Published 01 September 2019
Published 01 June 2019
Published 01 March 2019
Published 01 December 2018
Published 01 September 2018
Published 01 March 2018
Published 01 December 2017
Published 01 September 2017
What characterises all of Stelarcs projects and performances is the notion of the prosthetic. The EXTRA EAR is a project Stelarc has been fostering since 1997 and the problems lie in finding the appropriate medical assistance to realise it. Constructing the EXTRA EAR would involve a number of procedures, over approximately 8-10 months. Techniques from Cosmetic, Re-constructive and Orthopaedic surgery are necessary. Here Stelarc outlines some of the essential steps in constructing the EXTRA EAR and discusses the nature of this radical project.
Published March 2002
Lynne Roberts-Goodwins work with birds is the latest chapter in her 20-year practice using digital photography. Her current work involves the research and image capture/production of animal habitat and migration using infrared and supplementary daylight fibre-optic lighting with digital image and video capture technologies.
John Kelly paints cows and horses, in particular, the legendary Phar Lap and Dobells camouflaged bovines. Through using these narratives and adding new elements Kelly has created a multi-layered structure of ideas. This evolution works on a slow time scale that is at odds with todays fast consumer culture where products need to be refreshed and changed on a continual basis.
Michele Barker is a Sydney-based artist working in the area of new media. Conceptually, her work has concerned itself with notions of bodily identity, difference and in more recent times, the relationship between science, medicine and corporeality.
The metaphor of becoming animal till there is no longer man or animal is becoming real with the advances in genetic tissue technology and stem cell research. Artists dealing with hands-on wet biology art practice are exploring the tangibility of such an idea. Zurr looks at issues surrounding such new technology, at the experiment which saw an ear grafted onto a mouses back, constructed in vitro (outside of the body) and the possible future for the human and animal kingdoms.
This article looks at the work of Ella Dreyfus. Her work, she says, is not just about how bodies may look, but about who we are and how people feel in their bodies. Her models make powerful statements about this, through their images and occasionally, in verbal form. Her concern is with the present and actual state of the body, with all its complex and detailed evidence of the life cycle. Recently her focus has been on the aged body and the succession of new experiences that come as a result of living with a growing body.
The skin, the membrane, the corporeal envelope, the shroud, the veil - all those things that tend to separate and define appearances from either the being inside, or from the beingness outside - have provided a source of some of the most rich and persistent metaphors for Western culture. With the 20th century bringing a re-emergence of the idea of the skin as an organ rather than a boundary, notions and representations of the physical body dominated the work of last century and painting returned as an important medium for such depictions. This article looks at the metaphoric and literal relationship between skin and its various representations in contemporary art.
8 November 2001 - 26 January 2002
This text is concerned with the notion of animal and human hybridity, as examined in a historical and contemporary context through the myth of King Minos of Crete and more recently the work of artists such as Damien Hirst and John Kelly. From the shadowy overlap between species that the minotaur depicts to such contemporary models of animal/ human formation as the fictitious Spiderman, such figures of the imagination remind us of the diminishing gap between science fact and science fiction.
Historical studies have shown that an improved physical appearance had profoundly beneficial psychological effects and behavioural outcomes. Plastic surgery became a vital tool in the 1930s, holding out the promise of removing the traces of war and eliminating prominent markers of ethnicity. In recent years the cosmetic surgery industry has grown in Australia, and as with all countries the common goal is the production of a narrowly defined culture of bodily beauty. Ryan looks at the cosmetic surgery industry and some of the artistic responses to such ideas and ideals, particularly those of artist Annabelle Collett.
Tiffany Parbs reinterprets 18th century medical tools to create works of small objects which carry with them an implication of an intimate relationship with the body. Parbs is based in South Australia at the JamFactory Contemporary Craft & Design; her project has been assisted by Arts SA and the Australia Council.