Arts Design & Architecture

Publication Search Results

Now showing 1 - 10 of 18
  • (2006) Ely, Bonita
    Creative Work (non-textual)
    photographic assemblages

  • (2006) Ely, Bonita
    Creative Work (non-textual)

  • (2005) Ely, Bonita
    Creative Work (non-textual)
    group exhibition

  • (2005) Ely, Bonita
    Creative Work (non-textual)
    solo exhibition - New video and photograhy

  • (1999) Ellis, Nicole
    Creative Work (non-textual)

  • (2008) Esson, Michael
    Creative Work (non-textual)
    6th September-17 October 2008

  • (2006) Ely, Bonita Ann; Freedman, Mark; Ford, Sue; Yamani, Jamil
    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.

  • (2002) Ely, Bonita Ann; Smith, Jason; Green, Charles
    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.

  • (2005) Barker, Michele Frances; Munster, Anna Marie; Goldberg, Michael
    Creative Work (non-textual)
    The interdisciplinary field of art-science research is marked by a range of multi-media methods. Australian artists such as the Tissue Culture and Art Project have contributed to this field. Much of this research takes a scientifically informed approach but concentrates upon the ethical issues in contemporary science such as cloning and stem cell research. Michele Barker and Anna Munster use practice-based research to contribute to the ethical debate about the environmental consequences of scientists reverse engineering extinct species. ‘The Two of Us’ is a site-specific installation that comprises a digital animation of an imaginary two-headed Thylacine and actual footage of the last Thylacine alive in captivity. In 1999 the Australian Museum embarked on research to clone a living Thylacine. This installation responds to the ethical problems that arise in relation to cloning. It demonstrates that the art-science field can be a contributor to public debate about the ethical implications of contemporary science. The Butterfly Effect was a curated show for the Australian Museum, umbrella of the Sydney Festival of the Arts 2005, in its first large-scale exhibition involving artists responding to its displays. It was reviewed John McDonald in The Sydney Morning Herald, 6 February 2005. It is cited in the peer-reviewed journal article: M. Goldberg, ‘The Butterfly Effect: The Natural History Museum, Visual Art, and the Suspension of Disbelief’; International Journal of the Inclusive Museum, Volume 1, Issue 1: 1-10.

  • (2007) Barker, Michele Frances; Munster, Anna Marie; Bond, Tony
    Creative Work (non-textual)
    Contemporary digital media art investigates intersections between art and science, often by recontextualising visualisation technologies from the medical and life sciences. These images can hold meaning that is aesthetic and ambiguous beyond their diagnostic use. Although this research has shown the significance of visualisation technologies’ aesthetics, it has failed to show how this aesthetic is embedded in a history of science-art intersections in other media such as photography. The 3-channel audio-visual installation Struck by Michele Barker and Anna Munster addresses the question of how current medical imaging aesthetics are related to the aesthetics of early medical photography. It achieves this by a comparative study of early institutional photography and drawings of the human body and face from the nineteenth century with contemporary Magnetic Resonance Imaging (MRI) scans. In drawing this comparison, it makes a major contribution to the discipline of creative digital media practice by showing that art and science have a long history of aesthetic intersection with respect to medical visualisation. Struck was awarded an acquisitive cash prize of $8,000 in 2006 by the National Digital Art Award in the ‘dynamic’ category. It was included in an international group show at Eyebeam Gallery in New York in 2005. It toured in the International Digital Art Exhibition showing at the Beijing Film Academy, China. In 2007, it was selected for exhibition at Level 2 Contemporary Art Projects, Art Gallery of New South Wales as one of only 5 solo shows exhibited per year out of a wide field of national and international submissions.