. This paper explores the motivation institutional support systems that came into gallery’s strategies for bridging this divide by an update on developments; and will ask behind this exhibition suggesting that it being. How did relationships between artists, socially engaging their audiences with the art where to from here. In answering the latter, attempted to present the museum as a more art, arts organisations and audiences change, objects on display. Ultimately it is concerned I hope to get perspectives from both the appealing and accessible space by offering what have we learned and what does the with how museums are negotiating their museum’s new director as the public face visitors a physcial and intimate experience of future hold? changing status in the 21st century. of the museum, from any trustees willing art that transcended the visual. *Paper co-authoured with Anna Lawrenson. to respond to questioning, as well as from a major, disaffected donor, the Commonwealth Education Trust (formerly Commonwealth Institute).
Mark Stocker Anna Lawrenson Felicity Milburn Chiara O’Reilly Mark Stocker is Associate Professor in the Department Dr Lawrenson completed her PhD in 2007 through Felicity Milburn has been a Curator at Christchurch Dr O’Reilly completed her PhD in 2006 at the University of History and Art History at the University of Otago. the Centre for Cross-Cultural Research at ANU. She Art Gallery Te Puna o Waiwhetu (formerly Robert of Sydney. Her thesis examined the work of French One of his main research interests is Victorian sculpture has subsequently worked in the gallery sector and McDougall Art Gallery & Annex) since 1998. In 2009, Romantic Landscape painter Paul Huet (1803-1869). She in Britain and New Zealand. His involvement in the has taught at a number of tertiary institutions. She is she curated the survey exhibition Séraphine Pick, which has worked in cultural organisations on exhibitions and BECM case history began in late 2009, when he was currently a Lecturer in the Museum Studies program at toured to City Gallery, Wellington and Dunedin Public has been involved with the Museum Studies program as consulted by the Christchurch Art Gallery on the the University of Sydney. Art Gallery. ([email protected]) a lecturer since 2007. ([email protected]) proposed acquisition of a bronze statuette of John ([email protected]) Robert Godley, which purported to be by Thomas Woolner. ([email protected])
126 127 SOCIAL
Gordon Walters, Kahukura, 1968. Acrylic and pva on canvas. 114 x 152cm. Victoria University of Wellington Art Collection.
128 129 SOCIAL Friday: 1.50pm - 3.10pm Room: LT1 F2.1
1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm ‘AFFECTIVE BEHAVIORS’: PERFORMANCE MAKING CONTACT WITH ‘UNSEEN’ FASHION AS AN EMBODIED ARTFORM AND THE PLEASURES OF RISK WORKERS SANTIAGO SIERRA’S ‘7 Fashion, by virtue of the fact that it is This paper will examine what philosopher FORMS’ AND MORAL SHOCK IN THE designed to be worn, is seen as one of the Teresa Brennan describes as the transmission AUDIENCE most embodied of art forms. Paradoxically however, despite the inextricable association of affect, namely the social and physiological Many of Santiago Sierra’s works focus of fashion with the body, there has been a impact that occurs when the emotions or unashamedly on the discomfort of the concerted effort to disavow this relationship in affects of one person and their enhancing audience. This paper will examine the cost Western culture. Underpinning this however, or depressing energies enter into the body of witnessing artworks such as Sierra’s 7 is a highly problematic privileging of the mind of another. Using as a case study a number Forms that intentionally set out to antagonise over the body. As will be argued, this fails of my own performance/installation and manipulate the implicit trust that exists to acknowledge the inescapably embodied artworks developed over the past ten years, between audiences and the artist. It will show nature of our existence as well as perpetuating I will examine how live encounters might that art works that rely upon moral shock, an our patriarchal denigration of the feminine. be framed to preface and heighten self- aesthetic of self-loathing and the antagonism In this paper it is proposed that instead of reflexivity in relation to the nexus of individual of emotions as the keystone for their success upholding as the ideal, clothes that transcend and environment. These performance/ have the potential to erase the audiences’ the body, we need to envisage new modes of installations, many of which involve large implicit trust in art and perhaps in turn undo dress, which engender a sense of the body, inflatable structures suggestive of adolescent any perceived political good or artistic aim. The not as an object of spectacle but as an active play, function in part to examine ideas of trust complexity of Sierra’s work is amplified by the corporeal presence. The fashion designs of and fear but also to challenge the idea that audience’s reactions to the contact between Issey Miyake are proffered as an example of we are self-contained within our energies. bourgeoisie spectator and worker, between how this more kinaesthetic awareness of the The paper will outline how the careful the exploiter and the exploited and this paper body may be achieved. configuration of performative environments or will examine the potentially harmful costs of installations may offer insights and potentially this witnessing. new ways of thinking and experiencing the patterns and peculiarities of affect.
David Cross Jennifer Kalionis Llewellyn Negrin David Cross is an artist, writer and curator with Jennifer Kalionis is a PhD candidate and art history tutor Dr. Llewellyn Negrin is Head of Art and Design Theory research interests across performance, installation, at the University of Adelaide. and Coordinator of Teaching and Learning at the School and public art. He is Associate Professor in Fine Arts at ([email protected]) of Art, University of Tasmania, Australia. She has Massey University, School of Fine Arts. published articles in the areas of theories of fashion ([email protected]) and the body and postmodernism and visual culture. In 2008 she published a book Appearance and Identity: Fashioning the Body in Postmodernity, New York: Palgrave Macmillan. ([email protected])
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1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm FROM GLANCING CARESS TO LIMPET MANAGING DISSENT: THE ISSUE NEGOTIATING CONSCIOUSNESS IN EMBRACE; DEPICTIONS OF INTIMACY IN EXHIBITION REFIGURED CONTEMPORARY VISUAL CULTURE: CONTEMPORARY NEW ZEALAND ART This paper maintains that the relationship AN EXPRESSIONIST THEORY OF This paper investigates works by four between conceptual art and feminism is more HOMEOSTASIS contemporary New Zealand artists–Michael ambivalent than official histories attest, as This paper considers aspects of Lee UFan’s Harrison, Kushana Bush, John Ward-Knox instanced in the 1980 exhibition Issue: Social thought of what we can apply as a basis and Séraphine Pick–who work with drawn Strategies by Women Artists at London’s for developing an understanding of the or painted figuration to explore moments of Institute of Contemporary Art. Seeking to expressionist aesthetic self that will resonate intimate human contact, from embrace to bridge increasingly obdurate divisions within not only with the modern Western past but full sexual union. Each artist engages with feminist art, curator Lucy Lippard conceived also with the traditions of the East. Although the history of figuration and makes particular Issue as an international sampling of politicized the structures of those consciousness media and stylistic decisions influencing the art by women. Set within the discursive site of traditions are very different from Lee’s way they are read/ encountered. This paper an exhibition that embodies points of tension contemporary interpretation of the West, will look at how these decisions inform how and discontinuity on the level of artistic, this contact with Lee has brought to the they operate within a context of display, in curatorial, and critical practice, this study fore elements of the aesthetic self and an settings both private and public. documents a provisional politics of women’s intensification of subjectivity that this study In the work of Harrison, Bush and Ward-Knox conceptual art and criticism that precipitated negotiates and claims to be founded across there is a labour intensive, intensely detailed new forms of social engagement. I conclude consciousness traditions of the contemporary and measured making process. Despite their that the productive nexus of conceptual and expressionist aesthetics. I conclude that modest scale, these works invite close, slow feminism advances an alternative