Published 01 September 2020
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Published 01 March 2019
Published 01 December 2019
Published 01 September 2019
Published 01 June 2019
In Part I (Artlink, December 2001) the subject called Art History was challenged, using the terms art and work of art in a conventional way. Here in Part II it is argued that some of the woes of art theory can be alleviated by understanding these terms in a different way. Brook discusses the role of cultural memes in creating different kinds of histories and the doctrine of creativity. He here concludes that it is perfectly understandable that, as metaphysical explorers, we may address works of art with little or no respect for the authors intentions. In the end, he states, it depends upon the regularities of the real world.
Published March 2002
At Fremantle Arts Centre, as part of the annual Fremantle Festival in 2001, selected artists addressed the notion of fascination by and in the freak, geek and grotesque in relation to carnivals and circuses. Artists included Susan Flavell, Emma Margetts, Clare McFarlane and Nein Schwarz.
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.
Bestiality has been a theme in Bronwyn Plattens recent work, with the exhibition The Museum of Love and Romance presents: The Big Horse and other stories... at South Australias Contemporary Art Centre, including works which negotiated this concept. Imagery and ideas for the exhibition were drawn from Plattens extensive research into collections of erotic art in Japan, China, America and the United Kingdom during 2001. This text explores the complex, contradictory and perplexing nature of bestiality and attempts to explain why, despite its status as taboo, it remains a subject worthy of exploration.
8 November 2001 26 January 2002
Institute of Modern Art, Brisbane
1 December - 26 January
Ray Cook is a Brisbane-based photographic artist who has exhibited for 13 years with 20 solo shows to his credit. Cooks work has been primarily concerned with mortality, loss of control and the way gender and sexuality have been perceived in the media. His images are highly theatrical, staged scenarios, a hybrid of performance and still photography.
8 November 2001 - 26 January 2002
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.
Steven Hollands pests/pets, DEED and being are a part of an ongoing series of ephemeral investigations into the representation of animal life. Underlining this is an exploration into the act of looking and the dominance of human vision. Holland was born in Dwellingup, WA, and studied at Curtin University, Canberra School of Art and at the Royal College of Art.