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text-align: center; margin-top: 10px; margin-bottom: 60px; } </style> <link rel="alternate" type="application/atom+xml" title="Atom 0.3" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com//atom.xml"/> <script type="text/javascript" src="https://web.archive.org/web/20080527140136js_/http://www.haloscan.com/load/nesbitt/"></script> <link rel="me" href="http://www.blogger.com/profile/17243440697488979841"/> <link rel="openid.server" href="http://www.blogger.com/openid-server.g"/> <style type="text/css">@import url(https://web.archive.org/web/20080527140136cs_/http://www.blogger.com/css/navbar/classic.css); div.b-mobile {display:none;} </style> </head> <noembed><body><iframe src="https://web.archive.org/web/20080527140136if_/http://www.blogger.com/navbar.g?targetBlogID=6466083&blogName=the+art+life&publishMode=PUBLISH_MODE_BLOGSPOT&navbarType=SILVER&layoutType=CLASSIC&homepageUrl=http%3A%2F%2Fartlife.blogspot.com%2F&searchRoot=http%3A%2F%2Fartlife.blogspot.com%2Fsearch" marginwidth="0" marginheight="0" scrolling="no" frameborder="0" height="30px" width="100%" id="navbar-iframe" title="Blogger Navigation and Search"></iframe> <div id="space-for-ie"></div></noembed> <div id="page"> <div id="kheader"> <div id="headerimg"> <h1><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/" title="the art life">the art life</a></h1> <div class="description">"...it's just like saying 'the good life'".</div> </div> </div> <hr/> <div id="kcontent" class="narrowcolumn"> <div class="post"> <h2 id="post-9008599416956354135"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/henson-round-3.html" rel="bookmark" title="Permanent Link to Henson Round 3">Henson Round 3</a></h2> <small>Tuesday, May 27, 2008</small> <div class="entry"> <div style="clear:both;"></div>Yesterday:<br/><br/><blockquote>The controversy over an exhibition of photographs of naked teens has spread to Albury, with another gallery taking down works by <span style="font-weight:bold;">Bill Henson</span>.<br/><br/>Albury Regional Art Gallery has removed photographs of naked adolescents from its display. <br/><span style="font-weight:bold;"><br/><a href="https://web.archive.org/web/20080527140136/http://www.news.com.au/heraldsun/story/0,21985,23759314-662,00.html?from=public_rss" target="_blank">Bill Henson photos removed from Albury gallery</a></span>, Herald Sun</blockquote><br/><br/>This morning...<br/><br/><blockquote>Police are investigating photos of naked children held by the National Gallery of Victoria as the controversy over photographer Bill Henson widens.<br/><br/>The NGV has 94 Henson photographs in its collection, including a montage depicting a partially naked child in its third-floor exhibition.<br/><br/>Officers yesterday went to the NGV, but did not remove any works. <br/><br/>They will question curators at several Victorian galleries to assess whether the Melbourne photographer's works breach child pornography or indecency laws.<br/><br/><span style="font-weight:bold;"><a href="https://web.archive.org/web/20080527140136/http://www.news.com.au/heraldsun/story/0,21985,23763511-661,00.html?from=public_rss" target="_blank">Cops check collection of controversial nudes at gallery</a></span>, Herald Sun</blockquote><br/><br/>Still to come - <span style="font-weight:bold;">Miranda Devine </span>in the <span style="font-style:italic;">Sydney Morning Herald</span>...<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/art%20news">art news</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/media%20hysteria">media hysteria</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=9008599416956354135" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=9008599416956354135" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/9008599416956354135/" title="Comment" onclick="HaloScan('9008599416956354135'); return false;"><script type="text/javascript">postCount('9008599416956354135'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/9008599416956354135/" title="Trackback" onclick="HaloScanTB('9008599416956354135'); return false;"><script type="text/javascript">postCountTB('9008599416956354135'); </script></a>  </p></div> <div class="post"> <h2 id="post-2056316701705434893"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/now-things-turn-uglier.html" rel="bookmark" title="Permanent Link to Now Things Turn Uglier">Now Things Turn Uglier</a></h2> <small>Sunday, May 25, 2008</small> <div class="entry"> <div style="clear:both;"></div><center><strong><span style="font-size:130%;">Law Society backs nude child pics artist</span></strong></center><br/>"The Law Society of NSW has backed embattled artist Bill Henson, who could face charges after police seized his latest gallery images which feature nude children.<br/><br/>Society president Hugh Macken said he could not see how a crime had been committed, and police prosecutors would have to argue the renowned Melbourne-based artist had intended to produce something other than art. "What is relevant to the commission of a crime is the intention," Mr Macken told reporters in Sydney. "If the intention is to produce a work of art, and solely to produce a work of art, then I can't see how a crime has been committed."<br/><br/>Officers raided the Roslyn Oxley9 Gallery, in Paddington in Sydney's eastern suburbs, just before the exhibition was due to open on Thursday night. They seized 20 of Henson's images which feature a naked girl and boy said to be aged 12 to 13.<br/><br/><strong>The gallery has since faced violent threats from anonymous phone callers</strong>, according to the <em>Sun Herald.<br/></em><br/>NSW Police Force has said it intends to lay state and federal charges, and the investigation has also gone interstate as the young girl is understood to be living in Victoria. Rose Bay Local Area Commander Superintendent Allan Sicard said the seized images depicted a child under the age of 16 years "in a sexual context". Commonwealth charges could be laid over the gallery's website with state charges applying to the pictures, he said. The raid, and the prospect of an artist facing criminal charges, has reignited the debate about what constitutes art.<br/><br/>Acclaimed NSW artist Margaret Olley joined those in support of Mr Henson, saying that his images were being misconstrued. "All of a sudden it is turned into pornography - I am embarrassed that we seem to be going backwards," she told the Seven Network.<br/><br/>NSW Police confirmed they are yet to lay charges as their investigation continues.<br/><br/>Mr Henson is yet to comment publicly. "<br/>"><br/>[From <a href="https://web.archive.org/web/20080527140136/http://news.ninemsn.com.au/article.aspx?id=568905" target="_blank"><strong>AAP</strong></a><br/><br/><center><strong>Henson Docos Programed to Offer Another View:</strong></center><br/><br/>This coming Tuesday at 10pm the ABC will be showing <em>The Art of Bill Henson</em> a half hour ABC documentary by <strong>Tony Wyzenbeek</strong> originally screened in 2004.<br/><br/>"It was the first time Henson allowed TV cameras into his life, offering rare access to his practice. The show will be repeated on ABC2, Sunday June 1 at 7pm.<br/><br/>"On Sunday June 1 at 5pm, <em>Sunday Arts</em> will feature an ABC half hour special which also highlights the work of Bill Henson; a documentary by <strong>Louise Turley</strong> which charts the collaboration that created <em>Luminous</em> in 2005, a live performance incorporating the photography of Henson, the music of <strong>Richard Tognetti</strong>, vocals by <strong>Paul Capsis and</strong> soundscape by <strong>Paul Healy</strong>. This will be repeated the same night at 8.30pm on ABC2."<br/><br/><em>By email.</em><div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/art%20news">art news</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/press%20releases">press releases</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/tv%20show">tv show</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=2056316701705434893" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=2056316701705434893" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/2056316701705434893/" title="Comment" onclick="HaloScan('2056316701705434893'); return false;"><script type="text/javascript">postCount('2056316701705434893'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/2056316701705434893/" title="Trackback" onclick="HaloScanTB('2056316701705434893'); return false;"><script type="text/javascript">postCountTB('2056316701705434893'); </script></a>  </p></div> <div class="post"> <h2 id="post-3962524625346056827"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/media-beat-up-leads-to-this.html" rel="bookmark" title="Permanent Link to Media Beat Up Creates Media Outrage Shock">Media Beat Up Creates Media Outrage Shock</a></h2> <small>Friday, May 23, 2008</small> <div class="entry"> <div style="clear:both;"></div><div style="text-align: center;"><span style="font-weight: bold;font-size:130%;">Update: Bill Henson to be charged</span><br/></div><br/>"NSW police have seized 20 of 41 photographs from the exhibition with the intention of launching criminal proceedings under the Child Protection Act.<br/><br/>"Police say charges will be laid under both the NSW and Commonwealth Crimes acts for publishing an indecent article.<br/><br/>"The alleged Commonwealth offence relates to publishing some of the photographs on the internet.<br/><br/>"The decision to launch a prosecution was made public by Rose Bay police commander, Superintendent Allan Sicard outside the gallery while detectives carried out a search.<br/><br/>"Superintendent Sicard said police had taken possession of the Henson photographs that were due to go on public exhibition on Thursday night.<br/><br/>"Police at 3.30pm yesterday received a report from a concerned member of the public that an exhibition was occurring at this gallery,'' said Superintendent Sicard..."<br/><br/><a style="font-weight: bold;" href="https://web.archive.org/web/20080527140136/http://www.smh.com.au/news/arts/henson-show-charges/2008/05/23/1211183060208.html" target="_blank">Henson show charges</a>, <span style="font-style: italic;">Sydney Morning Herald</span>.<br/><br/><span style="font-weight: bold;font-size:100%;">In bizarre parallel news:</span><br/><br/><p>"Melbourne City Council has defended its decision to reject a controversial painting by the nephew of Prime Minister Kevin Rudd.</p> <p>The painting depicts a Ronald McDonald holding a flaming Olympic torch, while a monk burns in the background.</p> <p>Van Thanh Rudd's work, which he this afternoon revealed was intended as a homage to British street artist Banksy, shows Ronald McDonald carrying the Olympic torch past a burning monk.</p> <p>He said the Ronald McDonald image was "commenting on the fact that I believe the global economy is a direct hurdle to a lot of the good peace processes to deal with human rights abuse".</p> Some observers have remarked on the painting's striking resemblance to Banksy..."<br/><br/><span style="font-weight:bold;"><a href="https://web.archive.org/web/20080527140136/http://www.smh.com.au/news/arts/rudd-nephews-artwork-rejected/2008/05/23/1211183064608.html" target="_blank">Rudd Nephew's Artwork rejected</a></span>, <span style="font-style:italic;">The Sydney Morning Herald</span>.<br/><br/><span style="font-weight: bold;">Earlier:</span><br/><br/><br/><div style="text-align: center;"><span style="font-weight: bold;font-size:130%;">Media Statement</span><br/></div><span style="font-size:130%;"><br/></span><div style="text-align: center;"><span style="font-weight: bold;font-size:130%;">Friday 23 May 2008</span><span style="font-size:130%;"><br/><br/></span><span style="font-weight: bold;font-size:130%;">Statement on behalf of Roslyn Oxley9 Gallery and Bill Henson</span><br/></div><br/><span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.theaustralian.news.com.au/story/0,25197,23745003-601,00.html" target="_blank">After much consideration</a></span> we have decided to withdraw a number of works from the current Bill Henson exhibition that have <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.news.com.au/story/0,23599,23743217-2,00.html" target="-blank">attracted controversy</a></span>. The current show, without the said works, will be re-opened for viewing in coming days.