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ART ASSOCIATION OF
AUSTRALIA AND NEW ZEALAND
2011 ANNUAL CONFERENCE
7-9 December 2011
Victoria University of Wellington
Wellington, New Zealand
CONFERENCE CONVENORSDavid Maskill, Victoria University of WellingtonSarah Caylor, Victoria University of Wellington
CONFERENCE COMMITTEEDavid Maskill, Victoria University of Wellington (Chair)Christina Barton, Victoria University of WellingtonGeoffrey Batchen, Victoria University of WellingtonRoger Blackley, Victoria University of WellingtonPeter Brunt, Victoria University of WellingtonHeather Galbraith, Massey UniversityRaymond Spiteri, Victoria University of Wellington
Victoria University of Wellington Art History Research Cluster2010-2013 Theme: ‘Contact'
Cover: The ‘Contact' assemblage is composed of wood types from the collection of Wai-te-ata Press : : Te Whare Tā o Wai-te-ata at Victoria University of Wellington. Such types were used in the heyday of nineteenth-century advertising posters, and were part of a common visual culture throughout the colonial world. The sans fonts shown here were manufactured by Stephenson & Blake (UK, 1818-2007) and Hamilton Wood Type (USA, 1880-present),
Organized and hosted by the
and distributed by F.T. Wimble & Co., (Australia, 1868-1991). Wai-te-ata Press keeps letterpress alive for the twenty-first century through teaching, limited edition fine press publishing, and research. For further information, please
Art HistoryProgramme
Te Tari Korero Toi
Victoria University of Wellington
Designed by Sarah Caylor, Victoria University of Wellington
He mihi mahana ki a koutou katoa; warm greetings to you all!
Twelve years ago in Wellington, a fledgling alliance of art historians from New Zealand and Australia met for the first time. This trans-Tasman adventure proved to be a very good idea
In 1999, when Victoria University of Wellington hosted the Art Association of Australia
and New Zealand became incorporated into the Art Association of Australia. Bonds were
conference for the first time here in New Zealand, there were seventy papers presented
formed, papers were published and five years later the University of Auckland hosted the
over two days. Twelve years on, over one hundred and forty papers will be given together
second NZ conference. It is my great honour and pleasure to welcome you to this our third
with thirty post-graduate presentations. That such an increase has occurred over the same
NZ conference, once again hosted by the Art History Programme at Victoria University of
period when many academic art history programmes have contracted and art schools down-
sized, is a testament to our collective determination to maintain the profile of our chosen
Our annual meetings have become a central part of the intellectual and institutional lineage
of art history in the region, giving artists, students, scholars and critics alike a regular forum
The title of this year's conference, ‘Contact', seemed a natural one when we started to think
in which to write and exchange ideas. In small nations, conferences play a particularly
about a theme that would engage art historians, artists and arts professionals working in
important role in offering mutual support as well as crucial opportunities for exchange and
this region. The response has been overwhelming and is demonstrated by the enormous
networking across the region.
range of papers on offer this year. Our thanks go to all the speakers for taking up the chal-
This year we are most fortunate to have two very distinguished keynote speakers: Okwui
lenge of the theme of ‘Contact'.
Enwezor, currently Director of the Haus der Kunst in Munich, and Professor Darcy Grimaldo
We are grateful to our international keynote speakers, Darcy Grimaldo Grigsby and Okwui
Grigsby from the University of California, Berkeley. Their scholarship is well-matched to the
Enwezor. In the very early stages of planning the conference, their names were at the top of
‘Contact' theme of the conference. A hundred and forty other scholars will speak over the
our list of scholars who we felt would address the theme in stimulating and complementary
next two days in addition to some thirty students who will give papers in the post-graduate
ways. We thank them for their commitment to participating in the conference, not just by
giving a lecture but also by agreeing to be part of the plenary sessions.
However, the real stars are the conference committee led by the convenors David Maskill,
No conference is possible without the support of many institutions and individuals. For
Senior Lecturer and Programme Director, and Sarah Caylor. Their dedication, imagination
sponsorship towards bringing Okwui Enwezor to New Zealand, we acknowledge the sup-
and fund-raising activities enable members to come together this year. Most of the work is
port of Creative New Zealand. For sponsoring five travelling scholarships for post-graduate
hidden so please, thank them at the conference when you see them. This conference also
students, we acknowledge the Chartwell Trust. For additional sponsorship, we acknowledge
launches our new web-site, so a special thanks to our designer, Bec Paton, Dr Elisabeth
Victoria University of Wellington, the Art History Research Cluster, the Adam Art Gallery,
Findlay, our web manager and our Business Manager, Kate Sanetra. Thanks also to the
the Museum of New Zealand Te Papa Tongarewa and Vic Books. Our thanks also go to the
previous President, Peter McNeil, the Executive and our long standing Treasurer, Donna
following individuals: Deborah Willis, Dean of the Faculty of Humanities and Social Sciences,
Brett, who has greatly assisted me. Your contribution to the AAANZ over a very long period
William McAloon, Megan Tamati-Quennell and Jude Turner at Te Papa, and our student
of time is invaluable. Finally the conference launches the new issue of our Journal, which
once again looks magnificent, so many thanks to the IMA/Robert Leonard and Queensland
We hope you enjoy the conference.
team. I hope everyone enjoys this conference.
David Maskill and Sarah Caylor2011 AAANZ Conference Convenors
Ann StephenPresident, Art Association of Australia & New ZealandSenior Curator, University Art Gallery and Art Collections, The University of Sydney
CONFERENCE INFORMATION
PROGRAMME SUMMARY
DARCY GRIMALDO GRIGSBY KEYNOTE
AND OPENING RECEPTION
OKWUI ENWEZOR PUBLIC KEYNOTE
BOOK AWARDS, CLOSING RECEPTION
AND CONFERENCE DINNER
AAANZ BOOK PRIZE ENTRIES
POST-GRADUATE STUDENT WORKSHOP
ABSTRACTS AND BIOS
AAANZ ANNUAL CONFERENCE
ABSTRACTS AND BIOS
CONFERENCE INFORMATION
GENERAL INFORMATION
OPENING KEYNOTE AND RECEPTION
Fire, Police, Ambulance
For internet access at
Darcy Grimaldo Grigsby
(Rutherford House,
main conference venue)
Rutherford House:
Wednesday, 7 December 2011
Wellington Hospital
Login and password
information will be
Victoria University of Wellington, Pipitea
announced at the
Rutherford House, LT1
Late-night chemist
PUBLIC KEYNOTE LECTURE
Okwui EnwezorThursday, 8 December 2011
Wellington Combined
Taxi (carboNZero)
Museum of New Zealand Te Papa Tongarewa
Soundings Theatre
CLOSING RECEPTION
(Trees for the Future)0508 447 336
Closing Reception and Book Awards
Friday, 9 December 2011 6.30pm-8.00pm
(Friday evening reception
and conference dinner venue)
Victoria University of Wellington, Kelburn
(Thursday evening
There are ATMs from
several banks located
CONFERENCE DINNER
in the Wellington Bus
not included in Registration Fee
Terminal adjacent to
Friday, 9 December 2011
Rutherford House.
Milk and Honey RestaurantVictoria University of Wellington, Kelburn
Lunch and TeaMorning tea, lunch,
and afternoon tea will be provided on the
Tour of Post-War New Zealand Art on Show in
Mezzanine Foyer.
‘Toi Te Papa Art of the Nation'Wednesday, 7 December 2011 3.30pm-4.30pm
Museum of New Zealand Te Papa TongarewaLevel 5
Tour of Contemporary Maori Art on Show
The Cable Car runs from
The following buses could
at Te Papa
Lambton Quay to Kelburn
be of use to conference
Saturday, 10 December 2011
Parade and is an excellent
way to travel between the
#17 & #20 - Wellington
Museum of New Zealand Te Papa Tongarewa
Pipitea campus (where
Station to Victoria
the main conference is
University of Wellington
being held) and the main
Kelburn Campus (where the Adam Art Galley is
#24 - Wellington Station
located, and the closing
reception and dinner are
#3 - Wellington Station to
being held).
ASSOCIATED EVENTS / ACTIVITIES
VICTORIA UNIVERSITY OF
WAIRARAPA WINE TOURS
Mezzanine Floor
Home to some of the rarest and most extraordinary
Gourmet Wine Escape / Tranzit Coachlines
wildlife on the planet, ZEALANDIA is New Zealand's
Saturday, 10 December 2011
award-winning ecosantuary. A must-see if you want
to get a real taste of New Zealand's amazing natural
Departing from Wellington Railway Station, this
heritage. Your ZEALANDIA experience includes an
all-inclusive tour begins with a train journey from
exciting new exhibition and walk in our ever-changing
Wellington to the Wairarapa before joining the coach
sanctuary valley. Or for an even more unique
for a package that includes tastings at four award-
experience check out our ZEALANDIA by Night tour—a
winning Martinborough vineyards and lunch at the
special nocturnal experience.
Village Cafe. Finish the day with a delicious cheese
General Admission
platter and coffee before your journey home.
Includes entrance to sanctuary valley and exhibition
$148 per person (Save 20% exclusive to AAANZ
$28.50 per person
delegates, normally $185)
ZEALANDIA by Night Tour
Reservations are essential.
Wednesday, 7 December 2011
$76.50 per personTransportation may be arranged from the conference
venue for an additional $15 per person.
Guided Day Tour
Coins of the People: the 1967 decimal coinage
Saturday, 10 December 2011
Tuesday, 6 December 2011
Reservations are essential for the tours.
The #3 or #17 bus drops at the entrance to the park.
Reserve Bank Museum
For bookings, please contact:
2 The Terrace (opposite Parliament)
Ground Floor
[email protected] 920 9209
‘So Like & Beautifully Painted': Franz Xaver
Winterhalter's Portraits of Queen Victoria and Prince AlbertEugene Barilo von Reisberg
Saturday, 10 December 2011 10:30am-11:30amMuseum of New Zealand Te Papa TongarewaSoundings Theatre, Level 2
BOOK LAUNCHEarly Photography in New ZealandErika Wolf, et al.
Saturday, 10 December 2011 2:30pm-3:30pm
Victoria University of Wellington1 Kelburn Parade, Gate 7Student Union Building, Level 3
CLOSING RECEPTION/DINNER VENUE
BOOK AWARDS AND CLOSING RECEPTION
ACADEMY GALLERIES
MARK HUTCHINS GALLERY
Adam Art Gallery
Less than 3K, and Summer Catalogue
Friday, 9 Dec, 6:30pm - 8:00pm
216a Willis Street
CONFERENCE DINNER*
Milk & Honey RestaurantFriday, 9 Dec, 8:00pm - 11:00pm
*must be booked and paid for in advance
MUSEUM OF WELLINGTON CITY & SEA
Behind Closed Doors, Sound Check, and
Queens Wharf, 3 Jervois Quay
Kelburn Parade (
Tuesday-Sunday, 11am-5pm
Victoria University of Wellington, Kelburn
Footpath to
Cable Car
Gate 3, Kelburn Parade
Glasgow Street (GS)
b 04 463 5229
MUSEUM OF NEW ZEALAND
Te Herenga
Adams Tce
Waka Marae (MR)
TE PAPA TONGAREWA
BARTLEY + COMPANY ART
Collecting Contemporary and various other
Andre Hemer
temporary and permanent exhibitions
von Zedlitz
56A Ghuznee Street
Kelburn Parade (KP)
To Cable Car
Kelburn Parade (KP)
Hunter Lawn
NEW ZEALAND FILM ARCHIVE MEDIA
NZ School
39 Ghuznee Street
of Music (MS)
Fairlie Terrace (FT)
Old Kirk Wing
NO ACCESS
Typical Girls
84 Taranaki Street
Rankine Brown
Salamanca Road (SR)
Prospect: New Zealand Art Now, Ara-i-te-uru,
Memorial
Theatre (MT)
and A Mobile Library
NEW ZEALAND PORTRAIT GALLERY
Civic Square, 101 Wakefield Street
The Makers of Modern New Zealand
Devon Street
Shed 11, Queens Wharf
ENJOY PUBLIC ART GALLERY
Mount Street
Wai-te-ata Road (WR)
Force-Morph: James Bowen
Boyd-Wilson Field
Level 1/147 Cuba Street
PAGE BLACKIE GALLERY
l 04 384 0174
Karl Maughan
42 Victoria Street
New paintings by Seraphine Pick
1st Floor, 39 Ghuznee Street
PETER McLEAVEY GALLERY
Footpath to Vivian Street (VS)
To City via The Terrace
Brendon Wilkinson: Hexagony
Wednesday–Friday 11–5, Saturday 11–4, by appt147 Cuba Street04 384 7356petermcleaveygallery.com
ART GALLERIES (continued)
VICTORIA UNIVERSITY OF WELLINGTON
Shadowlands: Amelia Pascoe
1st floor, 37 Courtenay Place
Select works from the Victoria University of
Wellington Art Collection are on display around its three campuses, including Rutherford House, the 2011 AAANZ conference venue.
ROAR! GALLERY189 Vivian Street04 385 7602pablosart.org.nz/cms1/roar-gallery.html
ROBERT HEALD GALLERYLandscape Paintings: David Cauchi209 Leftbank, Cuba Mall04 384 4209roberthealdgallery.com
SOLANDER WORKS ON PAPER218c Willis St04 920 0913solandergallery.co.nz
{SUITE} GALLERYTwo Front Teeth: Wayne Youle, Fiona Pardington, Arie Hellendorrn and Irene FergusonLevel 2, 147 Cuba St
04 976 7663www.suite.co.nz
{SUITE} GALLERY ANNEXThe Rocky Barron Hills: Bob Kerr108 Oriental Parade04 976 7663www.suite.co.nz
TOI PONEKE ARTS CENTRE61 Abel Smith Street04 385 1929wellington.govt.nz/services/arts/centre/exhibitions/gallery.html
RESTAURANTS, BARS, AND CAFES
Martin Bosley's
Quilters Bookshop
City Market
Maranui Surf Life
award-winning, fresh,
café and restaurant
sustainable NZ designers
foodies food market
Saving Club
local food on the water
35 Ghuznee Street
128 Willis Street
SUNDAY MORNING ONLY
funky café with amazing
103 Oriental Parade
views across Cook Strait
Chaffers Dock Atrium
The Parade, Lyall Bay
Ferret Bookshop
The Library
lounge bar, sweets, music
107 Customhouse Quay
Frank Kitts Market
restaurant and bar on the
53 Courtenay Place
craft and design market
Queen Sally's
Diamond Deli
Arty Bees Books
Minnie Cooper
funky deli owned by the
shoes, bags
Frank Kitts Park
Maranui folks
106 Manners Street
200 Queen's Drive
café and restaurant
Nikau Gallery Cafe
café and restaurant
Unity Books
woolen products
City Gallery Wellington
Karen Walker
312 Evans Bay Parade
NZ designer
Chocolate Fish Cafe
Duke Carvell's
126 Wakefield Street
A COLLECTION OF INTERESTING
funky and relaxed artisan
local food and bar
style barbecued seafood
SHOPS, MARKETS AND EATERIES
Te Papa Store
on Shelley Bay
Boulcott Street Bistro
new books and gifts
100 Shelley Bay Road
bistro and winebar
Te Papa (Level 1)
Trelise Cooper
99 Boulcott Street
NZ designer
La Bella Italia
Belgian beer cafe
authentic Italian
135 Featherston Street
restautrant and shop
Unity Collection
Korean bistro
NZ designers
Memory Lane
Deluxe Cafe
101 Customhouse Quay
café, deli, espresso bar
356 Tinakori Road
Ziggurat Fashion
fresh Asian (open late)
Other antique shops
vintage and second-hand
11a Woodward Street
modern japanese café
designer clothing
45 Tory Street382 8585
Missy's Room
vintage175 Cuba Street04 802 4434
PROGRAMME SUMMARY
WEDNESDAY afternoon
11.45pm - 1.00pm
Registration / Lunch / Welcome (Mezzanine Foyer)
Post-Graduate Sessions
POST-GRADUATE STUDENT WORKSHOP
Room: MZ04
Room: MZ05
Room: MZ10
Room: MZ11
Room: G03
W1 Joanne Baitz
Morag Dempsey
Sandy Gibbs
Alice Tappenden
Tyler Rock
Pathways back to Piero
God is back—pass the
Man of the sea:
‘False Artifacts': an
from twentieth-century
condition?: art after the
photographs of Victor
investigation of the
Hugo in exile
craft object and its
Laura Dunham
Corinne Brittain
Matthew Warren
Ties to the Motherland:
Rodney Swan
Unsettling Australia: the
growing or shrinking?
Passionate embrace;
role of indigenous artists
Tangible and ephemeral
unity, bonding and the
in a re-imagined Australia
Marilyn Park
untold romance of text
The secret–the place
John Elder Moultray:
of curiosity in the
Jane Ruck-Doyle
Dianne Peacock
history painter or artistic
mechanism of seduction;
Collage: the hidden,
Amanda Peacock
an investigation of traces
confounding afro-
Len Lye, Baby Dodds, 1947, pho-
revealed and the
Reflections and shadows:
togram. Photo courtesy Len Lye
the shifting identities
Ximena Natanya
Foundation, Govett-Brewster Art
of William Murrangurk
Gallery. As part of the exhibition
Shadowgraphs: Photographic Por-
Filigree: a cross-cultural
traits by Len Lye. 19 November-18
December 2011. Kirk Gallery,
Adam Art Gallery. Open Tuesday-Sunday, 11am-5pm.
Post-Graduate Sessions
The Chartwell Trust has generously sponsored
Room: MZ04
Room: MZ05
Room: MZ10
Room: MZ11
Room: G03
NZ$500 traveling scholarships for the following
Rebecca Edwards
David Wlazlo
Chrisoula Lionis
Janine Bruce
Frank Brangwyn in
The ‘Austrian' question:
Maria Fedorovna: self-
Fragmented narratives:
Corinne Brittain
Ian Burn and institutional
representation through
revolutionary: cinema
meaning, time and
Sydney College of the Arts, University of Sydney
‘garden portraits'
as a Palestinian nation
photography in the works
Jane Ruck-Doyle
of Degas, Sickert and
University of Auckland
The collection of prints
Fiona Moore
in Australia and New
Cultural contact: New
Maintaining contact:
Maria Sainsbury
Joanne Baitz
Zealand, pre-1950
Zealand art galleries and
casts, collections and
Internal landscapes: how
Tane Moleta and
University of Western Australia
the United States in the
art addresses the ideas of
Mizuho Nishioka
Alice Tappenden
Annika Sippel
subjective experience in
University of Canterbury
Northern Renaissance
Sukayna Al-Aaraji
regards to chronic pain,
prints in the Museum
Rebecca Edwards
Wendy Bolger
Affectionately Maori:
illness and trauma injury
of New Zealand Te Papa
University of Melbourne
‘Pleasure Framed': the
Gottfried Lindauer's
Australian desert and the
Ana Rupene and Child
Jase Chia-Ching Lin
New Zealand coastline
and western indigenous
Folding paper lotuses
maternal bonding in art
and the recovery of
Melinda Johnston and
‘contemplation' as a
reflection of slowness
Roger Blackley and Richard Read
ChairAnn Shelton
Afternoon Tea (Mezzanine Foyer)
WEDNESDAY afternoon/evening3.30pm - 4.30pm
Te Papa Tour (Te Papa, Level 5)
TOUR OF POST-WAR NEW ZEALAND ART ON SHOW IN‘TOI TE PAPA ART OF THE NATION'William McAloonCurator, Historical New Zealand Art, Museum of New Zealand Te Papa Tongarewa
Registration (Ground Floor Foyer)
5.30pm - 7.00pm Welcome and Keynote (Room: LT1)
WELCOMEProfessor Piri SciasciaPro Vice-Chancellor Māori, Victoria University of WellingtonProfessor Deborah WillisPro Vice-Chancellor and Dean of the Faculty of Humanities and Social SciencesVictoria University of WellingtonAnn StephenPresident, Art Association of Australia and New Zealand
KEYNOTE LECTUREWHEN CONTACT IS A BULLET: MANET'S (PAINTERLY) EXECUTIONDarcy Grimaldo GrigsbyProfessor of the History of Art, University of California, Berkeley
In this paper, Grigsby addresses the persistent blindness of extant interpretations of Manet's Execution of Maximilian of 1867, a painting long appreciated as a condemnation of Napoleon III's intervention in Mexico.
Darcy Grimaldo Grigsby was born in the Panama Canal Zone. She is Professor of the History of Art at U.C. Berkeley and author of Extremities: Painting Empire in Post-Revolutionary France (Yale University Press, 2002) and Colossal:
Édouard Manet, The execution of Emperor Maximilian of Mexico, June 19, 1867, 1867. Oil on
Engineering the Suez Canal, Statue of Liberty, Eiffel Tower and Panama Canal (Periscope Publishing, 2011). With
canvas. Mannheim: Stäedtische Kunsthalle. (Photo: Lessing)
Huey Copeland and Krista Thompson, she recently co-edited a special issue of Representations entitled New World Slavery and the Matter of the Visual (Winter 2011). Her essay for that issue, "Negative-Positive Truths," concerns Sojourner Truth's cartes-de-visite and introduces ideas from a book in progress called Shadows and Substance. Her talk "When Contact is a Bullet: Manet's (Painterly) Execution" stems from another book project entitled Creole Looking: Portraying France's Foreign Relations in the Nineteenth Century that examines France's relationship to the Caribbean and Americas.
7.00pm - 8.00pm Opening Reception (Mezzanine Foyer)
Registration (Ground Floor Foyer)
9.00am - 9.45am Introduction / Tribute (Room: LT1)
WELCOMEAnn StephenPresident, Art Association of Australia and New Zealand
ON THE THEME OF ‘CONTACT'Geoffrey BatchenProfessor of Art History, Victoria University of Wellington
TRIBUTE TO BERNARD SMITHSheridan PalmerHonorary Fellow, Australian Centre, University of Melbourne
9.45am - 10.45am Morning Tea (Mezzanine Foyer)
10.15am - 11.55am Spatial / Temporal Sessions
Room: LT1
Room: LT2
Room: LT3
Room: G03
Room: MZ05
Room: MZ10
Room: MZ11
Laini Burton
Ann Stephen
Anne Ferran
Barbara Garrie
William Platz
Joanne Campbell
John Di Stefano
Projecting nationhood:
No contact generates
The habit of distance
A dwelling perspective:
Contacting a body
Hotere, Baxter and
Intermission: interstitial
contact: the enigmatic
Roni Horn's Weather
‘from life': historiated
Dunedin's Globe Theatre:
moments in creative and
provincialism problem
Ann Shelton
Reports You and
portraiture and the artist/
a 1960s cultural nexus
Seeing the wood and the
Herdubreid at Home
model/sitter transaction
Roger Blackley
trees: imaging ‘Hitler's
in portrait production
Karin van Roosmalen
Oliver Watts
Pamela Zeplin
King Tawhiao's big O.E.
