257 resultados para Photography, Visual Art, Contemporary Practice
Resumo:
This paper discusses my video installation Running Men as an example of how an artists appropriative engagements with screen images of the perilous body can reflect the technological zeitgeist of the last hundred years but also create a space of meditative and mediated reflection in Slavoj ieks endlessness of the present-future. In this artwork, iconic male characters from Hollywood films are recontextualised to create infinitely looping scenes of running; trapping the characters in a kind of Nietchzen eternal recurrence that suspends them between impending violence and uncertain futures. Stemming primarily from my investigation into anxiety as a shared social experience, one perhaps primed by the increasing intensity of visual culture in the 21st century, these digitally reconfigured bodies become avatars or surrogates for myself, and for the viewer. Through selective editing, these emblematic figures are caught in a space of relentless confusion and paranoia they run with, and from anxiety. They are never caught by any unseen pursuers, but are equally unable to catch up to any unseen goal. These figures map an historical trajectory of violence and masculinity as it has been projected through various iterations of screen culture Simultaneously, as celebrities, they are also fictions of the media sphere, both real and ethereal, they are impossible to grasp but paradoxically are objects of identification and emulation. In this duality, the work also references cinemas tangled conflation of character and celebrity identity. This discussion will address the two distinct but connected sites and activities of body/image engagement. Firstly, the artistic process and conceptual ramifications of this activity, and secondly in the artworks potential as an installation to provide an opportunity for the viewer (like the artist) to reflect on the constructed-ness and complicated power structures at play in the representation of a gendered body.
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Description of the work Garden of Shrinking Violets is a collection of six half scale garments and three illustrations, continuing the practice-led research project into design for disassembly, developed in the work Shrinking Violets (2015). All garments are constructed in laser cut modules that enable the items to be reassembled in new combinations. The project extended the materials used to include ahimsa (peace) silk, silk organza and silk twill. The pattern pieces have internal laser cut grids of 5mm circles, allowing the textiles to be layered, threaded and knotted to achieve rich embellished surfaces that play with the transparencies and colour overlays of the sheer and opaque silks. Research Background Conceptually grounded in design for sustainability, the aim of the work is to develop approaches to garment construction that could allow users to engage with the garments by adding, removing and reconfiguring elements. This approach to design considers the use and end-of-life phases of the transient fashion garment through considering how the garments can be later disassembled. Research Contribution This construction process is unique in being not only a patterning device but also integral to the garments construction. This work sits at the intersection of technical design and craft: the laser cutting and technical approach to developing new forms of garment construction is coupled with the artisanal approach of hand-knotting, a reference to traditional quilting techniques, as a method to layer and pattern the textiles. The technique developed in Shrinking Violets was extended to experiment with different grid structures, knotting devices, and decorative fringing. The result is a proposed construction system in which the laser cut grid and knotting form a decorative patterning device, but are also integral to the garments construction. Research Significance Garden of Shrinking Violets was exhibited at artisan gallerys Ivory Street window, Brisbane, January 18 February 28 2016. The work was selected by artisan gallery exhibition curators. As part of artisan gallerys public programming, the author participated in a panel discussion: Constructive conversations: deconstruction and reconstruction in contemporary craft and design with jeweller Elizabeth Shaw and visual arts lecturer Courtney Pedersen, 20 February 2016. Photography used in illustrations by Jonathan Rae
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This curated exhibition presented works by Australian artists Agatha Gothe-Snape, Alex Martinis Roe and Hannah Raisin and collaborative works by Catherine or Kate (Catherine Sagin and Kate Woodcroft), Scott Ferguson (Erika Scott and Brooke Ferguson) and Courtney Coombs and Caitlin Franzmann. These artists engage with ideas of contemporary feminism through processes of dialogue and exchange, exploring subjectivity, humour and intimacy in performance and installation artworks. These works are generated by physical, verbal or textual dialogues between collaborators, participants or the artist and audience; and spark a conversation about contemporary feminist art practice in Australia today.
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This article discusses approaches to feminist art practice by early career Australian women artists in the context of 'Contemporary Australia: Women', an exhibition held at the Gallery of Modern Art (GOMA), Brisbane in 2012.
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This paper discusses the art practice of Australian artists Catherine Sagin and Kate Woodcroft, who have been working collaboratively under various monikers since 2008. The duo define their artworks in terms of winning and losing, and play out the division of labour in an artistic practice that employs video, performance, photography and sculpture. Catherine or Kate utilise combative and comparative processes, which challenge notions of artistic collaboration and highlight the inherent tensions and competitive nature of working together.