<br/><br/><span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://billhenson.net.au/" target="_blank">Bill Henson</a> </span>is one of Australia’s leading contemporary artists and is internationally respected. His works are held in every leading art institution in Australia and are included in the collections of a number of the world’s most prestigious art museums. The Art Gallery of New South Wales and the National Gallery of Victoria have both recently held a retrospective of 30 years of the artist’s work.<br/><br/>Roslyn Oxley9 Gallery will remain closed while the current exhibition is re-hung.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/art%20news">art news</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/media%20hysteria">media hysteria</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/press%20releases">press releases</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=3962524625346056827" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=3962524625346056827" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/3962524625346056827/" title="Comment" onclick="HaloScan('3962524625346056827'); return false;"><script type="text/javascript">postCount('3962524625346056827'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/3962524625346056827/" title="Trackback" onclick="HaloScanTB('3962524625346056827'); return false;"><script type="text/javascript">postCountTB('3962524625346056827'); </script></a>  </p></div> <div class="post"> <h2 id="post-2700724398269479517"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/much-more-than-wysiwyg.html" rel="bookmark" title="Permanent Link to Much More Than WYSIWYG">Much More Than WYSIWYG</a></h2> <small>Thursday, May 22, 2008</small> <div class="entry"> <div style="clear:both;"></div><span style="font-size:85%;"><span style="font-style: italic;">From<span style="font-weight: bold;"> Isobel Johnston</span>...</span></span><br/><br/>The <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.bos2008.com/app/biennale" target="_blank">16th Biennale of Sydney</a></span> opens in a just a few weeks ’<span style="font-style: italic;">Revolutions - forms that turn</span>’, connecting past and present work.<br/><br/><span style="font-weight: bold;">Carolyn Christov-Bakargiev</span> will bring together ‘constellations’ and encounters rather than juxtapositions- in clusters of artists. A much more ‘organic’ rather than imposed curatorship is sought by Christov-Bakargiev so this framework does not to impose itself but can be likened to a well staged dinner party which brings together the right mix of guests who in turn fire off each other to do the rest. This my understanding of the analogy given by Christov-Bakargiev at at the Art of The Curator forum recently staged at the Goethe Institute on May 12.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp0.blogger.com/_k6SB4qwGB6g/SDS-HSslflI/AAAAAAAABKM/HTy2yrCWx2Q/s1600-h/duchamp.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp0.blogger.com/_k6SB4qwGB6g/SDS-HSslflI/AAAAAAAABKM/HTy2yrCWx2Q/s400/duchamp.jpg" alt="" id="BLOGGER_PHOTO_ID_5202992502006971986" border="0"/></a><br/><span style="font-size:85%;">Do not ride bikes at night. Always wear a helmet.</span></center><br/>It’s really also about the influence on both past and present some artists have had and where other artists have taken these influences into their own practice: to bounce off, to extend, to challenge or to dialogue. For this Biennale these encounters involve bringing together the work of older artists that have had an impact of their own contemporaries as well as on the present. Some of these artists are less well known and were not acknowledged until recently and yet their work has had this impact across both past and present. These pre-runners are joined to both their own contemporaries and to a new generation of artists whose work crosses similar terrain as constellations.<br/><br/>Christov-Bakargiev identifies and has established a methodology of re- presenting past and present as simultaneously contemporary - that art works of the past not only have a resonance in the present, but that they exist in the mind of a viewer who is experiencing them for the first time as contemporary [<span style="font-weight: bold;">Wulf Herzogenrath</span> at the Goethe Institute] and are melded into the fabric of that viewer’s here and now. The revolution might also be the acknowledgment of the art historical instability which has exerted itself on the cannons and perception of art history for the last four decades, as attested to in Christov-Bakargiev’s own theoretical interests and position firstly in feminism and then with arte povera. Centres no longer hold and we are all spinning into the widening gyre [ ...with apologies to WB Yeats]. A different take on this could also be in two past Biennale’s of Sydney: <span style="font-style: italic;">The Boundary Rider</span> Biennale and <span style="font-weight: bold;">Rene Block</span>’s <span style="font-style: italic;">Readymade Boomerang</span>.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp2.blogger.com/_k6SB4qwGB6g/SDS_cyslfmI/AAAAAAAABKU/bSInkUmPD6Y/s1600-h/Sun-rise-Car.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp2.blogger.com/_k6SB4qwGB6g/SDS_cyslfmI/AAAAAAAABKU/bSInkUmPD6Y/s400/Sun-rise-Car.jpg" alt="" id="BLOGGER_PHOTO_ID_5202993970885787234" border="0"/></a><br/><span style="font-size:85%;">Frank Littler, <span style="font-style: italic;">Sunrise under car No. 3</span>, 2005.<br/>Acrylic and oil on hardboard, 68x98cm</span>.</center><br/><br/>It’s 40 years since May '68 and the possibilities sought by students and workers of Paris. The conflagration of change that caught on internationally and teetered with the real possibility of change works as a perfect example of this coexistence of history and its contemporaneous other. Revolutions - forms that engage the stories, narratives and fictions that are the shifting sands of historical and contemporary truths. The connections also cut across a piece I was writing about <span style="font-weight: bold;">Frank Littler</span>’s work and seemed offer another kind of turning.<br/><br/><span style="font-style: italic;">Stories </span>is a good title for Frank Litter’s exhibition opening in Melbourne in June in a couple of weeks and overlaps the 16th Biennale of Sydney. The paintings in this show initially look quite disparate – heads, buildings, maps, caves and the aquarium but gradually the viewer becomes aware they are linked by Littler’s use of various formal and perceptual screens.<br/><br/>Through these screens Littler invites us into a space which lies beyond the surface of the picture plane, often an enclosed cave- like space where the visual action is taking place.. These screens are not constrained to the surface but travel through the work to intersect as much as they overlay the image. It is these points of disjuncture and rupture that draw attention to our own ‘reading’ and our own ‘seeing’ of the painting before us.<br/><br/>We bring what we know of the world to our reading of a painting- it happens in a moment and in the completeness of seeing but it also happens slowly and over much a longer space of time. There is the experiential and there is an analytical reading. Litter’s painting and images do something strange in that they manage to sandwich both ways of reading together and fix them in the same inseparable moment.<br/><br/>Littler’s use of the picture plane is at the very heart of his work – work that is about the actual language of paint and at the same time acknowledge that the works must reflect the artists own experience, interests, views and concerns. These may not be in the forefront of the artist’s mind while painting but instead pop up in the work less consciously than that.<br/><br/>The title is also on the other hand a bit of a ruse. These paintings are not didactic, the stories they tell are multi-layered, quirky and incomplete. You take them in as a whole, the surface, the screen, the cave like centre, the various actions the ambiguous use of space that blur the paint and its depicted forms but as to what to ‘read’ that remains open-ended.<br/><br/>If I could bring Littler’s work together with <span style="font-weight: bold;">Max Beckman</span>, <span style="font-weight: bold;">Giorgio de Chirico</span> and <span style="font-weight: bold;">John Heartfield</span> (artists he sites as makers of images that resonate) and I’d also add <span style="font-weight: bold;">Phillip Guston</span> and <span style="font-weight: bold;">Mitch Cairns </span>to the mix - I think Christov-Bakargiev would have another constellation. And I feel she would like the idea that just as the artists in the show dialogue, that the 16th Biennale’s dialogue extends beyond it’s own parameters to resonate; revolving to reflect on the other exhibitions and artists work just as Frank Littler’s work goes out beyond the parameters of Melbourne’s <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.placegallery.com.au/2004/artists/frank_littler/frank_littler.htm" target="_blank">Place Gallery</a></span>.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/Biennale%20of%20Sydney">Biennale of Sydney</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/painting">painting</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=2700724398269479517" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=2700724398269479517" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/2700724398269479517/" title="Comment" onclick="HaloScan('2700724398269479517'); return false;"><script type="text/javascript">postCount('2700724398269479517'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/2700724398269479517/" title="Trackback" onclick="HaloScanTB('2700724398269479517'); return false;"><script type="text/javascript">postCountTB('2700724398269479517'); </script></a>  </p></div> <div class="post"> <h2 id="post-3315323269927903751"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/mountain-scene.html" rel="bookmark" title="Permanent Link to I Love A Mountain Scene">I Love A Mountain Scene</a></h2> <small></small> <div class="entry"> <div style="clear:both;"></div><span style="font-style: italic;font-size:85%;">From <span style="font-weight: bold;">Bonny Dot Cassidy</span>...<br/></span><br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp1.blogger.com/_k6SB4qwGB6g/SDS3cislfiI/AAAAAAAABJ0/g35u4JyQGWU/s1600-h/ipa00123.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp1.blogger.com/_k6SB4qwGB6g/SDS3cislfiI/AAAAAAAABJ0/g35u4JyQGWU/s400/ipa00123.jpg" alt="" id="BLOGGER_PHOTO_ID_5202985170497797666" border="0"/></a><br/><span style="font-size:85%;">Joseph Mallord William Turner, </span><span style="font-style: italic;font-size:85%;">A mountain scene, Val d'Aosta,</span><span style="font-size:85%;"> c.1840.<br/>Oil on canvas, 91.5x122cm</span></center><br/><br/>For about six months, I’d had a postcard of Turner’s<span style="font-weight: bold;"> <a href="https://web.archive.org/web/20080527140136/http://www.ngv.vic.gov.au/collection/international/painting/t/plate_ipa00123.html" target="_blank">A mountain scene, Val d’Aosta’ (c.1845)</a></span> reproduction framed above my desk. It hung beside <span style="font-weight: bold;">Antonella da Messina</span>’s <span style="font-style: italic;">St Jerome</span> in his labyrinthine study. The saint’s chemise, slung on a hook, is like a little fold of cloud itself; the bellies of the peacock and the partridge catches noon’s light, and I imagined that even the rough mane of Jerome’s pet lion had the same blushy glow as Turner’s scene.<br/><br/>Now, I realised that Turner had been hanging there upside down, as if it didn’t matter to the lofty anarchy of his cloudscape; but it does. The veil sweeps upward from the more solid foreground along the bottom of the picture. Its direction is as important as whether a gust goes east or west. For Turner, black comes from down below—a telluric bile that can rise through water and seep up through earth. In his mountain scene, it colours the earth in flickers but it doesn’t reach the sky. Where is it taken? Sometimes, in his views of ocean, light is submerged by the blackness; here, however, it triumphs with a levitating effect that draws us further and further from those gritty, earthly flecks.