Christopher Brew
Fresh doubt: thoughts on
Curated by Francesco
Redefining the ‘Australian
Eugene Barilo von
Bonami and Giorgio
crawl'? Australian art/
Alison Inglis
Anne Brennan
Richard Killeen, Welcome to
heterotopia: curating the
the South Pacific, 1979. Acrylic
history, universities & the
Symbolic surfaces. shell
The archive stares
everyday as resistance in
Portraiture as contact:
Ian Woodcock
lacquer on aluminium in 16 parts.
mosaic in Australian
back: encountering
official representations of
‘en route': audience
Georgina Macneil
Dimensions variable. Victoria
architectural decoration
photography in history's
University of Wellington Art
British monarchy abroad
Fra Filippo's Palazzo
Rex Butler
Helen Hughes
relationality of place-
Medici and Camaldoli
Cities within cities: New
Shelley McSpedden
A molecular perspective:
Joanna Gilmour
Adorazione: public and
Zealand art history in
The tainted traveller:
Bridie Lonie
on global history and
private devotion, urban
Australia and Australian
retracing colonial
Change tactics: artists
countenance: a reading of
Flavia Marcello
and hermetic devotional
art history in New
expeditions in a
engaging with climate
early Australian portraits
Art, architecture and
contemporary world
Jess Berry
discourses of national
Framing fashion through
Elisabeth Findlay
Identity: Italian exhibition
A.D.S. Donaldson
fiction: narrative and the
Cultural cross-dressing:
pavilions of the 1930s
Cities within cities: New
Benjamin West's portrait
Zealand art history in
of Sir Joseph Banks
Australia and Australian art history in New Zealand (Part 2)
THURSDAY afternoon12.00pm - 1.00pm Lunch (Mezzanine Foyer)
1.00pm - 1.45pm Plenary Session (Room: LT1)
IN CONVERSATION WITH OKWUI ENWEZOROkwui EnwezorDirector, Haus der Kunst, MunichRex ButlerAssociate Professor, Art History, The University of QueenslandPeter BruntSenior Lecturer, Art History, Victoria University of Wellington
1.50pm - 3.10pm Cultural Sessions
T2 Room: LT1
Room: LT2
Room: LT3
Room: G03
Room: MZ05
Room: MZ10
Room: MZ11
Elizabth Rankin
Ruth Simbao
Sarah Scott
Filma Anne Phillips
Anne Neale
Stella Ramage
Harriet Parsons
Subject(ivity) and
Creating a ‘New
Text, image and voice:
Alexander ‘Greek'
Rev. Nicholson goes
‘Preliminary designs
Commonwealth': art,
re-imagining the legend
Thomson's theory in
to Hollywood: the
for a new Australian
century life casts from
nation and display at
terracotta: a fountain of
thoroughly modern
democracy': Australian
Sinopolitan engagements
the opening of London's
faith in Tasmania
missionary and the
landscape painting in
Commonwealth Institute,
Jonathan Marshall
American movie-maker
post-colonial practice and
Ross Woodrow
Lim Chye Hong
Harmonising the space
Suzanne Fraser
the Homeland project
Reading colonial heads
A tale of two ‘cities':
of Modernism: Kemp,
The rugged mountain's
Emmi Nevalainen
translating sense and
Stewart Reed
Grounds, French &
There was and there was
Jane Eckett
Christine Dauber
the NGV's Great Hall
Highlandism, Scottish
not… telling different
‘Punctual, meticulous,
‘Uninhabited',
identity and colonial
stories: Akram Zaatari and
exact, implacable':
‘Undiscovered', a tale of
Eric Riddler
collecting, 1869 to 1880
professionalism as an
Indigenous and European
We'll take the stage,
Caroline Jordan
Grace Carroll
‘The Artist of the Chief Mourner'
avant-garde strategy
[Tupaia], An English Naval Officer
'cos it's now or never:
Born in the USA: the
Illuminated spaces:
Jessica Hood
Susan Ballard
among Melbourne's post-
bartering with a Maori', c. 1769.
New Zealand sculpture,
Carnegie Corporation's
the aesthetic power of
The Antipodean garden
Curiosity killed the cat:
war émigré artists
Watercolour. (c) The British
Library Board, 065691, Add.
‘Art in Australia 1788-
Christian Waller's stained
accidental encounters in
15508, f.11.
performance art in
1941' exhibition to the
Catherine De Lorenzo
Australia 1967-1979
USA and Canada, 1941
Post-colonial points of contact: Australian exhibitions of colonial art and their impact
THURSDAY afternoon (continued)
3.10pm - 3.30pm Afternoon Tea (Mezzanine Foyer)
3.30pm - 4.50pm Cultural Sessions (continued)
T3 Room: LT1
Room: LT2
Room: LT3
Room: G03
Room: MZ05
Room: MZ10
Room: MZ11
Ian McLean
Kate Robertson
Laura Preston
Ralph Body
Laurence Simmons
Helen Mitchell
Damian Lentini
Interpreting Namatjira
Artists' colonies:
Scripting Spaces:
‘I really think it is scenery
‘Friends over the years.':
Tattoo renaissance and
After the orgy: mapping
Australians in Cornwall
impressions on two
that one can get heartily
the antipodal haunting of
cultural exchange, a case
contemporary contact
Raymond Spiteri
and Brittany 1890-1914
contemporary New
sick and tired of': Hans
study from Hong Kong
zones on both sides of the
From l'Informe to
Zealand artists' book
Heysen in New Zealand
Central European corridor
l'empreinte: The base-
Lyrica Taylor
William McAloon
Duanfang Lu
materialism of Rosalind
Winifred Knights and
Cristina Silaghi
Victim mentalities
Travelling Modernism: the
Uros Cvoro
Krauss and Georges Didi-
interwar artists at the
Martyn Jolly
Bandaranaike Memorial
Turbo-sculpture: public
British School at Rome,
Australiana photobooks
representation and
Matt Plummer
International Conference
art and cultural context in
of the 1960s: new artistic
abstraction in the early
‘God rot the bastard
Hall, Colombo, Sri Lanka
Chari Larsson
collaborators in contact
twentieth-century
who opens this box':
Madness and unreason:
Niki Francis
with new audiences and
writings of Wilhelm
researching Malcolm Ross
Lydia Baxendell
Lynn Brunet
Encounter with a
in exchange with each
‘The Artist of the Chief Mourner'
Invigorating the past to
Contacting the chthonian
[Tupaia], An English Naval Officer
anthropological impulse
strange country: Rosalie
engage with the present:
world: mummers plays,
bartering with a Maori', c. 1769.
Gascoigne in the Monaro
Warren Feeney
Nigel Brown's exploration
celtic fairy-lore and
Watercolour. (c) The British
Library Board, 065691, Add.
The name's Colvin.
of Maori, Pasifika and
initiatory rites in the art
15508, f.11.
Teaching taste: public art
Captain Cook imagery
education in New South Wales, 1850 - 1915
Public Keynote Lecture (Te Papa, Soundings Theatre)
INTENSE PROXIMITY: CONCERNING THE DISAPPEARANCE OF DISTANCEOkwui EnwezorDirector, Haus der Kunst, Munich
Museum of New Zealand Te Papa TongarewaSoundings Theatre, Level 2(As this lecture is open to the public, delegates are advised to arrive early in order to secure a seat.)
The idea of Contact adopted as the theme of this conference is a timely one. Contact presupposes an encounter, as well as suggesting the possibilities that such an encounter could
provoke. In the second decade of the 21st century, contact is on trial. It has become part of
(Thursday evening keynote venue)
the programme of a rising politics of negation, a xenophilic construct manifesting a rabid form of anti-difference. The troubled history of contact is well known. And its appearance in modern and contemporary art is known as well. In this lecture, I propose to use an upcoming exhibition to address the complicated issues that are part of the legacy of contact. The exhibition in question—Intense Proximity—which opens next year at Palais de Tokyo in Paris, is partly grounded in an examination of the lingering forms of ethnographic poetics that has shaped the world of contact. One of the project's central curatorial features is the critical legacy of French ethnography in the first half of the 20th century, a discourse directly based on contact. The phenomenon of ethnographic poetics to which Intense Proximity refers could be understood as part of the great heritage of modernity, a model of global relations in which the precise measure between the near and far was blurred. Intense Proximity is in turn a form of curatorial speculation on the continuous fascination between ethnographic poetics and contemporary art, a probing into the metastasizing politics of anti-difference.
Okwui Enwezor is a curator, writer, and scholar. He has recently been appointed Director of the Haus der Kunst in Munich. He is the founding publisher and editor of Nka: Journal of Contemporary African Art. He has held positions at the International Center of Photography, New York, the Art Institute of Chicago and the San Francisco Art Institute. He has held visiting professorships in Art History at the University of Pittsburgh, Columbia University, the University of Illinois, Urbana-Champaign, and the University of Umea, Sweden. In 2011 he will deliver the Alain Leroy Locke Lectures at Harvard University and, in 2012, he will serve as Kirk Varnedoe Visiting Professor at the Institute of Fine Arts, New York University.
Okwui Enwezor's visit is made possible with a grant from Creative New Zealand.
Registration (Ground Floor Foyer)
9.00am - 9.45am Plenary Session (Room: LT1)
IN CONVERSATION WITH DARCY GRIMALDO GRIGSBYDarcy Grimaldo GrigsbyProfessor of the History of Art, University of California, BerkeleyMark LedburyPower Professor of Art History and Visual Culture, Director of the Power Institute, The University of Sydney
9.45am - 10.45am Morning Tea (Mezzanine Foyer)
10.15pm - 11.55am Material Sessions
F1 Room: LT1
Room: LT2
Room: LT3
Room: G03
Room: MZ05
Room: MZ10
Room: MZ11
Wendy Garden
Caroline Vercoe
Helen Ennis
Majella Clancy
Rosemary Hawker
John Finlay
Mary Knights
Ungrievable deaths:
A photographic mystery:
Hybrid spaces: cross-
Chance, trace and glass
Mesoamerican sources
Hossein Valamanesh:
photographic images and
myself: artists in the
Max after surfing, 1939
cultural engagement in
painting: photography
and ideas in Giacometti's
Longing belonging
the politics of contact
Pacific respond to
contemporary women's
in Richter's Sinbad and
Mains tenant le vide
(l'objet invisible) of 1934
Erika Wolf
Lay me down: the
Fiona Pardington's Eight
The treachery of images:
Mary Healy
flatbed picture plane
Simone Schmidt
Timothy Laurence
Sally Butler
Shells: reclamation of
Peter Peryer, After Rembrandt,
this is not the Great
Reviving the forgotten
Out of contact–escape
Ghost nets art: marine
Te Ao Māori from the
1995. Black and white photo-
photographic assemblage
graph. 34.6 x 52cm. Victoria
and isolation in the works
debris and material
University of Wellington Art
Orientalist artists, 1860-
Donna West Brett
1968: cross-cultural
Cathy Tuato'o Ross
Becoming-dance: dance
Joanne Drayton
Seeing and not seeing:
contact and Western
An ancestral gathering:
concepts in relation to the
Christina Barton
Wayne Barrar
Synergies of materiality
photographing history in
depictions of difference
the effect of a day's
painting of Kushana Bush
Selling out/buying in: the
Trading ecologies:
between Māori and
Germany after 1945
sightseeing at Rotorua
re-materialisation of art,
species, landscapes,
followed by a little
Denise Ferris
‘Your health:' celebrating
Monica Syrette
So Much to tell you:
surgeons in late-Victorian
Mary Morrison
Chris Braddock
Turning the spotlight on
affect, beauty, thought
Deidra Sullivan
Laresa Kosloff and the
Susan Te Kahurangi King
In the absence of light:
force of the name
Rebecca Rice
the ‘skotograph' in the
The academic versus the
spiritualist photography
avant-garde: a colonial
Room: G02
Danielle Gullotta
Mark Stocker
Anna Lawrenson
Felicity Milburn
Chiara O'Reilly
New frontiers for
Removing social barriers:
Cossons' imperial lather
Touching art: engaging
When everything around
The cult of the warrior:
publishing: exhibition
promoting inclusion in
the senses in the
us fell: How visual
visitor experience at the
catalogues and the 21st
galleries through Access
museum: the case of the
experience of Western art
arts organisations in
Art Gallery of New South
Canterbury responded to
Lunch (Mezzanine Foyer)
12.30pm - 1.45pm AGM (Room: LT1)
ANNUAL GENERAL MEETING OF THE ART ASSOCIATION OF AUSTRALIA AND NEW ZEALAND
1.50pm - 3.10pm Social Sessions
F2 Room: LT1
Room: LT2
Room: LT3
Room: G03
Room: MZ05
Room: MZ10
Room: MZ11
David Cross
Heather Galbraith
Zara Stanhope
Sasha Mullally
David McNeill
Ann Schilo
Angela Goddard
‘Affective behaviors':
From glancing caress
Coming into contact with
The transnational
Amorous encounters: the
Clement Meadmore:
performance and the
to limpet embrace;
‘therapeutic craft': craft
sublime; digital poetics
pleasures of risk
depictions of intimacy
artworlds: exhibition
revival, rural uplift, and
and the representation of
in contemporary New
making in the globalising
health professionals in
Louise Mayhew
Matthew Holt
Jennifer Kalionis
Canada and the United
VNS Matrix: infiltration
Transformation of the
Making contact with
States, 1920-1950
aesthetic: the hybrid
‘unseen' workers:
Beth Anne Lauritis
Simon Blond
Taha wairua and the
Luke Smythe
nature of contemporary
Gordon Walters, Kahukura, 1968.
Santiago Sierra's 7 Forms
Managing dissent: the
Art, democracy and
Rigel Sorzano
visual trajectory
Painting in the era of
Acrylic and pva on canvas. 114 x 152cm. Victoria University of Wel-
and moral shock in the
Issue exhibition refigured
authorship: an analysis
Constructing the
light-based images
lington Art Collection.
of the arguments
local: New Zealand
Kathy Cleland
Deborah Prior
Paul Tanchio
surrounding relational
contemporary studio
Narcissus 2.0: portraiture
Making the body:
Llewellyn Negrin
furniture in the 1980s and
materiality and craft in
Fashion as an embodied
consciousness in
practice-based research
contemporary visual
Holly Arden
culture: an Expressionist
Some people's art
Sylvia Schwenk
theory of homeostasis
Sylvia Schwenk: my art practice in the expanded field of performance art
FRIDAY afternoon (continued)
3.10pm - 3.30pm Afternoon Tea (Mezzanine Foyer)
3.30pm - 4.50pm Social Sessions (continued)
F3 Room: LT1
Room: LT2
Room: LT3
Room: G03
Room: MZ05
Room: MZ10
Room: MZ11
Andrew McNamara
Richard Read
David Maskill
Gay McDonald
Jennifer Milam
Zanny Begg
Sam Bowker
The lost medium of
Contact with ‘the real' in
Impressions of a print
Culture Warriors as
‘Art Girls': Russian women
Art and activism in a post-
contemporary existence:
studio self-portraiture:
dealer: Harold Wright
cultural diplomacy
and the making of a
reflections on Sigmar
a new reading of
Russell Rodrigo
Polke's We Petty
Rembrandt's Kenwood
Sarah Wall
Melissa Laing
Between imagined
Bourgeois! Comrades
Self-Portrait, c 1665-1669
Catherine Speck
Aratjara – Art of the First
The fictional and
and inhabited Space:
Epistolary contact:
It's all mine: the recent
aesthetic characteristics
minimalist aesthetics and
Leonard Bell
rise of the private art
of politics. The political
the encounter between
Gordon Walters, Kahukura, 1968.
Susan Best
No contact: back of the
Logan Sisley
museum in Australia
Acrylic and pva on canvas. 114 x 152cm. Victoria University of Wel-
Rosângela Rennó:
Linda Tyler
ANZART in Edinburgh
in Peter Eisenman's
lington Art Collection.
Art and science: an
Ngarino Ellis
Emilie Sitzia
Memorial to the
disengagement with the
Grahame Kime
analysis of nineteenth
Art theft in Aotearoa New
Against the death
Murdered Jews of Europe
Conceptualising conquest
century New Zealand
penalty: Victor Hugo's
in Nicolas Poussin's,
photographs collected by
the Rape of the Sabine
artist and botanist John
The assertion and
Buchanan (1819-1898)
suspension of contact in the art of Thomas Demand
5.00pm - 6.00pm Plenary Session (Room: LT1)
REFLECTING ON THE THEME OF ‘CONTACT' A CONVERSATION WITH DELEGATESOkwui EnwezorDirector, Haus de Kunst, Munich Darcy Grimaldo GrigsbyProfessor of the History of Art, University of California, BerkeleyGeoffrey BatchenProfessor of Art History, Victoria University of WellingtonAnn StephenPresident, Art Association of Australia and New Zealand
6.30pm - 8.00pm Book Awards and Closing Reception
11.00am - 12.00pm (SAT) Te Papa Tour (Te Papa, Entrance Foyer)
TOUR OF CONTEMPORARY MAORI ART ON SHOW AT TE PAPA
Laura Preston
Curator, Adam Art Gallery, Victoria University of Wellington
Curator Contemporary Māori, Indigenous art, Museum of New Zealand Te Papa Tongarewa
BEHIND CLOSED DOORS: NEW ZEALAND ART FROM PRIVATE COLLECTIONS IN WELLINGTONIntroduced by Christina BartonDirector, Adam Art Gallery, Victoria University of WellingtonCurated by Christina Barton, Director, Adam Art GalleryThis major exhibition sets out to canvass selective ‘moments' in a history of New Zealand art from 1946 to the present, drawn exclusively from private collections in Wellington. This revealing exhibition provides a rare opportunity to see works that complement and extend the holdings of New Zealand's public and corporate collections. The paintings, sculptures, and works on paper are simultaneously significant works by major figures and tributes to the often close relationships that accrue between artists and their patrons.
SHADOWGRAPHS: PHOTOGRAPHIC PORTRAITS BY LEN LYEIntroduced by Geoffrey BatchenProfessor, Art History, Victoria University of WellingtonCurated by Professor Geoffrey Batchen and his Art History Honours students.
Drawn primarily from the Len Lye Foundation Collection at the Govett-Brewster Art Gallery, this exhibition presents 26 of the cameraless portraits made by NZ-born artist Len Lye in New York in 1947, a body of work that until recently was neither well known nor fully understood. Here Lye's work is contextualised in relation to the tradition of the silhouette portrait and the camera-less photograph. This is the Adam Art Gallery's biennial student-led project which enables students to research, write about and present an exhibition on a unique body of work.
BOOK AWARDSPresented by Ann StephenPresident, Art Association of Australia & New Zealand
8.00pm - 11.00pm Conference Dinner
MILK & HONEY RESTAURANT & BARVictoria University of WellingtonKelburn Campus
AAANZ BOOK PRIZE ENTRIES
AAANZ BOOK PRIZE ENTRIES
BEST LARGE CATALOGUE ENTRIES
BEST SMALL CATALOGUE ENTRIES
Gustave Moreau and the Eternal Feminine
The Grand Tour
BEST BOOK ENTRIES
Marie-Cecile Forest, Ted Gott, et al.
Emilie Sitzia (SOFA Gallery)
(National Gallery of Victoria)
Joe Rootsey: Queensland Aboriginal Painter
Asian Modernities: Chinese & Thai Art Compared,
John Davis: Presence
1980-1999
David Hurlston, Charles Green and Robert Lindsay
Bruce McLean, Diane Hafner (Queensland Art Gallery)
John Clark (Power Publications)
(National Gallery of Victoria)
Images of the Pacific Rim: Australia & California
James Fardoulys: A Queensland Naïve Artist
Ron Mueck
Glenn R Cooke (Queensland Art Gallery)
David Hurlston (National Gallery of Victoria)
Erika Esau (Power Publications)
Santiago Sierra
The First Emperor: China's Entombed Warriors
An Expanding Subterra
(Queensland Art Gallery)
Liu Yang and Edmund Capon
Wayne Barrar (Dunedin Public Art Gallery)
(Art Gallery of New South Wales)
Premier of Queensland's National New Media Art
Andrew Drummond: Observation/Action/
Award 2010
Victorian Visions: Nineteenth-Century Art from
Russell Store, et al. (Queensland Art Gallery)
the John Schaeffer Collection
Jennifer Hay, et al.
Richard Beresford (Art Gallery of New South Wales)
(Christchurch Art Gallery Te Puna o Waiwhetu)
Provocations: The Work of Christine WebsterAnne Kirker
Paths to Abstraction
21st Century: Art for Kids
(Christchurch Art Gallery Te Puna o Waiwhetu)
Terence Maloon (Art Gallery of New South Wales)
Russell Storer, et al. (Queensland Art Gallery / Gallery of Modern Art,
Utamaro: Hymn to Beauty
Justin O'Brien
Khanh Trinh (Art Gallery of New South Wales)
Barry Pearce and Natalie Wilson(Art Gallery of New South Wales)
Nuala Gregory: Exploded View
BEST ANTHOLOGY ENTRIES
Greg O'Brien and Peter Shand, Linda Tyler, ed.
David to Cézanne: Master Drawings from the
(Centre for New Zealand Art Research and Discovery)
Prat Collection
The Fashion History Reader: Global Perspectives
Peter Raissis, ed. (Art Gallery of New South Wales)
Alfred Stieglitz: The Lake George Years
Giorgio Riello and Peter McNeil, eds. (Routledge)
Judy Annear (Art Gallery of New South Wales)
Wilderness: Balnaves Contemporary Painting
Third World Modernism: Architecture, Develop-
Wayne Tunnicliffe (Art Gallery of New South Wales)
Mirror Mirror Then and Now
ment and Identity
Ann Stephen (IMA)
Duangfang Lu (Routledge)
Reinhardt Dammn(Queensland Art Gallery)
I, Here, Now, Vivian Lynn
Community: Building Modern Australia
Christina Barton, et al. (Adam Art Gallery)
Hannah Lewi and David Nichols , eds. (University of
Unnerved: The New Zealand Project
New South Wales Press)
Maud Page, et al. (Queensland Art Gallery)
Te Mata: The Ethnological PortraitRoger Blackley (Adam Art Gallery)
21st Century: Art in the First Decade
Miranda Wallace, ed.