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An employee's inability to balance work and family responsibilities has resulted in an increase in stress related illnesses. Historically, research into the nexus between work and family has primarily focused on the work/family conflict relationship, predominately investigating the impact of this conflict on parents, usually mothers. To date research has not sufficiently examined the human resource management practices that enable all parents to achieve a balance between their work and family lives. This paper explores the relationship between contemporary family friendly HRM policies and employed parents perceptions of work/family enhancement, work/family satisfaction, propensity to turnover, and work/family conflict. Self-report questionnaire data from 326 men and women is analysed and discussed to enable organisations to consider the use of family friendly policies and thus create a convergence between the well-being of employees and the effectiveness of the organisation.
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Party 25 involved the conception and public launch of a radically new form of political party during that years Australian general election. The entire project was also intentioned as a conceptual artwork. Party 25 avoided conventional party-political approaches and was neither a protest group nor an advocacy organisation, but rather a new form of political association that confronted what we understood as the debilitating limits and impotence of contemporary parliamentary democracies in transitioning our societies towards ecological sustainability.----- Party 25 was based on responding to one fundamental question which all of its policies served - how does humanity get to the 25th century? By basing itself on a dramatically long-term approach uncommon within conventional politics it raised the proposition that humanity does not have an assured future. Party25 therefore shaped its agendas around the idea that any future now lies in human hands and so how humanity treats the ecologies on which it depends innately determines the quality of the inseparable relationship between its being, and the being of the biophysical world.----- The project was conceived through a number of discussion papers, workshops and creative works and was launched publicly at the Judith Wright Centre Brisbane accompanied by a full length showing of evocative imagery, text and sound, a series of speeches and the launch of a succinct web presence. Through the website and this party launch a community of interested participants and creative practitioners was sought who then would form the basis of a nascent community of change.
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In Step was a wearable artwork consisting of a pair of embroidered foot bandages and an actuator cushion embedded with 15 electromechanical actuator pistons. The bandage was embedded with woven, soft and flexible fabric sensors - interconnected with metallic connecting threads, fasteners and a wireless interface (in a final form). When wrapped around a foot and lower leg the sensors sat on the ball of the toes and heel. This wearable interface was then connected wirelessly to a soft sculptural form, which employed actuators to tap gently in response to the qualities of the walk detected by the soft sensors. In this way the tread qualities of the walker could then be felt by someone else holding this device against their stomach thereby allowing pairs of participants to feel the tactile qualities of the other's walk. The work was presented both as a working object and via a short videorecorded performance.----- In Step generated innovative new approaches to interface and sensor embedded clothing/footware whilst also creating an evocative vehicle to comment upon contemporary Post Colonial theories of weight and groundedness particularly the psycho-geographical separation from the landscape that inspired Paul Carters environmentally grounded poetics. The works final form also suggested critical new directions for responsive clothing and footwear for the emerging genre of smart textiles.
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Sounds of the Suburb was a commissioned public art proposal based upon a brief set by Queensland Rail for the major redevelopment at their Brunswick Street Railway Station, Fortitude Valley, Brisbane. I proposed a large scale, electronic artwork to be distributed across the glass fronted structure of their stations new concourse building. It was designed as a network of LED based tracking - along which would travel electronically animated, trains of text synchronised to the actual train timetables. Each message packet moved endlessly through a complex spatial network of tracks and stations set both inside, outside and via the concourse. The design was underpinned by large scale image of sound waves etched onto the architectures glass and was accompanied by two inset monitors each presenting ghosted images of passenger movements within the concourse, time-delay recorded and then cross-combined in realtime to form new composites.----- Each moving, reprogrammable phrase was conceived as a train of thought and ostensibly contained an idea or concept about popular cultures surrounding contemporary music thereby meeting the brief that the work should speak to the diverse musical cultures central to Fortitude Valleys image as an entertainment hub. These cultural memes, gathered from both passengers and the music press were situated alongside quotes from philosophies of networking, speed and digital ecologies. These texts would continually propagate, replicate and cross fertlise as they moved throughout the network, thereby writing a constantly evolving textual soundcape of that place. This idea was further cemented through the pace, scale and rhythm of passenger movements continually recorded and re-presented on the smaller screens.