framework ‘experience of perceptual unity’, as described readings and resist speedy, highly literal for understanding art’s social utility past and by Francis Crick and Christof Koch, may be interpretation. Eagerly acquired by collectors present. regarded as creative homeostatic experience primarily from dealer gallery first showings, that the totality of our phenomenal expression the works reside in owners’ houses as private, is thought to be held together as one. It seems cherished pictures. How do small-scale, to be the characteristic of a lived, expressive delicate works depicting tenderness and consciousness. physical intimacy fare when placed in public museums and galleries, where the private moment of contemplation is transformed into a watched encounter? Heather Galbraith Beth Anne Lauritis Paul Tanchio Heather Galbraith is a contemporary art curator and Beth Anne Lauritis is Assistant Professor of Modern Paul Tanchio is a PhD candidate in Fine Art and writer, currently Associate Professor/Head of School at and Contemporary Art History and Theory at Clemson Theoretical Enquiry at the University of Sydney. His the School of Fine Arts, College of Creative Arts, Massey University. She received her Ph.D. at University of research interests include art philosophy and aesthetics, University, Wellington. ([email protected]) California, Los Angeles in 2009. Her current research metaphysics and visual culture within the contexts of foregrounds critic Lucy Lippard in considering the Asia-Pacific and world histories. He is working on the exhibition of women’s conceptual art. project concerning a Nishidian theory of art practice. ([email protected]) ([email protected])
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1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm THE CURATORIAL CONSTRUCTION OF ART, DEMOCRACY AND AUTHORSHIP: SOME PEOPLE’S ART ARTWORLDS: EXHIBITION MAKING IN AN ANALYSIS OF THE ARGUMENTS From so-called public art to relational THE GLOBALISING ART MUSEUM SURROUNDING RELATIONAL AND aesthetics – discourse around contemporary This paper discusses how the current desire DIALOGIC ART art abounds with references to forms of encounter between artworks and members of of the art institution to be global in both The traditional dichotomy between the the public. However, much of this discourse collecting and programming and intensifying individual author and democratic values, fails to adequately consider how socially its relevance for audiences highlights the between private spectatorship and active engaged works imagine and negotiate their variability of the global artworld and the participation has become of growing interest publics. This paper will look at projects participatory museum. It considers two recent in the last two decades. The growing area by North American artist Harrell Fletcher cases: ‘21st Century: art in the First Decade’ of relational, dialogic and pragmatic art and Soviet émigré artists Vitaly Komar and at the Gallery of Modern Art, Queensland comes with a barrage of theory, principally Alexander Melamid. I will explore how these and the program ‘Play Vanabbe’ at the Van that of Bourriaud, which makes claims for works engage uniquely with ideas about Abbemuseum in Eindhoven, the Netherlands. its moral superiority in line with mainstream “the public” – and a related, even more It outlines the different geopolitical contexts, ideology. However such claims have met with ideologically loaded, term, “the people”. collection histories, and curatorial strategies considerable criticism from theorists such as Despite the political abuses of “the people”, that informed curatorial programming and Bishop, Kester, Martin, and Rancière. amongst the concept (as Mick Wilson has considered) the different worldings of contemporary art others. This paper analyses both sides of this holds possibilities for contemporary artists, they communicated. These cases suggest the debate to argue that although such work and I argue that it allows for more nuanced challenges and potential for the ‘participatory is the least democratic of all art forms, and thinking about the relationship between art art museum’ to become a discursive site of in some cases reduces art to the level of and its publics. I will discuss Fletcher’s current production by encouraging a self-reflexive as entertainment, it does not invalidate individual People’s Biennial project (co-curated with Jens well as social audience that can form a critical works, or the value in the local specificity of Hoffmann), which considers people outside of public. such micro-art. the typical address of the art world.
Zara Stanhope Simon Blond Holly Arden Zara Stanhope is a curator and a PhD candidate at Originally from UK, Simon Blond emigrated to Australia Holly Arden is currently completing a PhD investigating the Australian National University, Canberra. She in 2001. Since then he has lectured at Curtin University art and its publics in the Theory Program of the Faculty co-convened the ANU conference The World and World- Art Department, becoming head of Visual Culture and of Art and Design, Monash University. Holly has worked Making in Art: Connectivities and Differences (2011). Art History. He is researching part time for a PhD at in a variety of curatorial roles, with a focus on public Forthcoming peer-reviewed texts include ‘Uninvited the University of WA with a focus on originality and space. She was a co-founder and co-editor of Machine Guests: The Blue House’ in Re-imagining the City: subjectivity after postmodernism. visual arts journal between 2005-2007. art, globalisation and urban spaces (Intellect, 2012), ([email protected]) ([email protected]) and ‘Curating for the 21st Century?’ in The Journal of Curatorial Studies. ([email protected])
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1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm COMING INTO CONTACT WITH CONSTRUCTING THE LOCAL: NEW SYLVIA SCHWENK: MY ART PRACTICE ‘THERAPEUTIC CRAFT’: CRAFT ZEALAND CONTEMPORARY STUDIO IN THE EXPANDED FIELD OF REVIVAL, RURAL UPLIFT, AND HEALTH FURNITURE IN THE 1980S AND 1990S PERFORMANCE ART PROFESSIONALS IN CANADA AND THE This paper considers the dynamic between Sylvia will talk about her art practice in the UNITED STATES, 1920-1950 the local, the international, and the cross- expanded field of performance art. Sylvia’s This paper explores the transnational cultural in New Zealand contemporary studio recent research and the participatory works exchange of medical ideas of ‘therapeutic furniture of the late twentieth century. A of performance art she directs look at the craft’ across the border between New England particular focus is the impact of the discourse multidimensionality of performance art, and Atlantic Canada. It reveals how various relating to ‘art furniture’ which emerged in and she seeks to extend the definition of women revivalists in this transborder region, the 1980s, influenced by the post-war craft performance art to include the originary all trained as health professionals, came into revival, and reflecting international art and live work and what the she calls re-live contact with traditional handicraft forms design movements which aligned furniture works of art, such as photographs, videos, and then applied them to revival programs with art. An expressive emphasis developed texts, installations, reperformances created aimed at rural uplift. It argues that medical in New Zealand studio furniture, and in the in response to the live performance; and therapeutics, and in particular the social 1980s and 1990s it pursued an international experiences, relationships, oral stories and or utopian mission that accompanied the credibility while also seeking to articulate memories that are created from participating creation of occupational therapy, came to play a local, cross-cultural identity. Articulation in participatory works of performance art. a central role in shaping rural rejuvenation of the local was often manifest in visual Sylvia’s practice and research also looks at activities of the early to mid-20th century. references to New Zealand’s Pacific location, how participatory works of performance art This reveals the therapeutic rationale behind or its natural landscape. However, alternative and what she calls performosis, which is a handicraft revival activities such as rural expressions continued to emerge, as the time dependent process where spectators and knitting circles, weaving collectives and seemingly paradoxical relationship between passers-by performing their everyday activities teaching and learning workshops and sheds the international and the local was explored become active parts in a performance, can new light on the later history of arts and crafts and reassessed. be used to build relationships and have social revivalism. outcomes.
