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Full-Text Articles in Social and Behavioral Sciences
Beyond The Surface: Susan Ballard, Kim Pieters, Seraphine Pick And Maryrose Crook, Su Ballard
Beyond The Surface: Susan Ballard, Kim Pieters, Seraphine Pick And Maryrose Crook, Su Ballard
Su Ballard
Extracts from Catalogue essay: Pages and paintings generate spaces of activity, where basic white is always stung by experience. In Beyond the Surface, three painters and one writer present these visual spaces as fragments that unfold before the viewer. Travelling between the paintings and words in this exhibition, we find ourselves in seemingly exotic places and other worlds, watching fleeting half-lives which are often pervaded by the perfume of earlier thoughts or memories. Pick’s shelf of Earthly Possessions offers an archive of yet another kind. These Possessions may be disguised in white paint, but unlike most found objects they do …
It's A Small World After All: Susan Norrie's Enola, Su Ballard
It's A Small World After All: Susan Norrie's Enola, Su Ballard
Su Ballard
This essay explores the movements of cinema as it is refashioned within an art gallery space. In addition it charts a number of research ideas as they find themselves manifest alongside Australian artist Susan Norrie’s digital video installation ‘ENOLA’ (2004). The essay engages with a current argument in new media theory surrounding the influence and relevance of the cinematic apparatus for analysis of new media, and suggests that although both cinema and new media can be understood through shared aspects of movement, duration, and sound, to reference cinema directly in a digital gallery installation also introduces a number of problematic …
Susan Norrie - Exhibition Catalogue Essay: Taking Time, Su Ballard
Susan Norrie - Exhibition Catalogue Essay: Taking Time, Su Ballard
Su Ballard
In ENOLA this shifted perception is multiplied many times over. We see the camera as it sees, we see the visitors to the themepark looking at the world below them as they step carefully between its buildings, we watch the tour guides watching that scene, we see the spaces of the installation, we see the stools which stand mutely before the screen, we see ourselves amidst others watching the screen. At no point do any of these levels of vision refer back to reality, but instead keep us aware of the multiple and material structures of the architectures of the …