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp1.blogger.com/_k6SB4qwGB6g/SDS44islfkI/AAAAAAAABKE/l41GZr8I-2A/s1600-h/messina4.JPG"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp1.blogger.com/_k6SB4qwGB6g/SDS44islfkI/AAAAAAAABKE/l41GZr8I-2A/s400/messina4.JPG" alt="" id="BLOGGER_PHOTO_ID_5202986751045762626" border="0"/></a><br/><span style="font-size:85%;">Antonello da Messina, </span><span style="font-style: italic;font-size:85%;">St Jerome in his Study</span><span style="font-size:85%;">, circa 1475.<br/>Oil on lime wood. The National Gallery, London.</span></center><br/>Now, as I stand before it (resisting the swell of the crowd at the National Gallery, a rising warmth that only draws me closer to the painting’s altitude), the work reaches out rather than retracting into a cool, resplendent drift. Impasto is lodged into the surface of the underpainting: little happenings of pure zinc whiteness that, at first, seem to be bristle or cord stuck over the painting’s surface. In fact, their growth from within the very matter of the work forces its motion not only upward but also outward—an expanding, humid scene that is all about dispersion and displacement. I can practically feel the atoms of mountain haze bouncing off my nose and cheeks. Frontally, the work is dry and scumbled but taken from an angle it is slick with wet sheen. The smoothed expanses come into their own, spread flat as the cloud thins to reveal blue.<br/><br/>And it is paler, on the whole, than I had thought. The work’s golden yellow is important, discolouring the upper reaches of cloud to the shade of dirty snow. It’s reflected from the earth, and becomes the distant mauve of the farther peaks. But it plays second, both compositionally and tonally, to the wrapping of white that advances first north, then west, and finally into Chaos.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/art%20appreciation">art appreciation</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/painting">painting</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=3315323269927903751" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=3315323269927903751" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/3315323269927903751/" title="Comment" onclick="HaloScan('3315323269927903751'); return false;"><script type="text/javascript">postCount('3315323269927903751'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/3315323269927903751/" title="Trackback" onclick="HaloScanTB('3315323269927903751'); return false;"><script type="text/javascript">postCountTB('3315323269927903751'); </script></a>  </p></div> <div class="post"> <h2 id="post-7340439767351746007"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/adelaide-based-artist-deidre-but-husaim.html" rel="bookmark" title="Permanent Link to Just Say No">Just Say No</a></h2> <small></small> <div class="entry"> <div style="clear:both;"></div><span style="font-size:85%;"><span style="font-style: italic;">Adelaide-based artist </span></span><span style="font-weight: bold; font-style: italic;font-size:85%;">Deidre But-<span class="blsp-spelling-error" id="SPELLING_ERROR_0">Husaim</span></span><span style="font-size:85%;"><span style="font-style: italic;"> entered a painting into the "<span class="blsp-spelling-error" id="SPELLING_ERROR_1">Churchie</span>". With $10k prize money it's an attractive purse... but certain policies of the exhibition organisers prompted the artist to take a stand against discrimination and make her feelings public...<br/><br/></span></span><span style="font-style: italic;">What's the <span class="blsp-spelling-error" id="SPELLING_ERROR_2">Churchie</span>?</span><br/><br/><span style="font-weight: bold;">Deidre But-<span class="blsp-spelling-error" id="SPELLING_ERROR_3">Husaim</span>: </span> The <span class="blsp-spelling-error" id="SPELLING_ERROR_4">Churchie</span> National Emerging Art Exhibition is an art competition/prize/fundraiser that is held by the Anglican Church Grammar School.<span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.churchieemergingart.com/content/?id=3" target="_blank"> As their website explains: </a></span> "The <span class="blsp-spelling-error" id="SPELLING_ERROR_5">churchie</span> national emerging art exhibition, now in its 21st year, offers an inspiring glimpse into the future of the Australian art scene. It provides a forum for artists to compete for a prize across four categories; paintings, works on paper, object-based sculpture and new technologies. Approximately 100 finalists from all Australian states and territories will be <span class="blsp-spelling-error" id="SPELLING_ERROR_6">pre</span>-selected with the overall winner rewarded with a $10,000 cash prize sponsored by Brand & Slater Architects."<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp1.blogger.com/_k6SB4qwGB6g/SDSz0islfgI/AAAAAAAABJk/nIgVmtFagcE/s1600-h/buthusaim_art_life.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp1.blogger.com/_k6SB4qwGB6g/SDSz0islfgI/AAAAAAAABJk/nIgVmtFagcE/s400/buthusaim_art_life.jpg" alt="" id="BLOGGER_PHOTO_ID_5202981184768146946" border="0"/></a><br/><span style="font-size:85%;">Deidre But_<span class="blsp-spelling-error" id="SPELLING_ERROR_7">Husaim</span>, <span style="font-style: italic;">Beauty Marks (Boy Boy)</span>, 2008.<br/>Oil on linen, 121x101cm</span></center><br/><br/><span style="font-style: italic;">And why did you decide to enter it?<br/><br/></span><span style="font-weight: bold;">DB-H: I</span> entered because, like a lot of artists on unknown mailing lists, I receive requests to enter art prizes. I don't usually enter because I think the best support that an artist can receive is for their work to be purchased either by individuals or for collections, personally I don't like the prescriptive criteria of art prizes. This time there was no criteria for the work and I had a painting that had just come down from an exhibition ... and with impending overseas travel looming that art prize would have solved a lot of financial problems for me ... the rest is history.<br/><br/><span style="font-style: italic;">What were the events that led you to reconsider your entry into the prize?</span><br/><br/><span style="font-weight: bold;">DB-H: </span>I discovered that the Anglican Church Grammar School that runs The <span class="blsp-spelling-error" id="SPELLING_ERROR_8">Churchie</span> had decided not to allow final year students to bring their same sex-partner to their formal. When I entered I was not aware of the schools decision regarding this matter, if I had known of this decision at the time I would not have entered.<br/><br/><span style="font-style: italic;">Why did you decide to pull your work from the competition?<br/><br/></span><span style="font-weight: bold;">DB-H:</span> I will not be involved in fund raising for a school whose decisions regarding gay pupils are contrary to my beliefs. School can be a judgmental place at the best of times. We all need to put an end to discrimination and homophobia.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp0.blogger.com/_k6SB4qwGB6g/SDS0QSslfhI/AAAAAAAABJs/PYTG5zBSZCM/s1600-h/paper.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp0.blogger.com/_k6SB4qwGB6g/SDS0QSslfhI/AAAAAAAABJs/PYTG5zBSZCM/s400/paper.jpg" alt="" id="BLOGGER_PHOTO_ID_5202981661509516818" border="0"/></a></center><br/><br/><span style="font-style: italic;">What was the reaction when you withdrew?</span><br/><br/><span style="font-weight: bold;">DB-H: </span>The <span class="blsp-spelling-error" id="SPELLING_ERROR_9">Churchie</span> [organisers] replied that they were 'saddened' but 'respected my right to do so'. Regarding the wider community I have received nothing but thanks and positive comments for standing up for my beliefs.<br/><br/><span style="font-style: italic;">Will withdrawing from the prize have any effect on the policies of the school?<br/><br/></span><span style="font-weight: bold;">DB-H: </span>Unfortunately, probably not. I don'’t know if other artists selected are aware of or care about the policies of the school or its connection to The <span class="blsp-spelling-error" id="SPELLING_ERROR_10">Churchie</span>.<br/><br/><span style="font-style: italic;">Do you think more artists should take an ethical stand in relation to the sorts of exhibitions they're willing to enter?</span><br/><br/><span style="font-weight: bold;">DB-H:</span> I think what artists do regarding their own ethics is up to them. Unfortunately there is not enough funding support to go around for each and everyone and art prizes can be tempting when you'’re struggling financially. Also an 'art prize' on your CV can make a difference to some people ... galleries sometimes encourage participation.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/art%20prize">art prize</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/interviews">interviews</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=7340439767351746007" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=7340439767351746007" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/7340439767351746007/" title="Comment" onclick="HaloScan('7340439767351746007'); return false;"><script type="text/javascript">postCount('7340439767351746007'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/7340439767351746007/" title="Trackback" onclick="HaloScanTB('7340439767351746007'); return false;"><script type="text/javascript">postCountTB('7340439767351746007'); </script></a>  </p></div> <div class="post"> <h2 id="post-5154444421518907975"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/tape-worm.html" rel="bookmark" title="Permanent Link to Tape Worm">Tape Worm</a></h2> <small></small> <div class="entry"> <div style="clear:both;"></div><span style="font-size:85%;"><span style="font-style: italic;">From <span style="font-weight: bold;">Tape Projects...</span></span></span><br/><br/>We want it - any, many or all. If you've got sound, video, animation or anything experimental for screen or speaker then we have three wonderful opportunities for you to contribute or collaborate.<br/><br/><div style="text-align: center; font-weight: bold;">123TV<br/></div><br/>123TV is back, due to go to air again this September, broadcasting our 4th Season on much loved (well, by us anyway) Channel 31. We will be putting together another eclectic program of animations, videos and video clips made by Australian artists alongside a few 'special guest programmed' episodes.<br/><br/>We are currently seeking both narrative and experimental submissions.<br/><br/>If you have new work (or even slightly used, but good as new work) to show, please download the submission form from www.tapeprojects.org and post in your pieces before July 30.<br/><br/><br/><div style="text-align: center;"><span style="font-weight: bold;">Exquisite Creature</span><br/></div><br/><div style="text-align: center;">Tape Projects Presents<br/><br/>Exquisite Creature<br/>A Collective TV Totem-pole Creation<br/></div><br/>This is an invitation to be part of the Exquisite Creature TV Totem Pole.<br/><br/>A stack of TV's will form the vessel in which a mass of screen-based works will loop to reveal a shape-shifting mutant being. It is up to you to choose one body part from a creature, real or imagined, and create a 30 second video or animation.<br/><br/>You are also asked to offer up objects/images/tactile paraphernalia that relate to your video piece to create extensions of the TVs, further adorning the TV body.<br/><br/>Work must be received by Wednesday June 18th 2008 along with a completed submission form downloadable from our website.<br/><br/>For more details have a look at www.tapeprojects.org or contact zoe@tapeprojects.org.<br/><br/><br/><div style="text-align: center;"><span style="font-weight: bold;">DVD #04 - Call for Works</span><br/></div><br/>Tape Projects DVD Issue Four is in the pipeline. We are now seeking your new screen & sound works to be included in this limited edition release. If you’re sitting on something within the realm of short/experimental art videos, animations, hybrid media or sound piece then send it through! Better yet, ignore what you’re sitting on and send us something new that you haven’t even made yet. The chosen works will be included in a 200 edition DVD which will be launched mid August at a performance screening night.<br/><br/>Submission deadline is July 22nd. More info coming soon at www.tapeprojects.org<br/><br/><br/><div style="text-align: center;">Where and what to send<br/><br/>SUBMISSION FORM:<br/>http://www.tapeprojects.org/files/pdf/TapeSubmissionForm.pdf<br/><br/><span style="font-weight: bold;">POSTAL: </span><br/>Tape Projects<br/>PO Box 21059<br/>Little Lonsdale St<br/>Melbourne 8011<br/><br/>Thankyou kindly.