Unthinkable

'Unthinkable' was an installation comprising drawings and fabric works placed onto a wall painting. This work engages with the gender politics of art criticism through strategies of redrawing and (re)performance, in particular the commentary that Helen Frankenthaler's painting practice was 'unthinkable' without Jackson Pollock.

The Robin

This original artwork is part of an ongoing exploration of meaning and appearance. The work is a philosophical consideration of how visual truth and appearance are not always coherent, often reflected in everyday seemingly recognisable objects and creatures. The image also highlights the sacred nature of the bird in nature and history.

Supporting healthy communities through arts programs

There are some evaluations, critical descriptions of programs and systematic reviews on the benefits to Aboriginal and Torres Strait Islander communities from participation in arts programs. These include: improved physical and mental health and wellbeing; increased social inclusion and cohesion; some improvements in school retention and attitudes towards learning; increased validation of, and connection to, culture; improved social and cognitive skills; and some evidence of crime reduction.The effects of arts programs can be powerful and transformative. However, these effects tend to be indirect.For example, using these programs to reduce juvenile anti-social behaviour largely work through diversion: providing alternative safe opportunities to risk taking, maintenance of social status, as well as opportunities to build healthy relationships with Elders and links with culture.Art forms such as song, dance and painting, coupled with ceremony, are integral to cultural continuity and cultural maintenance in Indigenous Australian communities.

Stand and deliver

Stand and Deliver is an installation that incorporates elements of video, painting and drawing within the format of the lecture performance to pursue a subjective engagement with feminist histories.

Marking time: duration as subject (Tony Woods)

Tony Woods: Archive, edited by Andrew Gaynor and published locally in 2013, records the durability of the artist’s primary painting practice as will as his filmmkaing, a painting practice in which he has accrued a level of prestige over many years and changes of circumstance.

I-Face

The small format nature of the annual exhiition provides a oportunity to experiment formally, specifically with ways to entangle subject and space/environment. Supplementary to primamry research focus on Landscape and Consciousness

Indelible 4

The painting is one of a series that responds to the landscape of central Australia and extends on my interest in the interaction of matter and the emergence of new insights that is inherent to the creative process

Indelible 3

This painting responds to the landscape of Central Australia and extends on my enquiry into the interaction of matter and the emergence of new insights inherent to creative practice

Indelible 2

This painting responds to the landscape of Central Australia and extends on my enquiry into the interaction of matter and the emergence of new insights inherent to creative practice

Indelible 1

This painting responds to the landscape of Central Australia and extends on my enquiry into the interaction of matter and the emergence of new insights inherent to the creative process

Alumni at Large

The Art of Attraction: Peter DelGreco '94 Painting Stories of Hope: Ellen Langford '90 Alumni notes Newsmakers Obituaries

National World War II Memorial

This poster is an image of a painting created by Joe McKendry of an architectural war memorial designed by Friedrich St. Florian that was given to RISD President Roger Mandle. The memorial is located in Wahington, D.C.

A Morte e o além : iconografia da pintura mural religiosa da região central do Rio Grande do Sul (século XX)

Este trabalho analisa pinturas murais religiosas sobre temáticas relacionadas à morte e ao além, encontradas em igrejas católicas da região central do Rio Grande do Sul. Pinturas realizadas ao longo do século XX e selecionadas com base em amostragem reunida em arquivos fotográficos representativos de 192 municípios. A partir de uma abordagem iconológica, busca entender: como os modelos iconográficos europeus foram retomados pelo muralismo religioso regional. Para tanto, identifica a origem dos principais temas escatológicos representados, bem como algumas das fontes visuais utilizadas, compostas, sobretudo, por gravuras que reproduzem temas religiosos de obras dos séculos XV ao início do século XX. Entre as formas evitadas pelo muralismo rio-grandense destacam-se: alusões à nudez, poses com pouco dinamismo, e gestos considerados constrangedores para os padrões morais da região. Nas formas incluídas, destacam-se as poses com expressão gestual mais acentuada, vestes moralizantes e detalhes zoomórficos na figuração de demônios. Enquanto que o conjunto das formas preservadas aponta para um predomínio dos gestos representativos de emoções intensas. Com base nos estudos de Aby Warburg sobre a influência da empatia no resgate de configurações emotivas, e a partir do resultado das análises formais, foi estruturada a proposição principal desta pesquisa. Proposição que procura evidenciar uma relação entre a eficiência empática dos antigos gestos de ações passionais e a conseqüente preservação desses no muralismo religioso escatológico regional.