From the private to the public : a pilgrimage of symbols and metaphors

The marks and imagery that visual artists use to form images often consist of, or incorporate, elements of a visual symbolic language. When the artist's personal set of symbols aligns with that of the society in which the artist works it would be anticipated that the works produced could be readily interpreted and appreciated by that audience or society.

House for Heraclitus

Notions of Australian identity are still being constructed. In landscape painting, problematic differences of possession, ownership, spirituality and ethnicity are frequently highlighted against perceptions of what landscape looks like and how we might begin to imagine our relationships to where we live. This thesis has explored strategies employed in landscape construction. It has involved establishing connections between landscape painting and alternate disciplines that investigate landscape values, many of which aspire to the successful habitation of our environments into the future.

What can Australia learn from the Europeans about public participation? Article 6 of the Aarhus Convention and environmental impact statements

The United Nations Economic Commission for Europe Convention on Access to Information, Public Participation in Decision-Making and Access to Justice in Environmental Matters (Aarhus Convention) is the only international convention that is exclusively devoted to public participation in environmental matters. Although it is European in origin, much of the detail of the Convention draws upon national environmental legislation, including aspects of the Australian environmental legal system. This article compares the public review provisions relating to environmental impact statements in Australia with Art 6 of the Convention governing "Public Participation in Decisions on Specific Activities". The article finds that much of the Australian laws with some exceptions satisfy the minimum requirements of public participation in Art 6.

Framing everyday experience

This practice-based research involved two blogs created within different contexts: one in the small Western Australian town of Kellerberrin, the other in the Sydney suburb of Petersham. Blogging was developed as an artform: to deepen social connection within small geographical areas; to reveal new knowledge about these specific localities; and to extend and critique traditions of socially-engaged and "relational" art practice.

Seeing as believing – or is it?

This article explores aspects of the life and art of the Australian artist Arnold Shore, the subject of my recently published book Arnold Shore – Pioneer Modernist, Macmillan Art Publishing, 2009. The pantheon of Australian art history celebrates particular artists and their visual output. These designated artists become the celebrated and orthodox names, who are seen as defining specific cultural and historical moments. Arnold Shore is cursorily acknowledged in many Australian art history accounts, most often for his teaching at the modernist school he co-founded in 1932, The Bell – Shore School. Much about his art and life remains hidden with the National Gallery of Victoria owning thirteen of his works, none of which are on display. Whilst suggesting there are specific reasons for Shore`s place in art history not being fully acknowledged, the article further investigates why some artists are consigned to a peripheral role, only for their significance and importance to be re-discovered at a later date after historical revisionism. Why is this so? Who are the tastemakers and gatekeepers that actively suppress artists stories and their contributions from receiving wider currency? What factors potentially conspire to obscure or push aside one group to the detriment of others? These questions are increasingly prescient in the twenty-first century as globalisation and spectacle capitalism, compete with representative historical perspectives; issues raised in the latter part of the article.

Chora-challenging maternal space

This thesis is an argument for the restoration of how the female body is perceived and experienced in the world. It argues for valuing and rediscovering female subjectivity as well as elucidating the identity of the feminine body. My artistic creations operate as agitation, discipline, observation, power and desire as a means of rediscovering the lived experiences of women's bodies.

Feminine hero body project

Working within painting's conventions, yet breaking from the tradition of rendering the female form according to social codes, allows the affect of everyday experiences to enter the activity of painting. This enables reading and interpretation of artwork that is not confined to social or cultural stereotypes from which feminine identity is often formed.

Library of the seven selves

Jarvis’s thesis is a study of libraries as they are represented in art and literature. It analyses the way libraries serve to control and direct knowledge, while also considering the extent to which the creative imagination, in building habitable spaces within which poetic moments can occur, offers resistance.

Dossier Chris Marker : the suffering image

Dossier Chris Marker: The Suffering Image is a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of French artist and filmmaker, Chris Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural. Consistent with the classical figure of concordia discors, these irreducible warring aspects of life experience are, in fact, resolved in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as “mask” or “screen” for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. A topological “knot,” or ontological “problem,” it is this very conflict that animates all of Marker’s extensive works – filmic and otherwise.

