Perth Institute of Contemporary Arts
Published 15 September 2019
Fremantle Arts Centre
Published 23 August 2019
Arts Project Australia
Penrith Regional Gallery
Published 11 July 2019
Gallery Lane Cove
Published 03 July 2019
5th Asia Pacific Triennial of Contemporary Art (APT5)
Queensland Art Gallery
Gallery of Modern Art
2 December 27 May 2007
Published March 2007
Books hold a privileged place in our society as keepers of knowledge, spiritual truth and cultural heritage. Melinda Rankin examines the role of books in artistic practice and the robust relationship that exists between artist and book via a willingness to challenge some of the apparent conventions of structure and content. Simryn Gill, Ken Orchard, Alex Selenitsch and Gerard Genette are artists whose practice is deeply entrenched in the seemingly offensive act of fiddling with these sacred texts. For these artists, the slicing, tearing and unpicking of books is not an act of violence or irreverence. In subverting the original narrative to their own purpose, they reconsecrate the text into artworks creating contemporary objects of veneration and desire.
Timothy Morrell examines the significance of words within the context of Australian Indigenous art subsequent to the efforts of colonisation in neutralising indigenous identity through assimilation. The point is made through this article that: Words give artists the opportunity to be more direct than they usually are with images. Morrell uses the case of a handful of Queensland based indigenous artists such as Gordon Bennett, Richard Bell, Ah Kee, Fiona Foley and Vanessa Fisher.
In his work, Chinese artist Jin Feng maintains a continuing interest in 'problem people'. Concerned with socio-philosophical issues, he is testing the limits of tolerance. He is also interested in challenging public prejudices against the too easily condemned.
Tamara Winikoff interviews Jin Feng about his sculptural piece 'We Want A Rest By Standing Up' depicting two infamous figures from China's history. This was the subject of much recent controversy and was censored by the authorities.
On its own, a word points to both the sentence that it might end up in, and also to the thought that precedes it. This zone between thought and convention allows artists to foreground qualities that are normally ignored in linguistic acts. Alex Selenitsch looks at a number of post WW2 tendencies or art movements which have made use of words: Action Painting, Graffiti, Concrete Art, Conceptual Art, Fluxus and Pop Art. Selenitsch uses the examples of Mike Brown, Rose Nolan and Ruark Lewis to highlight specific functions of the word, whether it be the morphing of word and image into one, the iconic and formal aspects of words or the relationship between visual and aural language.
Fluxus is a phenomenon that defies ready classification. This article highlights some of the printed and published matter that Fluxus inspired, starting with Maciunas-directed productions, those of Dick Higgins and other examples of individuals working in Australia today. A common factor in the instances of all Fluxus activity is a passion for improvisation and experimentation, a conscious elevation of the mundane and over-looked, often an active zeal in the face of disturbing political events, and not least, a stress on producing unusual and visually arresting statements. Australian artists following the Fluxus tradition here discussed include Michael Phillips, Madonna Staunton, Alex Selenitsch and Richard Tipping.
Melbourne public culture, curator/artist Elizabeth Gertsakis assembled a visual arts project around the life and work of early twentieth century Melbourne entrepreneur, sports and entertainment manager John Wren1871-1953. Artmaking, curating, presentation and display in a broad not narrowly discipline-centric definition are explored and unpicked. His world is, as Gertsakis argues, a constructed, directed one of effect and presentation within which Wren emerges as exemplar and victim in a process of image creation and narrative spinning that is central to social life in a media age.
This article looks at the recent works of New Zealand artists Michael Parekowhai, John Pule and John Reynolds to explore notions of identity through text and image relations. Parekowhais sculptural piece The Indefinite Article spells out I AM HE in an ironic critique of Colin McCahon and goes further through wordplay to cement a link between the word, identity and the complexities of translation. Reynolds Cloud comprised of nearly 7,000 white canvases transcribed with words from Harry Orsmans Oxford Dictionary of New Zealand English and acts to illuminate New Zealands separate identity and regional diversity within a worldwide community of English speakers. Stories of migration, of dispossession, of alienation characterise the work of John Pule. Similar to Parekowhai and Reynolds, Pule deploys words to multiply meanings and confound interpretation or translation.
Doppel Lecker: Megan Walch
12 October 11 November 2006
Emily Floyd is attracted to texts that focus on identity and place and that offer new ways of thinking about these issues in the light of globalisation and post-colonialism. She is interested in the malleability of language and its connection to knowledge and power. The process Floyd employs to produce her numerous large-scale wooden letters mirrors the anxiety and obsessions with the various novels they are referencing Dostoevskys Crime and Punishment, Kafkas The Trial and Camus The Outsider. Sarah Tutton looks at Floyds practice, calling particular attention to her recent installation works its because I talk too much that I do nothing, Gen-existential Crisis and Compulsory for young intellectuals.