Sasha Mullally Rigel Sorzano Sylvia Schwenk Sasha Mullally teaches courses in the social and Rigel Sorzano has been researching and writing on Sylvia Schwenk is a German-born artist based in cultural history of medicine at the University of New New Zealand art, craft and design since 2004. Having Sydney and Berlin. She is the recipient of numerous Brunswick. Her research examines the intersections of completed an MA in Art History earlier this year, I am commissions including a recent commission from gender and class in the social organization health care currently tutoring at the University of Auckland and the European Union to present a public work of services, recently including the history of handicrafts working on projects in relation to proposed doctoral participatory performance art on the German and in 20th century rural rejuvenation programs of the studies in 2012. ([email protected]) Dutch border. Sylvia has also received many awards, northeast North American borderlands. (sasham@unb. grants and scholarships, and her work is held in public ca) and private art collections. www.schwenk.com.au ([email protected])
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1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm THE TRANSNATIONAL SUBLIME; DIGITAL TAHA WAIRUA AND THE VISUAL NARCISSUS 2.0: PORTRAITURE IN A POETICS AND THE REPRESENTATION OF TRAJECTORY DIGITAL AGE EXPANDED SPACE Maori art remains central to the experience Like Narcissus looking at his own image in Throughout much of its history the camera and transmission of knowledge and cultural a pool of water, the portrait image acts as has been treated as a mechanical surrogate identity, with the history of Maori visual a mirror held up to the human face. In this for human vision. However the photograph’s culture as testament to a consistent and image, the self encounters the ‘self-made- puzzling disjunctions and aporia have profound cultural engagement for Maori. other.’ In today’s media saturated environment always rendered it strangely disquieting as a ‘Contact’ for the viewer may initially be visual, the archetypal mirror image of Narcissus is substitute for “what we would have seen had but is understood as the experience of a only one of many technologically mediated we been there”. In any case, the development salient connection between the work and the images of the human face that are now of digital photography in the closing decade of viewer, as a feeling of emotion and presence, available to us. It is through these mediated the Twentieth Century severed this traditional or evoking taha wairua. Taha wairua is a image avatars that we can come literally nexus irreparably. The digital image, unlike significant determining factor as to whether face-to-face with ourselves. In particular, its celluloid ancestor, is registered in the work is acknowledged as having relevance digital technologies have revolutionised the computational form and is therefore more and resonance to the affiliated individual genre of portraiture enabling new forms of analogous to conceptualization than to optics. or community irrespective of time, place or representation and narcissistic projection Further, the invention and deployment of genre. This paper looks at aspects of gauging including digital alter egos, robotic clones and programs like Photoshop and Illustrator have taha wairua and applies these observances to virtual identities. In this paper I will look at the enabled the transformation of the image in works of some contemporary Maori artists to ways in which this fascination with our own ways that distance it profoundly from any explore how digitally mediated works continue image is played out, and how different visual perceptible real world correlates. to cultivate this inimitable cultural contact. images and media technologies enable us to These new technologies of representation see and understand ourselves (and others) in facilitate the production of expansive polyglot new ways. images that serve as corollaries of the transnational flows, planetary exchanges and far-flung tensions that are such a ubiquitous feature of life in the epoch of globalization.
David McNeill Kura Puke Kathy Cleland David McNeill has curated exhibitions and published Kura Puke is a lecturer at the School of Visual and Dr Kathy Cleland is a curator, writer and researcher articles on artistic responses to globalisation, Material Culture at the School of Visual and Material specialising in new media art and digital culture. nationalism and diaspora, contemporary African Culture, Massey University. Kura is an artist who works She is Director of the Digital Cultures Program at the art, and most recently, on Lebanese art produced in with electronic lighting technologies, and has an MMVA University of Sydney, an innovative cross-disciplinary response to the 2006 IDF invasion and the Cronulla from Toi Oho ki Apiti, Putahi a Toi, Massey University program that critically investigates the social and riots. He teaches courses on postcolonial, contemporary P.N. ([email protected]) cultural impacts of new digital media technologies. and “outsider” art. ([email protected]) http://www.kathycleland.com ([email protected])
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1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm AMOROUS ENCOUNTERS: THE VNS MATRIX: INFILTRATION PAINTING IN THE ERA OF LIGHT-BASED CARNALITY OF ART In 1991, an Adelaide-based artist collective, IMAGES In this paper I draw together various voices VNS Matrix (1991–1997) wrote the Since the digital revolution of the early 1990s, and artistic practices to reflect upon the ‘Cyberfeminist Manifesto for the 21st light-based forms of image-making have exchanges that take place in the making Century’ and plastered it around town. The increasingly colonized our lifeworld, steadily and the viewing of visual arts. Recent group—comprised of artists Francesca da eclipsing their pigment-based counterparts. scholarship suggests not only a material base Rimini, Josephine Starrs, Julianne Pierce and Faced with this transition, artists have sought to understanding visual arts but importantly Virginia Barratt—is credited as one of the first to demonstrate the continued relevance of an encounter that is embodied. While to use the term ‘cyberfeminist’. Their work pigment in our pixellated age. In this talk, Barbara Bolt (2004, 2007) contends that challenged and penetrated male-dominated I consider the efforts of five contemporary art emerges out of a dialogic relationship realms including the internet, technology painters in this regard. Luc Tuymans, Albert between the individual body of the artist, and mass media, calling for corruption and Oehlen, Fabian Marcaccio, Wade Guyton her performativity in the production of work, disorder. Via new media works they pictured and Christopher Wool, all use their work to the material conditions of its making and the an aggressive, cyber-modified version of comment on the shortcomings of today’s light- social formations wherein these acts take feminist computer (s)heroes. based forms of image-making. In this way they place, Arnold Berleant (2004) posits that the This paper will examine the work of VNS affirm the continued vitality of pigment in a aesthetic experience of art is an encounter Matrix via two avenues. light-based image ecology whose need for its that also involves the bodily attitudes of the Firstly, contact will be explored in terms of services is waning. viewer. These concerns are underscored the artistic exchange between VNS’s four by writers such as Alison Bartlett (2010) artists: the social contact of collaboration and and David Abram (1997) who argue for a creativity. Secondly, contact will be explored corporeal understanding of knowledge and its in light of their subject matter and distribution formation. As such I consider what it means to methods: a contact of excess, hybridised encounter the carnality of art. and collapsed visual imagery in conjunction with unexpected and demanding methods of display.