The dictionary

The Portia Geach Memorial Award is a celebration of female Australian artists. It’s Australia’s most prestigious portrait prize for female artists and has greatly contributed to the development of female artists in this country. It was established by Florence Kate Geach in 1961 in memory of her sister, Portia Geach and is awarded each year to the best portrait painted from life of some man or woman distinguished in Art, Letters or the Sciences. Our judges this year are Jane Watters, Director S.H. Ervin Gallery, Dr Lindy Lee, Senior Lecturer, Sydney College of the Arts and Ben Quilty, Artist. A media release with the full list of finalists will be distributed tomorrow morning with further details available at www.thetrustcompany.com.au/portiageach. The artwork The Dictionary will be hung in the S.H. Ervin Gallery from 3 October until 16 November, with the exhibition open from 4 October, 1st Prize money $30,000

The man who mistook Marat for Sade: 'living' memory and the video archive

Digital video archives, which are growing at an exponential rate, will become increasingly important to Theatre History and Performance Studies, and questions of how scholars negotiate the relationships between memory, technology and performance events in theoretical and practical terms will become crucial. Indeed, there is already a considerable body of scholarly material on this topic. This article considers these questions with specific reference to the relationship between video records deposited in digital archives and human memory. First and foremost, this article raises questions about the authority of the archive and the ways in which archival technologies, in the words of Maaike Bleeker, 'transform how we remember, how our and others' memories are entangled in the here-and-now, and, in the end, even how we think and imagine'.

'Shadow-lands' : the suffering image

"Folio X documents the exhibition '"Shadow-lands': the suffering image" held at Dennys Lascelles Exhibition Gallery, Alfred Deakin Prime Ministerial Library, Deakin University, Waterfront Campus, Geelong, Victoria, Australia, April 18-May 18, 2012. The project was part and parcel of the author's PhD study, "Visual agency in art and architecture" .... and an experimental representation of the values embedded in the photography and film-essays of Chris Marker..."

Becoming an artist: life histories and visual images

Chapter summary:
In this chapter, we consider the experiences of an art/research experiment that took place in the context of the annual conference of the British Sociaological Association (BSA), held at the University of East London in April 2007. The essay is in four parts: in the first section, the researcher gives the context of the project that underpinned the BSA event, mapping its theoretical directions and methodological moves. In the second section, the artist tells stories of becoming through words and images. The force of the artist’s narrative challenges and reconfigures discursively constructed boundaries between the researcher and the artist, initiating a dialogic encounter that unfolds in the third section as a visual/textual interface. This encounter revolves around the quest for meaning, which is after all what oral history is about (Portelli, 2011). Our quest for meaning actually inspired us to write about and problematize the BSA event. In this light, the final section looks critically into some of the questions that have arisen, situating them within wider problematics in the field of oral histories and narrative research.

Book summary:
Interviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as 'history', and as a means to insights into the micro-practices of arts production and identity that contribute to questions of 'voice', authenticity, and authorship. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded.

Somewhere else

Faraways, 2012, 10 minMagic Miles, 2014, 15 minTelescope, 2013, 80 minAudrey Lam's films follow people in situations and places familiar to her, them and others they know. Sometimes moments and landscapes are revisited in some way to remember thoughts and time missed.Telescope is a time-lapse of reflections, changes in sunlight of Dirk de Bruyn’s backyard, assembled over 20 years. Telescope starts in Super 8 and ends with digital video, shot mostly while his family were themselves at work, somewhere else. It is an emptied landscape.Audrey Lam was born in Hong Kong and lives in Australia. She studied film and photography at Queensland College of Art. She has participated in art festivals including Next Wave, Otherfilm and Yebisu, and her films have screened at film festivals in London, Rotterdam and Oberhausen. Her work often builds on shared experiences, re-chronicling everyday encounters to reflect on the nuances of place and belonging. She has been developing new work during her Asialink arts residency at Green Papaya Art Projects.Dirk de Bruyn was born in the Netherlands and migrated with his family to Australia in 1958 as young child. He has made numerous experimental, documentary and animation films, videos and performance and installation work over the last 40 years. He was a founding member and past president of MIMA (Experimenta). His book The Performance of Trauma in Moving Image Art was published in 2014.