<br/>Tape Projects<br/><br/>http://www.tapeprojects.org<br/>hq@tapeprojects.org<br/></div><div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/call%20for%20submissions">call for submissions</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/Melbourne">Melbourne</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/video%20art">video art</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=5154444421518907975" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=5154444421518907975" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/5154444421518907975/" title="Comment" onclick="HaloScan('5154444421518907975'); return false;"><script type="text/javascript">postCount('5154444421518907975'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/5154444421518907975/" title="Trackback" onclick="HaloScanTB('5154444421518907975'); return false;"><script type="text/javascript">postCountTB('5154444421518907975'); </script></a>  </p></div> <div class="post"> <h2 id="post-7556085621134718326"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/please-stand-by.html" rel="bookmark" title="Permanent Link to Please Stand By">Please Stand By</a></h2> <small>Wednesday, May 21, 2008</small> <div class="entry"> <div style="clear:both;"></div><center><object width="425" height="355"><param name="movie" value="http://www.youtube.com/v/xkKbiqy_6-Q&hl=en"></param><param name="wmode" value="transparent"></param><embed src="https://web.archive.org/web/20080527140136oe_/http://www.youtube.com/v/xkKbiqy_6-Q&hl=en" type="application/x-shockwave-flash" wmode="transparent" width="400" height="300"></embed></object></center><br/><br/><span style="font-weight:bold;"><span style="font-style:italic;"><a href="https://web.archive.org/web/20080527140136/http://www.youtube.com/watch?v=xkKbiqy_6-Q" target="_blank">Please Stand By #9</a></span></span>, by <span style="font-weight:bold;"><a href="https://web.archive.org/web/20080527140136/http://www.elvisrichardson.com/" target="_blank">Elvis Richardson</a></span>.<br/><br/>If you're seeing this post via email <span style="font-weight:bold;"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/please-stand-by.html" target="_blank">click here to view</a></span>.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/video%20art">video art</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=7556085621134718326" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=7556085621134718326" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/7556085621134718326/" title="Comment" onclick="HaloScan('7556085621134718326'); return false;"><script type="text/javascript">postCount('7556085621134718326'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/7556085621134718326/" title="Trackback" onclick="HaloScanTB('7556085621134718326'); return false;"><script type="text/javascript">postCountTB('7556085621134718326'); </script></a>  </p></div> <div class="post"> <h2 id="post-5590196845700618739"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/new-venice-biennale-guy-same-as-last.html" rel="bookmark" title="Permanent Link to New Venice Biennale Guy Same As Last Time">New Venice Biennale Guy Same As Last Time</a></h2> <small>Tuesday, May 20, 2008</small> <div class="entry"> <div style="clear:both;"></div>"FAMOUS for his skateboarding videos, Sydney artist <span style="font-weight:bold;">Shaun Gladwell</span> has been chosen to represent Australia at the prestigious Venice Biennale.<br/><br/>"Although the international exhibition is more than a year away, Australia's $2 million campaign has started in earnest with the announcement.<br/><br/>"Four other artists - <span style="font-weight:bold;">Vernon Ah Kee</span>, <span style="font-weight:bold;">Ken Yonetani</span> and installation collaborators <span style="font-weight:bold;">Claire Healy</span> and <span style="font-weight:bold;">Sean Cordeiro</span> - will also show their work during the Italian city's biennale as part of another Australia Council-funded exhibition.<br/><br/>"Gladwell, who has built an international reputation through his powerful video work, said he was honoured to be representing Australia at the biennale, which opens in June next year. "Having been offered the opportunity to show is such a challenge, and although there's a one-year lead time, I'm certainly putting forward some very ambitious projects," Gladwell said.<br/><br/>"His work will be shown in the Australian Pavilion in the Giardini, or large biennale park area.<br/><br/>"Although still in the development stage, the work, titled MADDESTMAXIMVS, is an evocative suite of five thematically related videos, all with sculptural and photographic elements.<br/><br/>"Gladwell is perhaps best-known for his cityscape work - his skateboarding piece, filmed around Bondi Beach, was shown at Venice in 2007 and received positive reviews.<br/><br/>"MADDESTMAXIMVS is influenced by the Australian outback and Mad Max movies."<br/><br/><span style="font-weight:bold;"><a href="https://web.archive.org/web/20080527140136/http://www.theaustralian.news.com.au/story/0,,23726898-16947,00.html" target="_blank"> Artist Shaun Gladwell chosen for Venice Biennale</a></span>, The Australian.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/art%20news">art news</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=5590196845700618739" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=5590196845700618739" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/5590196845700618739/" title="Comment" onclick="HaloScan('5590196845700618739'); return false;"><script type="text/javascript">postCount('5590196845700618739'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/5590196845700618739/" title="Trackback" onclick="HaloScanTB('5590196845700618739'); return false;"><script type="text/javascript">postCountTB('5590196845700618739'); </script></a>  </p></div> <div class="post"> <h2 id="post-3140233686192892899"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/bill-violas-good-manners.html" rel="bookmark" title="Permanent Link to Bill Viola’s Good Manners">Bill Viola’s Good Manners</a></h2> <small>Tuesday, May 13, 2008</small> <div class="entry"> <div style="clear:both;"></div><span style="font-size:85%;"><span style="font-style: italic;">From <span style="font-weight: bold;">Rory Dufficy</span></span>...</span><br/><br/><span style="font-weight: bold;">Bill Viola</span>’s work has always seemed suffused with a reflection of meaning – the outlines of something profound are visible, and the gestures and motions and surfaces seem to reveal something, but too often end up as shimmering, depthless echoes of profundity. His work, with its increasing spectacular technical achievements and visual lustre, has always been concerned with the numinous, but he has never been a truly religious artist, and he lacks the necessary madness, the febrile yearning, of an authentic seeker like, say, <span style="font-weight: bold;">Mark Rothko</span>.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp2.blogger.com/_k6SB4qwGB6g/SCjdEyslfcI/AAAAAAAABJE/4eSDuALSRLc/s1600-h/viola_1.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp2.blogger.com/_k6SB4qwGB6g/SCjdEyslfcI/AAAAAAAABJE/4eSDuALSRLc/s400/viola_1.jpg" alt="" id="BLOGGER_PHOTO_ID_5199648844197232066" border="0"/></a><br/><span style="font-size:85%;">Bill Viola, </span><span style="font-style: italic;font-size:85%;">Fire Woman</span><span style="font-size:85%;">, 2005.</span></center><br/>The works that prompt these thoughts are excerpts from a much longer work, apparently amounting to four hours of video, which was made to accompany a production of <span style="font-style: italic;">Tristan and Isolde</span>. The works, re-christened (as it were) under a catchall title of <span style="font-style: italic;">The Tristan Project</span> were shown in two locations, one piece in the <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.artgallery.nsw.gov.au/exhibitions/current/bill_viola" target="_blank">Art Gallery of NSW</a></span> and the other two in St Saviour’s church in Redfern [both until May 17]. It is difficult to know how to read these works, for they appear to be distinct vignettes, short little tales that would have been distracting to view as the backdrop to the opera, yet at the same time the extremity and size of the gestures we see are completely without context, and the grandiloquence of these movements seems hollow, like listening to the empty bombast of <span style="font-style: italic;">The Ride of the Valkyries</span> without the surrounding <span style="font-style: italic;">Ring Cycle</span>.<br/><br/>We can treat these works as a whole, and they are clearly selected to rhyme with each other in more or less obvious ways.<span style="font-style: italic;"> The Fall into Paradise</span> (2005), at the AGNSW starts with a small light, the pinhole of a camera obscura, which gradually enlarges and separates into the bodies of (presumably) Tristan and Isolde, and it is revealed that the viewer is underwater, watching their liquid descent or deliquescence. Like this piece, the two shown at St Saviour’s – a gorgeous Romanesque church opposite a housing commission high rise – concern watery transfigurations. Showing these pieces in a church was an inspired choice, and the Protestant modesty of the chapel lends a monkish resignation to the works that probably wouldn’t have been visible if they had been displayed in a more secular context.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp0.blogger.com/_k6SB4qwGB6g/SCjc8SslfbI/AAAAAAAABI8/dX3-kP_dyfY/s1600-h/viola.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp0.blogger.com/_k6SB4qwGB6g/SCjc8SslfbI/AAAAAAAABI8/dX3-kP_dyfY/s400/viola.jpg" alt="" id="BLOGGER_PHOTO_ID_5199648698168343986" border="0"/></a><br/><span style="font-size:85%;">Bill Viola, </span><span style="font-style: italic;font-size:85%;">The Fall Into Paradise</span><span style="font-size:85%;">, 2005.<br/>Images courtesy Art Gallery of NSW</span></center><br/>Viola has reached a point – of skill, of funding – where all his works are expertly lit, shot, edited and conceived; these three display an easy mastery of form and a careful economy that polish the veneer spiritual depth. In the best piece, <span style="font-style: italic;">Fire Woman </span>(2005), a woman in a hooded robe walks towards a wall of fire, and then collapses backwards, disappearing into a pool of water, before the water, oleaginous and black, slowly swallows the fire which is muted to a lambent glow and then to nothing – all this happens over a relatively brief period, but the pace is stately, the water and fire gorgeous – one is so busy being impressed that one forgets to be moved.<br/><br/>Bill Viola’s major work, coming as it does after heroic modernism and the equally heroic deconstruction of modernist assumptions has an historical analogue in Mannerism (however disputed that term is today). Major mannerists, following as they did the heroic high Renaissance, were brilliant masters of line and form, and Parmigianino’s paintings, for example, can often seem to be occasions for ‘mere’ virtuosity – <span style="font-style: italic;">Madonna of the Long Neck</span> being the most obvious and most brilliant. Uncharitably, one could Viola’s grandiose performances as a symptom of some sort of decline of meaning in contemporary art, but it wouldn’t be right or fair. Viola’s work is painfully earnest in its belief that it conveys some sort spiritual meaning but, if it is religious, it is with the sweet evanescence of incense from a smoking censer, not the unutterable grandeur of an icon.