Ann Schilo Louise Mayhew Luke Smythe Dr Ann Schilo works in the School of Design and Art at Louise Mayhew is completing her PhD on the history of Luke Smythe is a doctoral candidate in the History of Art Curtin University. Ann’s teaching and research intersect women-only art collectives in Australia c.1970–2010. program at Yale University. in various fields and follow a number of key themes Towards this research she has written ‘Jill Posters will be ([email protected]) surrounding art theory and practice with particular Prosecuted’ for Impact7: Intersections & Counterpoints, interest in folk material culture, women’s creative on the phenomenon of women-only screenprinting practices, feminist theory, and the visualisation of groups, and the book chapter ‘Sisterly Love’, on place. contemporary artist-sister collectives for Collaboration ([email protected]) Now. ([email protected])
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1.50pm-2.10pm 2.10pm-2.30pm 2.30pm-2.50pm CLEMENT MEADMORE: DESIGN INTO TRANSFORMATION OF THE MAKING THE BODY: MATERIALITY AND ART AESTHETIC: THE HYBRID NATURE OF CRAFT IN PRACTICE-BASED RESEARCH Clement Meadmore began his career as a CONTEMPORARY ART AND DESIGN My studio practice encompasses craft furniture designer and gallerist, becoming a Much of contemporary design methodology, techniques that have been traditionally pivotal figure in the influential Gallery A scene practice and education now emphasises the denigrated as ‘women’s work’ in order to in Melbourne and later Sydney from the 1950s design of ‘total’, integrated experiences rather consider materiality and its relationship to the to the early 1960s. He later moved to New than the creation of discreet objects: witness, corporeal (female) body, particularly in regards York and established himself as a successful for example, the growth of user-centred, to my self-defined notion of sublimated sculptor, never to live in Australia again. participatory, and collaborative design, along disgust/anxious desire. Drawing upon Elizabeth This paper reappraises the aims of with the methodological use of anthropology, Grosz’s theories of the corporeal body, I have Meadmore’s early furniture design practice ethnography, phenomenology and instigated a studio practice that favours the by locating it within an Australian context dramaturgy. In order to understand this turn to body over the mind, and reconsiders the and proposes a closer relationship between interconnected practice and its consequences, status of the handmade craft object. Through his early Bauhaus-informed multidisciplinary this paper will chart the significant moments my research, craft practices such as knitting design work and his later sculptures than has in the long history of contact between art and have emerged as highly significant: influencing previously been considered. design to show that its contemporary version deliberations upon my own physicality through This paper draws on archival research, recent entails a transformation of the category of the very act of a labour and time intensive reassessments of Meadmore’s important the aesthetic: the aesthetic dimension of making process. On completion, my various position within Australian art history of design is no longer defined in terms of beauty ‘knitted anatomies,’ that hover at the intersect the 1950s and 60s and recent theories of but as sensate, embodied information. The of clothing/skins/vessels of containment, not aesthetic autonomy and discipline hybridity consequences of this departure will be traced only reference the body, but are of the body. to reconsider the career of one of Australia’s through a number of examples, as will some of This paper will be an account of the trials and most accomplished mid-twentieth century its inherent ironies and contradictions. Finally, small delights of making a body. sculptors, often excluded from canonical texts the effects of the absorption of the category due to his expatriate status. of beauty into the totality of the aesthetic/ designed experience will be linked to the question of whether there is any room left for a political concept of the autonomy of the aesthetic.
Angela Goddard Matthew Holt Deborah Prior Angela Goddard is Curator, Australian Art to 1975, at Dr Matthew Holt is the Program Manager of Design Deborah is a PhD Candidate at the University of the Queensland Art Gallery. She is also Reviews Editor at UTS:Insearch. He has a PhD in art history from the South Australia, where she is engaged in a major for the Australian and New Zealand Journal of Art, and University of Sydney and publishes on both art and studio project titled The Anatomical Venus: Anxious currently undertaking a master’s degree in art history design history. He is also a produced playwright, and desire and sublimated disgust. The artist’s body in and theory at the University of New South Wales a collection of his short stories is being published later contemporary art practice as informed by 18th and College of Fine Arts, Sydney. this year. ([email protected]) 19th Century anatomical models. (pridt002@mymail. ([email protected]) unisa.edu.au)
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3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm THE LOST MEDIUM OF CONTEMPORARY ROSÂNGELA RENNÓ: ENGAGEMENT THE ASSERTION AND SUSPENSION EXISTENCE: REFLECTIONS ON SIGMAR AND DISENGAGEMENT WITH THE OF CONTACT IN THE ART OF THOMAS POLKE’S WE PETTY BOURGEOIS! DISAPPEARED DEMAND COMRADES AND CONTEMPORARIES This paper examines how emotional contact This paper discusses the work of German artist In 2009 the Hamburger Kunsthalle exhibited or affective engagement is both provoked and Thomas Demand by taking a slight distance a sprawling, multi-participant ensemble from displaced by the Brazilian artist, Rosângela from the concept of ‘contact’ as signifying 1970s called, We Petty Bourgeois! Comrades Rennó in her series: Corpo da Alma [Body of a condition of touching or immediate and Contemporaries, primarily associated the Soul] (1990-2003). The images in Corpo proximity. It will be argued that the artist’s with Sigmar Polke, but also a band of counter- da Alma are drawn from photojournalism. particular activation of photography and the cultural troubadours. Who does the ‘we’ in Each photograph shows someone holding a viewing experience this generates suspends the title appeal to, and what does it suggest? photograph either in a domestic setting or conventional dichotomies between proximity I will explain its provocation by examining in the more public context of the street. By and distance, contact and disassociation. In two of its key invocations or reference points. making the images difficult to see, Rennó aims the process, Demand’s art dismantles strict The first is to an English ‘medium’, named to revitalise interest in routine media images divisions between realist and anti-realist Rosemary Brown, who claimed to be in that might otherwise be subject to the kind heuristics of photography. contact with long-dead, legendary composers, of compassion fatigue described by Susan such as Bach, Beethoven, Schubert, and Liszt. Sontag, amongst others. Paradoxically, then, The other key reference is to Hans Magnus engagement is coupled with disengagement Enzensberger¹s much-discussed 1976 essay and obstruction. The paper will consider how ‘On the Inevitability of the Middle Classes,’ the series nonetheless promotes contact with which Polke read soon after it was published the viewer by slowing down perception of the and from which the artist derived the title emotions depicted in the original photographs. for this ‘work.’ I will seek to show how this fantastic ensemble prompts a rethink of the role of art, its class alignments and the future of the ‘vanguard.’