Ann Shelton and Hanna Scott (Rim Books)
The Asian: Heather Straka
(Queensland Art Gallery / Gallery of Modern Art)
Aaron Kreisler, Robyn Notman
Before & After Science
(Dunedin Public Art Gallery)
Charlotte Day & Sarah Tutton (Art Gallery of South Australia)
Mari Funaki: Objects Jane Devery (National Gallery of Victoria)
A Beautiful LineMaria Zagala (Art Gallery of South Australia)
Harrell Fletcher: The Sound We Make Together (Melbourne)
Desert Country
Alex Baker (National Gallery of Victoria)
Nici Cumpstom (Art Gallery of South Australia)
Wastelands Ann Shelton and Stephen Turner (Rim Books)
POST-GRADUATE STUDENT WORKSHOP
ABSTRACTS and BIOS
Len Lye, Baby Dodds, 1947, photogram. Photo courtesy Len Lye Foundation, Govett-Brewster Art Gallery. As part of the exhibition Shadowgraphs: Photographic Portraits by Len Lye. 19 November-18 December 2011. Kirk Gallery, Adam Art Gallery. Open Tuesday-Sunday, 11am-5pm.
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.05pm - 1.50pm
PATHWAYS BACK TO PIERO FROM 20TH
UNSETTLING AUSTRALIA: THE ROLE
WANGECHI MUTU: CONFOUNDING
CENTURY AUSTRALIAN ART
OF INDIGENOUS ARTISTS IN A RE-
The revival of interest in Piero della Francesca
IMAGINED AUSTRALIA
At first glance, Kenyan-born artist Wangechi
that occurred in Europe in the early twentieth-
What is the function of contemporary urban
Mutu's collaged hybrid women entrance
century was due in part to the Modernist
Indigenous art in post-contact Australia?
through their bizarre richly-coloured beauty,
interest in the use of geometric order,
When anthropologist WEH Stanner coined
yet on close inspection they tease and confuse
rationalised space, colour and light. Australian
his now iconic phrase, The Great Australian
in the complexity of their fragmented reality.
artists inherited this interest through their
Silence in the 1960s, the implication was of a
They are vulnerable yet vital, wounded yet
interpretation and interrogation of European
white historical amnesia about the getting of
not disabled, and seem to glimmer with inner
Modernism. This paper looks broadly at
colonial settlerhood; but it could just as well
energy – seemingly organic and animalistic
how the works of Piero were referenced by
have referred to muted blacks as to the silent
but also alluding to hard-edged shiny glamour
Australian artists in the twentieth-century.
whites. The subsequent and meteoric rise of
along with mutilation, disease and affliction.
‘traditional' Indigenous art has been integral
Mutu's images evoke clichéd images of black
to the general shift in perception of Indigenous African women but defy easy interpretation,
cultural worth; but in this still fiercely
and can also be read as poetic metaphors for
Ngarino Ellis and Ann Stephen
contested space, the role of the new breed of
Africa – the continent – in all its multiplicities,
academically trained, urban Indigenous artists
contradictions, diversities, rich detail, beauty
remains somewhat ambiguous. By positioning
and dirt. Mutu does not avoid stereotypes but
themselves firmly within the bastions of
"hunts them down" to investigate how they
dominant culture, does their often politicised
are constructed. She literally dismantles and
output add potency to the necessary efforts
reconfigures images to better understand their
of undermining conveniently forgotten white
power and to give a broader consideration of
narratives, or has entrenchment in the lexicon
what it means to be human, not just African, in
of mainstream, non-Indigenous Australian art
contemporary society and into the future.
potentially diluted the message?
Joanne Baitz is a PhD candidate at the University of
Corinne Brittain is a PhD candidate at the University
Jane Ruck-Doyle is a BA Honours student in Art History
Western Australia under the supervision of Winthrop
of Sydney. Her key research areas include the role of
at the University of Auckland. She was awarded The
Professor Richard Read. Her thesis title is: Art in
art in a re-imagined Australian hegemony through
Louise Perkins Prize in Art History in 2011.
Australian art: Anachronism in 20th Century Modernist
exploration of the historiographical origins and
Her previous professional life has been in community-
Australian Art. She graduated from UWA with a
consequences of WEH Stanner's Great Australian
based paediatrics and associated public health
Bachelor of Art (Honours) in English in 2000.
Silence in the getting of Australia, with its ensuing
dispossession of the incumbent. ([email protected])
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.05pm - 1.50pm
A POST-INTERNET CONDITION?: ART
TANGIBLE AND EPHEMERAL
COLLAGE: THE HIDDEN, REVEALED AND
AFTER THE INTERNET
Contemporary art has increasingly been
A work that is ephemeral by design could
Collage figures prominently in my attempts
transformed by technological developments
be replaced by documentation as the
to articulate the concerns of my practice. I
that have changed the media in which artists
real device or tangible evidence of its
am interested in what collage reveals and
work, and the modes of production and
existence. Public art and contemporary
hides, and how its physical material and
circulation of their practice. My research seeks
ephemeral artworks may have a need to be
imagery connect the past to the present. The
to examine the impact of the widespread
documented. This research into transiently
paper describes minimalist compositional
proliferation of the Internet and rise of social
sculptural works and installations, reveals
techniques and procedures developed
media upon areas of cultural production
the importance of documenting ephemeral
through three series of collages produced by
and society in order to locate the ways in
artwork. Technological advancement and
the author. Beginning with sources resonant
which artists are responding to the broader
the digital republication of images onto the
with obscure personal interests, the first
aesthetic, social and political implications
internet invite questions of the importance
extracts an image from its context and
of these new tools and media. How has the
for documentation of ‘temporal' artworks.
without cutting, pastes it onto another. The
introduction of new technologies impacted
Exploration into the use of mediums for the
second eschews the use of glue, producing
contemporary artistic practices? How are
delicate form or for ‘the traditional sculpture',
temporary collages from bulldog clips and that
artists responding to a cultural landscape
complete this inquiry into public art.
perennial source of collage material, National
transformed by the Internet and Web 2.0
Geographic Magazine. The third attempts
technologies? I am concerned with identifying
a shift in emphasis from juxtaposition to
modes of artistic practices that are engaged
superimposition; that is, a shift to that which is
with technology's rapid integration into
hidden in the process.
aspects of daily life and whether it is possible to define the presence of a ‘Post-Internet' condition in contemporary art.
Matthew Warren Fitche
Morag Dempsey is a postgraduate student at the
Matthew Warren Fitche is currently completing
Dianne Peacock is a Melbourne-based architect
University of Melbourne.
Master of Art Curatorship, in The Graduate School
and artist with an interest in spatial mystery. Her
of Humanities & Social Sciences, The University of
architectural practice, Subplot, operates alongside
Melbourne, part of the Cultural Management program.
projects in collage, video, installation and zine making.
This thesis is expected to be complete by 2012. Current
An ongoing project collates examples of architects'
research concerns itself with ephemeral artwork, public
collages. Dianne is a PhD candidate in Architecture and
art and the public exhibition space.
Design by project at RMIT. ([email protected])
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.05pm - 1.50pm
JOHN ELDER MOULTRAY: HISTORY
GOD IS BACK—PASS THE PLATE
TIES TO THE MOTHERLAND: GROWING
PAINTER OR ARTISTIC JOURNALIST?
Internationally, cultural theorists and artists
J. Elder Moultray, who arrived from Scotland
are engaging with ‘the return of God' – a rise
The ties that colonial Cantabrians felt existed
in 1883, depicted notorious incidents from the
in interest in religion. Drawing a close link with
between themselves and their British
colonial-Māori wars of the 1860s and has been
economics, it has been argued that this is a
homeland are very clear to see in the domestic
criticised recently for depicting the colonial
result of the collapse of communism in the late commissions of the Christchurch firm, Collins
trooper as a hero. My thesis argues that a lack
1980s and the subsequent global dominance
and Harman. Continuing the legacy of W.B.
of prior art-historical research has contributed
of capitalism. During the same period,
Armson, who established his practice in
towards both his diminished reputation and
international neo-liberal free-market reforms
Christchurch in 1870, the firm grew in size
the poor condition of his paintings in the
were applied to the New Zealand economy –
and reputation, eventually becoming one
public domain. As the only New Zealand
resulting in the corporatisation of institutions,
of the two oldest architectural firms in New
artist to consistently paint incidents from the
and with churches reinventing themselves as
Zealand. Following their work from the early
colonial wars, from a colonial viewpoint and
businesses in the highly competitive ‘faith'
1900s to the end of the World War One,
based on primary research, his writings and
industry. Among the casualties was Futuna
we see how the very idea of one's home
his paintings are of great value to both New
Chapel and Retreat Centre in Karori.
implied a great deal about those who lived
Zealand art history and military history.
As a case study, this paper will tease out
in it, including a display of social status and
connections with Futuna Chapel and how ideas economic wealth. These burgeoning architects
of economic and religious colonisation have
were able to translate the needs of their
contributed towards an unlikely dichotomy of
clients into visual and physical forms and in
hybridity and dislocation - and will consider
doing so, contributed to the development of
the notion of ‘religious retreats' located within
Canterbury's domestic architecture.
the context of heterotopian spaces.
Marilyn Park is an MA student in Art History at Victoria
Sandy Gibbs graduated from Massey University with a
Laura Dunham is an MA student at the University
University of Wellington with a Museum Studies
BFA (First Class Honours) in 2005. She is interested in
of Canterbury and is the current editor of Oculus:
Diploma from Massey University. She is interested in
exploring video art as a means of critiquing the complex
Postgraduate Journal for Visual Arts Research. Her
nineteenth- and early twentieth-century New Zealand
and often slippery relationships between institutions
research explores the impact of the architectural firm
art, particularly of history paintings, and their relevance
and the individual, and the depth at which these are
of Collins and Harman and their contemporaries on
to contemporary historians and art historians.
played out in contemporary society.
Christchurch's colonial domestic architecture.
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.05pm - 1.50pm
MAN OF THE SEA: PHOTOGRAPHS OF
PASSIONATE EMBRACE; UNITY,
REFLECTIONS AND SHADOWS: THE
VICTOR HUGO IN EXILE
BONDING AND THE UNTOLD ROMANCE
SHIFTING IDENTITIES OF WILLIAM
The political situation of France in the mid
OF TEXT AND IMAGE
MURRANGURK BUCKLEY
nineteenth-century was one that would force
The mid-19th century French artist's
In 1803 convict William Buckley escaped
one of its most eminent writers, Victor Hugo,
illustrated book, known as the livre d'artiste,
from the short-lived settlement at Port Phillip
into exile in the Channel Islands. Here he
allowed artists to imaginatively interpret
in what was soon to become the state of
would spend fifteen years that proved to be
text, fashioning a new class of text-image
Victoria. He entered local Aboriginal society
both saddening and artistically invigorating.
after some months where he was accepted
During this time, Hugo's sons Charles and
I will argue that although the text-image
by the Wathaurong people as the returned
François-Victor, together with poet Auguste
dynamic of individual illustrated books have
spirit of the deceased warrior Murrangurk.
Vacquerie, began to photograph their new
been well codified, this has not extended to
Thirty-two years later he re-crossed this
lives as exiles. Though they pressed the
the genre as a whole. Missing is a rigorous
threshold, returning to European society at
shutter, it soon became Victor who directed
taxonomy. This omission is surprising as
the point when settlement of Victoria began,
the portraits, determined to ensure that
such taxonomies have been well established
making himself known to a surveying party
adequate accounts would survive of him
in other like genre, for example, children's
at Beangala (Indented Head) on the Bellarine
as the tragic exile on the rocky coast. The
illustrated books and newspapers.
Peninsula. The story of Buckley's sojourn with
photographs have not only formed some
I will present my argument in three stages,
the Aboriginal people of Victoria achieved
of the earliest-known family albums, but
first I will analyse some significant research
mythic proportion almost immediately.
also reflect the art and literature that Hugo
relating to the grand artist's book to show
This paper will explore the meanings which
produced on the island. When studied, we
the complexity and variety of the text-image
Buckley's experiences had for European and
begin to understand why Hugo once wrote to
dynamic. Second I will evaluate some of the
Aboriginal societies in nineteenth-century
the seamen of the Channel Islands that ‘I am
key taxonomic research relating to children's
Australia through consideration of the ways in
one of you, a combatant of the abyss.'
illustrated books. In conclusion I will propose
which the story is depicted by European artists
a cross-disciplinary methodology to develop
C. H. T. Costantini, Frederick Woodhouse, O. R.
a taxonomy for the grand artist's book by
Campbell, Henricus van den Houten and the
appropriating and applying one from children's Indigenous artist Tommy McRae.
illustrated books.
Alice Tappenden is currently a BA(Hons) student at
Rodney is a MPhil Research Candidate at COFA, UNSW,
Amanda Peacock is the coordinator of Aboriginal and
the University of Canterbury. With a background in
Sydney. He is researching the causes of the post-war
Photography education programs at the Art Gallery of
practical photography, she is interested in the history of
resurgence of the 20th century French derived artist-
New South Wales and is currently undertaking a Master
this medium, and recent studies abroad have confirmed
illustrated book. Rodney has presented papers on
of Art History at the University of Sydney.
this. In 2012 she plans to undertake a Masters degree
artist-illustrated books and is curating an exhibition for
focusing on its development in New Zealand.
2013/14 called "Matisse, Miro, Picasso and Chagall; Art
and Literature - Their Grandest Grand Livre".
([email protected])
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.05pm - 1.50pm
‘FALSE ARTIFACTS': AN INVESTIGATION
THE SECRET–THE PLACE OF CURIOSITY
FILIGREE: A CROSS-CULTURAL PRACTICE
OF THE CRAFT OBJECT AND ITS
IN THE MECHANISM OF SEDUCTION; AN As part of my PhD research, I studied the
ENGAGEMENT WITH PHENOMENA
INVESTIGATION OF TRACES
traditions and the trade in decorative arts
The practice-based research discussed in this
across the Indian and Pacific Ocean. My studies
The artist shapes the matter in hope of
paper explores the use of the craft object as
revealed a cross-cultural pattern similar to the
touching the viewer on a deep, somatic
an instrument to reveal liminal and interstitial
seventeenth-century Sino-English porcelain
level. The artist's desire is to penetrate the
spaces through the use of glass, light and
trade. In my case study, I followed the old
spectator's psyche, to structure his/her
other media. I contend that the material
galleon route to Peru, travelling to Catacaos, a
thoughts in a kind of mise en abîme bouncing
properties of the craft object can provide the
traditional filigree-making village on the north
and reverberating between the work and the
potential to activate moments of heightened
coast of Peru, and asked four filigree makers
viewer's perception. This mirror game has the
awareness of the environment around the
to reinterpret a pencil drawing of a landscape
power to precipitate corporeal sensations,
object. In doing so, it functions as a medial
I had made in silver filigree. The brief was to
psychological reflections, and investigation
point by which everyday experience might
create seven individual filigree landscapes in
through the viewer's memories traces. The
be transformed into a moment of awareness
silver that I would later turn into brooches.
viewer becomes part of the performance, from
of temporality and space, a moment when a
The results of this cross-cultural contact were
static to ecstatic, the viewer and the work
Julieanna Preston
‘slowness of seeing' can occur.
extraordinary raising the following questions:
amass information through the experience and 1. Is the outcome considered an ‘authentic'
this exchange is as significant to the work as
what the artist dissipated in it.
2. Is the outcome considered a ‘production'
My research aims to investigate traces, be it
sensory traces, memory traces, or traces on
3. Given that the cultural context was
artefacts and seeks to validate the importance
metropolitan versus ‘provincial' centre, could
of affect and corporeal response to an
the outcome be considered hybrid?
embodied aesthetic experience.
Caroline Ouellette
Ximena Natanya Briceño
Tyler Rock is a Masters by Research candidate in
Caroline Ouellette has been working with glass for over
Born in the USA I spent my developing years in Lima,
Art, Architecture & Design at the University of South
a decade. Colourful and curvy, intrinsically feminine,
Peru where I learnt silversmithing. I studied Art History
Australia in Adelaide. Rock has taught and lectured
her sculptures heighten the senses of their observers,
at the University of Florida, arriving in Australia in
extensively in the field of glass since 1995. He is faculty
filling their eyes with heady colours and their fingertips
2004. I am completing my PhD studies in the Gold and
at ACAD in Calgary Canada, and is currently a sessional
with varying textures. Her work can be found in many
Silversmithing workshop at the Australian National
instructor at UniSA. ([email protected])
collections such as Quebec National Museum collection.
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.55pm - 2.40pm
FRANK BRANGWYN IN AUSTRALASIA
THE COLLECTION OF PRINTS IN
NORTHERN RENAISSANCE PRINTS IN
Although relatively overlooked in accounts of
AUSTRALIA AND NEW ZEALAND, PRE-
THE MUSEUM OF NEW ZEALAND TE
British art in the early twentieth century, Frank
Brangwyn enjoyed widespread international
Prior to the outbreak of World War II the
The print collection of the Museum of New
fame during his lifetime and was an admired
display of prints in the homes of Melbourne's
Zealand Te Papa Tongarewa boasts a significant
figure in Australia and New Zealand. He
elite and fine art conoissuers was an
number of Northern Renaissance prints
received particular attention for his black and
established practice. Figures such as Sir John
by artists from the fifteenth and sixteenth
white works which were a desirable addition
Connell, Sir Keith Murdoch, Sir Daryl Lindsay, J.
centuries, including Martin Schongauer,
to Australian galleries establishing print
T. Collins and Dame Nelly Melba all decorated
Albrecht Dürer and Lucas van Leyden. The
collections from the 1900s onwards.
their homes with original artist proofs. They
appreciation and systematic collecting of prints
This paper will examine the dissemination and
preferred work that was traditional and
by these artists began towards the end of the
reception of Brangwyn's etchings in Australia
conservative, favouring the established
sixteenth century, thus establishing a canon
in the first half of the twentieth century, a
masters such as Rembrandt, Dürer, Haden,
of Northern European master printmakers
period of renewed interest in the printmaking
and Whistler and their modern disciples
that has stood the test of time. The heart of
medium. Employing the acquisition of his
Bone, Cameron, Robins and Short. They also
Te Papa's print holdings is made up of the
work by State Galleries from the Baillie
Melinda Johnston and David Maskill
collected prints by Australian practioners such
generous gifts presented by Bishop Ditlev
Exhibition of British Art in Wellington in 1912
as Lionel Lindsay, John Shirlow and Blamire
Gothard Monrad (1811-1887) and Sir John
as a case study, this paper will consider the
Young, which were more readily available than
Moody Albert Ilott (1884-1973), who despite
impact of Brangwyn as an etcher during the
those by European artists.
their differences in time and location both
first half of the twentieth century.
This paper will examine ideas of taste,
subscribed to this canon. The result of their
considering what type of prints were
combined passion is a national print collection
particularly sought after and also the manner
that illustrates the stylistic developments of
in which the collection of prints correlated
Northern Renaissance engraving.
with a specific interior design aesthetic.
Kim L. R. Clayton-Greene
Rebecca Edwards is a postgraduate student in the Art
Kim L. R. Clayton-Greene is currently working towards
Annika Sippel is an MA candidate at Victoria University
History department at the University of Melbourne. Her
a Masters of Arts in art history (by research) at the
of Wellington.
current research focuses on the work of British artist
University of Melbourne on the collection of James
Frank Brangwyn in Australia.
McNeill Whistler's black and white works in Victoria.
As part of her studies she spent six months at the University of Glasgow, Scotland in 2011.
([email protected])
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.55pm - 2.40pm
THE ‘AUSTRIAN' QUESTION: IAN BURN
CULTURAL CONTACT: NEW ZEALAND
‘PLEASURE FRAMED'
AND INSTITUTIONAL MISRECOGNITION
ART GALLERIES AND THE UNITED STATES THE AUSTRALIAN DESERT AND THE NEW
Ian Burn, an Australian artist, is currently listed
ZEALAND COASTLINE MAKE CONTACT
on the MoMA website as being of Austrian
From the mid-1950s, exhibitions of American
I construct art installations on the dry lake
nationality. Burn is often lauded as being the
art began to be shown in New Zealand art
bed of Mungo, or Mokau beach, and watch
only Australian artist ever to occupy a central
galleries, there were visits to New Zealand
them come alive as vibrant colours. Beauty
role in an international art movement due to
by American artists, critics and museum
is present here, and experienced within the
his involvement with Conceptual art in New
professionals, and New Zealanders undertook
camera frame. However, feelings of conflict
York in the 60s and 70s, and this error on
the opposite journey. These events coincided
surface; at my shoulder is an old fence post,
the part of MoMA seems to place that view
with the professional development of New
a reminder of my colonial background and its
of his practice in sharp irony. Burn's practice
Zealand art galleries, and introduced the
impact on the land and the Indigenous people.
itself saw the institution of the museum as
country to first-hand examples of the dynamic
My project attempts to address this
flattening the discontinuous and specific in
art being created in America. However, they
incongruity by exploring the relationship
a frame of ideological continuity which was
also occurred in a broader political context
between constraint and freedom in art making,
congruous with the expansion of free market
dominated by the Cold War.
and its potential for my positive connection
capitalism. In this light, mis-recognition by the
My thesis will consider the America-New
with places of Western displacement history.
institution has its benefits, which my paper
Zealand exchange and examine its impact
Through aesthetic expression I find resolution
will frame alongside the question: should we
in terms of the context of the times,
to the conflict between constraint and
tell MoMA, or should we not? Burn's own
developments within the art institution in
freedom, which enables my enjoyable
work seems to show the answer.
New Zealand and the opportunities that it
encounter with places of past colonisation.
provided for exposure to new artistic forms.
A holistic means is promoted in response
This paper will focus specifically on the 1950s,
to environmental and cultural concerns
the changing circumstances that allowed for a
experienced today.
relationship to develop, and how it manifested itself through exhibitions and visits.
