Social and Behavioral Sciences Commons^™

I La Galigo By Robert Wilson, Margaret M. Hamilton

Faculty of Creative Arts - Papers (Archive)

No doubt a reference to Einstein’s Twin Paradox constitutes a seemingly incongruous opening to an appraisal of Robert Wilson’s latest production I La Galigo, inspired by an epic poem from South Sulawesi. However, Einstein is not only the subject of one of Wilson’s most acclaimed productions, but this brief allusion to his theory encapsulates the hypnotic dilation of time intrinsic to Wilson’s theatre. Wilson is known for his ability to transform the stage into a temporal sculpture that renders the presence of time aesthetically tangible through duration and repetition. His unique spatial construction imposes a kinetic logic on objects and …

Bilateral Petersham, Lucas M. Ihlein

Faculty of Creative Arts - Papers (Archive)

After I finished my blog project Bilateral Kellerberrin in WA (April-May 2005) I had an epiphany.

In Kellerberrin, I had an amazing time “getting to know the townsfolk” 2000km from home, but when I got back to my own suburb, I was struck by how little I knew my own neighbours.

So I decided to do the exact same project at home: and that’s what became Bilateral Petersham: April-May 2006.

Embedded Ecologies: Teaching Digital Theory In Art And Design, Su Ballard, C Mccaw

Faculty of Creative Arts - Papers (Archive)

We are both researchers in a traditional sense and also design and art practitioners. We work in an environment where our students make things as well as study theory. Our hypotheses surround our experiences, both as academic 'makers' and through our observations in the classroom. Our position is, that if practice and theory are integrated and embedded within art and design educational experience, meaning is brought to theory and thoughtful positioning to practice. There is a wide range of literature on the theory/practice relationship within art school environments. We draw on this material but in many ways diverge from it …

Susan Norrie - Exhibition Catalogue Essay: Taking Time, Su Ballard

Faculty of Creative Arts - Papers (Archive)

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 …

Bilateral Blogging, Lucas Ihlein

Faculty of Creative Arts - Papers (Archive)

In this discussion I consider the social and aesthetic functions of participatory visual art practice, with specific reference to my recent project "Bilateral Kellerberrin". Nicholas Bourriaud, in his book Relational Aesthetics, argues that the current era is characterised by the “reification” of social interactions. For Bourriaud, everyday interactions have become commodified and transformed into products which can be sold back to us. Bourriaud sees a role for contemporary visual art in resisting this commodification of everyday experience. He asserts that art is able to bloom in the gaps which are not controlled or mediated by commerce. Some art practices, then, …

Life Of The System 1980 - 2005, Jacky Redgate

Faculty of Creative Arts - Papers (Archive)

“In 1980 I worked with sculptural objects that I exhibited as tableaux. They were based on a diary my mother wrote when I was hospitalized as a three-year old child. The sculptures were lost and I recently discovered photographic documentation of them shot in sunlight. I have enlarged them and restaged them as artistic documentation”.

Saltwaterfreshwater, Ian A. Mclean

Faculty of Creative Arts - Papers (Archive)

Aboriginal and settler Australians share the same place, and issues such as water, which this exhibition addresses, are important to each. So it should be no surprise that exhibitions combining Aboriginal and settler art are now commonplace. Yet each remains distinct from the other, despite the increasing tendency of Aboriginal art towards the aestheticised compositions of modernism, and settler art picking up on Aboriginal patterns, rhythms and colours. In this exhibition Richard Woldendorp's aerial photographs are a good example of the latter. While they have that Aboriginal 'look', they lack the intimate tactility of Aboriginal art: they are ethereal, not …