Andrew McNamara Susan Best Toni Ross Andrew McNamara heads Art and Design in the Susan Best teaches art history and theory at the Toni Ross is a Senior Lecturer in Art History at College Creative Industries Faculty of QUT, Brisbane, Australia. University of NSW. She is the author of Visualizing of Fine Arts, University of New South Wales. Her His publication, An Apprehensive Aesthetic: The Legacy Feeling: Affect and the Feminine Avant-garde (London: I recent publications examine the pertinence of Jacques of Modernist Culture (Peter Lang, 2009), won the Art B Tauris, 2011). ([email protected]) Rancière’s theory of the politics of aesthetic modernity Association book of the year award for 2010. In 2011, to contemporary art practice. ([email protected]) he edited Sweat: The Subtropical Imaginary. ([email protected])
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3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm CONTACT WITH ‘THE REAL’ IN STUDIO NO CONTACT: BACK OF THE HEAD CONCEPTUALISING CONQUEST IN SELF-PORTRAITURE: A NEW READING PICTURES NICOLAS POUSSIN’S, ‘RAPE OF THE OF REMBRANDT’S KENWOOD SELF- The vast majority of portraits present the SABINE WOMEN’ PORTRAIT, c. 1665-1669 subject full-face, partially full-face, or profile Poussin’s painting the Rape of the Sabine The paper employs a strand of social cultural to the viewer. They involve or imply an Women (c. 1637), Musée de Louvre, theory that posits a constant dialogue encounter– contact–between the executive Paris, presents an image of expansionist between ourselves and our social world, artist or photographer and the subject, as well cultural contact in graphic detail. Rome, which is in turn internalized through symbolic as between the viewer and the subject. There poised to become a colonising force, representations of our culture as we are are very few pictures, in which the subject is asserts its dominance and makes plain the mentored through a process of guided in, or close to, the front plane, filling much of modus operandis of this adventurism as it participation into the ideas and processes the picture space, where the subject is back deceives and overwhelms the neighbouring of whatever culture or historical period we to the viewer – in which viewers see only the Sabines. The term’ rape’, used in the title, happen to be born into. It applies this to the back of the head. They do exist, though. What conjures up all the forms of exploitation ungovernable indeterminacy of the portrait do, or can, such back-of-the-head pictures that will follow this event, and creates an when its subject is the artist painting it. I argue represent or ‘say’. Do they denote, or signal image of expansionist exploits that will be that Rembrandt embeds in his Kenwood Self- or suggest an absence of, or resistance to, commonplace in centuries to come. Yet, at the Portrait an experience of deferred transition or rejection of, contact? Or can back-of- heart of this painting is a tear, a ripping apart from a universal, schematic conception of the-head pictures more effectively visualize of cultural and social cohesion that will affect the artist to a contingent, performative, either particular forms of contact or ideas and oppressor and oppressed alike. To this extent experiential one. We realize that the timeless feelings about socio-cultural conditions and the Rape of the Sabine Women is more than a image of the artist is actually an immediate relationships than conventional full-face to depiction of an historical moment, it illustrates memory of himself turning from mirror to profile portraits and picturings? This paper a contest between Apollonian order and its canvas so as to confer on him the social will explore a selection of back-of the-head Dionysian other, asserting the internalised and contact of seeing himself as others see him. pictures, including a portrait by the Victorian externalised struggle of the ‘civilising’ order. ‘Michelangelo’, G.F. Watts, Gerhard Richter’s well-known Betty, Colin McCahon’s The Listener (Head), plus more contemporary pictures.
Richard Read Leonard Bell Grahame Kime Winthrop Professor Richard Read has published Leonard (Len) Bell’s books include Colonial Constructs: Grahame Kime is the Arts Centre Coordinator for in major presses and journals on the relationship European Images of Maori (1992), In Transit: Questions Hazelhurst Regional Gallery and Arts Centre. His between literature and the visual arts, nineteenth and of Home and Belonging in New Zealand Art (2007), exhibitions include: Heaven on Earth: Visions of Arcadia, twentieth-century European and Australian art history Marti Friedlander (2009) and From Prague to Auckland: Flora: Still Life Moving Fast, Shen Jiawei: From Moa to and contemporary film and complex images in global the photography of Frank Hofmann (1916-1989) (2011). Now 1960 – 2010 and The Leslie Walton Collection. contexts. ([email protected]) ([email protected]) Grahame has a Masters by Coursework from the University of Sydney and is currently completing a Masters by Research on the work of Nicolas Poussin. ([email protected])
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3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm IMPRESSIONS OF A PRINT DEALER: EPISTOLARY CONTACT: HEYSEN TO ART AND SCIENCE: AN ANALYSIS OF HAROLD WRIGHT AND HIS ARTISTS HEYSEN NINETEENTH CENTURY NEW ZEALAND This paper examines a range of bookplates This paper will explore the letters between PHOTOGRAPHS COLLECTED BY ARTIST made for the London-based print dealer two prominent Australian artists, Nora Heysen AND BOTANIST JOHN BUCHANAN (1819- and collector Harold Wright (1885-1961). and her father Hans Heysen. Nora was an 1898) Throughout his long career at the Bond Street inveterate traveller, so some letters were By using the device of a double exposure, the firm Colnaghi’s, Wright developed close written from centre to periphery, but others nineteenth-century portrait photographer relationships with many printmakers. To some came from remote locations in the Pacific as a McGregor was able to situate fellow he was simultaneously mentor, avid collector war artist. Those from cosmopolitan centres Dunedinite John Buchanan (1819-1898) as and friend. These images illustrate an convey the mixed emotions of an expatriate metaphorically inhabiting two worlds at once: intimate social network whose central figure artist ranging from the alientation and science and art. Combining negatives in the was a dealer and testify both to his unfailing loneliness to the liberating freedom of working same print was a specific technique belonging support of his artists and their loyalty to him anonymously in a large metropolitan centre to the nascent category of art photography in even after 1929 when the market for modern outside national expectations. Those from nineteenth-century New Zealand. It was also prints was severely compromised by the Wall remote locations reflect modernist visions a procedure that facilitated the documentary Street Crash. but also the frustrations and practicalities ‘proof’ of supernatural occurrences known of working with ‘exotic’ subjects. For both as spirit photography. As well as telling us father and daughter, their letters also traverse something about this subject’s dual roles artworld politics, changes in art institutions, in colonial society, the ghosting indicates the decline of the Society of Artists as that on this occasion the photographer was commercial galleries ascend, and the demise encouraged—perhaps by his subject—to of portraiture. This is a narrative that has stood reach beyond the technical and conceptual outside modernist accounts. The letters also limitations of the idea of photography as the track the conflicting demands of married life literal recording of the visual world. This paper on Nora the artist. will analyse this and a representative sample of the other photographs collected by John Buchanan in his albums.