David Wlazlo was born in Melbourne, grew up in
I am currently undertaking my PhD in Art History at
Wendy Bolger was born in Matamata, New Zealand
Tasmania, then moved back to Melbourne to study fine
the University of Auckland. My topic is the relationship
and now lives in Ballarat, Australia. Her Master of
art. He is currently an MA candidate in Theory of Art &
between the United States and New Zealand art
Visual Arts is being undertaken at the University of
Design at Monash University. ([email protected])
galleries from 1950 to 1980. Previously I worked as the
Ballarat. She participates in environmental art festivals,
image archivist and publications coordinator for the
such as the Mildura Palimpsest (Australia), promoting
London brach of Gagosian Gallery.
positive contact with the land and cultures through art
installations and photography. ([email protected])
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.55pm - 2.40pm
MARIA FEDOROVNA: SELF-
MAINTAINING CONTACT: CASTS,
AFFECTIONATELY MAORI: GOTTFRIED
REPRESENTATION THROUGH ‘GARDEN
COLLECTIONS AND COLONISTS
LINDAUER'S ANA RUPENE AND CHILD
This paper will discuss the collection of plaster
AND WESTERN INDIGENOUS MATERNAL
Maria Fedorovna was a Russian empress and
casts that formed part of the first acquisitions
a wife of Russian Tsar Paul I, son of Catherine
for the Museum of Art in Melbourne from
A woman; an infant; swathed together in a
the Great. She spent more than 30 years
the late 1850's to the early 1870's. Particular
cloak. What could be more exotic as a visual
creating and developing her favourite estate
emphasis will be placed on how these casts,
metaphor for maternal bonding? A portrait by
Pavlovsk, which became the finest landscape
representing the great European sculptural
Gottfried Lindauer (1839 – 1926), entitled Ana
park in Russia. This paper explores her
tradition, became key objects in the teaching
Rupene and Child (1878) won a gold medal
self-representation in portraits with garden
curriculum of the National Gallery Art School
in 1904 when it was exhibited at the St Louis
which opened in 1870. The casts and copies
World's Fair, a demand for approximately thirty
The development of Pavlovsk park
of Antique and Classical sculptures as well
more copies, and an internationally recognised
emboldened Maria Fedorovna's ‘garden
as ‘modern' sculptures depicting renowned
image of an indigenous mother and her child.
portraits' to become more realistic and
composers, writers and philosophers acquired
Was it a genuine representation of how Maori
detailed. Real views of Pavlovsk replaced
for the opening of the Museum in 1861 were
women mothered their children, or was it a
Roger Blackley and Richard Read
props or abstract views of gardens. By 1800
designed to instill a sense of educational and
romanticised or exoticised image? What gave
Pavlovsk park was articulated through
aesthetic refinement in the viewer and for
this image such eminence and interest? This
portraiture as a place for creativity and family
many colonists were their first introduction to
paper will explore these issues in relation to
‘fine art'. In focusing on the theme of copies
Lindauer's famous portrait by contextualising
Maria Fedorovna used garden portraiture to
and reproductions within the ‘material' strand
it with the rise of photography during this
communicate her identity, promote her role
of the Conference, this paper will consider the
era, and how this affected portrait painting.
as a mother of the Heir to the throne and to
relationship between these collections and the It will also discuss the real Ana Rupene; who
please Catherine the Great. Maria Fedorovna's
wider educational model they represented.
she was, where she came from, and how she
garden portraits will be compared to similar
has come to be the most recognisable Maori
portraits created around the same time for
woman to have ever been painted.
aristocrats in Russia, France, Germany and England. This comparison will help to establish unique features of Maria Fedorovna's garden portraits.
Ekaterina Abramova
Sukayna Al-Aaraji
Ekaterina Abramova graduated from the University
Fiona Moore is a PhD candidate in the Art
Sukayna Al-Aaraji holds a BA(Honors) 2011 and intends
of Sydney in 2009 (Master of Art Curatorship). She is
History Department in the School of Culture and
to begin a Masters at Victoria University in 2012. She
currently employed at the University of Sydney as a
Communication at the University of Melbourne,
is currently employed at the Auckland Art Gallery Toi
research assistant and a tutor and in the Art Gallery
researching the development of the National Gallery
o Tāmaki as a Gallery Educator, and has taken a keen
of NSW as a teacher lecturer and Public Programs
Art School in Melbourne. She has also worked in the
interest in studying the representation of children in the
Coordinator. She has worked as a guide in the Pavlovsk
gallery sector for over thirteen years as a Registrar and
history of art. ([email protected])
museum and park. ([email protected])
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.55pm - 2.40pm
FROM PEASANT TO REVOLUTIONARY:
INTERNAL LANDSCAPES: HOW ART
FOLDING PAPER LOTUSES AND THE
CINEMA AS A PALESTINIAN NATION
ADDRESSES THE IDEAS OF SUBJECTIVE
RECOVERY OF ‘CONTEMPLATION' AS A
EXPERIENCE IN REGARDS TO CHRONIC
REFLECTION OF SLOWNESS
For the past twenty years, the media coverage
PAIN, ILLNESS AND TRAUMA INJURY
Through thousands of years in a broad range
of the Palestine/Israel conflict has relegated
I am interested in the relationship I have with
of cultures, human kinds have developed
Palestinians to either bleeding victims or
my body from my experience of chronic pain
techniques such as yoga, meditation for stilling
heroic figures of resistance. This paper
after a trauma injury and four subsequent
the mind and cultivating attention. Given the
will argue that these images also mirror a
spinal surgeries. I am suggesting that pain
predicament of our world, including rampant
deliberate construction of collective identity
manifests as an abstract form within my body.
suffering and alarming ecological disasters
that has been facilitated by the Palestine
I have sought to extract it from an experienced worldwide, the idea of inviting audiences
Liberation Organization since 1968 using both
interiority by exploring an abstract vocabulary
to be immersed in artworks inspired by
photography and film. By looking at the birth
of audio, sculpture, photography and video.
contemplative practices, could be an ecological
of PLO efforts, this paper will illustrate how
I seek to locate an external embodiment of
cinematic output created the potential for
the physical, emotional and pyschological
This studio investigation aims to address
cinema to successfully forge a new collective
processes of recovery which I suggest
humanity's obsession with speed. It appears
identity at the time.
may provide an insight into the subjective
that today's information technologies may be
Looking to the Palestinian ‘militant cinema' in
blamed the most for the speedup of everyday
the years between 1968 and 1982 this paper
My research has led me to various artists
life and fragmented attention. Referring to the
will investigate the particular role cinema
and philosophers, finding I was influenced by
contemplative practices, I hold that the activity
plays in the facilitation of contact between a
the works of artists Frida Khalo, Eve Hesse,
of folding paper lotuses is contemplative
cultural group living in exile. Focusing on the
Kiki Smith, and philosophers Elaine Scarry
not only in terms of its process, but also its
cinematic modes and distribution techniques
and Arne Vetleson, who suggest our internal
philosophical heritage derived from Buddhism
of the time, the paper will reveal that cinema
states of consciousness and imagining occur
culture. In addition, an alternative view
was crucial in formulating what anthropologist
with objects in the external world. But pain is
through the eyes of the meditative traditions
Rosemary Sayigh describes as a ‘Palestinian
not an object, it is impossible to imagine the
may be provided. Inspired by this ritual, I
sensation of pain without a tangible platform
resolved to bring this practice into secular
for a shared experience.
contemporary art.
Jase Chia-Ching Lin
Chrisoula Lionis is a PhD candidate at the CCAP, NIEA,
I spent seventeen years as a successful Commercial
I am interested in current social trends and stress
UNSW. Having completed a Bachelor of Art Theory
Advertising Photographer. In 2004 I had an accident
enhancing situations such as speed driven culture and
(Hons) at UNSW in 2006, Chrisoula's PhD thesis is
resulting in a spinal injury which drastically altered my
modern development. My works mainly offer a reaction
entitled Disoriented Laughter and locates its focus on
life and ended my career for seven years. I am currently
against the impact of what modernity has taken place
the relationship between collective trauma and ethnic
studying for a Post Graduate Diploma of Fine Art at
in order to develop the awareness for the negative side
humour in contemporary Palestinian art and film.
Massey University with the intention of undertaking
of modern life. ([email protected])
Masters in 2012. ([email protected])
POST-GRADUATE STUDENT WORKSHOP
Wednesday: 1.55pm - 2.40pm
FRAGMENTED NARRATIVES: MEANING,
THE EFFECTS OF RESEMBLANCE
TIME AND PHOTOGRAPHY IN THE
Current photographic technology not only
WORKS OF DEGAS, SICKERT AND
possesses the ability to capture the image, but also to capture (or create) photographic
metadata as a form supplemental information.
Photography's invention provided a new vision
This research notes the appending of
of the world: that of a suspended moment
metadata acknowledges the obscurity of the
of real life. This new mode of vision was rich
photographic image and is used to supplement
fodder for artistic exploration with many
the photographic image as a means to restore
artists taking up photography or referencing
or alleviate the difficulties of photographic
photography's pictorial conventions in other
art mediums. In this paper I demonstrate how
Engaging in the premise that the photographic
Hilare Germain Edgar Degas, Walter Sickert
image exists as an incomplete medium to the
and Edouard Vuillard utilize photographic
transfer of information, this research and body
principles within their paintings to create
of associated work identifies the acquisition of
avant-garde works that eschew painting's
data as a means to resolve interpretation and
traditional narrative structures. In their
quantify the photographic image. Inhabiting
works, time shifts from aiding a painting's
a complex territory within this structure, the
meaning to instead enable these artists to
procedures of exposing a photographic image
fulfil modernistic tendencies. All three artists
manifests multiplicity and operate as source,
incorporate photographic time differently.
production, and capture of both image and
Degas suspends time, thus creating ambiguous information. This paper and body of connected
meanings. Vuillard uses the sudden moment to work challenges the perceptions of how to
visually realise his personal sensations. Sickert
engage with the dialogues created between
employs the static form of photographic
the photographic image, and the externally
studies to aid him in relaying his personal
appended metadata.
experiences to viewers.
*Paper co-authored with Mizuho Nishioka
I am currently studying towards my Masters in Art
Tane Moleta B.Des, M.Arch Merit, PhD candidate,
History at the University of Canterbury in Christchurch,
Victoria University, Wellington, New Zealand
New Zealand. My thesis explores the relationship
Mizuho Nishioka B.A (Law, Political Science), M.FA Dist,
between time and photography in the artistic output
PhD candidate, Massey University, Wellington, New
of Pierre Bonnard, Hilare Germain Edgar Degas, Walter
Sickert and Edouard Vuillard. ([email protected])
AAANZ ANNUAL CONFERENCE
ABSTRACTS and BIOS
SPATIAL / TEMPORAL
Richard Killeen, Welcome to the South Pacific, 1979. Acrylic lacquer on aluminium in 16 parts. Dimensions variable. Victoria University of Wellington Art Collection.
SPATIAL / TEMPORAL
Thursday: 10.15am - 11.55am
PROJECTING NATIONHOOD: THE
REDEFINING THE ‘AUSTRALIAN
CITIES WITHIN CITIES: NEW ZEALAND
CITIES WITHIN CITIES: NEW ZEALAND
AUSTRALIAN PROVINCIALISM PROBLEM
CRAWL'? AUSTRALIAN ART/HISTORY,
ART HISTORY IN AUSTRALIA AND
ART HISTORY IN AUSTRALIA AND
UNIVERSITIES & THE CULTURAL CRINGE
AUSTRALIAN ART HISTORY IN NEW
AUSTRALIAN ART HISTORY IN NEW
Terry Smith's article ‘The Provincialism
Is Australian art/history in universities
Problem' (1974), has seen Australian art
drowning under a second wave cultural
In this paper, we want to present the story
Co-presented with Rex Butler (see description
scholars deliberate over his charge that
cringe? Recent indications suggest that
of New Zealand art in Australia and of
Australia is strongly anchored to Western
appreciation of ‘Australian' culture, from
Australian art in New Zealand. Our point is
‘centres' that exert an ever-present force
literature to visual art, is undergoing a
that because of the two countries' cultural
despite the deconstruction of Western
profound sea change that threatens to
and geographical proximity, the ongoing
hegemony through postcolonial discourse.
redefine the iconic ‘Australian crawl'. Within
presence of the artists of one country in
Recent shifts in attitudes about provincialism
an academic research environment dictated
the art history of the other has been almost
by art historians Ian McLean and Rex
by ERA metrics, demand-driven economics
invisible. Certainly, the national art histories
Butler suggest that Australian art occupies
and savage course rationalisations, ‘world
of each country is constituted by a kind of
an ambivalent position neither for nor
class-ness' and 'international' standards are
blindness towards what happens in the other:
against Eurocentrism; a condition that has
increasingly equated with ‘overseas' models
once an ‘Australian' artist leaves for New
the possibility of negating Smith's original
of value. Since 'it is widely recognised that
Zealand they are never heard of in Australian
conclusion of inescapable condemnation
auditing regimes change the activities they
art history again; when a ‘New Zealand' artist
to provinciality. This paper will reflect on
seek to measure' (Cooper & Poletti, 2011),
arrives in Australia, their prior activities in
developments of the provincialism problem
Australian art /history and publishing may well
New Zealand are paid little or no attention.
through the analysis of Australia's top two
diminish in volume, status and confidence
But today artists move freely between both
grossing international films, Crocodile Dundee
as newly aspiring generations of students–
countries and indeed around the world. What
(1986) and Australia (2008). Specifically, I will
already adopting ersatz US accents– look ever
would be the pre-history to this contemporary
speculate on the projection of nationhood
situation? It would be a way of writing a new,
in both films, demonstrating the cinematic
Deluged by Euramerican paradigms, are
‘UnAustralian' art history and, of course, a way
shift from the vernacular ‘Ozploitation' style
local/Australian/regional histories once again
of writing a new, ‘UnNew Zealand' art history.
of the 1970s and 1980s, to the homogenous
‘beached' on the shores of (revivalist) 1970s
Hollywood style of today. I will argue that this
provincialism? Do cultural narratives of lived
shift counters the progression in attitudes
reality–and surreality–in the global south
about Australia's provincialism problem.
require resuscitation? If so, who–or what–will administer the kiss-of-life?
A. D. S. Donaldson
Dr Laini Burton is an Associate Lecturer in Art Theory
Dr Pamela Zeplin is a writer, artist and Research
Rex Butler is Associate Professor in the School of
A. D. S. Donaldson is Lecturer in the Painting
at the Queensland College of Art, Griffith University,
Education Portfolio Leader (Art, Architecture & Design)
English, Media Studies and Art History at the University
Department at the National Art School. He studied at
Brisbane. Dr Burton's research interests include
at the University of South Australia. Pamela regularly
of Queensland. He is currently working on a critical
the University of Sydney, the Kunstakademie Düsseldorf,
body politics and gender theory, critical theory of
publishes on and participates in contemporary art
biography of Colin McCahon with Laurence Simmons
the Royal Danish Academy of Fine Arts, Copenhagen
spectacle, Situationism, contemporary art criticism and
events throughout the Asia-Pacific region. Her research
and a history of ‘UnAustralian' art with A.D.S.
and the École des Beaux-Arts, Paris. He is an artist,
contemporary Australian art. ([email protected].
focuses on ‘aesthetic relations' between New Zealand,
Donaldson. His most recent book is the edited collection
art historian and curator specialising in the history of
Australia and the South Pacific.
Jeremy Gilbert-Rolfe: Art after Deconstruction (2011).
Australian art in the 20th century. His current research
includes working on a history of ‘UnAustralian' art and the cultural interrelationship between Australia and France since 1900. ([email protected])
SPATIAL / TEMPORAL
Thursday: 10.15am - 11.55am
NO CONTACT GENERATES CONTACT:
KING TAWHIAO'S BIG O.E.
SYMBOLIC SURFACES. SHELL MOSAIC
THE TAINTED TRAVELLER: RETRACING
THE ENIGMATIC CASE OF JW POWER
King Tawhiao's 1884 excursion to London
IN AUSTRALIAN ARCHITECTURAL
COLONIAL EXPEDITIONS IN A
is usually framed as a failure, since Queen
Engagement with the avant-garde underwrote
CONTEMPORARY WORLD
Victoria was advised not to meet him and
the short but fascinating art career of
This paper examines the cultural interaction
History and place can no longer be seen as
the other chiefs. Insisting instead on the
JW Power (1882-1941), as a member of
present in the decoration of two Australian
stable or easily definable subjects for artistic
importance of this trip, my paper unpacks
Abstraction-Création in Paris, an art writer
buildings – the Grotto at Werribee Park near
investigation. This paper will examine works
a range of representations of Tawhiao by
and a collector of modernism. Thus Power is
Melbourne (c. 1870s); and the Sacred Heart
by Tom Nicholson (Aus), Renee Green (US) and
metropolitan artists. I argue that the famous
a rare example of an Australian artist involved
Church at Beagle Bay in the Kimberley region
Joachim Koester (Den) in which the indexical
photograph of Tawhiao in a kiwi-feather cloak
in a major international art movement. His
(built c.1918), which both incorporate vast
mediums of analogue photography and film
was made in London, despite its universal
desire to work entirely in cosmopolitan terms
numbers of shells, including pearl shell, into
are utilised to chart a contemporary retracing
attribution to an Auckland photographer who
meant he had no contact with Australia after
their interiors. It will be argued that the
of a colonial expedition. Reaching across
pirated the image. There was a lost oil portrait
leaving in 1906. When his visionary bequest
Werribee Grotto's ornamentation represents a
time and space, this paper will suggest that
by a society painter, for which regalia was
to ‘bring the people of Australia in more direct
playful inversion of the European shell house's
the motif of the historical expedition offers
borrowed back from a remote Victoria, and
touch with the latest art developments in
emphasis on exotic spectacle; while the Beagle artists a means through which to reflect on
the most spectacular and ephemeral portrait
other countries' was announced in 1962, he
Bay church reveals that the separate cultural
the economic, political and environmental
of all: Tawhiao's moko realised in fireworks on
was virtually unknown. Even today Power's
myths associated with shell's iridescent
legacy of the enlightenment project, whilst
‘Fireworks Thursday' at the Crystal Palace.
philanthropic vision still overshadows his art.
material – found in Catholic iconography and
addressing changing notions of place in
It was the hey-day of celebrity journalism and
My paper will begin to situate his art in the
Aboriginal ‘dreaming' – intersect in this unique contemporary society. The exploits of the
Tawhiao was briefly subjected to paparazzi
context of the cosmopolitan modernist circles
interior. In fact, the mother of pearl's symbolic
colonial adventurer were founded on rigid
frenzy, with more nuanced accounts appearing
in which it was shaped. I will show that Power
surfaces will be shown to interweave Western
notions of fixed alterity, however in this paper
in New Zealand newspapers. Above all, such
is a fascinating example of an artist who
and Indigenous spiritual traditions into a new
I will argue that the artists under review
texts reveal the fun to be had by elite Maori
sought no contact with his culture of origin –
synthesis. Both case studies demonstrate that
perform an epistemological flip, appropriating
visitors undertaking research in the Pakeha
and yet whose significance is only now being
cultural intersection can emerge from the
historical expeditions to reflect on an
"spark" of direct contact between peoples and
emergent ‘mobilities paradigm' predicated on
material objects.
a notion of place as multifarious, transnational and open-ended.
Shelley McSpedden
Ann Stephen is an art historian and curator, her recent
Roger Blackley teaches nineteenth-century and colonial
Alison Inglis is an Associate Professor in the Art History
Shelley McSpedden is a PhD Candidate at Monash
exhibitions include: Mirror mirror: 2009-10; Cannibal
art history at Victoria University of Wellington and
Program in the School of Culture and Communication at
University, Melbourne, where she also teaches and is
tours, 2009; and Modern times: The untold story of
was previously a curator at Auckland Art Gallery Toi
the University of Melbourne. She teaches, researches
assisting on a research project on photography and
modernism in Australia, 2008-9. Her books include:
o Tamaki. Best known for his exhibition and book
and publishes on nineteenth-century art, the history of
climate change. Her book on Australian artist Nicholas
On looking at looking: The art and politics of Ian
Goldie (1997), Blackley is continuing his research into
artistic materials and techniques, and art curatorship.
Mangan was published in 2010. She has published
Burn, 2006; Modernism & Australia: 2006 (co-eds.,
Maori representations in colonial art and literature.
numerous articles and catalogue essays and is a regular
McNamara and Goad). ([email protected])
contributor to Eyeline. ([email protected])
SPATIAL / TEMPORAL
Thursday: 10.15am - 11.55am
THE HABIT OF DISTANCE
SEEING THE WOOD AND THE TREES:
THE ARCHIVE STARES BACK:
CHANGE TACTICS: ARTISTS ENGAGING
IMAGING ‘HITLER'S OLYMPIC OAKS'
A prime source for my artwork has been
ENCOUNTERING PHOTOGRAPHY IN
WITH CLIMATE CHANGE
the past melancholy situations of others,
Depicting a very particular group of oak trees,
HISTORY'S RECORDS
A central set of questions around living
approached via what remains of the evidential
gifted as seedlings to gold medalists at the
Over the course of 1919, a large collection of
with climate change can be found in our
record. Over time, as an outcome of this
1936 Berlin Olympics in Nazi Germany, the
photographs was amassed by concerned Jews
relationships with objects. Artists are
approach, something has established itself
now geographically dispersed and fully-grown
in Ukraine, documenting the pogroms which
particularly adept interrogating such
in the work that I privately term a ‘habit of
oaks are charged as symbols of the political
raged across the country at the time. These
and sporting pride of nation-states. In this
images have found their way into the archives
It begins by considering the significance
My paper will explore some intertwined
sense they represent a failed attempt, through
of the Jewish historian Elias Tcherikower, and
that the idea of nature has for artists in
implications of this phrase: the idea of a
the appropriation of the oak tree as symbol,
now form part of the enormous photographic
the southern hemisphere, and considers
distance that is efficacious, that can alleviate
to assert an ideology via the seedlings sent
archive of the YIVO Institute for Jewish
challenges to the notion of ‘nature' as a
or diminish suffering; and the managerial—the
out around the globe. These images, initially
Research in New York. The photographs
separate entity, drawing on the work of Bruno
habit of setting things aside and apart.
engaging with the surface information that
were taken by a wide range of people both
Latour and Timothy Morton, and the related
It will refer to two recent projects, Lost to
forms part of public or collective memory, also
amateurs and professionals, in a wide range
thinking of the object-oriented ontology of
Worlds (2008) and Songbirds are Everywhere
uncover the very real and shifting ideological
of places and conditions, from the sites of
speculative materialist philosophers such as
(2011). Both lament the fact of distance and
status of these trees, their locations and
the atrocities themselves to the unlikely
Graham Harman and Levi Bryant.
attempt to overcome it while, inescapably,
idiosyncratic historical contexts. I consider
context of the commercial photographer's
It discusses these ideas in relation to works
they represent it. The paper will consider
these, often conflicting, meanings through the
studio. Presumably for Tcherikower and his
by Rachael Rakena, Janet Laurence, Natalie
the relative contributions of these works'
fractured lens of post-war memory, history
colleagues, the purpose of the collection
Jeremijenko, Amy Balkin and other artists
manifest content and such aspects as time and
and photographic theory. This paper will
was evidentiary. However, over time, whilst
who address the problematics of a simplistic
movement, surface and depth, density, detail
present artworks from in a forest, discussing
the subjects of these images have become
division between nature and culture, or nature
the shifting indexical status of their content
lost to us, the transactions between them
in relation to the crucial representational
and the makers of the photographs are still
These artists use strategies generated by
and installation devices adopted in their
legible, seeming to insist on the possibility of
understandings of indigenous identity, affect,
other meanings that lie somewhere between
sustainability and the commons and in doing
portraiture and relics.
so change the ways that art functions in contemporary society.
