The Making of Intermedia: John Cage to Yoko Ono, 1952 to 1972

Thesis (Ph.D.)--University of Washington, 2016-06

Building Resonance

Thesis (Master's)--University of Washington, 2016-06

(searching for shadows)

Thesis (Master's)--University of Washington, 2016-06

Conceptualism/feminism/cultural activism

As part of a debate amongst a multi-generational group of artists, art historians and cultural workers exploring the ‘political turn’ in British Conceptual Art, Loraine Leeson spoke on the connections between conceptualism, feminism and socially engaged art practice.

On Not Knowing

The volume, particularly relevant within the current emergence of the pedagogic turn within art practice and curation, is an important contribution to current debates around the creative process.

Negligent Eye

This presentation was both an illustrated lecture and a published paper presented at the IMPACT 9 Conference Printmaking in the Post-Print Age, Hangzhou China 2015. It was an extension of the exhibition catalogue essay for the Bluecoat Gallery Exhibition of the same name. In 2014 I curated an exhibition The Negligent Eye at the Bluecoat Gallery in Liverpool as the result of longstanding interest in scanning and 3D printing and the role of these in changing the field of Print within Fine Art Practice. In the aftermath of curatingshow I have continued to reflect on this material with reference to the writings of Vilém Flusser and Hito Steyerl. The work in the exhibition came from a wide range of artists of all generations most of whom are not explicitly located within Printmaking. Whilst some work did not use any scanning technology at all, a shared fascination with the particular translating device of the systematizing ‘eye’ of a scanning digital video camera, flatbed or medical scanner was expressed by all the work in the show. Through writing this paper I aim to extend my own understanding of questions, which arose from the juxtapositions of work and the production of the accompanying catalogue. The show developed in dialogue with curators Bryan Biggs and Sarah-Jane Parsons of the Bluecoat Gallery who sent a series of questions about scanning to participating artists. In reflecting upon their answers I will extend the discussions begun in the process of this research. A kind of created attention deficit disorder seems to operate on us all today to make and distribute images and information at speed. What value do ways of making which require slow looking or intensive material explorations have in this accelerated system? What model of the world is being constructed by the drive to simulated realities toward ever-greater resolution, so called high definition? How are our perceptions of reality being altered by the world-view presented in the smooth colourful ever morphing simulations that surround us? The limitations of digital technology are often a starting point for artists to reflect on our relationship to real-world fragility. I will be looking at practices where tactility or dimensionality in a form of hard copy engages with these questions using examples from the exhibition. Artists included in the show were: Cory Arcangel, Christiane Baumgartner, Thomas Bewick, Jyll Bradley, Maurice Carlin, Helen Chadwick, Susan Collins, Conroy/Sanderson, Nicky Coutts, Elizabeth Gossling, Beatrice Haines, Juneau Projects, Laura Maloney, Bob Matthews, London Fieldworks (with the participation of Gustav Metzger), Marilène Oliver, Flora Parrott, South Atlantic Souvenirs, Imogen Stidworthy, Jo Stockham, Wolfgang Tillmans, Alessa Tinne, Michael Wegerer, Rachel Whiteread, Jane and Louise Wilson. Scanning, Art, Technology, Copy, Materiality.

Blended learning and the flipped classroom: The affordances of cloud based, located, and virtual world environments to support student learning

In this paper the author reports on the introduction of the flipped classroom integrating located, online and virtual world learning environments to support the collaborative lived experiences of a group of students and the educator participating in a higher education undergraduate art unit, Navigating the Visual World. A qualitative narrative methodology, A/r/tography, incorporating both image making and textual recording is used to explore and identify interwoven aspects of the artist/ researcher/ educator relationship in the creative artistic process of exploring concepts of identity within inquiry based art practice. Selected student examples, including a collaborative group assessment project demonstrate effective student engagement with experiential blended learning within the flipped classroom.

Somatic soldier: embodiment and the aesthetic of absence and presence

The lived experience of the soldier has long been the subject of artistic inquiry and scholarly analysis. In this paper I reflect on my own art practice and research into Fijian military embodiment and the ways that Fijian soldiers and private security workers negotiate a liminal space between embodied indigenous knowledge (presence) and somaesthetic military practice (absence). As Maltby and Thornham (2012, 37) explain, “the dual articulation of the body constructs multiple understandings of it as simulta- neously lived and imagined, public and private, present and absent, experienced and represented”. I broaden these ideas around visibility/invisibility and the absence and presence of the military body through an analysis of key works by contemporary artists Lisa Barnard and Suzanne Opton.

Relationality and ethical know-how in Indigenous research

The central aims of principles and protocols for ethics and ethical conduct of Indigenous research such as those found in AIATSIS Guidelines for Ethical Research in Indigenous Studies (2012) and thoseon pre-­‐ethics protocols recently developed by emerging researchers in this field (Martin, Barrett , Koolmatrie et al , 2015) has been to address the problem of non-­‐Indigenous researchers remaining blind to their own imitations, overlooking the partial and situated perspectives and assumptions that underpin their approaches to research and hence creating asymmetrical relations between researcher and participant -­‐ usually to the detriment of the latter. However, we may ask whether these principals, in themselves, are enough to achieve this aim if the very ontological and epistemological foundations of western research in Indigenous contexts remain the same.

Lecture by Lance Fung, given at Florida International University, January 7, 2008

Lance Fung shares images from his "Snow Show" exhibition, along with images from a number of exhibitions in New York City, followed by images from his proposal for an exhibition at the Beijng Olympics. Introduction by Dahlia Morgan.

2 Black Planes

Combined media on photographic paper. 78½" x 56" Ruth and Jake Bloom Collection

Oriente

Combined media on photographic paper. 89¼" x 56", Jargomatique Series.

Rocket Lure

Combined media on aluminum sculpture. 115½" Tall, Jargomatique Series.

Rocket Lure (Detail)

Combined media on aluminum sculpture. 115½" Tall, Jargomatique Series.

Series Circuit

Combined media on photographic paper. 47¾" x 38¾", Jargomatique Series. Private Collection