David Maskill Catherine Speck Linda Tyler David Maskill is Senior Lecturer in Art History at Catherine Speck is an Associate Professor at the Linda Tyler was appointed as the inaugural Director Victoria University of Wellington. (david.maskill@vuw. University of Adelaide and coordinates postgraduate of the Centre for Art Research at The University of ac.nz) programs in Art History & Curatorial and Museum Auckland in February 2006. In this role, she teaches Studies at the Art Gallery of South Australia and two General Education papers for Elam, administers the University of Adelaide. Publications include: the Art Collection, Gus Fisher Gallery, and the Window Painting Ghosts: Australian Women Artists in Wartime project. Her PhD research is on John Buchanan. (Craftsman House /Thames and Hudson 2004) and ([email protected]) Heysen to Heysen (National Library of Australia 2011) ([email protected])
148 149 SOCIAL Friday: 3.30pm - 4.50pm Room: G03 F3.4
3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm ‘CULTURE WARRIORS’ AS CULTURAL ‘ARATJARA – ART OF THE FIRST ‘ANZART IN EDINBURGH’ DIPLOMACY AUSTRALIANS’ This paper will examine the exhibition, This paper explores the issue of sending The exhibition Aratjara – Art of the First ANZART in Edinburgh, organised by the Richard abroad exhibitions as cultural diplomacy. Australians opened in Düsseldorf, Germany Demarco Gallery during the 1984 Edinburgh Government and non-government agencies at the Kunstsammlung Nordhein-Westfalen Festival. ANZART in Edinburgh comprised are increasingly engaging in cultural diplomacy before touring to the Hayward Gallery, London, three distinct components: exhibitions of or ‘soft power’ strategies – that is using soft or and the Louisiana Museum, Humblebaek Australian and New Zealand contemporary cultural means to advance a range of interests (Denmark) in 1993-94. This paper will discuss art, curated respectively by Denise Robinson abroad. Within Australia’s cultural exchanges the making of Aratjara, its presentation and and Wystan Curnow, and a separate exhibition Indigenous Australian art figures prominently. reception at the Hayward Gallery, and will of the New Zealand painter Colin McCahon. Given the growing interest in this area, it is consider how it stood apart from earlier This paper will investigate the original vision timely to assess official efforts in deploying international exhibitions of Aboriginal art. for the exhibition, sparked by Demarco’s visit Australian culture to advance Australia’s to New Zealand and Australia in 1982, how international interests. the exhibition developed, its reception and This paper uses as a case study the 2009 subsequent tour. It will consider ANZART in US presentation of Culture Warriors. This Edinburgh in the broader context of Demarco’s exhibition of contemporary Indigenous Festival project, and his history of international Australian art was sent to Washington D.C. to exhibitions since the 1960s. It will examine the help reshape how US audiences viewed both role of the Queen Elizabeth II Arts Council and Australia and its issues involving Indigenous the Visual Arts Board of the Australia Council Australians. While Culture Warriors may have in the development of the exhibition. fallen short of its aspirations, it was far from a run-of-the-mill cultural diplomacy exercise and for this reason should be considered as a useful point of reference for future cultural diplomacy initiatives.
Gay McDonald Sarah Wall Logan Sisley Gay McDonald is a Senior Lecturer in the School of Sarah Wall is a PhD candidate in Art History at the Logan Sisley studied art history at the University of Art History and Art Education, COFA/UNSW. She University of Melbourne, researching the development, Otago and the University of Auckland. He is currently is currently completing research on the role of the presentation and reception of exhibitions of Australian Exhibitions Curator at Dublin City Gallery The Hugh art museum in advancing official foreign policy Aboriginal art in Europe. Lane, Ireland, and a member of the studio team for the objectives via the ‘soft’ channels of cultural diplomacy ([email protected]) studio 468 residency programme, Rialto, Dublin. (international circulating exhibitions). ([email protected]) ([email protected])
150 151 SOCIAL Friday: 3.30pm - 4.50pm Room: MZ05 F3.5
3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm ‘ART GIRLS’: RUSSIAN WOMEN AND THE IT’S ALL MINE: THE RECENT RISE OF THE ART THEFT IN AOTEAROA NEW ZEALAND MAKING OF A CREATIVE CLASS PRIVATE ART MUSEUM IN AUSTRALIA Art theft is the considered to be the third Russian sponsorship of the visual arts has The new private art museums that have biggest business for criminals globally, after been dominated in recent years by the wives, developed in Australia and elsewhere drugs and arms trading. It is estimated to be girlfriends and sisters of prominent oligarchs. over the last decade demonstrate not just worth NZ$5.5-8.3 billion annually. But is this These women have commented on their their founders’ power to shape critical and the case for New Zealand? This paper seeks to involvement in the arts as a response to the curatorial programs in their own interest explore high-profile art thefts over the past 50 need for the development of a creative class but also the decline of the intermediary years in order to consider the ways in which in post-communist era Russia. This paper takes role of public art museums, as authoritative there is ‘contact’ between the art market and a broader perspective on the motivations of conduits and interpreters between art, criminality. It seeks to consider how interaction these ‘art girls’ along a trajectory of women’s artists, patrons and publics. In the advent and between different players in the art market involvement in patronage, sponsorship and activities of MONA, the Museum of Old and and wider art world influences the theft of philanthropy extending back to the time of New Art, in Hobart this year, of White Rabbit art. While reasons for such theft are usually Catherine the Great. It explores issues of Gallery in Sydney in 2009 and TarraWarra financial (such as the theft of the Tissot from national identity in connection with ideas Museum of Art outside Melbourne in 2003 Auckland Art Gallery), within a New Zealand that have historically fostered Russian there is clear evidence of both new sites of context, political motives seem to dominate— interest in the arts as a form of cosmopolitan curatorial ambition and of changing patterns witness the theft of Colin McCahon’s Urewera engagement with international art circles. of patronage. The new private art museums, Triptych and the taking of thirteen poupou The paper considers how support for the arts while free to act directly in their founder’s from Te Poho o Tipene, in 2004. in Russia has been framed by socio-political interests, may appear to be quasi-public circumstances that have given rise to a sense spaces, with all the trappings and much of the that support for the arts within wealthy aura of other forms of twentieth and twenty- families is most appropriately carried out by first-century art museum. This paper examines women. their radical challenges to established public museums and to curatorial practice, and their implications for public debate, collections and scholarship.