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/installation">installation</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/public%20galleries">public galleries</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/video%20art">video art</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=3140233686192892899" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=3140233686192892899" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/3140233686192892899/" title="Comment" onclick="HaloScan('3140233686192892899'); return false;"><script type="text/javascript">postCount('3140233686192892899'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/3140233686192892899/" title="Trackback" onclick="HaloScanTB('3140233686192892899'); return false;"><script type="text/javascript">postCountTB('3140233686192892899'); </script></a>  </p></div> <div class="post"> <h2 id="post-1794809380572734837"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/westworld.html" rel="bookmark" title="Permanent Link to Westworld">Westworld</a></h2> <small></small> <div class="entry"> <div style="clear:both;"></div><span style="font-style: italic;">Over the last few years <span style="font-weight: bold;">John A Douglas</span> has been exhibiting his ongoing <span style="font-style: italic;">Screen Test</span> series in various artist run galleries. His latest work is now on show in the ambitious exhibition </span><span><span>Screen Test [Americana/Australiana] - Fragments and Stills</span></span><span style="font-style: italic;"> at <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.chalkhorse.com.au/" target="_blank">Chalk Horse</a> </span> until May 17. He spoke to the Art Life about the project...</span><br/><br/><span style="font-style: italic;">Could you explain the genesis of the show?</span><br/><br/><span style="font-weight: bold;">John A. Douglas: </span>The initial idea for the <span style="font-style: italic;">Screen Test</span> project began in late 2003 when i was curated in a group show at First Draft. I was interested in investigating cinema as a mode of art practice and using the idea of a screen test to perform fragments of film. At the time, I was starting to build an extensive home library of DVD and I remember looking at a few <span style="font-weight: bold;">Hitchcock </span>screen tests as a DVD extra (from <span style="font-style: italic;">Rebecca</span>, I think) which sparked the idea of creating my own version of a Hollywood screen test. The concept was very simple: to perform a simple action selected from a specific point in a film, to follow a set of written instructions and perform them, which is in essence what a Screen test is (and really, if you think about it, can be used to describe the cinematic process as a whole). I later found out that<span style="font-weight: bold;"> Andy Warhol</span> had also played with screen tests in the days of the factory so there was a precedent to this in terms of a legitimate art practice. People often ask why don't I just make movies but I think that it is only in the realm of art practice that the aesthetics of cinema can be realised. This has been true for a lot of artists since the 70s. I also wanted to explore the relationship between the moving image and the film stilled so there was also the beginnings of shooting staged photographic tableaux as a film still. Artists such as <span style="font-weight: bold;">Cindy Sherman</span>, <span style="font-weight: bold;">Jeff Wall</span> and <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.bernardfaucon.net/flash/indexFLASH.htm" target="_blank">Bernard Faucon</a></span> had constructed cinematic images however I wanted to create photographic works that inhabit cinema itself. The current exhibition is the outcome of these investigations and the six photographs and videos span 20 years of cinema history from 1950 - 1971. I also wanted to create a relationship between the cultural aesthetics of Hollywood interior and the light and space of exterior locations in Australian cinema.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp1.blogger.com/_k6SB4qwGB6g/SCjkaislfdI/AAAAAAAABJM/ySlcq4gz6YM/s1600-h/Slide3.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp1.blogger.com/_k6SB4qwGB6g/SCjkaislfdI/AAAAAAAABJM/ySlcq4gz6YM/s400/Slide3.jpg" alt="" id="BLOGGER_PHOTO_ID_5199656914440781266" border="0"/></a><br/><span style="font-size:85%;">John A Douglas, S<i>creen Test #1(Americana)</i>, 2008.<br/>C-Type photograph on alluminium, 1400mm x 1000mm</span><span style="font-size:85%;">.</span></center><br/><br/><span style="font-style: italic;">Your choice of films to quote seems very idiosyncratic -are they of a particular personal resonance for you? </span><br/><br/><span style="font-weight: bold;">JAD:</span> Yes, each work is highly subjective and draws upon personal experiences. But the very nature of how cinema is perceived is contingent on this subjectivity. <span style="font-weight: bold;">Lacan</span> believed that cinema works at the level of <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.aber.ac.uk/media/Students/pjv9801.html" target="_blank">symbolic mirroring of the self</a></span> so that what we see on the screen is a projection of our own ideas about how we perceive ourselves and others in the world. This has the possibility of bringing cinema into the realm of the political where cinema can be used as a tool to perpetuate specific ideologies about society in general. There is no doubt that Hollywood has played a major part in the perpetuating of American ideologies worldwide especially in this country. For example, with <span style="font-style: italic;">Screen Test #1</span>, I perform an action from the <span style="font-weight: bold;">Billy Wilder </span>film <span style="font-style: italic;">Sunset Boulevarde</span>. This work was a direct response to my own experience of being an aging emerging artist who graduated from art school when I was 42. It's not easy when you look around and see that those that make it in the art world and in fact any of the arts (especially artists who place themselves in their work) are young, good looking and often from wealthy families. It's kind of absurd for a middle aged artist to be showing in artist run spaces with people 20 years younger. Sydney, in particular, is a city of cultural paedophiles. In fact a gallery manager once told me I would probably do alright if I lost some weight and stayed behind the camera - they like 'em young here. So for me Norma Desmond embodies the struggle of aging and beauty which affects men as well as women. <span style="font-style: italic;">Sunset Boulevarde</span> was interesting to me because it is a critique of Hollywood and the star system by Hollywood. The film has also been a profound influence on <span style="font-weight: bold;">David Lynch</span>. I like the sad, comic and camp irony of playing Norma and at the same time using her as a vehicle to poke fun at fame.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp3.blogger.com/_k6SB4qwGB6g/SCjk0CslffI/AAAAAAAABJc/tomhw4budvw/s1600-h/Slide23.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp3.blogger.com/_k6SB4qwGB6g/SCjk0CslffI/AAAAAAAABJc/tomhw4budvw/s400/Slide23.jpg" alt="" id="BLOGGER_PHOTO_ID_5199657352527445490" border="0"/></a><br/><span style="font-size:85%;">John A Douglas, <span style="font-style: italic;">Screen Test # 4 (Australiana) - A suicidal synthesis</span>, 2006. 2 mins 30 secs.<br/>Colour, DVD PAL, 16:9 SD with audio.</span></center><br/><br/><span style="font-style: italic;">Some of these films aren't that well known now, especially to a younger audience - do you have a sense of how these images might be read without knowledge of their source?</span><br/><br/><span style="font-weight: bold;">JAD:</span> Actually, I am not sure whether that is always true. The availability of film via DVD and now online means that cinema is often revived by a range of audiences. <span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.luxonline.org.uk/artists/laura_mulvey_and_peter_wollen/bibliography.html" target="_blank">Laura Mulvey</a></span> in her recent book <span style="font-weight: bold;"><span style="font-style: italic;"><a href="https://web.archive.org/web/20080527140136/http://www.amazon.co.uk/Death-24-Second-Laura-Mulvey/dp/1861892632" target="_blank">Death 24 x a Second</a></span></span> postulates that 100 years of cinema is now consumed and exhumed from it's graveyard at a rate that has never been seen before. This is also true for the music industry. My 15 year old nephew's favourite bands are Led Zeppelin and the Doors so I think that because of new technologies this gives us an immediacy never seen before. This has been great for researching the work and examining each film. Online resources such as IMDB and Amazon, as well as cheap DVD players which allow for prefect stilling and slowing of film and software which allows me to create film stills on my desktop all add to the creative experience. When I was in Tokyo in 2006, I saw a group of around 20 young women all dressed as <span style="font-weight: bold;">Audrey Hepburn</span> in <span style="font-style: italic;">Breakfast at Tiffanys</span>, complete with beehives and pearls. It's interesting that an iconic character from a specific moment in cinema some 50 years ago has found its way into the vernacular of contemporary Japanese Street culture. Essentially, I am inviting the audience to play a game where they figure out what films I am performing. In the Australiana part of the project I deliberately chose a lost and forgotten film, <span style="font-style: italic;">Wake in Fright</span> , and the rarely remembered suicide segment from <span style="font-style: italic;">Walkabout</span>. The relative obscurity of these sequences enhances the contrast between the Hollywood films I chose to preform and the Australian fllms. In fact when I researched these films I discovered the tragic reality of Australian cinema; both these films were directed by overseas directors because at the time it was believed that Australia was incapable of making world class films and, thus, that it was better for British or Americans to star in and direct our cinema. So <span style="font-weight: bold;"><span style="font-style: italic;"><a href="https://web.archive.org/web/20080527140136/http://www.theage.com.au/articles/2004/10/15/1097784044919.html?from=storylhs" target="_blank">Wake in Fright</a></span> </span>and <span style="font-weight: bold;"><span style="font-style: italic;"><a href="https://web.archive.org/web/20080527140136/http://www.sensesofcinema.com/contents/01/13/walkabout.html" target="_blank">Walkabout</a></span></span> are actually an outsider's interpretation and construction of Australian culture. Sadly, I believe this attitude is prevalent in Australia and not just in the film industry. So really, I don't think it really matters whether viewers recognise the films or not - but if they do, it will add to the experience of the work. However the shots that I chose to use as the raw material for interpretation were also used because they look good so had a lot of fun playing around with the look of the film purely at the level of stylisation and artifice.<br/><br/><span style="font-style: italic;">How do you see the photographic and video work in terms of performance? Are you concious of the limits of versimilitude when emulating the look of the original films?</span><br/><br/><span style="font-weight: bold;">JAD:</span> My intent was to follow a set of instructions for a selected scene and actions. Each performance is an enacted moment of cinema iconography, but clearly it was also important for me not to take this too seriously. So there is a palpable sense of the ironic in these works. The earlier <span style="font-style: italic;">Screen Tests</span> are concerned with a form of emulation, of 'getting it right' so to speak - and that imposes its own limits, in some ways. As the project progressed, though I moved away from the literal renderings in order to create something other than the director's original intention. I wanted the works to become more an impression of the performed instruction and mise en scene, rather than trying to perform it exactly as it was in the original scene. These are the alternative versions, if you like. For <span style="font-style: italic;">Screen Test #5 </span>(which is the suicide scene from <span style="font-style: italic;">Wake in Fright</span>), my performance is of three actions by three different characters in the original film which I merged into one character. So this gives a heightened sense of those actions because they are are edited together in one sequence. I also started to play around with the look of the film (rather than replicating a set), so that the action now takes place in abandoned 1960's petrol station (a nod to <span style="font-weight: bold;">Ed Ruscha</span>) instead of in an outback pub. Similarly, in <span style="font-style: italic;">Screen Test #4</span>, I use a Holden Kingswood instead of a VW. That VW in <span style="font-style: italic;">Walkabout</span> really annoyed me, actually. Surely a middle class Australian family man in 1971 would drive a Kingswood? I also extended the length of the scene and directed my own shots based loosely on the original. I took this even further with my final <span style="font-style: italic;">Screen Test</span>, which is almost completely removed from <span style="font-weight: bold;">James Dean</span>'s performance in Giant, and instead gives only impression of the film, relocated in the outback. <span style="font-style: italic;">Screen Test #6 (James Dean Jesus)</span> builds on the aesthetic elements of that <span style="font-style: italic;">Giant</span> rather than any specific scene, drawing on elements like the molasses representing oil, cattle, the car crash after the film and the death of James Dean, etc. The performance was based around the iconic shots of James Dean on the <span style="font-weight: bold;">Giant</span> set where his body forms the shape of a crucifix, and also drew on the wooden ruins Little Reatta which still satnd on the Marfa Plains. I was lucky enough to find a similar structure on the Hay Plains in NSW.