Anne Ferran is a Sydney-based artist. She is
Ann Shelton is a visual artist, and Director
Anne Brennan is an artist and writer. She is the head
Bridie Lonie (MA, Art History and Theory, University of
Senior Lecturer in the Photomedia Studio,
Undergraduate Studies Photography, SoFA, Massey
of the Art Theory Workshop at the ANU School of Art.
Otago) teaches Art History and Theory at the Dunedin
Sydney College of the Arts, University of Sydney.
University, as well as Chair, Enjoy Public Art Gallery.
Her research interests focus on history, memory and
School of Art, Otago Polytechnic. A recent publication
Shelton's work is exhibited internationally including
commemoration; she is especially interested in the way
is ‘Representation, Use and Participation, Three Ways
at Images Recalled (Bilder auf Abruf), Germany's
in which these are configured in public artifacts and
of Looking at Art/Science' in Unseen, Junctures, The
largest photographic biennale, and winner of the 2010
institutions such as the museum and the memorial.
Journal for Interdisciplinary Dialogue, No 13 2010,
CoCA Anthony Harper Award for Contemporary Art.
Conference presentations include ‘The Event Horizon: Returning "after the fact"' co-authored with Donna West Brett. ([email protected])
SPATIAL / TEMPORAL
Thursday: 10.15am - 11.55am
A DWELLING PERSPECTIVE: RONI
STREET ART AND HETEROTOPIA:
A MOLECULAR PERSPECTIVE: ON
FRAMING FASHION THROUGH FICTION:
HORN'S WEATHER REPORTS YOU AND
CURATING THE EVERYDAY AS
GLOBAL HISTORY AND MIKE NELSON
NARRATIVE AND THE FASHION IMAGE
HERDUBREID AT HOME
RESISTANCE IN LIQUID MODERNITY
Using the work of the British artist Mike
Compelling stories of romance, drama,
Much of Roni Horn's extensive body of
Through their position of otherness,
Nelson as a model, this paper outlines the
mystery and suspense have been constructed
work has taken the landscape of Iceland
heterotopia represent opportunities to disrupt
terms of a new spatio-temporal methodology
around clothing, providing the fashion object
as its subject. This paper explores two
everyday spatial order, to contest and invert
for considering contemporary art. Reflecting
with its mythic and symbolic quotient. In
such examples of Horn's work, the book
all other sites existing within society (Foucault,
the structural realities of Nelson's work, this
particular, contemporary fashion photography
projects Weather Reports You (2007) and
1967). As such, they offer the potential to
methodology is multi-axial, but essentially
and film have cast garments as characters,
Herdubreid at Home (2007), considering them
develop or imagine new orders broader than
dualistic in its approach to thinking through
portraying these objects in roles that evoke
within the context of Heidegger's notion of
their intended function. But with theories of
transnational art histories — or historiography
identification and desire in the viewer. In
‘human dwelling-in-the-world'. The dwelling
modernity moving beyond solidity of meaning
after globalisation — based on the telescoping
comparing the spatial narrative of serial
perspective is a phenomenological position
and space (Bauman, 2000, 2007, 2011;
perspective of scale employed by Charles
photographic images with the temporality of
that moves beyond ocularcentric notions of
Augé, 1995), and spatial dimensions being
and Ray Eames in their 1968 film Powers of
the short fashion film this paper will consider
landscape as a ‘way of seeing', suggesting
altered by mobile and internet technology,
Ten. This telescoping methodology promotes
how fashion fantasy is constructed. It will
instead that the production of landscape is
do heterotopia escape their spatial
a model of thinking that is simultaneously
argue that these structures are central to how
a function of interactions between an agent
anchored in the local and the global, the
still and moving images are perceived in their
and their environment. I thus argue that both
Buried within ambivalent spaces of a liquid
micro and the macro. I argue that this form of
negotiation of the tension between commerce
Weather Reports You and Herdubreid at Home
order, can street art make contact? Can it
thinking is immanent in global citizens today
and art. Further, this paper will contend that
assert a definition of landscape as becoming
connect enough to disrupt? Using examples
mainly due to the issues of climate change
the convergence of still and motion images in
meaningful only through the ongoing process
from Sydney-based street artists – particularly
and, more sceptically, global financial crises.
hybrid fashion media forms offer an alternate
of its habitation.
Will Coles (2004-2010) and Hobart Hughes
This methodology is useful for negotiating
experience that subverts clothing as character
(2010-2011) – I will explore the potential
multiple and concurrent histories, by
and instead frames the garment as the
for different modes of street curatorship
simultaneously zooming in to analyse different
unfolding action, revealing dress as a nuanced
to rupture everyday ambivalence through
localities and temporalities, and zooming out
and enigmatic narrative in and of itself.
contact and connection. I will question the
to envision them locked in parallel grooves to
nature of heterotopia within liquid modernity,
one another.
and whether they can now exist outside formal space.
Barbara Garrie recently completed her PhD at the
Christopher Brew is a Sydney-based writer who
Helen Hughes is a PhD candidate in art history at the
Dr Jess Berry is Lecturer Art Theory, Queensland College
University of Canterbury, studying the work of
tutors in the Faculty of Arts and Social Sciences at
University of Melbourne. She is also Assistant Curator at
of Art, Griffith University. Her research interests include
American artist Roni Horn. Barbara was founding
the University of Technology, Sydney. He is primarily
Utopian Slumps, and co-editor of the Melbourne-based
fashion history and theory and visual culture and
editor of Oculus: Postgraduate Journal for Visual Arts
concerned with the concepts of utopia and resistance
contemporary art journal Discipline.
Research and is currently involved in administering the
within modernity, and how affecting experience
photographic archive A Place in Time Documentary
reconstructs our world. ([email protected])
SPATIAL / TEMPORAL
Thursday: 10.15am - 11.55am
CONTACTING A BODY ‘FROM LIFE':
PORTRAITURE AS CONTACT: OFFICIAL
A BOLD INTREPID COUNTENANCE:
CULTURAL CROSS-DRESSING: BENJAMIN
HISTORIATED PORTRAITURE AND THE
REPRESENTATIONS OF BRITISH
A READING OF EARLY AUSTRALIAN
WEST'S PORTRAIT OF SIR JOSEPH BANKS
ARTIST/MODEL/SITTER TRANSACTION
When Joseph Banks returned from his
IN PORTRAIT PRODUCTION
Portraits of Queen Victoria (1819-1901) by
The first portraits created in Australia
voyage to the South Seas in 1771, his uncle
Franz Xaver Winterhalter (1805-1873) have
Working ‘from life' remains a core component
functioned primarily as records of the features
commissioned Benjamin West to paint a full-
long been regarded as definitive images of
in undergraduate Fine Arts curricula and in
of the people encountered by colonisers and
length portrait of the young explorer. In this
the British monarch. A prodigious number of
the provisions for major portrait awards.
explorers. Yet for curators researching and
large oil the flamboyant Banks is wrapped in a
copies after these portraits were disseminated
The phrase indicates an immediate material
interpreting portraiture, these works are
precious Maori cloak and is surrounded by all
by the Queen and her Government not only
encounter between observed bodies – artist
rich historical documents with significance
the paraphernalia of his trip to the South Seas.
in the British Isles, but also throughout the
and model – in the studio, but whether or
surpassing their ethnographic intentions. They
This paper explores the reasons why Banks
official establishments, offices and institutions
not that model is characterised as a sitter
offer contemporary viewers the possibility of
chose to pose in such extravagant dress. Is
in the farthest outposts of the British
resonates with concerns about portrait
intimate encounter with their subjects; and
he simply creating a sense of the exotic to
production, figuratism and posing. Contained
present a unique means of plotting the shift in
entertain eighteenth-century British society?
Winterhalter's portraits of Queen Victoria thus
within this discourse are the contemporary
colonial attitudes towards Indigenous people
Or are there more complex readings? Beth
became the first point of contact between the
historiated portraits that intentionally
that occurred during the immediate post-
Fowkes Tobin in Picturing Imperial Power
monarch and the millions of her culturally and
disrupt the artist/model/sitter transaction.
contact decades.
categorises such images as ‘cultural cross-
religiously diverse subjects. As an allegorical
The historiated portrait (portrait historié)
This paper will consider early portraits of
dressing' and poses a range of questions that
embodiment of the British Empire, they also
is a deliberate construction in which a
Indigenous Australians with reference to
are pertinent to the Banks portrait. Should
became one of the veritable cornerstones of
model is portrayed in disguise, and, through
colonial intentions in New South Wales;
it be interpreted as a statement of cultural
their national identity.
masquerade and dissimulation, it accords
thereby examining the way in which portraits
appropriation or cultural accommodation?
The paper examines the complex iconography
the artist a specific strategy to expose the
mirrored the impact wrought on Aboriginal
Should it be understood as a parody of British
of official royal portraiture and investigates the
pretence implicit in the act of portrayal.
society as British presence in Australia
codes of behavior and is Banks's dress actually
procedures underpinning the dissemination
Through the survey of contemporary
hardened and expanded. In considering the
subversive and transgressive?
and distribution of royal images, which came
historiated portraiture, and a practice in which
links between portrait collections in Australia,
to play an important part in Queen Victoria's
I construct such portraits, it becomes possible
New Zealand, and America, this paper will also
performance of her royal duties and in the
to confront the counterfeit in portraiture
explore the place of portraiture in the colonial
continued visibility of the British Monarchy.
drawn ‘from life'.
endeavour and discuss the distinct nature of National Portrait Galleries as museums dealing in the intersections of art, history, and biography.
Eugene Barilo von Reisberg
Elisabeth Findlay
Artist and lecturer William Platz studied Fine Arts
Eugene Barilo von Reisberg is a Melbourne-based arts
Joanna Gilmour has worked in exhibitions and curatorial
Dr Elisabeth Findlay is a lecturer in Art History in the
and Art History in New York (Pratt Institute & Regents
writer, curator, and blogger. His expertise on Franz
roles at the S.H. Ervin Gallery and the Historic Houses
School of Cultural Inquiry at The Australian National
College) before joining the Southwest University of
Xaver Winterhalter is widely recognised, and he has
Trust of NSW. She is currently Assistant Curator at
University. In 2010 she was an Academic Visitor at
Visual Arts faculty in New Mexico. In 2009, Mr. Platz
contributed numerous articles and presented papers
the National Portrait Gallery, Canberra, her research
the University of Oxford, where the research for this
immigrated to Australia and began pursuing a PhD in
on the artist in Australia and internationally. He is
focussing on colonial history and portraiture. Her book
paper took place. She is currently the ACT regional
Fine Arts at the QCA. ([email protected])
currently pursuing a doctoral thesis on the artist at the
on nineteenth century portrait photography, Husbands
representative for the AAANZ.
University of Melbourne. ([email protected].
& Wives, was published in 2010.
SPATIAL / TEMPORAL
Thursday: 10.15am - 11.55am
HOTERE, BAXTER AND DUNEDIN'S
FRESH DOUBT: THOUGHTS ON
‘EN ROUTE': AUDIENCE WORKS AND
ART, ARCHITECTURE AND DISCOURSES
GLOBE THEATRE: A 1960s CULTURAL
THE RELATIONALITY OF PLACE-IDENTITY
OF NATIONAL IDENTITY: ITALIAN
The paper provides a framework for thinking
Practices of art (and architecture) have
EXHIBITION PAVILIONS OF THE 1930s
through aspects of process-based practice.
In the early 1960s Patric and Rosalie Carey
recently turned towards theories of
This paper explores modalities of social
Its conception comes out of van Roosmalen's
converted part of their home into the Globe
relationality, embodiment and affect,
engagement of art with its audiences. During
teaching of contemporary art practices and
Theatre, a venue that promoted interaction
accompanied by a shift towards discourses and the late 1930s, the Italian government invested
the difficult terrain for students and artists
and exchange between practitioners of
design practice that emphasise doing things
considerable effort and expense to present
of choosing potential paths for developing
diverse art forms. It functioned as the hub
with space and engaging with what spaces
idealised representations of Fascist society in
work. This process of recognising potential in
of the local arts community and was a vital
do. Hence, city spaces can engage socially by
national and international exhibition pavilions.
something is of constant concern and rather
meeting ground for writers, artists, musicians
becoming the choreographers and agents of
These combined entertainment, tourism
than attempting to answer directly to its
and academics. The Globe also functioned as
its audiences. This paper focuses on what we
and propaganda as integral to a constructed
dynamics the paper explores the idea through
an art gallery, exhibiting works by significant
can learn from audiences of live art in urban
discourse of Italian national identity and
various texts with which van Roosmalen is
local and national artists. One example of the
environments. 'en route' is an audience work
culture. Through a comparative study of
engaged in her own research, turning around
remarkable collaborative efforts facilitated by
conceived by Melbourne-based ensemble ‘one four examples, this paper considers forms
a discussion of recognition across a number of
the Globe was the inaugural performance of
step at a time like this', a walk with an iPod
of exchange between artists and architects;
cultural contexts.
James K. Baxter's last play The Temptations
through laneways and buildings in the central
formal aesthetics and spatial sequence; art
In urban theory, Henri Lefebvre and
of Oedipus in 1970, which featured a set
city. Using interview material from audiences
works and exhibition design. These exchanges
contemporary proponents Warren Magnusson
and costumes designed by former Frances
who have performed ‘en route' in Melbourne,
are essential to the exhibitions' success as
and David Harvey discuss the broader
Hodgkins Fellow, Ralph Hotere, and music
Brisbane and Adelaide, this paper describes
intersections between art, architecture and
ramifications of planning for a social and
composed by the first Mozart Fellow, Anthony
and analyses the effects of a site-responsive
propaganda. They occurred in an orchestrated
empathetic urban environment. At another
Watson. This paper explores the Theatre's
performance that awakens its urban audiences space that played an intermediary role
point on the spectrum, in feminist theory,
role in supporting the arts, establishing artistic
from their blasé state of distraction. ‘en
between the individual and a specific,
Judith Butler closely examines the semiotics
networks and encouraging collaborative
route' is the affective experience connecting
idealised representations of Italian life.
of recognition. And in art historical terms,
subjectivity, place and identity as relationally
Further, these Modernist pavilions remain
1950 – 60's critical art practices form a link
and mutually constitutive.
as examples to counter the perception that
to manifestations in van Roosmalen's post-
Italian architectural production of the 1930s
minimal painting/installation practice.
was confined to the hard and authoritarian lines of monumental classicism.
Karin van Roosmalen
Joanne Campbell is currently completing a PhD in Art
Working at the intersection of painting and object-
Ian Woodcock is an architect, urban designer, teacher,
Dr. Flavia Marcello teaches in design, history and theory
History at the University of Otago on the history and
based installation, Karin van Roosmalen's project
and currently Research Fellow, Urban Design at
at Deakin University. An expert on Rome, her areas
influence of the Frances Hodgkins Fellowship, New
engages with issues of space and its habitation.
The University of Melbourne. Since 2009 Ian has
of interest include: the Italian Fascist period, spatial
Zealand's first visual arts residency programme. Until
She lectures in The School of Fine Art, Massey
collaborated with Melbourne-based ensemble ‘one step
practices within architecture both as ephemera and as
recently, she served as a trustee of the Blue Oyster Art
University, Wellington and holds an MFA in painting,
at a time like this' on ‘PastCityFuture', a work combining
an integral element of urban space and relationships
RMIT. Van Roosmalen is currently facilitating a
audience work and architectural design, hybridizing
between education and sustainable practice.
collaborative project for the Gapfiller initiative,
architectural teaching/learning and live art.
SPATIAL / TEMPORAL
Thursday: 10.15am - 11.55am
INTERMISSION: INTERSTITIAL
CURATED BY FRANCESCO BONAMI AND
FRA FILIPPO'S PALAZZO MEDICI AND
MOMENTS IN CREATIVE AND CRUEL
CAMALDOLI ADORAZIONE: PUBLIC
Francesco Bonami was commissioned by
AND PRIVATE DEVOTION, URBAN AND
Sited in the cinema/theatre's auditorium,
the Florence Council to enliven Florence as
HERMETIC DEVOTIONAL PRACTISES
this paper explores the transformative
a ‘living' destination. Needing a sign of the
In 1455, Fra Filippo Lippi was engaged to
moment that occurs when the homogeneity
contemporary, he chose Damien Hirst's For
paint the altarpiece for the Palazzo Medici
of theatrical space and time is interrupted
the Love of God, a celebrity work. It was
capella, in the city dwelling of the wealthiest,
and broken by the uncanny presencing of
placed within a secret room, the Camera of
most powerful family in Florence. Far from
an unscripted and unimaginable element.
Duca Cosimo, which leads off the (usually
being a space for private devotion, the chapel
By looking at a recent work of Venezualan
by appointment only) Studiolo of Francesco
was the site for a mixture of business and
contemporary artist Javier Téllez—in which
I, Palazzo Vecchio. Bonami's curation was
religion. Fra Filippo presents the viewer with
a live lion encounters a live audience in a
yet another State-sanctioned exhibition in a
an unexpected rendering of his subject matter,
small-town cinema—discussed alongside
place designed to display power and wealth
a wilderness Adoration. Fra Filippo painted a
the 2002 Moscow Theatre Siege—in which a
(by Vasari). Focusing on the Palazzo Vecchio
variation of the Adoration for the Camaldoli
staged performance was violently disrupted
– architecturally, art historically and plotting
Hermitage near Arezzo. It was likely a gift from
by Chechen rebels who took performers and
its place within the city – the complexities
the Medici, to furnish a cell dedicated to the
public hostage—we examine the temporal
of Bonami's achievement will be discussed.
Baptist. This figure is key to understanding how
site that opens up between the real and the
He has recovered a psycho-geography of
two similar compositions could suit two very
imagined when the continuity of narrative and
the Studiolo and shown how images in a
different audiences. In this paper I will examine
assumed spatial practices are disrupted. We
wunderkammer have a strange history which
how Fra Filippo's composition, featuring the
posit the concept of intermission as a means
encompasses not only art but State magic and
youthful Baptist, becomes the point of contact
of considering these ruptures which provoke
effigies. The sovereign's study is host to the
between the performative devotion of the
a precarious state where awe, fear, and power
sovereign artist, in a formation that found its
wealthy urban elite, and the pentitential,
apotheosis in Renaissance humanism.
private devotion of the segregated faithful.
*Paper co-authored with Dr. Dorita Hannah,
*Paper co-authored with Anna Ciliberto
Massey University, Wellington
Dr. John Di Stefano is the Head of Postgraduate Studies
Dr. Oliver Watts is a sessional lecturer at the University
Georgina Macneil is a PhD candidate at the University
at the National Art School (Sydney). He is an artist,
of Sydney and at the College of Fine Arts, University
of Sydney. Her research focuses on the significance
writer and curator whose current research examines
of New South Wales (UNSW). He focuses on modern
of the youthful John the Baptist in paintings of the
the relationship betweenidentity, displacement and
art and on the image magic surrounding sovereignty
Virgin and Child from Florence, ca. 1455-1500. She is
transnationalism. His recent videowork is included
and effigies. Anna Ciliberto is a graduate architect and
keenly interested in teaching and has tutored in the
in the Videonale (Kunstmuseum, Bonn). He is a
sessional studio tutor at UNSW. She works in the urban
department throughout her candidature. (gmac2209@
contributing editor to Art AsiaPacific (New York).
design and architecture firm, Johnson Pilton Walker.
‘The Artist of the Chief Mourner' [Tupaia], An English Naval Officer bartering with a Maori', c. 1769. Watercolour. (c) The British Library Board, 065691, Add. 15508, f.11.
Thursday: 1.50pm - 3.10pm
SUBJECT(IVITY) AND OBJECT(IVITY):
READING COLONIAL HEADS
‘UNINHABITED', ‘UNDISCOVERED': A
NINETEENTH-CENTURY LIFE CASTS
This paper contradicts the view that the
TALE OF INDIGENOUS AND EUROPEAN
interest in phrenology in colonial Australia
To support his identification of two Pacific
peaked in the mid-nineteenth century and
Working in the area of post-production digital
races, for his 1837 voyage Dumont d'Urville
faded to the distant margins of quackery by
image making, contemporary Australian
recruited phrenologist Dumoutier, skilled in
the 1870s. Instead, the material for analysis is
photographer Michael Cook creates a
making life casts for his readings of human
drawn from the second half of the nineteenth-
provocative and sensitively presented
heads, who succeeded in persuading more
century, demonstrating that phrenology was
intervention into Australian history. My
than fifty indigenous subjects to agree to his
more pervasive than has previously been
paper examines images taken from his
casting their heads. Preceding photography,
acknowledged. Also, taking Sharrona Pearl's
recent exhibition (held at Andrew Baker
casts were perceived as accurate, objective
lead, I subsume phrenology into the wider
Gallery in Brisbane) entitled ‘Uninhabited'
records, avoiding the contingency of drawings.
paradigm of physiognomy. (Pearl, Harvard
and ‘Undiscovered'. Through the imaginative
Installed at the Muséum d'Histoire Naturelle,
Univ. Press, 2010) I particularly highlight
images which sustain the narrative of the
the casts, and lithographs of them in
the direct influence of North American
separate suites, Cook explores his Aboriginal
d'Urville's Atlas Anthropologique, became the
phrenological texts in the transmission of
heritage. His images ask the questions: how
subject of close study, ironically demonstrating
physiognomical thinking in popular illustration
do we encounter ‘the other' or how does ‘the
that they were as open to subjectivity as
and photography to demonstrate that the
other' encounter us? If colonization was the
any other records. The only objective ‘truth'
image economy used to define racial, criminal
goal of the European mind at the moment of
they record is evidence of contact between
and social types in Australia was governed by
contact what aspirations and hopes arose in
French voyagers and indigenous peoples.
the codes of physiognomy. Even in its highly
the minds of those ‘colonized'?
Their ongoing potential for subjective
determined manifestation of phrenology,
This paper engages with these images at the
interpretation has been vividly demonstrated
this influence reached into the twentieth
point of intersection between two cultures to
in their reinvention as photographs by Fiona
century as a measure of social standing and
elucidate a different way of seeing the past
Pardington. Reversing the path of d'Urville's
and with it the potential of a more positive
travels, she has returned the images from
and imaginative future.