Jennifer Milam John Barrett-Lennard Ngarino Ellis Jennifer Milam is an Associate Professor in the John Barrett-Lennard has spent twenty-five years as Ngarino Ellis (Ngapuhi, Ngati Porou) lectures papers Department of Art History at the University of Sydney. a contemporary art curator and director of university in the Art History Department at the University of Her books include the Historical Dictionary of Rococo museums and contemporary art spaces, across Auckland including Art Crime and Critical Issues in Art (2011), Fragonard’s Playful Paintings. Visual Games Australia and overseas. He has published extensively Maori Art. She has just handed in her PhD thesis, A in Rococo Art (2006) and Women, Art And The Politics on art museums, audiences and ideas of the public, as Whakapapa of Tradition. Iwirakau Carving, 1830-1930 Of Identity In Eighteenth-Century Europe (2003). well as curated major exhibitions, including an Adelaide and has co-edited two books, Te Ata. Maori art from the ([email protected]) Biennial, the Australian component of the Biennale of East Coast, and Te Puna. Maori Art from Te Tai Tokerau Venice and a recent major show of the work of Imants Northland. ([email protected]) Tillers. ([email protected])
152 153 SOCIAL Friday: 3.30pm - 4.50pm Room: MZ10 F3.6
3.30pm-3.50pm 3.50pm-4.10pm 4.10pm-4.30pm ART AND ACTIVISM IN A POST- THE FICTIONAL AND AESTHETIC AGAINST THE DEATH PENALTY: VICTOR CONVIVIAL WORLD CHARACTERISTICS OF POLITICS. THE HUGO’S QUILL AND BRUSH This paper will use Gerald Raunig’s 2007 book POLITICAL ACT OF THE ARTS Victor Hugo is arguably the most famous Art and Revolution: Transversal Activism in This paper responds to Jacques Rancière’s exponent of French Romanticism. His political the long Twentieth Century as a way into assertion that what politics and art have engagement and massive literary production exploring the points of contact between art in common are their abilities to perform often overshadows his graphic works. Victor and revolution. Raunig’s book is significant as ‘material rearrangements of signs and images, Hugo’s engagement against the death penalty it represents one of the few recent attempts between what is seen and what is said, was a lifelong battle. His most famous literary at theorizing connections between the between what is done and what can be done.’ output on the subject was the novel Le aesthetic and the social. This paper will also Rancière argues for the fictional and aesthetic dernier jour d’un condamné (1829). While explore other approaches to the topic such as characteristic of politics and the political living in Guernsey Hugo drew four hanged Claire Bishop’s contribution to 2006 edition characteristics of the arts, both of which men drawings against the condemnation a of Artforum ‘The Social Turn: Collaboration disclose the relationships, commonalities and murderer and incendiary, Tapner, including and its Discontents’. Bishop controversially exclusions of society. This paper will look at the famous work, Ecce. In this paper I intend argued that the rise in experimental socially how participatory performance works use to explore the ways in which Victor Hugo engaged art at the end of the 90s has lead to a ‘bodily positions and movements, functions promoted social engagement against the related rise in “ethical art criticism”–these two of speech, the parcelling out of the visible death penalty using two different languages, combined factors creating a situation where and the invisible’ to explore the interplay image and text. While the image and the text works are no longer judged critically as art but that exists between politics and art. Using repeated a similar message in different ways, rather by the way in which they ‘strengthen performance works that engage with border they resulted in very different public reactions. the social bond’. In the aftermath of the Global control and nationalism, I will look at how art I intend to explore here why the image was Financial Crisis, how do we assess what impact mobilises public participation in simple acts better received than the text and how the globalization, and the alter-globalisation which accrue interruptive significance. image achieved a higher level of engagement movement had on our understandings of art? with the public.
Zanny Begg Melissa Laing Emilie Sitzia Zanny Begg works in a cross disciplinary manner and Melissa Laing (PhD, University of Sydney) is a curator, Dr Emilie Sitzia is a Senior Lecturer in Art History and her work revolves around an investigation of the artist and theorist currently employed by the ST PAUL St Theory at Canterbury University in New Zealand. Her politics of space, both in the broader globalised context Gallery, AUT University. Her work explores (in)security research interests are nineteenth-century art literature and a more specific local one: she is interested in both discourses, nation state territory and migration through as well as literary art. She is currently preparing a the architecture of space and the social relationships the intersection of art and theory. Laing has presented book on the interactions between art and literature in which construct it. For more information: www. at the 6th ECPR General Conference, University of nineteenth-century France (Cambridge, forthcoming zannybegg.com ([email protected]) Iceland, 2011, the 32nd Congress of the International 2012). ([email protected]) Committee of the History of Art at University of Melbourne, 2008 and the AAANZ Conferences in 2009 and 2006. ([email protected]) 154 155 SOCIAL Friday: 3.30pm - 4.50pm Room: MZ11 F3.7