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp1.blogger.com/_k6SB4qwGB6g/SCjkpislfeI/AAAAAAAABJU/KFs9yVNvFd4/s1600-h/st5.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp1.blogger.com/_k6SB4qwGB6g/SCjkpislfeI/AAAAAAAABJU/KFs9yVNvFd4/s400/st5.jpg" alt="" id="BLOGGER_PHOTO_ID_5199657172138819042" border="0"/></a><br/><span style="font-size:85%;">John A Douglas, <span class="EC_Apple-style-span" style=";font-family:Tahoma;font-size:12;"><span style="font-style: italic;">Screen Test #5 (Australiana),</span> 2008.<br/>C-Type print on alluminium, 1400mm x 1000mm</span></span><span style="font-style: italic;font-size:85%;"></span><span style="font-size:85%;">.</span> </center><br/><span style="font-style: italic;">It's interesting that the moments that you've taken from these films are quite violent, or are about violence in some way, yet their delivery is quite subtle, less overtly dramatic than the performances in the films, and have a sense of stillness. Was that an effect you were looking at?</span><br/><br/><span style="font-weight: bold;">JAD:</span> I never thought of it like that but it's an interesting observation. I guess my main concern in the depictions of violence were twofold. Firstly, I wanted to draw attention to the self-destructive tendencies often portrayed in films about or made in Australia as well as the highly destructive nature of male violence in Hollywood cinema. Obviously, this is why I chose the genres the western and the war film for <span style="font-style: italic;">Screen Test #2</span> and <span style="font-style: italic;">Screen Test #3</span>. But the films those works were based on (<span style="font-style: italic;">WestWorld</span> and <span style="font-style: italic;">Dr Strangelove</span>) were a critique of those phenomena. The typical representation of masculinity in Australian cinema is full of ockerisms and depictions of hyper-Aussie men who survive on a diet of alcohol and violence, and I wanted my performance of that violence or intended violence to have an almost carnivalesque irony. Secondly, I wanted intensify the aesthetic qualities of the actions performed - and the stillness is part of that. In <span style="font-style: italic;">Screen Test #4</span>, for instance, the action is slowed down and the shots are extended to show visual detail that is missed in the original. We see the car burning for a longer period and the destruction of the picnic set is slowed down and exaggerated to the point where it becomes visually fetishised.<br/><br/><span style="font-style: italic;">The installation of the works is quite simple. A wall of images facing two flat screen TVs. Is there a dialogue between the two walls?</span><br/><br/>JAD: In showing the photographs with the video, I wanted to articulate the relationship between the motion image and the still. <span style="font-weight: bold;">Raymond Bellour</span>, who has written extensively on cinema and the practice of stilling the film, explored this relationship in the 1980s when he paused the VCR on the shot of Mrs Danvers consumed in flames from Hitchcock's <span style="font-style: italic;">Rebecca</span>. He observed, in conversation with the psychologist <span style="font-weight: bold;">Guy Rosalto</span>, that for him, the effect of that particular shot evoked a feeling of terror not experienced in the normal linear time frame of the motion picture. Rosalto remarked that the experience stilling a film often evokes early childhood memories of primacy and Laura Mulvey explores this too when she discusses the feelings of the uncanny evoked the slowing and stilling of the shot. One of the primary objectives of the <span style="font-style: italic;">Screen Test</span> project was to take this fragmentation of film one step further; I wanted to become the still and to occupy and inhabit this primal territory. Interestingly, the Hollywood director <span style="font-weight: bold;">Michel Gondry</span> recently recreated a set from his film <span style="font-style: italic;">Be Kind Rewind</span> and exhibited it as an installation at Dietch Projects in New York in March this year. He invited the audience to the perform their own versions of cinema and exhibited the set and the outcomes at the gallery. He felt that it was only possible for this to happen in the environment of the gallery. Hollywood had finally made it to the art world.<div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/artist%20run%20galleries">artist run galleries</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/performance%20art">performance art</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/photography">photography</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/video%20art">video art</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=1794809380572734837" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=1794809380572734837" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/1794809380572734837/" title="Comment" onclick="HaloScan('1794809380572734837'); return false;"><script type="text/javascript">postCount('1794809380572734837'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/1794809380572734837/" title="Trackback" onclick="HaloScanTB('1794809380572734837'); return false;"><script type="text/javascript">postCountTB('1794809380572734837'); </script></a>  </p></div> <div class="post"> <h2 id="post-1131546211127238912"><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008/05/head.html" rel="bookmark" title="Permanent Link to Head">Head</a></h2> <small>Wednesday, May 07, 2008</small> <div class="entry"> <div style="clear:both;"></div><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp0.blogger.com/_k6SB4qwGB6g/SCD6Xsf4bzI/AAAAAAAABIs/I5J4HfXx_x8/s1600-h/anatomicaltheatre02.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp0.blogger.com/_k6SB4qwGB6g/SCD6Xsf4bzI/AAAAAAAABIs/I5J4HfXx_x8/s400/anatomicaltheatre02.jpg" alt="" id="BLOGGER_PHOTO_ID_5197429254974369586" border="0"/></a><br/><span style="font-size:85%;">“<span style="font-style: italic;">La Specola</span>” (Museo di Storia Naturale) : Florence, Italy<br/>"<span style="font-style: italic;">Anatomical Venus</span>"<br/>Wax model with human hair and pearls in rosewood and Venetian glass case;<br/>Probably modeled by Clemente Susini (around 1790)</span></center><br/><br/>"Anatomical Theatre is a photographic exhibition documenting artifacts collected by and exhibited in medical museums throughout Europe and the United States. The objects in these photos range from preserved human remains to models made from ivory, wax, and papier mâché. The artifacts span from the 16th Century to the 20th, and include examples from a wide range of countries, artists, and preparators..."<br/><br/><span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.astropop.com/anatomical/introduction.html" target="_blank">Anatomical Theatre: Depictions of the Body, Disease, and Death in Medical Museums of the Western World</a></span><br/><br/><center><span style="font-weight: bold;">* * * *</span></center><br/><br/>"The Kaibo Zonshinzu anatomy scrolls, painted in 1819 by Kyoto-area physician Yasukazu Minagaki (1784-1825), consist of beautifully realistic, if not gruesome, depictions of scientific human dissection.<br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp0.blogger.com/_k6SB4qwGB6g/SCD4Psf4bwI/AAAAAAAABIU/CXe9lFegrpU/s1600-h/anatomical_scroll_1.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp0.blogger.com/_k6SB4qwGB6g/SCD4Psf4bwI/AAAAAAAABIU/CXe9lFegrpU/s400/anatomical_scroll_1.jpg" alt="" id="BLOGGER_PHOTO_ID_5197426918512160514" border="0"/></a></center><br/><br/>"Unlike European anatomical drawings of the time, which tended to depict the corpse as a living thing devoid of pain (and often in some sort of Greek pose), these realistic illustrations show blood and other fluids leaking from subjects with ghastly facial expressions..."<br/><br/><span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://www.pinktentacle.com/2008/04/kaibo-zonshinzu-anatomy-scrolls-1819" target="_blank">Kaibo Zonshinzu anatomy scrolls (1819)</a></span>, from Pink Tentacle.<br/><br/><center><span style="font-weight: bold;">* * * *</span></center><br/><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp3.blogger.com/_k6SB4qwGB6g/SCD5Bcf4byI/AAAAAAAABIk/zG0xUNPOTDc/s1600-h/dogfurskull.jpg"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp3.blogger.com/_k6SB4qwGB6g/SCD5Bcf4byI/AAAAAAAABIk/zG0xUNPOTDc/s400/dogfurskull.jpg" alt="" id="BLOGGER_PHOTO_ID_5197427773210652450" border="0"/></a></center><br/><br/><div style="text-align: center;"><span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://skulladay.blogspot.com/" target="_blank">Skull-A-Day</a></span></div><br/><br/><div style="text-align: center;"><span style="font-weight: bold;">* * * * </span><br/></div><br/><center><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://web.archive.org/web/20080527140136/http://bp2.blogger.com/_k6SB4qwGB6g/SCD7qMf4b0I/AAAAAAAABI0/_iZ8OWcGlxc/s1600-h/dick.JPG"><img style="cursor: pointer;" src="https://web.archive.org/web/20080527140136im_/http://bp2.blogger.com/_k6SB4qwGB6g/SCD7qMf4b0I/AAAAAAAABI0/_iZ8OWcGlxc/s400/dick.JPG" alt="" id="BLOGGER_PHOTO_ID_5197430672313577282" border="0"/></a></center><br/><br/>"In legal news, a lawsuit filed by David Hanson and Hanson Robotics (the creators of the PKD android) was dismissed by a California court on March 29th. Hanson sued America West airlines after leaving PKD's electric head in the overhead bin on a trip from Texas to San Francisco..."