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Access All was performance produced following a three-month mentorship in web-based performance that I was commissioned to conduct for the performance company Igneous. This live, triple-site performance event for three performers in three remote venues was specifically designed for presentation at Access Grid Nodes - conference rooms located around the globe equipped with a high end, open source computer teleconferencing technology that allowed multiple nodes to cross-connect with each other. Whilst each room was setup somewhat differently they all deployed the same basic infrastructre of multiple projectors, cameras, and sound as well as a reconfigurable floorspace. At that time these relatively formal setups imposed a clear series of limitations in terms of software capabilities and basic infrastructure and so there was much interest in understanding how far its capabilities might be pushed.----- Numerous performance experiments were undertaken between three Access Grid nodes in QUT Brisbane, VISLAB Sydney and Manchester Supercomputing Centre, England, culminating in the public performance staged simultaneously between the sites with local audiences at each venue and others online. Access All was devised in collaboration with interdisciplinary performance company Bonemap, Kelli Dipple (Interarts curator, Tate Modern London) and Mike Stubbs British curator and Director of FACT (Liverpool).----- This period of research and development was instigated and shaped by a public lecture I had earlier delivered in Sydney for the Global Access Grid Network, Super Computing Global Conference entitled 'Performance Practice across Electronic Networks'. The findings of this work went on to inform numerous future networked and performative works produced from 2002 onwards.
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Knowmore (House of Commons) is a large scale generative interactive installation that incorporates embodied interaction, dynamic image creation, new furniture forms, touch sensitivity, innovative collaborative processes and multichannel generative sound creation. A large circular table spun by hand and a computer-controlled video projection falls on its top, creating an uncanny blend of physical object and virtual media. Participants presence around the table and how they touch it is registered, allowing up to five people to collaboratively play this deeply immersive audiovisual work. Set within an ecological context, the work subtly asks what kind of resources and knowledges might be necessary to move us past simply knowing what needs to be changed to instead actually embodying that change, whilst hinting at other deeply relational ways of understanding and knowing the world. The work has successfully operated in two high traffic public environments, generating a subtle form of interactivity that allows different people to interact at different paces and speeds and with differing intentions, each contributing towards dramatic public outcomes. The research field involved developing new interaction and engagement strategies for eco-political media arts practice. The context was the creation of improved embodied, performative and improvisational experiences for participants; further informed by Sustainment theory. The central question was, what ontological shifts may be necessary to better envision and align our everyday life choices in ways that respect that which is shared by all - 'The Commons'. The methodology was primarily practice-led and in concert with underlying theories. The works knowledge contribution was to question how new media interactive experience and embodied interaction might prompt participants to reflect upon the kind of resources and knowledges required to move past simply knowing what needs to be changed to instead actually embodying that change. This was achieved through focusing on the power of embodied learning implied by the works' strongly physical interface (i.e. the spinning of a full size table) in concert with the complex field of layered imagery and sound. The work was commissioned by the State Library of Queensland and Queensland Artworkers Alliance and significantly funded by The Australia Council for the Arts, Arts Queensland, QUT, RMIT Centre for Animation and Interactive Media and industry partners E2E Visuals. After premiering for 3 months at the State Library of Queensland it was curated into the significant Mediations Biennial of Modern Art in Poznan, Poland. The work formed the basis of two papers, was reviewed in Realtime (90), was overviewed at Subtle Technologies (2010) in Toronto and shortlisted for ISEA 2011 Istanbul and included in the edited book/catalogue Art in Spite of Economics, a collaboration between Leonardo/ISAST (MIT Press); Goldsmiths, University of London; ISEA International; and Sabanci University, Istanbul.
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Neo-Dandy was a practice-led research project that explored histories of a quintessential mens and womenswear garment from across the ages the formal white dress shirt. The aim was to generate a body of radically new mens shirts that, whilst incorporating characteristics normally associated with womenswear, would remain acceptable to male wearers. A detailed study identified a broad spectrum of historical design approaches, ranging from the orthodox mans shirt to the many variations of the womens blouse. Within this spectrum a threshold was discovered where the mens shirt morphed into the womans blouse a design moment that appeared to typify the dandy figure (a fashion character who subversively confronts dress norms of their day). The research analysed thousands of archive catwalk images from leading contemporary menswear designers, and of these, only a small number tampered appreciably with the mens white dress shirt suggesting a new realm of possibility for fashion design innovation. This led to the creation of a new body of work labelled Neo-Dandy. Sixty concept shirts were produced, with differing styles and varying degrees of detailing, that fitted the brief of being acceptable to male wearers, eminently wearable and on a threshold position between menswear and womenswear. These designs were each tested, documented, and assessed in their capacity to evolve the Neo-Dandy aesthetic. Based on these outcomes, a list of key design principles for achieving this aesthetic was identified to assist designers in further evolving this style. The creative work achieved substantial public acclaim with the Neo Dandy Collection winning a prestigious Design Institute of Australia Award (Lifestyle category) and being one of four finalists in the prestigious overall field for design excellence. It was subsequently curated into three major Brisbane exhibitions the ARC Biennial, at Artisan Gallery and the industry leader, the Mercedes Benz Fashion Festival. The collection was also exhibited at the Queensland Art Gallery.
