Published 01 December 2019
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
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.
Published March 2002
Singapore Art Museum
9 December 2001 - 3 February 2002
Institute of Modern Art, Brisbane
1 December - 26 January
The work of Sharon Goodwin is directly influenced by the Coles Funny Picture Books which create a bizarre Victorian world where human and animal promiscuously cross over. Here people are frequently turned into animals, and the qualities of animals emerge in humans through vices of personality. Goodwins exhibition which was held at Uplands Gallery in Melbourne, Victoria in November 2001 presented a series of portraits of bestial humans or humanised animals repainted from Coles woodcuts. Goodwin has introduced crude lines and stitching and patching in the images to represent the frequent actualisation of plastic surgery in contemporary society.
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.
Monika Tichacek is an installation artist based in Sydney. Her performance installations exist as a space within fiction, dreamlike. In both of Tichaceks works I Wanna Be Loved By You and Romance the view of the human is mediated by a surveillance camera, echoing the receding of the surgically enhanced body from human towards post-human.
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.
The current revolutions in biology and computers, and their implications for ethics and politics, raise a host of new questions for which the arts, traditional humanistic disciplines and Enlightenment modes of rationality may seem ill-prepared. Mitchell questions the notion of the post-human age and the ways in which we approach death as more and more a problem to be solved by engineering and adjudicated by lawyers. Mitchell looks at films such as Jurassic Park, The Matrix and Blade Runner in order to explore some of these ideas and discourses.
holmes à court gallery, East Perth
11 October - 25 November 2001
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.
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.
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.