France to the southern hemisphere in an unusual act of repatriation.
Elizabeth Rankin was appointed Professor of Art History
Professor Ross Woodrow is Deputy Director of the
Christine Dauber's research/publishing interests lie
at the University of Auckland in 1998. Her research,
Queensland College of Art at Griffith University. He
in the area of imposture and museums' exhibition
writing and curating has focused on cross-cultural
has a long-established research interest in visual
of Aboriginal culture. Her doctorate on the National
exchanges in South African art, particularly sculpture
image analysis, racial science and the related areas of
Museum of Australia addresses how the inclusion of
and printmaking, but since coming to Auckland she has
physiognomy and phrenology. His MPhil and PhD at the
the Gallery of the First Australians within a national
enjoyed extending her studies to include New Zealand
University of Sydney encompassed these areas and he
museum context inflects concepts of the national in
has published internationally in the field.
Australian cultural life. ([email protected])
Thursday: 1.50pm - 3.10pm
MAKING WAY: CONTEMPORARY
A TALE OF TWO ‘CITIES': TRANSLATING
WE'LL TAKE THE STAGE, 'COS IT'S NOW
AFROPOLITAN AND SINOPOLITAN
SENSE AND SENSIBILITY
OR NEVER: NEW ZEALAND SCULPTURE,
"When names are not correct, what is said will
CONCEPTUAL AND PERFORMANCE ART
The art exhibition, Making Way, is about
not sound reasonable." (The Analects 13.11)
IN AUSTRALIA 1967-1979
forging new pathways physically, psychically,
In the cross roads of global cultural exchange,
A look back to the 1960s and 70s, when terms
and conceptually in a time of unmoored
the introduction of Aboriginal art to one of
like ‘internationalism' and ‘provincialism
geographies. The concept "making way" is a
the fastest growing economies in the world,
problem' circulated throughout the global art
metaphor for the making of socio-political,
China, should be celebrated. One could
world, many artists and curators in Australia
economic or personal progress, as well as for
argue that art transcends cultural barriers
and New Zealand worked towards a trans-
headway beyond stagnation—making way
and has the ability to bridge understanding.
Tasman dialogue which, they hoped, would
for new traditions, new spaces, new ways of
However, much could be lost in translation if
ensure that the region's art was recognised
seeing and new ways of being.
one does not take into consideration cultural
on the world stage. Yet the 1970s ended
Referring to this exhibition, this presentation
difference and sensitivities. This paper is a
in something of an atmosphere of mutual
considers African migration that fuels
critical analysis of the word choices for the
tension. It was a time of collaborative yet
positive aspects of Afropolitanism as well as
translation of the term ‘aboriginal art' in the
curtailed exhibitions, enthusiastic curatorial
negative outbreaks of xenophobia. Further, it
Chinese language, and in particular, the terms
praise met with patronising reviews and, then,
considers revived interest in the Global South,
yuanzhuming yishu and tuzhu yishu. Yishu
if the New Zealand contingent thought that
particularly relationships between Africa and
refers to the arts, while yuanzhuming may
Mildura 1978 was going to offer a respite from
China, with Sinophobia hot on the heels of
be loosely translated as ‘original inhabitants',
the ongoing ‘Crucifixion' controversy at home,
and tuzhu as ‘belonging to the earth' or ‘earth
well, guess again…
Through an analysis of artworks by Machona,
bound'. For this enquiry, I will use Tu di - Shen
Meistre, Nyoni, Chiurai, Chen, Hartzenberg,
ti: Our Land - Our Body, a recent exhibition of
Haloba, Qiu, Maleon, Kouélany, Leye and
Aboriginal works from Australia in China, as a
Hua, this presentation opens up positive
case study. The aim is twofold. The first is to
ways of dealing with cultural contact and
question the interchangibility of the two terms
understanding in a context of economically
and the blatant acceptance of the ‘neutrality'
determined fears and stereotypes.
of the latter. The second, to examine the commensurability of translating cultural difference and cultural sensitivity, thereby presenting an interesting tale of two ‘cities'."
Ruth Simbao is Associate Professor in Art History
Dr Lim Chye Hong is a specialist in Chinese Art. Prior to
Eric Riddler is Image Librarian and Project Researcher
and Visual Culture at Rhodes University, South Africa
her move to Sydney, she has curated exhibitions and
at the Art Gallery of New South Wales. He has also
and has a PhD in African Art History from Harvard
taught Art History and Curatorial Studies in Singapore.
recently worked for the Design and Art Australia Online.
University. Her research in Zambia considers issues of
In the recent past, she was visiting curator for the
He has assisted with research for books and exhibitions
performance, heritage and politics in cultural festivals.
Wollongong City Gallery for Memories of Silk. Currently
on both sides of the Tasman. ([email protected])
Other research interests are ‘place', site-specificity and
she is the coordinator of Asian Programs at the Art
performance in the contemporary arts of Africa; China-
Gallery of New South Wales. ([email protected])
Africa relations, and the Global South. www.research-africa-arts.com ([email protected])
Thursday: 1.50pm - 3.10pm
CREATING A ‘NEW COMMONWEALTH':
GENTLEMAN AND PROFESSIONALS
BORN IN THE USA: THE CARNEGIE
ART, NATION AND DISPLAY AT
In 1891, the Art Gallery of New South Wales'
CORPORATION'S ‘ART IN AUSTRALIA
THE OPENING OF LONDON'S
Trustees met at the annual exhibition of the
1788-1941' EXHIBITION TO THE USA
COMMONWEALTH INSTITUTE, 1962
Art Society of NSW and purchased five works
On the 9th of November, 1962 the New
- a practice that would last approximately
The philanthropic Carnegie Corporation
Commonwealth Institute was opened in
of New York had a considerable impact on
London. At its heart lay a three-tiered circular
A few years before, open warfare broke out
Australia's (and NZ's) small, isolated and
area housing trade, historical and geographical
between the Trustees and the Society. In 1884 economically depressed art worlds of the
displays relating to each of the countries then
the Trustees said they would only buy works
1930s, mainly in promoting the modernization
in the Commonwealth. Alongside this main
that ‘possess sufficient merit to entitle it to a
and internationalization of museums and
buidling was a gallery reserved for the use of
place in the National Art Gallery.' The warfare
galleries. This paper explores the significance
Commownealth artists. This venue presented
resulted from a letter from the Trustees after
of one of the Corporation's most popular
work of numerous Australian artists including
the Society's 1885 exhibition stating that ‘they
initiatives, an Australian art exhibition that
Len French and David Boyd.
have been unable to select anything'.
extensively toured the US and Canada from
This paper will consider the interconnections
The Society was formed in 1880 by artists as
1941. Conceived in peacetime as a neutral
between the main building displays and
they were unhappy with the NSW Academy
cultural exchange with a British dominion, with
the activities of the Art Gallery. It will
of Art. Some Trustees had been Council
the ostensible aim of educating Americans
focus upon the opening exhibition entitled
members of the Academy and the professional about Australia, it was delivered at a critical
Commonwealth Art Today which included
artists considered them ‘amateurs'.
time for the US-Australian alliance during the
works by Contemporary artists from every
Another source of antagonism was the
Pacific War. The exhibition's effectiveness as
commonwealth country.It included17
European focus of the Gallery's collecting
political propaganda, however, has eclipsed
Australian artists, primarily selected by the
prior to 1891. This paper investigates the two
its other important function, which was for
Contemporary Art Society of Australia.This
bodies and their relationship.
Americans to educate Australians about
and later exhibitions featuring Australian
modernism. Clashes over the content of the
artists, were intended to support the
exhibition gave Australians a foretaste of the
Commonwealth Institute's broader agenda
new postwar order in which the terms of
to educate the British public about the ‘New'
global modernism would be dictated from
Dr. Sarah Scott is the convener of the Museums
Stewart Reed is a research student at COFA writing
Caroline Jordan lectures in art history at La Trobe
and Collections Graduate Coursework (Liberal Arts)
about the development of the collections of the
University. She specialises in Australian art and has
program at the Australian National University. She is
Art Gallery of NSW. He has worked at a number of
written on colonial and modernist women artists, public
currently developing an Australian Research Council
cultural organisations. He presented a paper at the
art and modernist buildings, and the colonial art world.
Discovery Grant to examine the cultural history of
AAANZ conference in 2010 and runs courses at Sydney
She is writing a book on Australian regional art galleries
London's Commonwealth Institute. (sarah.scott@anu.
University Centre for Continuing Education.
of the late nineteenth-century.
Thursday: 1.50pm - 3.10pm
TEXT, IMAGE AND VOICE:
HARMONISING THE SPACE OF
ILLUMINATED SPACES: THE AESTHETIC
RE-IMAGINING THE LEGEND OF
MODERNISM: KEMP, GROUNDS,
POWER OF CHRISTIAN WALLER'S
FRENCH & THE NGV'S GREAT HALL
This paper looks at representations of the
The communicative power of ecclesiastic
legend of Hinemoa. What is important here
This paper surveys the relations between the
stained glass is born from the relationship
is the legend as it was spoken, written and
commissions associated with the National
between its material properties, its
pictured, communicated diverse messages to
Gallery of Victoria's Great Hall, namely
architectural setting and the viewer. Intended
the built environment (Roy Grounds), the
as a point of contact between the parishioner
Further investigation shows how colonisation
stained glass ceiling and those lighting effects
and religious narratives, the medieval medium
shaped the legend during the late nineteenth
produced by it (Leonard French), and the
was revitalised by a number of modern artists
and twentieth-centuries. I was told the legend
recently expanded collection of tapestries
in the twentieth century. Australian artist
by my mother at our home in Hokianga;
(executed by the Victorian Tapestry Workshop
Christian Waller (1894–1954) was one of
her version elicited different interpretations
from paintings by Roger Kemp). While Philip
and insights. In painted representations
Goad sees Grounds' design as a work of
Using Christian Waller's modernist stained
romantic and nostalgic versions of the legend
Post-Modernist architecture avant la lettre, it
glass as a case study, this paper examines
predominated. The artists Nicholas Chevalier,
is my contention that when these pieces are
how the material and cultural considerations
Gottfried Lindauer and Charles F. Goldie
seen as part of a larger whole, they are more
of ecclesiastic stained glass affect viewers'
communicated different perspectives for
properly understood in the terms of Ferdinand
experience of the medium. It is argued that
influential European patrons and spectators.
Léger's rappel à l'ordre: a highly classicising
the strength of her work resulted from her
Tene Waitere's carved gateway (waharoa)
and mediated version of Modernity in which
recognition of these concerns, coupled with
also represented Hinemoa and Tutanekai. It
historic allusions are harnessed to present
her distinctive aesthetic. Waller's stained
mediated between indigenous ways of seeing
Modernism as consistent with historical
glass, therefore, exemplifies the medium's
and the expectations of tourists. Different
and historicist continuities. Like the formal
potential to powerfully convey spiritual
interpretations of the legend also liberated
arrangement itself, this is an aesthetics of
narratives. As such, this paper asserts that
Tiki from his subordinate role as the helpful
literal and metaphoric harmony and tonal
Waller's unique work aligns itself to radically
friend of Tutanekai to a more intimate
reinforcement, not one of disruption, radical
modern interests over narrative and picture
relationship. The decisive ideological shift of
eclecticism, noise, or fragmentation.
post-colonialism has allowed Māori voices to emerge from the shadows into the light.
Filma Anne Phillips
Jonathan Marshall
Dr Anne Phillips is a postgraduate student in Art
Dr Jonathan W. Marshall is an interdisciplinary scholar
Grace Carroll is a doctoral candidate in the Department
History at Victoria University of Wellington. Her
with a background in history. He teaches Theatre and
of Art History and Curatorship at the Australian
current research focuses on post-colonial theory and its
Performing Arts Studies at the University of Otago, NZ.
National University. Her thesis examines the art and
implications for Māori art and artists. Prior to pursuing
Marshall has published on Roger Kemp (Art Bulletin of
life of Christian Waller. She has worked at the National
Art History, Phillips enjoyed a distinguished career in
Victoria, 2007), Kleist, Bauhaus and Dada (Fischer &
Portrait Gallery of Australia, and contributes regularly
Mehigan, eds, Kleist and Modernity, 2011), and other
to Canberra arts magazines.
Thursday: 1.50pm - 3.10pm
ALEXANDER ‘GREEK' THOMSON'S
THE RUGGED MOUNTAIN'S SCANTY
THE ANTIPODEAN GARDEN
THEORY IN TERRACOTTA
CLOAK: HIGHLANDISM, SCOTTISH
This paper will address intersection and
A FOUNTAIN OF FAITH IN TASMANIA
IDENTITY AND COLONIAL COLLECTING,
divergence in forms of correspondence
Scottish architect Alexander ‘Greek' Thomson
in the Adelaide Botanic Garden, through
(1817-75) was famous for incorporating
an investigation into its living and cultural
Through an examination of the catalogues of
ancient Greek motifs in his distinctive designs,
collections. The botanic garden will be
Australia's early art collections, it becomes
most of which were executed in the Glasgow
considered as an assemblage of diverging
clear that the Scottish landscapeone was a
area, beginning in the late 1840s. Thomson
intersections, exchanging locations and
prerequisite in the accession narratives of the
did not revive Greek design simply for its own
temporalities. Two major colonial features of
time. Indeed paintings of the romanticised
sake, or for the pagan associations it might
Adelaide Botanic Garden will be considered
Scottish Highlands were some of the most
evoke in the classically educated. As a devout
in their differing structures of enclosure: the
prominent and popular works in both the
Christian, Thomson sought to express what he
Palm House and the Museum of Economic
public and private collections of colonial
believed to be the eternal truths of his faith
Botany. The Palm House, a Victorian
Australia. Yet it might seem incongruous that
in his designs. He believed that these truths,
glasshouse, imported from Germany and
such landscapes were so highly esteemed in
precisely because they were eternal, could
opened in 1877, currently houses a collection
this context. Such portrayals actively denied
be found in, and conveyed through, design
of plants from Madagascar. The Museum of
the hardships of nineteenth-century Highland
ideas originating in pre-Christian civilisations.
Economic Botany, the last remaining purpose
life which led a proportion of the area's
A public fountain in Launceston, Tasmania, is
built museum of its kind in Australia, houses
population to immigrate to the colonies in the
significant not only as a previously unknown
substances, specimen and crafted objects
first place. Thus the context of settler society
work of Thomson, but also as an exemplary
collected between 1865 and 2009. The
in Australia more immediately necessitates a
expression of his design ethos. Analysis of
photographic art practice accompanying this
reading of landscape Highlandism as neglectful
the iconography of this fountain in the twin
research will be presented alongside archival
of both historical fact and marginalised
contexts of classical mythology and Christian
images, investigating methodologies of
experience. This paper will explore the extent
theology sheds new light on Thomson's
exchange in the production and recording of
to which Highlandism found expression
remarkable oeuvre.
images within the botanic garden.
in the art collections of colonial Australia, with a particular focus on works collected in metropolitan Melbourne during the second half of the nineteenth century.
Dr Anne Neale is a cultural historian and was formerly
Suzanne Fraser is a PhD candidate in art history at the
Jessica Hood is a post-graduate student completing
Coordinator of History & Theory in the School of
University of Melbourne. Her thesis explores the role
a PhD at Monash University, Melbourne. Her studio-
Architecture & Design at the University of Tasmania,
of Scottish art and cultural identity in Victoria to 1945.
based research is focused on the temporal implications
where she is now an Honorary Fellow. Her research
Suzanne has undertaken internships in London, Glasgow
of photography within the Australian botanic garden.
embraces the history of architecture and gardens, as
and Sydney; she is a student ambassador for the Ian
She exhibits regularly in Melbourne, and is the ongoing
well as 19th century art and design.
Potter Museum of Art. ([email protected])
recipient of the Australian Postgraduate Award.
Thursday: 1.50pm - 3.10pm
REV. NICHOLSON GOES TO
THERE WAS AND THERE WAS NOT…
CURIOSITY KILLED THE CAT: ACCIDENTAL
HOLLYWOOD: THE THOROUGHLY
TELLING DIFFERENT STORIES: AKRAM
ENCOUNTERS IN THE ART GALLERY
MODERN MISSIONARY AND THE
ZAATARI AND WALID RAAD
The art gallery is a cultural space, traditionally
AMERICAN MOVIE-MAKER
This paper presents reflections on four months understood as an active mediator between
In 1920 the Rev. Reginald Nicholson, an
of fieldwork in Beirut, related to my thesis
artworks and viewers. In this paper I will show
Australian Methodist missionary stationed in
on the art practices of two Lebanese born,
how accidental and unexpected encounters in
Vella Lavella in the western Solomon Islands,
globally recognized, contemporary artists,
the art gallery open up vibrant material spaces
made contact with a visiting American film
Akram Zaatari and Walid Raad.
where impossible geometries become coupled
crew headed by producer Edward A. Salisbury.
What the fieldwork begins to reveal is the
to improbable experiences. Most accidents
The result of their collaboration was a silent
complexity and paralyzing irreducibility of
(as long as they do not harm or threaten life)
motion picture – The Transformed Isle – later
the historical-cultural milieu which Zaatari
can be forgiven, and new things often emerge
toured to much acclaim around Australia and
and Raad reference. It begins to expose the
from the chaos. Accidental encounters in
ambivalence, at best, and suspicion, at worst,
the art gallery occupy a critical space that
The use of moving film for missionary fund-
that informs local audiences' attitudes towards moves us beyond established behaviours and
raising was a distinctly modern venture, with
their art. What emerges is a portrait of a
expectations. Artworks that experiment with
Nicholson its enthusiastic advocate. But who
memory culture that has all but collapsed
the lingering sonic trace and uncontrolled
was Edward A. Salisbury and what was the
upon itself, where Raad and Zaatari's ‘socially
motion can be most challenging. In Work No.
nature of this serendipitous collaboration?
and politically engaged art' probing ‘truth' and
850 (2008) Martin Creed sent runners through
The Transformed Isle is an intriguing amalgam
memory finds more affinity in the global art
the halls of Tate Britain. Tino Sehgal fills
of fictional narrative, pseudo-ethnography
scene than in the disillusioned and fatigued
spaces with matter––formative, kinetic and
and Methodist propaganda. Analysis of
local psyche.
generative. In their embrace of the accidental
the film and its afterlife reveals a host of
encounter and the curious audience Sehgal
fractures that draw attention not only to the
and Creed challenge our understanding of art
unstable categories of visual representation
as singular and fixed.
superimposed on early twentieth- century Solomon Islanders but also the profound tension that underpinned the presentation of the missionary project to ‘home' congregations.
Stella Ramage is a PhD candidate at Victoria University
Emmi Nevalainen is a post graduate student completing
Dr Susan Ballard is principal lecturer in electronic arts,
of Wellington with a provisional research topic of
a PhD at the College of Fine Arts, University of New
photography and art theory at the Dunedin School
missionaries, modernity and the moving image. Since
South Wales, Australia. Her thesis formulates a
of Art. Her research addresses utopia and elsewhere,
graduating with first class honours in Art History in
unique parallel reading of two Lebanese-born artist's
the art gallery, noise, machines, accidents and digital
2008, she has been working as research assistant to Dr
approaches to the notion of historical truth in Beirut's
aesthetics. Su is a director of The ADA Network and
Peter Brunt on his Marsden-funded book project, Art in
post-civil war social and political conditions.
co-edited the The Aotearoa Digital Arts Reader in July
Oceania: a History.
Thursday: 1.50pm - 3.10pm
PRELIMINARY DESIGNS FOR A
‘PUNCTUAL, METICULOUS, EXACT,
POST-COLONIAL POINTS OF CONTACT:
NEW AUSTRALIAN DEMOCRACY':
IMPLACABLE': PROFESSIONALISM AS
AUSTRALIAN EXHIBITIONS OF COLONIAL
AUSTRALIAN LANDSCAPE PAINTING IN
AN AVANT-GARDE STRATEGY AMONG
ART AND THEIR IMPACT
POST-COLONIAL PRACTICE AND THE
MELBOURNE'S POST-WAR ÉMIGRÉ
Innovative interpretation in art exhibitions
is often associated with the presentation
In 1988 the actor Ernie Dingo commented,
of avant-garde and new media art. The
Professionalism as a modus operandi
‘People are always talking about the
rise of post-colonial studies, however, has
is usually regarded as the avant-garde's
Aboriginal problem. We haven't got a
reinvigorated art historical research in the
dialectical ‘other', signalling either trenchant
problem: it's a White problem'. The ‘White
area of colonial art and fresh academic
academicism or commercial compliance.
problem' is nowhere more apparent than in
approaches are encouraging contemporary
Yet professionalism characterized the
the Australian relationship to landscape, in the
artists to revisit and draw inspiration from
approach of many post-war European artists,
contrast between the metaphor of ‘lost in the
this earlier historical period. But dothese new
particularly those engaged with architects
bush', from McCubbin to ‘Wake in Fright', and
academic perspectives also open up new
on public rebuilding projects. Hence, in
the embodiment of homeland in the QANTAS
possibilities in the display and interpretation
1950, Le Corbusier could declare that the
dot-painted airline.
of nineteenth-century and /or contemporary
‘serious arts are punctual, meticulous, exact,
If Australian culture were merely commodities
Australian art? This paper shows a selection
implacable'. A number of émigré artists who
and entertainment, it might be possible to
of recent Australian exhibitions and questions
arrived in Australia after World War II devoted
relegate the failure of Australian first contact
the extent to which new modes of writing
themselves to this particular philosophy of
to history, but landscape painting is a cultural
about art history are reflected in innovative
hard work, sobriety and exactitude. This paper
practice which maintains history in the
interpretation and display strategies. The
examines a group of mainly émigré sculptors
contemporary culture.
exhibitions selected for evaluation include:
– Vincas Jomantas, Julius Kane, Inge King,
The research project, Homeland, proposes
Lines in the Sand, 2008, (Hazelhurst Regional
Clifford Last, Lenton Parr, Norma Redpath, and
that before an Australian post-colonial culture
Gallery, Sydney); Eugene von Guerard: Nature
Teisutis Zikaras – who united in Melbourne in
can emerge, its relationship in the Pacific must
Revealed, 2011(National Gallery of Victoria);
1961 under the banner of Centre Five, arguing
be defined and it turns to the collaborative art
The Stony Rises Project exhibition, 2010-
that they constituted a local professional
practices of Cook's Endeavour voyage and the
11 (RMIT Gallery; Art Galleries of Ballarat,
avant-garde. This affords a reappraisal of
relationships they reveal between the British
Horsham, and Warrnambool; and Riddoch Art
post-war migrants' contribution to Australian
and Tahitians, to develop the ‘prototype
culture, resituating a perceived lack of
artifacts' for the practice of an Australian post-
*Paper co-authoured with Alison Inglis.
radicalism as, in itself, an avant-garde strategy.
colonial culture. Harriet Parsons
Catherine De Lorenzo
Harriet Parsons is a Masters research student from the
Jane Eckett is a doctoral researcher and tutor in art
Dr Catherine De Lorenzo teaches courses on art history
Victorian College of the Arts. She has been exhibiting
history at the University of Melbourne. She holds
in the Faculty of the Built Environment, UNSW.A/Prof
since 1996, including Gallery 4A in Sydney, Gertrude
degrees in science and arts from the University of
Alison Inglis (Art History, U. Melbourne), teaches various
Contemporary Art Spaces in Melbourne, the National
Queensland and the University of Sydney and a Masters
subjects and co-ordinates the MA in Art Curatorship.