Resumo:
Neo-Dandy was a practice-led research project that explored histories of a quintessential mens and womenswear garment from across the ages the formal white dress shirt. The aim was to generate a body of radically new mens shirts that incorporated characteristics normally associated with womenswear, whist remaining acceptable to male wearers. A detailed study identified a broad spectrum of historical design approaches, ranging from the orthodox mans shirt to the many variations of the womens blouse. Within this spectrum a threshold was discovered where the mens shirt morphed into the womans blouse a design moment that appeared to typify the dandy figure (a fashion character who subversively confronts dress norms of their day). The research analysed thousands of archive catwalk images from leading contemporary menswear designers, and of these, only a small number tampered appreciably with the mens white dress shirt suggesting a new realm of possibility for fashion design innovation. This led to the creation of a new body of work labelled Neo-Dandy. Sixty concept shirts were produced, with differing styles and varying degrees of detailing, that fitted the brief of being acceptable to male wearers, eminently wearable and on a threshold position between menswear and womenswear. These designs were each tested, documented, and assessed in their capacity to evolve the Neo-Dandy aesthetic. Based on these outcomes, a list of key design principles for achieving this aesthetic was identified to assist designers in further evolving this style. The creative work achieved substantial public acclaim with the Neo Dandy Collection winning a prestigious Design Institute of Australia Award (Lifestyle category) and being one of four finalists in the prestigious overall field for design excellence. It was subsequently curated into three major Brisbane exhibitions the ARC Biennial, at Artisan Gallery and the industry leader, the Mercedes Benz Fashion Festival. The collection was also exhibited at the Queensland Art Gallery.
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In this article, we take a close look at the literacy demands of one task from the Marvellous Micro-organisms Stage 3 Life and Living Primary Connections unit (Australian Academy of Science, 2005). One lesson from the unit, Exploring Bread, (pp 4-8) asks students to use bread labels to locate ingredient information and synthesise understanding of bread ingredients. We draw upon a framework offered by the New London Group (2000), that of linguistic, visual and spatial design, to consider in more detail three bread wrappers and from there the complex literacies that students need to interrelate to undertake the required task. Our findings are that although bread wrappers are an example of an everyday science text, their linguistic, visual and spatial designs and their interrelationship are not trivial. We conclude by reinforcing the need for teachers of science to also consider how the complex design elements of everyday science texts and their interrelated literacies are made visible through instructional practice.
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The picturesque aesthetic in the work of Sir John Soane, architect and collector, resonates in the major work of his very personal practice the development of his house museum, now the Soane Museum in Lincolns Inn Fields in London. Soane was actively involved with the debates, practices and proponents of picturesque and classical practices in architecture and landscape and his lectures reveal these influences in the making of The Soane, which was built to contain and present diverse collections of classical and contemporary art and architecture alongside scavenged curiosities. The Soane Museum has been described as a picturesque landscape, where a pictorial style, together with a carefully defined itinerary, has resulted in the apotheosis of the Picturesque interior. Soane also experimented with making mock ruinscapes within gardens, which led him to construct faux architectures alluding to archaeological practices based upon the ruin and the fragment. These ideas framed the making of interior landscapes expressed through spatial juxtapositions of room and corridor furnished with the collected object that characterise The Soane Museum. This paper is a personal journey through the Museum which describes and then reviews aspects of Soanes work in the context of contemporary theories on new museology. It describes the underpinning picturesque practices that Soane employed to exceed the boundaries between interior and exterior landscapes and the collection. It then applies particular picturesque principles drawn from visiting The Soane to a speculative project for a house/landscape museum for the Oratunga historic property in outback South Australia, where the often, normalising effects of conservation practices are reviewed using minimal architectural intervention through a celebration of ruinous states.
