In a Mughal garden, Vanitas series
- Authors: Button, Loris
- Date: 2012
- Type: Text , Visual art work
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Island Relics
- Authors: Davidson, Stephen
- Date: 2012
- Type: Text , Visual art work
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- Description: 'Island Relics' exhibition at Post Office Gallery, University of Ballarat, 28 March - 28 April, 2012 (curator Shelley Hinton).
Land to light: Photo diaries
- Authors: Forbes, Rodney , Farrugia, Charles
- Date: 2012
- Type: Text , Visual art work
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New fillings
- Authors: Mestrom, Sanne
- Date: 2012
- Type: Text , Visual art work
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No coyotes no roadrunners
- Authors: Forbes, Rodney
- Date: 2012
- Type: Text , Visual art work
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Ode to form
- Authors: Mestrom, Sanne
- Date: 2012
- Type: Text , Visual art work
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Once Were Trees
- Authors: Atkins, Rosalind
- Date: 2012
- Type: Text , Visual art work
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Our corporate who art in heaven
- Authors: Atkins, Rosalind , De Medici, eX
- Date: 2012
- Type: Text , Visual art work
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Pretty air and useful things
- Authors: Bell, Dan , Mestrom, Sanne , Vivian, Alex
- Date: 2012
- Type: Text , Visual art work
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Rona Green: Surface Value
- Authors: Forbes, Rodney
- Date: 2012
- Type: Text , Visual art work
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Small Vanitas in Five Parts
- Authors: Button, Loris
- Date: 2012
- Type: Text , Visual art work
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Tap rhythm online pedagogical program
- Authors: Wynen, David
- Date: 2012
- Type: Text , Visual art work
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- Description: Tap Rhythm sought to develop an innovative, online educational programme for students and teachers of tap dancing. Comprising several levels, along with a 'tap dictionary' and the ability to download original musical scores, the syllabus was developed out of a desire to create a resource that was highly interactive and encouraged steady development. Utilising a variety of platforms and suitable for notebooks, tablets and smartphones, Tap Rhythm has already achieved significant international recognition in developing an original resource which accelerates student learning; thereby maintaining enjoyment of the peformance and enabling students to succeed on an international stage.
Temple
- Authors: Mestrom, Sanne
- Date: 2012
- Type: Text , Visual art work
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The Journey Forward
- Authors: Heckenberg, Robyn
- Date: 2012
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The Promised land performance
- Authors: Orr, Jill
- Date: 2012
- Type: Text , Visual art work
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- Description: Part of the Peformance as our Duty exhibition, 1st Venice International Peformance Art Week, December 8-15, 2012 As opposed to directly evoking a particular migration story, the work instead sought to investigate the open-ended nature of these readings, via the incorporation of multiple, unstable visual signifiers such a flags, boats, clothing and a series of performative/sculptural gestures that continually foreclosed any possibility of a direct reading of the work. In this manner, the works sought to simultaneously link each of these gestures back to both the history of Australian settlement, as well as to the journeys/travels undertaken in classical myths and legends
The reclining nude
- Authors: Mestrom, Sanne
- Date: 2012
- Type: Text , Visual art work
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- Description: We are pleased to be showing Sanné Mestrom’s new exhibition The Reclining Nude. This body of work was produced at her recent residency at Gertrude Street Gallery over the last two years and was shown in exhibition at Gertrude Street. This body of work is an extension and more mature reification of ideas that Mestrom began in her PhD work at Monash; Chalk Horse exhibited this body of work in 2009 at the old space and we have continued to support Mestrom since then. The Nothing Show, curated by Westspace’s Kelly Fliedner, was another serious outing within a group show, at the gallery for Mestrom’s work. Sanné Mestrom won the Kath Fries Art Prize last year having been shown as a finalist the year before. She was also shown in Social Sculpture, Anna Schwartz Gallery, curated wonderfully by Charlotte Day. What characterises Mestrom’s work is a fusion of different approaches to sculpture and conceptual installation through the twentieth century. She is an adept archivist who conflates and juxtaposes different methodologies to poetic ends. For example on one hand her work seems to recall Arte Povera or the object found by chance seen in the surrealist object, this aspect of her work was focused on in Social Sculpture. But then Mestrom recombines this poor, or industrial material or refuse with the aims of high modernism: Picasso, Matisse and Henry Moore (surrealist?). Is there a humour in the contrasts or does it create a more serious rupture? It is the sense of breadth and confusion that in the end creates the power in her work. Perhaps like Aby Warburg or more anthropological approaches to art, Mestrom seems to tap into more primal feelings towards the object and towards art’s materiality. In her eloquent visual essay, which we ask you to take away with you, Mestrom has moved from ancient votives to high modernism. What is it about the sculptural object, installed in a sacred space (the altar, the white cube) that makes us believe in things we share: beauty, love and other absolutes. -Oliver Watts, 2012
Vague Likeness
- Authors: Atkins, Rosalind
- Date: 2012
- Type: Text , Visual art work
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Zahidah: Paintings by UAE-based Syrian artist Zahidah Zeytoun Millie
- Authors: Forbes, Rodney
- Date: 2012
- Type: Text , Visual art work
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Zone of Sensation: Finding oneself beyond sight
- Authors: Forbes, Rodney
- Date: 2012
- Type: Text , Visual art work
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AIRed
- Authors: Hinton, Shelley
- Date: 2011
- Type: Text , Visual art work
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