3.30pm-3.50pm 3.50pm-4.10pm DETACHMENT BETWEEN IMAGINED AND INHABITED This paper will demonstrate how official war SPACE: MINIMALIST AESTHETICS AND artists have used detachment as a strategy THE ENCOUNTER BETWEEN BODY to influence their audience’s perception of AND MEMORY IN PETER EISENMAN’S depicted events. By distancing the emotional MEMORIAL TO THE MURDERED JEWS involvement of the artist as a witness, OF EUROPE detached visual narratives assume an ‘objective’ quality. Detachment implies that Since the dedication of Maya Lin’s Vietnam the artist has an observant eye, a factual mind, Veterans Memorial in 1982, minimalist design and a reluctance to deviate from the ‘truth’ of strategies have transformed the way in which the matter. These perceptions are especially public memorials, particularly those that deal useful if none of these implied traits are with problematic pasts, have been conceived, genuine. constructed, managed and understood. Detachment is a visual strategy with a long but The paper examines the imagined and understated history. In this paper it shall be inhabited landscape of Peter Eisenman’s presented through case studies in Australian, Memorial to the Murdered Jews of Europe New Zealand, and UK war art collections, but in the context of the effectiveness of the the implications of detachment extend well communicative aspects of minimalist design beyond war art. This argument will open the strategies employed in the Vietnam Veterans concept of detachment as a form of counter- Memorial, as described in Jeffrey Karl intuitive engagement, in which the artist Ochsner’s theory of ‘linking objects’. Intended mediates contact between their own lived meanings for the Memorial to the Murdered experiences and their audience’s perception of Jews of Europe as a place of remembrance, it those events. is argued, are negated ultimately by the lack of signification within its design, the absence of ‘linking objects’. In contrast to the imagined space of the memorial, as represented by text and photography, the inhabited space of the memorial is one of play and performance rather than one of reflection and understanding. Sam Bowker Russell Rodrigo Dr Sam Bowker’s PhD examined the function of self- Dr Russell Rodrigo is an Architect and Lecturer with portraiture in official war art (Australian National the Faculty of the Built Environment, University of New University). He now works in Education for the National South Wales with an interest in the architecture and Portrait Gallery (Canberra) and publishes primarily philosophy of memory and place. Russell has recently on matters related to portraiture. The relationships completed a research-through-design PhD in memorial between engagement, detachment, and narrative are architecture and the spatialization of memory. an ongoing research interest. ([email protected]) ([email protected])
156 157 SPEAKERS INDEX
158 159 SPEAKERS INDEX
A Cross, David 130 Hood, Jessica 89 Milam, Jennifer 152 Abramova, Ekaterina 54 Cvoro, Uros 107 Hughes, Helen 71 Milburn, Felicity 127 Mitchell, Helen 104 Al-Aaraji, Sukayna 55 D I Arden, Holly 135 Moleta, Tane 59 Dauber, Christine 81 Inglis, Alison 46, 67, 93 Moore, Fiona 55 B Dempsey, Morag 42 J Morrison, Mary 119 Baitz, Joanne 14, 40 Donaldson, A. D. S. 65 Mullally, Sasha 136 Johnston, Melinda 50 Ballard, Susan 91 Drayton, Joanne 123 Jolly, Martyn 99 Barilo von Reisberg, Eugene 5, 72 Dunham, Laura 45 N Jordan, Caroline 85 Neale, Anne 88 Barrar, Wayne 121 E Barrett-Lennard, John 153 Negrin, Llewellyn 131 Eckett, Jane 93 K Barton, Christina 32 , 119 Nevalainen, Emmi 91 Edwards, Rebecca 14, 50 Kalionis, Jennifer 131 Batchen, Geoffrey 18, 30, 32 Nishioka, Mizuho 59 Elias, Ann 110 Kime, Grahame 147 Baxendell, Lydia 105 Ellis, Ngarino 40, 153 Knights, Mary 122 O Begg, Zanny 154 Ennis, Helen 114 Kummerfeld, Rebecca 99 O’Reilly, Chiara 127 Bell, Leonard 147 Enwezor, Okwui 20, 25, 30 Ouellette, Caroline 49 Berry, Jess 71 L Best, Susan 42, 145 F Laing, Melissa 155 P Blackley, Roger 54, 66 Feeney, Warren 101 Larsson, Chari 95 Palmer, Sheridan 18 Blond, Simon 135 Ferran, Anne 68 Laurence, Timothy 118 Park, Marilyn 44 Body, Ralph 100 Ferris, Denise 111 Lauritis, Beth Anne 133 Parsons, Harriet 92 Bolger, Wendy 53 Findlay, Elisabeth 73 Lawrenson, Anna 126, 127 Peacock, Amanda 47 Bowker, Sam 157 Finlay, John 120 Ledbury, Mark 26 Peacock, Dianne 43 Braddock, Chris 121 Fitche, Matthew Warren 43 Lentini, Damian 106 Phillips, Filma Anne 86 Brennan, Anne 69 Francis, Niki 97 Lin, Jase Chia-Ching 57 Platz, William 72 Brett, Donna West 111 Fraser, Suzanne 89 Lionis, Chrisoula 56 Plummer, Matt 103 Brew, Christopher 70 Lonie, Bridie 69 Preston, Julieanna 48 Briceño, Ximena Natanya 49 G Lorenzo, Catherine De 93 Preston, Laura 32, 98 Brittain, Corinne 14, 41 Galbraith, Heather 132 Lu, Duanfang 105 Prior, Deborah 143 Bruce, Janine 59 Garden, Wendy 110 Puke, Kura 139 Brunet, Lynn 107 Garrie, Barbara 70 M Brunt, Peter 20 Gibbs, Sandy 45 Macneil, Georgina 77 R Burton, Laini 64 Gilmour, Joanna 73 Marcello, Flavia 75 Ramage, Stella 90 Butler, Rex 20, 65 Goddard, Angela 142 Marshall, Jonathan 87 Rankin, Elizabeth 80 Butler, Sally 120 Grigsby, Darcy Grimaldo 17, 26, 30 Maskill, David 50, 148 Read, Richard 54, 146 Gullotta, Danielle 125 Mayhew, Louise 141 Reed, Stewart 85 C McAloon, William 17, 103 Rice, Rebecca 113 Campbell, Joanne 74 H McDonald, Gay 150 Riddler, Eric 83 Carroll, Grace 87 Hammerschlag, Keren 113 McLean, Ian 94 Robertson, Kate 96 Ciliberto, Anna 77 Hannah, Dorita 76 McNamara, Andrew 144 Rock, Tyler 48 Clancy, Majella 116 Hawker, Rosemary 118 McNeill, David 138 Rodrigo, Russell 157 Clayton-Greene, Kim L. R. 51 Healy, Mary 112 McQuarrie, Caroline 114 Roosmalen, Karin van 74 Cleland, Kathy 139 Holt, Matthew 143 McSpedden, Shelley 67 Ross, Cathy Tuato’o 115 Cooke, Ian 53 Hong, Lim Chye 83 Mendelssohn, Joanna 125 Ross, Toni 145 160 161 SPEAKERS INDEX (continued)
Ruck-Doyle, Jane 14, 41 Wynne-Jones, Victoria 117 S Z Sainsbury, Maria 57 Zeplin, Pamela 64 Schilo, Ann 140 Schmidt, Simone 117 Schwenk, Sylvia 137 Scott, Sarah 84 Shelton, Ann 56, 68 Silaghi, Cristina 101 Simbao, Ruth 82 Simmons, Laurence 102 Sippel, Annika 51 Sisley, Logan 151 Sitzia, Emilie 155 Skinner, Robin 44 Smythe, Luke 141 Sorzano, Rigel 137 Speck, Catherine 125, 149 Spiteri, Raymond 95 Stanhope, Zara 52, 134 Steffano, John Di 76 Stephen, Ann 17, 18, 30, 32, 40, 66 Stocker, Mark 126 Sullivan, Deidra 115 Swan, Rodney 47 Syrette, Monica 123 T Tamati-Quennell, Megan 33 Tanchio, Paul 133 Tappenden, Alice 14, 46 Taylor, Lyrica 97 Tyler, Linda 149 V Vercoe, Caroline 112 W Wall, Sarah 151 Watts, Oliver 77 Wlazlo, David 52 Wolf, Erika 5, 58, 122 Woodcock, Ian 75 Woodrow, Ross 81 162 163 164