Public Objects and Private Parts in Harry Hummerston's Recent Assemblages

Cover of Public Objects and Private Parts in Harry Hummerston's Recent Assemblages
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Meet Lisa Walker in her workshop: VR in the museum
Feature
Justine Olsen and Prue Donald

Published 01 December 2018
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Eugenie Lee's Seeing is Believing: VR in pain management
Feature
Dylan DeLosAngeles

Published 01 December 2018
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Artificial imagination: Deepfakes from latent space
Feature
Sean Dockray

Published 01 December 2018
Axolotl
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Brenda Laurel's Placeholder: In dreams everybody flies their own way
Feature
Claire L. Evans

Published 01 December 2018
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The distributed virtual: Jill Scott's Eskin4 and other electronic environments
Feature
Rob La Frenais

Published 01 December 2018
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Against realism: The badly rendered potential of VR
Feature
Ian Haig

Published 01 December 2018
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The virtuous politics of Alejandro Iñárritu's Carne y Arena
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Vince Dziekan

Published 01 December 2018
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Metascape, memory and spacetime: The museum in VR
Feature
Andrew Yip

Published 01 December 2018

Harry's work immediately identifies the object as a site of meaning. It is fair to say that Harry is strongly opposed to any restriction or taboo upon what he may represent, particularly from the arena of representing the female object or gender.

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