<br/><br/><span style="font-weight: bold;"><a href="https://web.archive.org/web/20080527140136/http://totaldickhead.blogspot.com/2008/04/headless-man-sues-loses.html" target="_blank">Total Dick-Head</a></span><div style="clear:both; padding-bottom:0.25em"></div><p class="blogger-labels">Labels: <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/art%20news">art news</a>, <a rel="tag" href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/search/label/time%20wasting">time wasting</a></p> </div> <p class="postmetadata"><span class="item-action"><a href="https://web.archive.org/web/20080527140136/http://www.blogger.com/email-post.g?blogID=6466083&postID=1131546211127238912" title="Email Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_email.gif"/></a></span><span class="item-control blog-admin pid-1396985072"><a style="border:none;" href="https://web.archive.org/web/20080527140136/http://www.blogger.com/post-edit.g?blogID=6466083&postID=1131546211127238912" title="Edit Post"><img class="icon-action" alt="" src="https://web.archive.org/web/20080527140136im_/http://www.blogger.com:80/img/icon18_edit_allbkg.gif"></a></span> <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/comments/nesbitt/1131546211127238912/" title="Comment" onclick="HaloScan('1131546211127238912'); return false;"><script type="text/javascript">postCount('1131546211127238912'); </script></a> | <a class="comment-link" href="https://web.archive.org/web/20080527140136/http://www.haloscan.com/tb/nesbitt/1131546211127238912/" title="Trackback" onclick="HaloScanTB('1131546211127238912'); return false;"><script 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href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2004_08_01_archive.html">August 2004</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2004_09_01_archive.html">September 2004</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2004_10_01_archive.html">October 2004</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2004_11_01_archive.html">November 2004</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2004_12_01_archive.html">December 2004</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_01_01_archive.html">January 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_02_01_archive.html">February 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_03_01_archive.html">March 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_04_01_archive.html">April 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_05_01_archive.html">May 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_06_01_archive.html">June 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_07_01_archive.html">July 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_08_01_archive.html">August 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_09_01_archive.html">September 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_10_01_archive.html">October 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_11_01_archive.html">November 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2005_12_01_archive.html">December 2005</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_01_01_archive.html">January 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_02_01_archive.html">February 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_03_01_archive.html">March 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_04_01_archive.html">April 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_05_01_archive.html">May 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_06_01_archive.html">June 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_07_01_archive.html">July 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_08_01_archive.html">August 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_09_01_archive.html">September 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_10_01_archive.html">October 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_11_01_archive.html">November 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2006_12_01_archive.html">December 2006</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_01_01_archive.html">January 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_02_01_archive.html">February 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_03_01_archive.html">March 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_04_01_archive.html">April 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_05_01_archive.html">May 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_06_01_archive.html">June 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_07_01_archive.html">July 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_08_01_archive.html">August 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_09_01_archive.html">September 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_10_01_archive.html">October 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_11_01_archive.html">November 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2007_12_01_archive.html">December 2007</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008_01_01_archive.html">January 2008</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008_02_01_archive.html">February 2008</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008_03_01_archive.html">March 2008</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008_04_01_archive.html">April 2008</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artlife.blogspot.com/2008_05_01_archive.html">May 2008</a></li> </ul>    <li> </li> <h2>10 OS Exhibitions</h2> <ul> <li><a href="https://web.archive.org/web/20080527140136/http://blog.makezine.com/archive/2008/02/7200_bananas.html" target="_blank">7,200 Bananas</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://momentaart.org/cur_pro/airKissing.html" target="_blank">Air Kissing</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.mac.uchile.cl/exposiciones/2008/arteayuda.html" target="_blank">Arte Ayuda</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.moca.org/emorydouglas/" target="_blank">Black Panthers</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://arts.guardian.co.uk/art/news/story/0,,2256943,00.html" target="_blank">Da Vinci Coda</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.tate.org.uk/modern/exhibitions/duchampmanraypicabia/default.shtm" target="_blank">Duchamp Ray Picabia</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.guggenheim-bilbao.es/secciones/programacion_artistica/nombre_exposicion_claves.php?idioma=en&id_exposicion=64" target="_blank">The Matter of Time</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://roppongihills.com/jp/events/macg_kaodama.html" target="_blank">Kaodama-Tatuya Ishi</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.palaisdetokyo.com/#/fo3/high/programme/home.inc.php" target="_blank">Loris Greaud-Cellar Door</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.tehranmoca.com/en/index.aspx" target="_blank">Zipoli</a></li> </ul> <li> </li> <h2>Art Media</h2> <ul> <li><a href="https://web.archive.org/web/20080527140136/http://www.art-almanac.com.au/" target="_blank">Art Almanac</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artaustralia.com/" target="_blank">Art & Australia</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artguide.com.au/" target="_blank">Art Gallery Guide</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artlink.com.au/" target="_blank">Art Link</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.ausart.com.au/" target="_blank">Aus Art Editions</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artcollector.net.au/" target="_blank">Aust. Art Collector</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.theaustralianartmarketreport.com.au/" target="_blank">Aust. Art Market Report</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artmonthly.org.au/" target="_blank">Art Monthly</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.horwitz.com.au/Artist-Profile.html" target="_blank">Artist Profile</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artreview.com.au/" target="_blank">Aust. Art Review</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.theaustralian.news.com.au/opindex/0,9320,ausarts%5E%5ETEXT,00.html" target="_blank">The Australian Arts</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.cacsa.org.au/now/index_frames_bs.html" target="_blank">Broadsheet</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.crawl.net.au/" target="_blank">Crawl.net.au</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.daao.org.au/" target="_blank">DOAO</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.etisoppo.com/" target="_blank">Etisoppo</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.qut.edu.au/eyeline/" target="_blank">Eyeline</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.henrythornton.com/category.asp?category_id=8" target="_blank">Henry Thornton arts</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://isnotmagazine.org/target=" _blank">Is Not Magazine</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.machine.org.au/" target="_blank">Machine</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.newmatilda.com/home/default.asp" target="_blank">New Matilda</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.nownow.com.au/" target="_blank">NowNow</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.poloxygen.com/" target="_blank">Pol Oxygen</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.acp.au.com/" target="_blank">Photofile</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.realtimearts.net/" target="_blank">Real Time + On Screen</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.runway.org.au/" target="_blank">Runway</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://spinach7.com/signature/info.php" target="_blank">Signature</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.smh.com.au/entertainment/arts/index.html" target="_blank">SMH Arts</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.unmagazine.org/" target="_blank">Un Magazine</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.expressmedia.org.au/voiceworks.php" target="_blank">Voiceworks</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.watim.com/" target="_blank">W.a.t.i.m.</a></li> </ul> <li> </li> <h2>Art Media OS</h2> <ul> <li><a href="https://web.archive.org/web/20080527140136/http://www.absolutearts.com/" target="_blank">Absolute Arts</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.afterall.org/" target="_blank">Afterall</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artandauction.com/html/" target="_blank">Art + Auction</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artbusinessnews.com/" target="_blank">Art Business News</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artcritical.com/" target="_blank">Art Critical</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artdaily.com/" target="_blank">Art Daily</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.aldaily.com/" target="_blank">Arts & Letters Daily</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.aapmag.com/" target="_blank">Art Asia Pacific</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artforum.com/" target="_blank">Art Forum</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artinamericamagazine.com/" target="_blank">Art In America</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artinfo.com/" target="_blank">Art Info</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artmonthly.co.uk/" target="_blank">Art Monthly UK</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artnewsonline.com/index.cfm" target="_blank">ARTnews</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artnews.co.nz/" target="_blank">Artnews NZ</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.theartnewspaper.com/" target="_blank">The Art Newspaper</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artpress.com/" target="_blank">Art Press<a></li> <li><a href="https://web.archive.org/web/20080527140136/http://artprice.com/" target="_blank">Art Price</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.art-review.com/html/site.html" target="_blank">Art Review</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artthrob.co.za/" target="_blank">Art Throb SA</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.a-n.co.uk/" target="_blank">The Artists Information Co.