Gallery of Victoria and Eastlink Gallery in Shanghai
by research (MLitt) from Trinity College Dublin.
With A/Ps Joanna Mendelssohn and Catherine Speck,
and has received a number of State and Federal
Museums Australia , NGA, NGV and AGNSW, they
were recently awarded an ARC Linkage for Australian Art Exhibitions 1968-2009: a generation of cultural transformation. ([email protected])
Thursday: 3.30pm - 4.50pm
INTERPRETING NAMATJIRA
FROM L'INFORME TO L'EMPREINTE:
MADNESS AND UNREASON: ABY
The artworld's intense interest in Indigenous
THE BASE-MATERIALISM OF ROSALIND
WARBURG'S ANTHROPOLOGICAL
art in the mid-twentieth century was a
KRAUSS AND GEORGES DIDI-HUBERMAN IMPULSE
legacy of surrealism, which had championed
This paper considers points of contact and
Aby Warburg has traditionally assumed a
Indigenous art as a means to attack the values
divergence between two exhibitions organized
marginal position in the discipline of art
of European civilization. This avant-garde
by prominent art historians held at the Centres history, long overshadowed by his predecessor
attitude to Indigenous art framed the initial
Pompidou in 1995 and 1997: L'Informe: mode
Erwin Panofsky. Over the past two decades,
reception Albert Namatjira paintings, which
d'emploi, organized by Rosalind Krauss and
however, Warburg's intellectual legacy has
more than any other Indigenous art at the
Yve-Alain Bois, and L'Empreinte, organized
undergone a significant reappraisal, and
time, acted like a lens that focused the deep
by Georges Didi-Huberman. Although both
Warburg is now recognised as clearly standing
ideological issues at stake. Also caught up in
exhibitions shared a number of common
at the intersection between anthropology and
this debate was an intense anthropological
concerns, perhaps converging in an interest
art history. This surge of interest has recently
reaction to his art that, in many ways, paralleld
in the writings of Georges Bataille, their
been given visual form in the exhibition "Atlas:
the avant-garde reception. Namatjira's art
influence would differ markedly in the English-
How to Carry the World on One's Back?"
opened two contact zones, one between
speaking world. Indeed, L'Empreinte could
curated by French art historian Georges Didi-
the avant-garde artworld and Indigenous
be considered as a response to L'Informe,
Huberman for the Museo Nacional Centro de
art, and the other between the artworld and
illuminating key differences in the reception
Arte Reina Sofia in Madrid. Taking its point
anthropology. This paper disccusses these two
of Bataille's writings in France and the United
of departure from Warburg's Mnemosyne
contact zones and the relationship between
Atlas (1925-1929), the exhibition reflects the
critical proximity of Warburg's cultural and anthropological ideas within Didi-Huberman's own project. This paper will discuss the parameters of a Warburgian art history in the work of Didi-Huberman and Hans Belting, demonstrating a radical divergence between the two approaches.
Ian McLean is a well-known commentator on Australian
Raymond Spiteri teaches art history at Victoria
Chari Larsson is a PhD candidate in art history at the
art. His most recent book books is How Aborigines
University of Wellington, New Zealand. His research
school of English, Media Studies, and Art History at
Invented the Idea of Contemporary Art. A Research
interests converge on the culture and politics of
the University of Queensland. She is writing her thesis
Professor of Australian Art History at University of
on the French art historian Georges Didi-Huberman.
Wollongong, he serves on the advisory boards of the
She has a BA Hons in art history from the University of
journals Third Text, World Art and National Identities.
Queensland and the University of Sydney.
Thursday: 3.30pm - 4.50pm
ARTISTS' COLONIES: AUSTRALIANS IN
WINIFRED KNIGHTS AND INTERWAR
ENCOUNTER WITH A STRANGE
CORNWALL AND BRITTANY 1890-1914
ARTISTS AT THE BRITISH SCHOOL AT
COUNTRY: ROSALIE GASCOIGNE IN THE
‘As the spring advances', observed the
Australian artist Hilda Rix Nicholas, ‘the
My paper will explore the artistic education
New Zealand-born Australian artist Rosalie
painting world of Paris (armed with all the
and significant artistic contributions of
Gascoigne struggled to make sense of her new
impediments for work) flies to the country
one of the women artists who particularly
landscape when she left Auckland in 1943 to
or further afield'. By the late nineteenth
represents the innovative artistic education
marry fellow Aucklander Ben Gascoigne.
century there was an established trend for
of the interwar years at the British School
Gascoigne felt dislocated and isolated in her
artists to escape the city and spend time in
at Rome, Winifred Knights (1899-1947),
new home at Mt Stromlo on the Monaro's
rural regions. Popular destinations were St
the first woman to win a Scholarship to the
highland plateau near Canberra. Her
Ives in England and Étaples in France, where
British School at Rome (1920-1925). The
encounter with the strange new landscape
there developed artist colonies which were a
early-twentieth-century work of Knights is
led her to make the art that gained her
retreat from the urban, with artists seeking to
critical to a comprehensive understanding of
prominence on both sides of the Tasman;
move away from the social world of the city
the education of the Rome Scholars to the
the Monaro's crisp dry landscape with its
and discover places (and peoples) untouched
formation and character of British Modernism.
‘great blond paddocks', red earth and bright
by the developments that were swiftly and
My paper will place the work of her formative
screechy birds was dramatically different
constantly changing urban cityscapes. As much
years in Rome within the context of her Rome
from Auckland's lush green volcanic hills, blue
as artists desired a physical and emotional
Scholar colleagues to develop larger issues
harbours and birds of muted colours that sing
distance from the modern world, the
regarding interwar artistic education at the
rather than shriek.
development of these communities reveals
British School at Rome including the history
Using Czech-born philosopher Vilem Flusser's
that the bohemian world extended beyond
of women artists at the School during the
notion of exile, this paper explores Gascoigne's
the city. Whilst abroad, many Australian artists
1920s and 1930s, motivations behind British
exile to and encounter with the ‘strange
participated in this practice, many of whom
artists adopting an "Italian style," and artistic
country' and how Gascoigne's initial loneliness
had already made similar journeys.
responses to the horrors of World War I.
and desperation for the familiar provided the rich loam in which her art ripened to maturity.
Kate is a PhD candidate and tutor at the University
Lyrica Taylor is a PhD candidate and is writing her
Niki Francis is a PhD candidate in the Australian
of Sydney researching Australian expatriate artists
dissertation on the early-twentieth-century artwork
National University's National Centre of Biography
between 1890 and 1914, focusing on the processes
of Winifred Knights. Lyrica has held internships at the
where she is writing a biography of the New Zealand-
of travel and the negotiation of national, artistic,
Smithsonian National Portrait Gallery, the Huntington
born Australian artist Rosalie Gascoigne exploring how
gendered and spatial identities.
Library and Art Collections in California, the National
Gascoigne's emigration from New Zealand to Australia
Endowment for the Arts in Washington, DC, and Tate
influenced her sense of identity and her development as
an artist. ([email protected])
Thursday: 3.30pm - 4.50pm
SCRIPTING SPACES: IMPRESSIONS ON
AUSTRALIANA PHOTOBOOKS OF THE
TEACHING TASTE: PUBLIC ART
TWO CONTEMPORARY NEW ZEALAND
1960S: NEW ARTISTIC COLLABORATORS
EDUCATION IN NEW SOUTH WALES,
ARTISTS' BOOK PROJECTS
IN CONTACT WITH NEW AUDIENCES
Two New Zealand artists Ruth Buchanan and
AND IN EXCHANGE WITH EACH OTHER
In 19th century New South Wales, there
Simon Denny, both currently working from
The publishing sensation of 1966 was a
was little formal training available to those
Berlin, have recently published books projects.
handsome coffee table photobook called The
interested in fine arts or art appreciation.
Both books were produced in collaboration
Australians. The product of a collaboration
Schools, technical colleges and private classes
with Amsterdam based, New Zealand designer
between the American National Geographic
offered a little basic training to the interested
David Bennewith. The books are presented
photographer Robert Goodman, the recently
few, but the vast majority received no formal
as significant components of their sculptural
returned expatriate writer George Johnston,
based practices that invite and interrogate
and the London-trained graphic designer
Exhibitions and public galleries became
notions of ‘scripted spaces'. Both projects
Harry Williamson, the book brought a vibrant
important sites for art education. For the
present idiosyncratic narrative structures
discussion of Australian identity to new
average working adult, exhibitions were
and render reflexive translation and the
audiences. A year later a second Australiana
the only place to cultivate a knowledge
mechanics of distribution. The books are
photobook came out in reply. Southern
and appreciation of high art. Politicians,
articulated repositories of parallel texts rather
Exposure was a product of the collaboration
educators and gallery trustees championed
than catalogues focused on documenting
between the writer Donald Horne, whose
the establishment of public galleries for their
the exhibition. This paper will act like a book
ironically titled book The Lucky Country had
capacity to instruct and elevate standards of
review examining how these printed forms
been published in 1964, and the photographer
provide an expanded view on the artist's
David Beal, whose photography had heavy
Drawing on a wide range of historical sources,
production of space. A series of impressions,
traces of contact with the social commentary
this paper will focus on both the educational
the paper will further consider how these
of photographers like Bill Brandt, as opposed
intentions of those who designed and
books-as-exhibitions reflect the artists'
to the glossy ‘National Geographic' style of
mounted the displays, as well as the ways
exposure to the critical distance this place
Robert Goodman. By discussing page spreads
in which individuals used these events as an
necessitates from their recent reckoning with
and sequences I will analyze the artistic
opportunity to improve their knowledge and
the still-assumed centre for contemporary art.
exchange between these two important, but
understanding of art.
now virtually forgotten photographic works.
Rebecca Kummerfeld
Laura Preston is the curator at the Adam Art Gallery,
In 2011 Martyn Jolly completed fellowships at the
Rebecca Kummerfeld is a doctoral student at the
Victoria University of Wellington. She has a Master
National Library of Australia, working on their
University of Sydney. Her research focuses on the
of Arts in Art History from the University of Auckland.
Australian photobook collection, and the National Film
history of art education in New South Wales from 1850-
Her thesis examined the philosophy of space and its
and Sound Archive, working on their magic lantern slide
1915 in a wide range of contexts including: schools,
relationship to the histories of time-based media.
collection. His book Faces of the Living Dead: The Belief
technical colleges, art galleries and private studios.
in Spirit Photography came out in 2006.
Thursday: 3.30pm - 4.50pm
‘I REALLY THINK IT IS SCENERY THAT
STAY IN TOUCH: REPRESENTATION
THE NAME'S COLVIN. NEVILLE COLVIN
ONE CAN GET HEARTILY SICK AND TIRED
AND ABSTRACTION IN THE EARLY
New Zealand artist Neville Colvin (1918-1991)
OF': HANS HEYSEN IN NEW ZEALAND
TWENTIETH-CENTURY WRITINGS OF
achieved international success as illustrator
Between January and April 1907 the South
of the popular comic strip Modesty Blaise
WILHELM WORRINGER
Australian artist Hans Heysen made his first
in the early 1980s through its syndication in
This paper focuses on the psychological,
and only painting trip to New Zealand. While
newspapers around the world. Yet his artistic
cultural, and formal differences and
even the strongest paintings from this visit
reputation remains almost unknown in the
connections Wilhelm Worringer traces
hardly rank among his best works, his letters
country of his birth. As an expatriate and an
between representation and abstraction
to his wife provide a fascinating insight into
illustrator, Colvin has been doubly cursed as a
in Abstraction and Empathy (1908) and
his views of New Zealanders, art in New
contender for the attention of art historians.
Form in Gothic (1912). Worringer begins his
Zealand and the New Zealand landscape.
In spite of his profile as a New Zealand
inquiries by asserting the opposition between
Heysen, who had recently completed studies
war cartoonist (1941-945), and political
abstraction and representation. He shows
in Paris, found New Zealand decidedly
commentator for Wellington's Evening Post
that the art of representation relies on the
provincial, remarking "the artistic taste in
(1946-1956), his emigration to Great Britain
bonds between human beings and their
N.Z. is at lowest ebb tide". This paper will
in 1956 and comic-book illustrations for the
environments, while abstract art provides
primarily consider Heysen's contact with New
Evening Standard have ensured that his work
occasions for artists and viewers to disengage
Zealand as expressed in words rather than
is perceived to be of little relevance in New
from phenomena they regard as tormenting.
paint. However, his descriptions, especially
Yet Worringer also addresses the meeting
his way of viewing the landscape, are heavily
The Name's Colvin. Neville Colvin reconsiders
grounds of abstract and representational
inflected by artistic conventions. These
his contribution to New Zealand's art history,
tendencies. For instance, he emphasizes the
letters chronicle a series of frustrations and
highlighting the way in which his illustrations
hybrid aspects of the Gothic – a mode of
disappointments, while nonetheless offering
engaged national and international audiences
making where abstract form and the direct
interesting insights regarding both art in
in the popular media, beyond the world of the
observation of nature interweave. In his
Edwardian New Zealand and the development
art gallery.
explorations of cultural and psychological
and articulation of Heysen's own aesthetic
aspects of form, Worringer brings to light the
antithesis of abstraction and representation as well as their zones of contact.
Ralph Body completed a Master of Arts in Art History
Cristina Silaghi is a practising artist currently completing
Warren Feeney lectures at the Design & Arts College
and Theory at Otago University in 2008. He is
doctoral research in Art History and Theory with the
of New Zealand. He is also an arts commentator, critic
currently working with the Dunedin Public Art Gallery
University of Canterbury, Christchurch. Silaghi's art
and author of ‘The Radical, the Reactionary and the
on an exhibition of the Dunedin artist Alfred O'Keeffe.
practice inquires into forms of dialogue between
Canterbury Society of Arts 1880-1996,' published by
He is also studying languages at Otago, while working
abstraction and representation. The exploration of
Canterbury University Press in November 2011, as well
as a teaching assistant. ([email protected])
collage strategies informs her work in painting, drawing
as co-founder of the dealer gallery, Chambers@241 in
Thursday: 3.30pm - 4.50pm
‘FRIENDS OVER THE YEARS.': THE
VICTIM MENTALITIES
‘GOD ROT THE BASTARD WHO OPENS
ANTIPODAL HAUNTING OF COLIN
New Zealand art history seems to have a habit
THIS BOX': RESEARCHING MALCOLM
of presenting its artists as victims. Focusing
In the 1970s Colin McCahon observed that
on their purported neglect – whether by the
Operating at one remove from the art world
his prolific Waterfall series of 1964, ‘grew out
public, the market, critics, or institutions – the
for the entirety of his career, Malcolm Ross
of William Hodges' paintings on loan to the
task of art history becomes righting these
(1948-2003) sidestepped the conventional
Auckland City Art Gallery from The Admiralty
historical wrongs. Recent studies of Rita Angus
avenues for artistic reception. Rather than
London. Hodges and I eventually realized we
and Milan Mrkusich have presented their
publicly exhibit his work, he preferred to
were friends over the years and got talking
subjects in these terms, while myths of the
deposit a selection of his photographs,
about his painting… Hodges is my hero in all
critical dismissal of Colin McCahon and the
paintings, and sketches in the Auckland Art
these paintings.' Hodges' paintings, I want to
marginalistation of Gordon Walters continue
Gallery Research Library archives.
suggest, were not simply a network of sources
to abound. Drawing on a range of archival
In addressing his work to posterity, Ross places
that McCahon more or less explicitly recalled
sources, contemporary criticism, and an
particular demands on anyone who wishes
but something more like a fundamental
analysis of the art market, this paper will offer
to write about his oeuvre. Focussing on one
architectural principle of his Waterfall
a more historically substantive account of the
photographic self-portrait from the archive,
series. What is figured in the relationship
conditions in which the works of these artists
this paper will explore issues arising from
(of gift) between Hodges and McCahon is a
were produced and received.
Ross's novel approach, and will contend that
literalisation of what Ian Wedde has defined
much of his work is in fact addressed to an
as ‘antipodal haunting'. According to Wedde,
imagined, posthumous researcher.
Pakeha settler existence in Aotearoa is ‘a way of being and of being identified that accepts a haunting, that incorporates difference rather than retiring behind its distancing physical, cultural and psychological borders'.
Laurence Simmons is Head of the Department of Film,
William McAloon is Curator, Historical New Zealand Art
Matt Plummer completed his MA thesis Legendary
Television and Media Studies at the University of
at the Museum of New Zealand Te Papa Tongarewa. He
Obscurity: the working life of Malcolm Ross in 2010.
Auckland. He has published a book on Freud's papers
is editor of Art at Te Papa (2009) and with Jill Trevelyan
He currently works in the Art History Programme at
on art and aesthetics entitled Freud's Italian Journey
was co-curator of the exhibition Rita Angus: Life and
Victoria University of Wellington.
(2006). His latest book is Tuhituhi, William Hodges,
vision, and the accompanying catalogue (2008). His
Cook's Painter in the South Pacific (2011).
other publications include Gordon Walters: Prints and
design (2004), and Home and away: Contemporary Australian and New Zealand art from the Chartwell Collection (1999). ([email protected])
Thursday: 3.30pm - 4.50pm
TATTOO RENAISSANCE AND CULTURAL
TRAVELLING MODERNISM:
INVIGORATING THE PAST TO ENGAGE
EXCHANGE, A CASE STUDY FROM HONG
THE BANDARANAIKE MEMORIAL
WITH THE PRESENT:
INTERNATIONAL CONFERENCE HALL,
NIGEL BROWN'S EXPLORATION OF
This paper examines the photographic
COLOMBO, SRI LANKA
MAORI, PASIFIKA AND CAPTAIN COOK
documentation of the evolution of a new
Since the founding of the Third World coalition IMAGERY
tattoo culture within Hong Kong society over
in 1955, China has consistently identified
Established visual artist Nigel Brown's effective
the past decade. A renaissance in tattooing is
itself with the Third World and considered
juxtaposition of past and present to stimulate
noticeable in societies where identity is being
strengthening cooperation with other
debate about cross-cultural encounters
redefined. This is evident in post-colonial
Third World nations its basic foreign policy.
between settler and indigenous cultures
Hong Kong where tattooing has shifted from
Extensive Chinese architectural export began
continues to be a focus in his practice. In this
subculture to popular culture. Tattoo provides
in 1956 as part of overseas aid programs. In
paper, I will present research undertaken for
a medium or catalyst for the exchange
the decades that followed, Chinese architects
my Masters thesis which argues that through
of symbols and cultural icons; it appears
built construction projects ranging from major
the deployment of Māori, Pasifika and Captain
to function as reinforcement of personal
national buildings to factories in Africa, Asia,
Cook imagery, Brown effectively provides us
identity. Tattoo in Hong Kong is becoming
and the Middle East. Completed in 1973,
with an active and innovative vision of history,
a mainstream activity with media attention
the Bandaranaike Memorial International
invigorating the past and engaging with the
focusing on contemporary tattoo practice.
Conference Hall (BMICH) in Colombo, Sri
In August 2010, academic and photographer
Lanka, represents one of the most prominent
As a Pākehā male artist, Brown's approach
Helen Mitchell and video artist Tam Webster
examples of foreign aid commissions. This
to such subject matter challenges accepted
visited Hong Kong where a body of work
paper provides an account of the trans-spatial
notions of what should remain Māori and
‘Shifting Identity' was created combining
production of the design and construction of
Pacific – and in turn European. Brown is
photographic portraits of tattooists with
BMICH. Situating the design of BMICH in the
cognisant of the high stakes of recounting
documentary video and panoramic still images
history of modernist architecture, this paper
aspects of cultural and historical importance.
of street scenes from around their parlours.
highlights the entanglements of different
Ultimately though, Brown's deployment of
The interview material collected in the visit
knowledge systems within transnational
such imagery adds meaning and weight to
also provided background research for this
contexts and demonstrates the power of
an ongoing debate as he questions western
architecture in elaborating a political vision of
history and its previously accepted notions of
the future between nations.
Helen Mitchell is a photographer and photographic
Duanfang Lu is Senior Lecturer in the Faculty of
Lydia Baxendell is the art collections curator for
researcher whose work is characterized by in an
Architecture, Design and Planning at the University of
University of Canterbury. With an interest in
interest in archiving contemporary culture through the
Sydney, Australia. She has published widely on modern
predominantly New Zealand art history, she has spent
practices of portraiture and documentary photography.
