Material matters [curators]

The exhibition material matters brings together new works by Amy Commins, Jamie Behrendorff, Grace Kevill-Davies, Zoe Knight, Ruth McConchie and Courtney Pedersen – Brisbane-based artists whose experimental practices engage with materiality in specific ways. These works explore incidental viewpoints, suspended moments, constructed environments, cultural memory and repetitive processes. The artists in the exhibition investigate the temporal in terms of making and experiencing art in various modes – installation, sculpture, video, sound and works on paper. Through these material engagements, the artists question and re-imagine ways of connecting in the contemporary world, drawing together considerations of humour, history, politics, nature and everyday life. This exhibition was part of the 2014 Brisbane Experimental Art Festival, held at the Judith Wright Centre of Contemporary Arts.

This is not the work

The exhibition THIS IS NOT THE WORK surveyed a selection of community-engaged artist projects from different locations around the world, and followed the pathways of women-centred social networks in order to initiate further collaboration and conversation. The projects documented in this exhibition were examples of artists working with women and community in challenging and unpredictable ways, demonstrating feminist sensibilities and a commitment to non-hierarchical and collective structures. Co-curated by the feminist art collective LEVEL, this exhibition project uses the gallery as a conceptual base-camp or frontline rather than a just site of display. The exhibition was developed and presented at The Block, Creative Industries Precinct, Queensland University of Technology in 2014. A co-authored paper about the project 'THIS IS NOT THE WORK – Feminist Collectives, Collaboration and Curating‘ was presented by members of LEVEL at the 'Feminist Curating: Contemporary Art and Feminism Symposium', Sydney College of the Arts, Sydney in October 2014.

Quaternary [Guest Curator]

The curated exhibition, 'Quaternary' was held at the QUT Art Museum in 2015. Dr Courtney Pedersen was the guest curator. The aim of this curatorial project was to identify and analyse the work of a selection of women artists whose practices utilise the affective power of colour in compelling ways.Taking its cue from the Australian artist Thea Proctor's claim in 1938 that women artists make better colourists, the exhibition explored the enduring nature of this perception by presenting a range of contrasting approaches to colour. 'Quaternary' was the second iteration of QUT's triennial exhibition series, which explores the University's open-studio, cross-disciplinary approach to studying art. The artists include: Bianca Beetson, Chantal Fraser, Rachael Haynes, Natalya Hughes, Alice Lang, Gemma Smith, and Jemima Wyman.

Warning constraint limit experience

'Warning constraint limit experience' is an installation comprising drawings, a large scale fabric work, and a performative video. This work explores the performative act of drawing and the limits of language and subjectivity. The fabric work acts as a bodily extension that both facilitates and constrains movement during the drawing process and operates as a provisional structure for viewing the work in the gallery. This work was developed and presented at The Lock-Up Cultural Centre, Newcastle NSW in 2011 and revised for the solo exhibition ‘I build my dwelling’, held at Metro Arts in 2012.

Language is, language is not

‘Language is, Language is not’ is an installation comprising wall drawings, a fabric drawing prosthetic, performance and digital video. This work investigates ‘redrawing’ as a revisionist feminist strategy, taking as it’s starting point Mel Bochner’s work ‘Language is not Transparent’ (1970). 'Language is, Language is not' functions as both homage and critique, drawing on the legacy of conceptual art and questioning the engendering of language that it implies. This work was developed and presented for Bus Projects, Melbourne in 2012, and subsequent versions exhibited at Screen Space, Melbourne and Metro Arts Galleries, Brisbane.

Muscle flex

'Muscleflex' is an installation comprising large scale fabric works, wall drawings, performance and digital video. The large-scale fabric works act as bodily extensions for two performers and constrain movement during the drawing process. These drawing performances are documented and re-presented as digital video works. This work examines the limits of language and subjectivity and offers a feminist engagement with the history of abstract painting. 'Muscle flex' was developed and presented for KINGS Artist Run Gallery, Melbourne in 2012 and revised for the exhibition 'I build my dwelling', at Metro Arts Galleries, Brisbane in 2012.