</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.cabinetmagazine.org/" target="_blank">Cabinet</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.culturetv.tv/" target="_blank">Culture TV</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.emblemmag.com/" target="_blank">Emblem Magazine</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.flashartonline.com/" target="_blank">Flash Art</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.framework.fi/" target="_blank">Framework</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.frieze.com/" target="_blank">Frieze</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.guardian.co.uk/arts/" target="_blank">Guardian Arts</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.modernpainters.co.uk/" target="_blank">Modern Painters</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.naturalselection.org.nz/" target="_blank">Natural Selection</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.parachute.ca/" target="_blank">Parachute</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.pataphysicsmagazine.com/index.html" target="_blank">Pataphysics</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://rhizome.org/netartnews/index.php" target="_blank">Rhizome</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.spikeart.com/" target="_blank">Spike Art Quarterly</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.springerin.at/" target="_blank">Springerin</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.tate.org.uk/tateetc" target="_blank">Tate Etc</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.temaceleste.com/" target="_blank">Tema Celeste</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.textezurkunst.de/" target="_blank">Texte zur Kunst</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.vam.ac.uk/" target="_blank">V&A; Magazine</a></li> </ul> <li> </li> <h2>Art Life</h2> <ul> <li><a href="https://web.archive.org/web/20080527140136/http://1001.net.au/" target="_blank">1001 Nights Cast</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.altheaaseoche.com/" target="_blank">Althea Aseoche</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.marcalperstein.com/" target="_blank">Marc Alperstein</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.brookandrew.com/" target="_blank">Brook Andrew</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.artistrunningspace.com/" target="_blank">Artist Running Space</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.ourdayout.org/" target="_blank">James & Eleanor Avery</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.paulbai.com/" target="_blank">Paul Bai</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.theballpark.com.au/" target="_blank">Di Ball</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.steven-ball.net/" target="_blank">Steven Ball</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.zannybegg.com/" target="_blank">Zanny Begg</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.monikabehrens.com/" target="_blank">Monika Behrens</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.pinkfit.net/" target="_blank">Drew Bickford</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.rydavidbradley.com/" target="_blank">Ry David Bradley</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.visualartist.info/visualartist/artist/?artistId=1292" target="_blank">Kathryn Brimblecombe-Fox</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.philipbrophy.com/" target="_blank">Philip Brophy</a></li> <li><a href="https://web.archive.org/web/20080527140136/https://www.cashbrownonline.com/" target="_blank">Cash Brown</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://but-husaim.id.au/" target="_blank">Deidre But-Husaim</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://juliaburns.com/" target="_blank">Julia Burns</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.anu.edu.au/ITA/CSA/callas/INDEX.HTML" target="_blank">Peter Callas</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.davidcapra.com/" target="_blank">David Capra</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.christiancapurro.com/" target="_blank">Christian Capurro</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.222productions.com.au/" target="_blank">Maria Fernanda Cardoso</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.tomcarment.com/" target="_blank">Tom Carment</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.myspace.com/k8carr" target="_blank">Kate Carr</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.katthycavaliere.com/" target="_blank">Katthy Cavaliere</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.abbychambers.com/" target="_blank">Abby Chambers</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.sadiechandler.com/" target="_blank">Sadie Chandler</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.shiaupengchen.com/" target="_blank">Shiau-Peng Chen</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://pocketinthesky.com/" target="_blank">Claire Conroy</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.yvettecoppersmith.com/" target="_blank">Yvette Coppersmith</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.marcelcousins.com/" target="_blank">Marcel Cousins</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.scramb.com/" target="_blank">Stephen Cramb</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.dlab.com.au/" target="_blank">Daniel Crooks</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.sarahcrowest.com/" target="_blank">Sarah CrowEST</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.danielmcunningham.com/" target="_blank">Daniel Mudie Cunningham</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.andrewcurtis.com.au/" target="_blank">Andrew Curtis</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.ryszard.net/" target="_blank">Ryszard Dabek</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.debradawes.com.au/" target="_blank">Debra Dawes</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.bendenham.com/" target="_blank">Ben Denham</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.james-dodd.com/" target="_blank">James Dodd</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.elladreyfus.com/" target="_blank">Ella Dreyfus</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.richard-dunn.net/" target="_blank">Richard Dunn</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.fabyc.co.uk/" target="_blank">Deej Fabyc</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.fairskye.com/" target="_blank">Merilyn Fairskye</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.bethanyjfellows.blogspot.com/" target="_blank">Bethany J Fellows</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.susanfereday.net/" target="_blank">Susan Fereday</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.danny-ford.com/" target="_blank">Danny Ford</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.maritafraser.com/" target="_blank">Marita Fraser</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.joachimfroese.com/" target="_blank">Joachim Froese</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.haresbreath.com/fortescue/index.html" target="_blank">Chris Fortescue</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.haresbreath.com/donaldfortescue/index.html" target="_blank">Donald Fortescue</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.benfrostisdead.com/" target="_blank">Ben Frost Is Dead</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.hannahfurmage.com/" target="_blank">Hannah Furmage</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.edwinart.com/" target="_blank">Edwin Gardiner</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://up.to/gawronski" target="_blank">Alex Gawronski</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.junogemes.com/" target="_blank">Juno Gemes</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.gossippop.com/" target="_blank">Gossippop</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.roberthague.com/" target="_blank">Robert Hague</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.ianhaig.net/" target="_blank">Ian Haig</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.rochellehaley.com/" target="_blank">Rochelle Haley</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://users.bigpond.net.au/peterhardman" target="_blank">Peter Hardman</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.stereopresence.net/" target="_blank">Ross Rudesch Harley</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.claireandsean.com/" target="_blank">Healy & Cordeiro</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.ashhempsall.com.au/" target="_blank">Ash Hempsall</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://judithvanheeren.blogspot.com/" target="_blank">Judith Van Heeren</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.lilyhibberd.com/" target="_blank">Lily Hibberd</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.murrayhilton.com.au/" target="_blank">Murray Hilton</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.anitahochman.com/" target="_blank">Anita Hochman</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.cherryhood.com.au/" target="_blank">Cherry Hood</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.hobarthughesart.blogspot.com /" target="_blank">Hobart Hughes</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.andrewhurle.com/" target="_blank">Andrew Hurle</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.estelleihasz.com/" target="_blank">Estelle Ihasz</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.natashajohnsmessenger.com/" target="_blank">Natasha Johns-Messenger</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.alanjonesonline.com/" target="_blank">Alan Jones</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.annekay.net/" target="_blank">Anne Kay</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.anwenkeeling.com.au/" target="_blank">Anwen Keeling</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.rennykodgers.com/" target="_blank">Renny Kodgers</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.sari.net.au/" target="_blank">Sari tm Kivinen</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.derekkreckler.com/" target="_blank">Derek Kreckler</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.lindenlangdon.com/" target="_blank">Lindon Langdon</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.alexlawler.com/" target="_blank">Alex Lawler</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.brendanlee.com/" target="_blank">Brendan Lee</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.owenleong.com/" target="_blank">Owen Leong</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.ruarklewis.com/" target="_blank">Ruark Lewis</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.maxlieberman.com/" target="_blank">Max Lieberman</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://tonylloyd.alphalink.com.au/" target="_blank">Tony Lloyd</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.roxdeluca.com /" target="_blank">Rox de Luca</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.stewartmacfarlane.com/" target="_blank">Stewart MacFarlane</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.alasdairmacintyre.com/" target="_blank">Alasdair Macintyre</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.jaidigital.com/" target="_blank">Jai McKenzie</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.tim-maguire.com/" target="_blank">Tim Maguire</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.marynowsky.net/" target="_blank">Wade Marynowsky</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.mestrom.org/" target="_blank">Sannae Mestrom</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.melissamai.com/" target="_blank">Melissa Mai</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.marosy-weide.com/default2.asp" target="_blank">Eva Marosy-Weide</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.imerda.com/" target="_blank">Merda</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.claremilledge.com/" target="_blank">Clare Milledge</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.ianmilliss.com/" target="_blank">Ian Milliss</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://minxeffect.blogspot.com/" target="_blank">Minx Effect</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.msmr.theregistry.net.au/" target="_blank">Ms. & Mr.</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.katemurphy.com.au/" target="_blank">Kate Murphy</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.mymisio.com/" target="_blank">Madoka Muto</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.pnaumann.net/" target="_blank">Peter Naumann</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.simeon-nelson.com/" target="_blank">Simeon Nelson</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.myspace.com/djnesbitt" target="_blank">DJ Nesbitt</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.nobodys.info/index.htm" target="_blank">Nobodys</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.adamnorton.net/" target="_blank">Adam Norton</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.raquelormella.com/" target="_blank">Raquel Ormella</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.peterorum.com/" target="_blank">Peter Orum</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.halinka.com.au/" target="_blank">Halinka Orszulok</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.donnapage.com/" target="_blank">Donna Page</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://incsub.org/wpmu/nodnil" target="_blank">Lindon Parker</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.sarahparker.com.au/" target="_blank">Sarah Parker</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.scottpetrieart.com/" target="_blank">Scott Petrie</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://patriciapiccinini.net/" target="_blank">Patricia Piccinini</a></li> <li><a href="https://web.archive.org/web/20080527140136/http://www.izabelapluta.net/" target="_blank">Izabela Pluta</a><