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(2006)Creative Work (non-textual)The boundaries between viewer and artwork are well established by gallery and museum conventions, and reinforced via the minimal yet authoritative presence of thin cordon strings, white lines marked on the floor, alarms, glass cases, raised platforms and gallery staff. Relational art overrides these boundaries, inviting the audience into the spatiality and fabric of an artwork, requiring the work to be viewed, experienced or completed only once the audience member is actively involved and participating. The work Sunset Video is placed within the installation C20th Mythological Beasts: At Home with the Locust People, the viewer is only able to view the video work by entering the physical space of the installation work, disrupting the conventional relationship between artwork and viewer, and potentially enhancing the viewers empathic contemplation. At the time of this works creation in 1975, video as an integrated component of a sculptural installation (at this time called an ‘environment’), was an innovation, as was video as an art form. The significance of the work Sunset Video is attested by its long exhibition history including: with C20th Mythological Beasts: 1975, West Street Gallery, Sydney; 1976, Three Statements on Environment, Ewing and George Paton Galleries, University of Melbourne; 1976, Post Object Show, Experimental Art Foundation, Adelaide; 1995, Sutton Gallery, Melbourne; as a video only: 2004, Sutton Gallery, Melbourne; 2005, Bellas Milani Gallery, Brisbane; 2007, Performance Space, Sydney. Additionally the work has been included in the inaugural selection of 20 Australian video artists for Monash University’s Australian Video Art Archive.
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(2002)Creative Work (non-textual)Feminist practitioners such as Barbara Kruger, Mary Kelly and Narelle Jubelin have made an important contribution toward visual art since the 1980s. Using media images and reinvigorating objects associated with ‘the feminine’, these artists have revealed official historical narratives of the cultural and social to be constructed. They have demonstrated that femininity is both an historical visual construct and simultaneously erased from Western visual culture. Ely’s research contribution to this field lies in the deployment of conceptual art techniques in conjunction with time-based media, carrying the feminist argument into these areas of artistic practice. Histories is an installation that assembles lithographs and woodblock prints representing Western visual systems, didactically placing these into a familiar historical timeline. These sit alongside a blank, black sheet of paper, standing in for the ‘unknown’ feminine. Ely takes this opposition between the known and unknown further by juxtaposing this binary to a recording of the night breast-feeding of an infant. Ely’s practice-based research effects a displacement of the usual binary revealed as normative by feminist artists. Time-based media demonstrates the presence of another kind of daily and corporeal familiar ‘history’. The work contributes to feminist visual art practice by using diverse installation media to demonstrate the multiplicity of history itself. The significance of the work is evidenced by its inclusion in the exhibition Fieldwork held at the Ian Potter Centre for Australian Art, NGV, Melbourne, an exhibition surveying the most important developments in Australian Art from 1968-2002. The work has also been shown in Spitting and Biting at Monash University Gallery, Melbourne.
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(2002)Creative Work (non-textual)Within the Conceptual Art movement recent artists such as Marcel Brooderthaus have developed an investigative research strategy that uses fiction and appropriation in order to critically reflect upon the art world’s institutions such as the museum. This practice-based research aims to intentionally blur the boundaries between fiction and fact, and operates via many of the same devices of the institution it seeks to subvert. Peter Hill’s contribution lies in a doubling of this strategy so that the museum itself becomes an umbrella organizer of concepts and ideas alone. This extends the research of conceptual art and brings it into a critical relation with contemporary museum studies. The Museum of Ideas is a cumulative project that utilizes the institutional artifacts of the art world – press releases, advertisements, magazines – in order to create an elaborate inter-disciplinary Museum. The Museum exists virtually but not physically. Whereas other practice in this area relies upon visual spectacle, this project creates the fact-fiction of the Museum via the more sober medium of print and design. This results in an elaborate creation using minimal components of documentation, contributing to new understandings of an interdisciplinary conceptual-visual art field of research. The Museum of Ideas is informed by Hill’s PhD research into ‘Superfictions’: fictional ideas presented in the realm of visual art. The significance of the Museum of Ideas is evidenced by its inclusion in the 2002 Biennale of Sydney: The World May Be Fantastic at the Museum of Contemporary Art, Sydney. The work has its own entry in Wikipedia and is permanently available online.
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(2007)Creative Work (non-textual)The history of relief constructions and the notion of ‘The concrete in Art’ go back to the beginning of the 20th Century and evidence the ongoing concerns and needs of artists to produce discrete palpable objects capable of transcending time, place and meaning. It is a tradition which has grown and continues to influence painters world wide particularly in England, France, Holland, Switzerland and Germany and sits more broadly within the field of Geometric Abstraction. The relief construction, Relief No: 20, which formed part of a larger research output, demonstrated the logical visual outcomes of applying Van Deosberg’s theories of 1930 in conjunction with historical developments in notions of ‘The concrete’ as occurred in France, Switzerland, Holland and England from 1930 to the early 1990’s. It questioned the viability and continuing currency of such ‘Utopian’ notions of ‘The Concrete’ and the universality of neutral and numerically generated geometric forms especially within the growing developments of Post Modernism. The work was innovative and added to new knowledge in so far as it demonstrated the restrictions and limitations of adhering to a strict/pure definition of the concrete. On the other hand it demonstrated that the notion of the concrete had, and continues to provide, a viable process and framework that allows artists to produce unique work whilst continuing to engage with contemporary art practice. Relief Number: 20 has been exhibited in Andrew Christofides, The Beatty Gallery, Sydney, 1995, and Abstraction 6, Charles Nodrum Gallery, Melbourne, 2007. Three more pieces from the same research project are currently being exhibited in ‘Andrew Christofides’, Charles Nodrum, Melbourne, 2009.