Published 01 June 2014
Published March 2014
Published December 2013
Published 01 September 2013
Published June 2013
Published March 2013
Published September 2012
James Guppy has a curiously ambiguous place in contemporary art. This is not because of his subject matter, but rather because of his technique. For the most part Guppys recent work is not about fun, nor is it even really about sex. Rather he argues it is about the nature of exploitation. He argues that artists by their nature are voyeurs who see the world around them and all its objects as items to be used as visual product. His recent Peeping Box series taps into this idea where images of sexual activity with a particular sadistic overlay are presented behind thick glass to incite some vain attempt on the part of the viewer to engage in such voyeuristic acts.
Published June 2004
Perth Symposium, various venues 19 - 21 March 2004
Flinders University Art Museum 20 February - 17 April 2004
Food increasingly became alienated from the body over the latter half of the twentieth century. Its material, its preparation, its distribution and its consumption became hostage to the banal aesthetics of the food stylist, the aridity of cultural studies and the repressive partnership of the public health zealot and the liability lawyer. Paul van Reyk here presents a manifesto on the food slut, a model for the examination of current food consumption trends in our society. As he states, a food slut is never indifferent to food, any more than a sex slut is indifferent to sex.
Australian Centre for Photography, Sydney 5 March - 18 April 2004
Museum of Brisbane 11 March - 23 May 2004
John Curtin Gallery Curtin University of Technology, Perth 14 - 17 April 2004
Ben Booth, Neil Haddon, Anthony johnson, Anna Phillips, Lucia Usmiani and Kit Wise The Queen's Warehouse Gallery Tasmanaian museum and Art Gallery, Hobart 18 March - 2 May 2004
The generic theme for the 2nd Auckland Triennial Public/Private sought to address central issues concerned with the relationship of the visual art scene to that of the everyday life (to banality), the potential or otherwise of new technologies to engage with the conditions of modern society and the ability of art to deal in specific ideas of a social and political nature. Furthermore in bringing together artists projects that are cross-cultural and transgenerational, the curatorial aim was to make connections which would intensify the privacy debate. Edward Hanfling examines some of these works with regards to such issues and concerns.
Joan Kerr, Art Historian, February 1938 - February 2004
7 February - 21 March 2004 The Gold Coast City Regional Art Gallery 14 February - 9 May 2004
Mayne Centre, University of Queensland Opened 15 April 2004