Re-inventing the f word - it's feminism!

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.

What's in a name - Catherine or Kate?

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.

A big idea transmitted pathetically

'A big idea transmitted pathetically' was an exhibition comprising a series of drawing works. These works employ a feminist engagement with the ‘big ideas’ of conceptual art, and enact a ‘redrawing’ of these texts to replay and reveal the complexities of gender politics, representation and language. These works were developed and presented for Bus Projects, Melbourne in 2012.

I build my dwelling

'I build my dwelling' was an exhibition of works including ‘Muscle flex’, ‘Language is, Language is not’, ‘S.O.S’ and the ‘Studio Remix’, held at Metro Arts Galleries, Brisbane in 2012. This body of work pursues a feminist engagement with art history and philosophy, engaging with pictorial, literary and vernacular quotations in order to replay and reveal the complexities of gender politics, representation and language.

Excitation and relaxation energies of trans-stilbene: Confined singlet, triplet, and charged bipolarons

The π-electronic excitations and excited-state geometries of trans-stilbene (tS) are found by combining exact solutions of the Pariser-Parr-Pople (PPP) model and semiempirical Parametric Method 3 (PM3) calculations. Comprehensive comparisons with tS spectra are obtained and related to the fluorescence and topological alternation of poly(paraphenylenevinylene) (PPV). The one-photon absorption and triplet of tS correspond, respectively, to singlet and triplet bipolarons confined to two phenyls, while the tS2- ground state is a confined charged bipolaron. Independent estimates of the relaxation energy between vertical and adiabatic excitation show the bipolaron binding energy to depend on both charge and spin, as expected for interacting π electrons in correlated or molecular states. Complete configuration interaction within the PPP model of tS accounts for the singlet-triplet gap, for the fine-structure constants and triplet-triplet spectra, for two-photon transitions and intensities, and for one-photon spectra and the radiative lifetime, although the relative position of nearly degenerate covalent and ionic singlets is not resolved. The planar PM3 geometry and low rotational barrier of tS agree with resolved rotational and vibrational spectra in molecular beams. PM3 excitation and relaxation energies for tS bipolarons are consistent with experiment and with PPP results. Instead of the exciton model, we interpret tS excitations in terms of states that are localized on each ring or extended over an alternating chain, as found exactly in Hückel theory, and find nearly degenerate transitions between extended and localized states in the singlet, triplet, and dianion manifolds. The large topological alternation of the extended system increases the ionicity and interchanges the order of the lowest one- and two-photon absorption of PPV relative to polyenes.

Towards the total synthesis of tashironin related allo-cedrane natural products: further exploitation of the oxidative dearomatization-IMDA-RCM triad based strategy

Synthetic studies directed towards allo-cedrane based, tashironin sibling natural products, involving some deft functional group manipulations on a preformed tetracyclic scaffold, are delineated. (C) 2011 Elsevier Ltd. All rights reserved.

Effect of lithium ion irradiation on the transport and optical properties of Bridgman grown n-type InSb single crystals

Single crystal (100) wafers of n-InSb were implanted with 50 MeV Li3+ ions at various fluences ranging from 10(10) to 10(14) ions/cm(2) at room temperature. Investigations of the optical, electrical, and structural properties of the as-grown, irradiated, annealed wafers were carried out by infrared and Raman spectroscopies, Hall measurements, and high resolution x-ray diffraction (HRXRD). In the case of samples irradiated with an ion fluence of 1.6x10(14) ions/cm(2), electrical measurements at 80 K reveal that there is a decrease in carrier concentration from 8.5x10(15) (for unirradiated) to 1.1x10(15)/cm(3) and an increase in mobility from 5.4x10(4) to 1.67x10(5) cm(2)/V s. The change in carrier concentration is attributed to the creation of electron trap centers induced by ion beam irradiation and the increase in mobility to the formation of electrical inactive complexes. Nevertheless, even with the irradiation at 1.6x10(14) ions/cm(2) fluence the crystalline quality remains largely unaffected, as is seen from HRXRD and Raman studies. (C) 2001 American Institute of Physics.