Chinese architectural and planning history. Her recent
the last decade working in curatorial roles within dealer,
Her ongoing explorations examine tattooing and
publications include Remaking Chinese Urban Form
public and institutional arts environments. Baxendell
popular culture, locally and internationally and include
(Routledge, 2006, 2011) and Third World Modernism
was recently awarded a Master of Arts with Distinction
photographic projects on tattooing and identity within
in Art History, University of Otago.
its non-indigenous forms. ([email protected])
Thursday: 3.30pm - 4.50pm
AFTER THE ORGY - MAPPING
TURBO-SCULPTURE: PUBLIC ART AND
CONTACTING THE CHTHONIAN WORLD:
CONTEMPORARY CONTACT ZONES
CULTURAL CONTEXT IN EX-YUGOSLAVIA
MUMMERS PLAYS, CELTIC FAIRY-LORE
ON BOTH SIDES OF THE CENTRAL
This paper discusses the emergence of a new
AND INITIATORY RITES IN THE ART OF
EUROPEAN CORRIDOR
kind of public art on the territories of ex-
This paper examines the various contemporary
Yugoslavia that uses statues of popularculture
The work of Peter Booth (b. 1940) is regarded
art networks that facilitate points of exchange
and celebrity figures as symbols of ethnic
as playing a major role in Australian art. Booth
and discourse across both sides of the former
unity. Dubbed ‘turbo-sculpture' by
migrated to Melbourne with his family from
iron curtain. Drawing upon James Clifford's
commentators, it has been described as a
Sheffield in England at the age of seventeen
idea of museums as potential ‘contact zones',
symptom of identity crisis caused by the wars
and a number of scholars have noted themes
it seeks to chart recent projects and spaces
of the 1990s. This paper considers how this
of destruction in his work based on the fact
that have emerged in the previous decade;
trend in public sculpture might be understood
that as a child he witnessed the bombing
that is, after the initial euphoria surrounding
as contact between local and global cultures. It of Sheffield during the Second World War.
the East/West ‘reunification' had subsided and
will argue that turbo-sculpture demonstrates
However, there is another layer of disturbance
the wave of academics and arts professionals
how the cultural space of Yugoslavia was an
in Booth's work, derived from his dreams and
who initially flooded into the ‘new' East have
attempt to forge a shared culture that could
nightmares, that has remained more difficult
left in search of more exotic locales. Expanding
only find its true expression in hybridized
to account for. These elements have been
Clifford's initial concept to incorporate a
symbols of popular culture. Turbo-sculpture
described in general terms as representing the
variety of non-collecting and ephemeral
demonstrates how in ex-Yugoslavia popular
unconscious, or a spiritual journey through
contemporary cultural networks, it will proffer
culture was the stage on which collective
darkness. This paper will trace the many
a series of rhizomatic organisational models
identity was forged, the premise on which
parallels between Peter Booth's imagery
through which contemporary art is exhibited,
national differences were constructed, and
and the folk customs, traditions and beliefs
disseminated and discussed within this
remains as the only shared culture in the
associated with the history of labour in the
Sheffield region and ask whether the artist might have been exposed to these practices in his youth.
Dr. Damian Lentini lectures on modern and
Uros Cvoro lectures in Art History/Theory at the
Dr Lynn Brunet is an independent art historian living
contemporary art at the University of Ballarat, as well
Australian Catholic University in Sydney.
in Melbourne. She is the author of A Course of Severe
as undertaking sessional tutoring in contemporary art
and Arduous Trials: Bacon, Beckett and Spurious
at the University of Melbourne. His research examines
Freemasonry in Early Twentieth-Century Ireland (2009)
the history, design and function of contemporary
and The Masonic Presence in Contemporary Art:
exhibition spaces; with a particular focus on the
Initiatory Themes and Trauma (2008).
architecture of non-collecting or temporary sites.
Peter Peryer, After Rembrandt, 1995. Black and white photograph. 34.6 x 52cm. Victoria University of Wellington Art Collection.
Friday: 10.15am - 11.55am
UNGRIEVABLE DEATHS: PHOTOGRAPHIC
THE TREACHERY OF IMAGES: THIS IS
SEEING AND NOT SEEING:
SO MUCH TO TELL YOU: AFFECT,
IMAGES AND THE POLITICS OF CONTACT
NOT THE GREAT BARRIER REEF
PHOTOGRAPHING HISTORY IN
BEAUTY, THOUGHT AND PHOTOGRAPHY
The indexicality of photographs is mobilized
Reproduced in André Breton's book Mad
GERMANY AFTER 1945
From the perspective of a maker and viewer I
in newspaper reportage to facilitate post-
Love (1937) is an underwater photograph
When Thomas Demand commented that
explore the significance of materiality and the
witnessing of events depicted, allowing people
captioned ‘The treasure bridge of Australia's
his photographs are about the act of seeing
impact of beauty on the senses, thinking and
around the world to have vicarious contact
Great Barrier Reef, Photo N-Y.T'. It symbolized
as much as what is seen, and a picture of
feeling when viewing photographs. Examining
with war, natural disasters and atrocities
for Breton nature's ‘constant formation and
something but also not a picture of something, strategies in contemporary photographs I
in the safety of their distant lives. When
destruction of life'. Rosalind Krauss (1981) and
he asks us to think of the photograph not as
suggest a sublime aesthetic is utilised beyond
the terrorist attacks on the World Trade
Dawn Ades (1985) have discussed the image in
an image but as a means to see something.
the mere compensations of beauty, facilitating
Centre in New York took place ten years ago,
the contexts of surrealist photography and the
This prompts a conflicted condition of seeing
affective and thoughtful viewing.
photographic images enabled the world to
optical unconscious. Antipodean readers value
and creates a tension between seeing and
The potency of these photographs under
stand witness. These photographs roused
the photograph as a sign of their inclusion
not seeing. Demand's photographs reference
consideration resides in their withheld
a nation to demand revenge. Judith Butler
in the artist's international orbit. Breton's
an event but are not of the event, but rather
emotion. While feeling is held back, it is still
comments upon the way in which some
image, however, is not true to its caption.
are after-images that represent the potential
very present, enabling viewers to instigate
media images are marshalled in the service
The photograph is of the Bahamas, taken by
collective memory of an event. Post-event or
their own emotions. I intend to foreground
of war, inflaming demands for retribution
underwater photographer and filmmaker
after the fact photography frames a central
how aesthetic strategies work to offer the
while others, particularly those showing the
J. E. Williamson and published in the New
question of how places of trauma or places
viewer an opportunity to engage with the
suffering of enemy victims, are omitted. In
York Times in 1929 as well as Williamson's
of memory change our mode of looking and
this respect newspaper photographs subtly
1936 autobiography. This paper speculates
constitute a new way of seeing. This paper
I suggest there is a kind of careful attention
mediate our contact with world events,
on the disjunction in Breton's book between
presents an analysis of photography and place
revealed in these photographs, an assiduous
deciding what will be a ‘grievable death.' This
coral image, referent and text and questions
in Germany after 1945 as a conflicted state
consideration that approaches beauty of
paper examines the work of Giuseppe Romeo,
whether the misnaming of the photograph's
of looking that engages with seeing and not
a kind. This ‘kind of beauty', a meticulous
Peter Lyssiotis and Theo Strasser who draw
geographical location was intentional or
seeing places of history and trauma.
watching and knowing in the photographs, is
upon the currency of photographs to consider
a call to attention for viewers, making contact
the aftermath of 9/11.
and with so much to tell them.
Dr Wendy Garden is the Curator at the Maroondah
Ann Elias has two research specializations: camouflage,
Donna West Brett is a doctoral candidate in Art
Denise Ferris supervises graduate students in
Art Gallery, Melbourne. Her research and writing
especially the shared interests of artists, zoologists, and
History and Film Studies at the University of Sydney,
Photography and Media Arts, School of Art, The
interests have focussed on photographs in nineteenth
military strategists; and the visual language of flowers,
(Documenting place in German photography after
Australian National University and is the recipient of a
century Australia and the reinterpretation of these by
especially the flower as an object of camouflage. 2011
1945). Publications include: ‘The uncanny return:
2011 Distinguished Teaching Award from the Australian
contemporary artists. In addition to a Masters of Arts
saw publication of Camouflage Australia: art, nature,
documenting place in post-war German photography,'
Council of University Art and Design Schools.
she holds a Doctor of Philosophy from the University of
science and war by Sydney University Press.
Photographies, vol 3, issue 1, March 2010; The
Ferris' photographs are held in Australian public
stranger's eye, Peloton Gallery, Sydney, 2010 (writer
collections including the National Gallery, National
and curator). ([email protected])
Library and the Australian War Memorial.
([email protected])
Friday: 10.15am - 11.55am
I AM MY OTHER I AM MYSELF: ARTISTS
REVIVING THE FORGOTTEN FRENCH
‘YOUR HEALTH:' CELEBRATING
THE ACADEMIC VERSUS THE AVANT-
IN THE PACIFIC RESPOND TO GAUGUIN
WOMEN ORIENTALIST ARTISTS, 1860-
SURGEONS IN LATE VICTORIAN ART
GARDE: A COLONIAL CASE STUDY
1968: CROSS-CULTURAL CONTACT AND
Gauguin has become a mythical figure for
In this paper I identify the emergence, in
The 1890s are time and again cited as having
many, representing polarized and polemical
WESTERN DEPICTIONS OF DIFFERENCE
the final decades of the nineteenth century,
heralded great promise for a new era in New
tropes relating to artistic creativity, adventure
Through empirical research in numerous
of a new type of ‘aestheticised' surgeon,
Zealand's art history, with the arrival of a
and freedom as well as colonial fantasy,
French archival bodies, I have databased over
exemplified by the celebrity surgeon and
trinity of foreign artists to New Zealand's
sexual exploitation and disease. While
ninety, largely ignored female artists whose
amateur artist, Henry Thompson, and I
shores: Girolamo Nerli to Dunedin; Petrus
the artist and his works play a key role in
works show influence of Orientalist subject
consider the social and professional network
van der Velden to Christchurch; and James
popular representations of French Polynesia,
matter. Many of these women were hugely
of surgeons and artists to which he belonged.
McLauchlan Nairn to Wellington. Together,
surprisingly, little attention has been paid
successful artists in their day, however, today,
Historically, artists and surgeons collaborated
these artists undoubtedly had influence on
to responses to Gauguin from the Pacific.
we know little to nothing of their artistic
in the study of anatomy, and this no doubt
the teaching and development of art in New
Discourse relating to Gauguin the artist
contributions to the Orientalist movement.
continued throughout the nineteenth century
Zealand, but in the case of Nairn, the tendency
seem intricately entwined and defined by
Focusing on a few artists, I will explore their
in Britain and France. But there emerged in the to account for him within the mythology of the
reflections and judgments of Gauguin the
contact with Maghrebi peoples and cultures,
1880s and 90s a social network of gentleman
rebellious avant-garde artist has improperly
man. Arguably, very few artists can claim to
their gendered gaze upon the ‘Orient' as
artists and surgeons, in which Thompson was
isolated him from his contemporaries. This
have been interpreted through such a range of
well as their employed painterly methods of
a central figure, who were more likely to be
paper examines the impact that contact with
discursive lenses. The polemics of Gauguin's
description. I place particular emphasis on
photographed and painted dining together
the ‘bohemian' Nairn had on the Wellington
life continues to stir the collective imagination
paintings portraying Maghrebi women in their
than dissecting together. It is to this body of
art scene by reconsidering the critical
and create new frameworks to analyse
interior domestic spaces – through which I
visual material that I turn in order to elucidate
discourse of this decade. By doing so, the
and understand his art practice. This paper
argue that the female Orientalist shifted the
the nature of the contact between artists and
social contexts of exhibition of colonial art in
explores the ways in which contemporary
western perception of Arabic and Berber
surgeons during this period.
Wellington in the 1890s are proven to be both
artists living in the Pacific have responded
women from mere exotic ‘objects' to that of
more complicated and richer than is often
to Gauguin, both in terms of his body of
‘makers'. I aim to generate a discussion on the
work and the scholarship that has emerged
crossing view of the ‘other' with the female
contexualising his life and legacy.
‘other', cultural hybridity in women's art as well as the postcolonial response to Western women artist's activities in the colonies.
Keren Hammerschlag
Dr. Caroline Vercoe is the Head of the Art History
Mary Healy, B.A., M.A., is a final year PhD Candidate,
Keren Hammerschlag is a Wellcome Postdoctoral
Rebecca Rice is Collection Manager for the Adam Art
Department at The University of Auckland. She teaches
Fulbright Scholar (Yale University) and Government
Research Fellow on the ‘Medical Portraiture' strand
Gallery at Victoria University of Wellington, where she
and researches in the area of Pacific art.
of Ireland Scholar at the Department of History,
in the Centre for the Humanities and Health at King's
also lectures part-time in Art History. She was awarded
University of Limerick, Ireland. She is working under the
College London. She completed her PhD at The
her PhD titled ‘The State Collections of Colonial New
supervision of Dr Catherine Lawless, UL, and Professor
Courtauld Institute of Art in 2010. Her thesis is entitled
Zealand Art: Intertwined Histories of Collecting and
Carol Armstrong, Yale University. Mary is also a
‘Death and Violence in the Art of Frederic Leighton.'
Display' in 2010. ([email protected])
practicing artist and curator. www.mary-healy.com
Friday: 10.15am - 11.55am
A PHOTOGRAPHIC MYSTERY: MAX
LAY ME DOWN: THE FLATBED
AN ANCESTRAL GATHERING: THE EFFECT IN THE ABSENCE OF LIGHT: THE
AFTER SURFING, 1939
PICTURE PLANE IN CONTEMPORARY
OF A DAY'S SIGHTSEEING AT ROTORUA
‘SKOTOGRAPH' IN THE SPIRITUALIST
PHOTOGRAPHIC ASSEMBLAGE
This paper takes the form of a story which
FOLLOWED BY A LITTLE CHRISTMAS
PHOTOGRAPHY OF MADGE DONOHOE
is concerned with a mystery surrounding a
In ‘Other Criteria' (1972) Leo Steinberg posited
Skotographs, from the Greek skotos
photograph by Olive Cotton, one she titled
the ‘flatbed picture plane' as a radical new
This paper examines a full-page photomontage (‘darkness') and graphien (‘to write') are
Max after surfing and dated 1939. Cotton
point of view adopted by contemporary
which was published in the Auckland Weekly
cameraless spirit images or writings that
had her own contact print, but after Max
artists. Emulating fluid horizontal fields such
News Christmas Supplement, Thursday
appear on photographic plates, channeled by
Dupain's death another larger version was
as tabletops and charts, this way of working
December 22, 1910, p3. In this montage,
a psychic medium. Madge Donohoe, a psychic
discovered in his collection. Inexplicably it
freed the artist from the traditional upright
a group of Maori women, standing in the
medium based in London, began producing
was inscribed by international photographer
viewpoint. Mari Mahr's Two Walk in Paris
verandah of a wharenui, have had their
skotographs in 1922, creating approximately
George Hoyningen-Huene, who visited Sydney
(2007) and Two Walk in Edinburgh (2010),
heads pasted over with photographs of
4,500 during her lifetime. During a séance,
in 1937. On Dupain's print Hoyningen-Huene
and Stephen Gill's Hackney Flowers (2007),
heads of carved ancestors and figures
Donohoe would hold an unexposed
wrote ‘To Max/with friendship/from/George'.
expose the physicality of the photographic
taken from a number of different tribal
photographic glass plate, still sealed in its
Whose photograph was it? When exactly was
print by using it as a flatbed background
areas. This photomontage is fascinating,
packet, and enter into communication with the
it taken and in what circumstances? How did
for an assemblage, which is then re-
in that it is neither characteristic of the
‘unseen operators.'
the existence of two prints of this now iconic
photographed. Use of the flatbed picture
work of the photographer (Auckland-based
This paper will consider Donohoe's
image come about?
plane in photography disrupts photographic
Henry Winklemann), nor of the style of the
skotographs as a partial solution to problems
In this story ‘contact' is used to fashion a
conventions of single perspective viewpoint
photomontages frequently reproduced in
facing spiritualist photography at this time.
narrative dealing with ideas about modernity,
and the decisive moment. Steinberg suggests
that newspaper. The context and methods
Given frequent, proven cases of fraud
gender, sexuality and intimacy. The aim is not
this is more democratic, encouraging a way
of production and construction will be
against camera-based spirit photographers,
to solve the mystery surrounding Max after
of working that is process driven rather than
elucidated. A second interpretation will be
the skotograph offered new and unspoiled
surfing but instead to render the image, and
purely visual, allowing photographers to utilise
offered, one which centres on the common
evidence of the afterlife. In denying both the
the forms of exchange it represents, more
multiple narratives, literally laid on top of one
practice of appropriation of Maori carving
use of the camera and the presence of light,
complex and more potent.
another. Thus challenging the relationship
through photographing, cutting and re-use and Donohoe's skotographs became talismanic
between photographer and subject, and
considers how such images can be approached objects, quietly referencing a historic
viewer and photograph.
understanding of photography as visual proof, while prioritizing touch-as-evidence.
Caroline McQuarrie
Cathy Tuato'o Ross
Helen Ennis is an independent writer and curator,
Caroline McQuarrie is a Senior Tutor in Photography at
Cathy Tuato'o Ross is an artist and writer who lives at
Deidra Sullivan is a freelance writer and researcher
specializing in Australian photographic practice. Her
the School of Fine Arts, Massey University, Wellington,
Whangarei Heads with her partner and four daughters.
based in Wellington, New Zealand. She has completed
latest book is on photographer Wolfgang Sievers. She
who has exhibited throughout New Zealand and in the
She currently works part-time as an Academic
undergraduate degrees in History and Design, and
was recently awarded the Peter Blazey Fellowship to
USA. She is an interdisciplinary artist whose research
Advisor at NorthTec, while continuing to research the
her MFA (from Massey University, 2007) explored the
support the writing of her biography on photographer
engages primarily with combining the conventions of
production and reproduction of photographs in early
relationship between history, memory, and imagination
Olive Cotton. Helen is based at ANU School of Art.
photography and hand-crafted textile objects.
twentieth century New Zealand. ([email protected])
within the family photography album.
Friday: 10.15am - 11.55am
HYBRID SPACES: CROSS-CULTURAL
BECOMING-DANCE: DANCE CONCEPTS
ENGAGEMENT IN CONTEMPORARY
The voice as a medium in art has been
IN RELATION TO THE PAINTING OF
present since the first cries of Marinetti. Its
This paper examines aspects of contemporary
presence has continued with the babbling
This paper looks at momentary intersections
women's painting, exploring social, cultural,
of Ball, the libidinal vocalisations of Acconci,
or points of contact between painting and
and geographical space in my own painting
the confessions of Lucier, the screams of
dance concepts. Figures within the paintings
practice and in those of the African-American
Abramovic and the repetitious words of
of Kushana Bush (b.1983) engage in a myriad
painter Ellen Gallagher, and the Pakistani-
Nauman. The voice continues to sound
of acts- they spread their legs, fling their arms
born, American-based painter Shahzia
in contemporary art as song, speech,
outwards, crane their necks and gnash their
Sikander. This paper argues that, by operating
and whispers. In the 20th century, vocal
teeth. Some grasp at each other, others lie still,
in an expanded space, contemporary female
explorations revealed a concern to break
certain figures even seem to dance.
painting transforms static notions of sexual,
the bounds of rational language, to highlight
It has been proposed that the relationship
cultural, and racial difference. I consider my
the presence of the body and the impact of
between visual art and dance is on the level
own painting practice where other cultural
technology. Today, the relationship between
of mere representation and that dance can
experiences, namely, Sri Lanka are examined
language, body and technology continues
only be a motif in painting- however the
in relation to a specific Irish rural history.
in voice aesthetics. However, the examples
relationship is more nuanced and complex.
Equally, both Gallagher and Sikander address
I explore do not produce severe tensions
Perhaps there are moments when dancing
cross-cultural experiences in relation to
between language, body and technology.
and painting merge, when they share common
particular histories, creating new meaning
Rather, they engage this relationship more
concerns and blur only to separate again.
and alternative narratives. In our separate
subtly and expand it in terms of a spatial
If an area of paint captures a particular
practices multiple visual strategies fuse onto
encounter that resonates with ethical
outstretched limb that could never be known
one surface creating fluid, hybrid spaces.
concerns. In these examples, the voice
otherwise, then for a moment a dancer
These hybrid strategies result in part from
negotiates the relationship of the individual to
becomes paint and paint behaves like a dancer.
globalization and transcend cultural divides.
the collective, and registers both the singular
Certain concepts interrogated in dance theory
I argue that these engagements are feminist
and the multiple.
may therefore be utilised while unfolding the
strategies in painting; they speak to and from
relationship between painting and dance as
the marginalization of history, gender and
well as reading Bush's paintings.
cultural identity, transforming modernist codes and conventions.
Victoria Wynne-Jones
Majella Clancy is a painter and practice-led PhD
Simone Schmidt has graduated with first class honours
Victoria Wynne-Jones has a background in French
student at The University of Ulster, Belfast. Her
in Honours and Masters by Research program in Art
studies, philosophy, theatre, film and dance. In 2009
research is in contemporary female painting. Her
History from the University of Melbourne. She has
she began her formal studies in Art History and
attendance at the conference is made possible through
recently commenced a PhD at Monash with the Art
is currently working on her Masters thesis at the
funding from the Research Graduate School at The
Theory Department. Her current focus is the medium of
University of Auckland. Her central research concerns
University of Ulster.
the voice in contemporary art.
are: installation, performance, dance, the body,
contemporary art, art theory and curatorial practice.
([email protected])
Friday: 10.15am - 11.55am
CHANCE, TRACE AND GLASS PAINTING:
OUT OF CONTACT – ESCAPE AND
SELLING OUT/BUYING IN: THE
PHOTOGRAPHY IN RICHTER'S ‘SINBAD'
ISOLATION IN THE WORKS OF ANDREA
RE-MATERIALISATION OF ART, 1981
What happened when a cargo ship, a tropical
In 1981 Billy Apple staged a ‘sell-out' show
storm and a conceptual artist were on a
While Gerhard Richter's paintings are
Over the past decade, an abundance of
at Peter Webb Galleries in Auckland New
collision course in the midst of the Pacific
commonly considered in relation to
articles have appeared in international art
Zealand. This marks the end of a decade of
Ocean? Billy Apple was about to cross the
photography, such discussions centre upon
publications commenting on a seemingly new
rigorous conceptual practice in which the artist Equator as a passenger aboard the Chiricana,
his figurative photopaintings. I argue that
phenomenon in the art world, design art. An
worked with nothing other than the ‘givens'
a refrigerated cargo vessel transporting high
his diverse oeuvre, including his abstract
artist who exemplifies this development in art
of gallery spaces. Was this shift in his practice
quality squash from New Zealand to Japan. Up
works, can be understood as engaging with
practice is Andrea Zittel. Her work is a hybrid
a surrender to the truth that ‘the artist
ahead the rapid escalation of the first of 1993s
photography and as articulating debts and
of sculpture, installation, and performance
has to live like everybody else' (as he later
destructive tropical storms was in progress.
differences across mediums. This paper
which resides on the edge of design due to the
described it); a renegotiation of the terms of
The conditions surrounding these events serve
extends this argument to some of Richter's
design-like aspects of her artistic process and
conceptualism, or a continuation of the artist's
as the conceptual impetus for Severe Tropical
most recent works that are also among his
her claims that her art works are usable.
long-standing relationship with the ‘dirty truth' Storm 9301 Irma, a work by Billy Apple.
most abstract, the series Sinbad (2008) and
Zittel's work engages with issues addressed by
of commodity culture and art's peculiar place
To realise the work, Apple aestheticised
designers, that is the production of functional
within it? By endeavouring to answer these
information rich data about the sea and storm
These paintings, said to respond to the story
solutions to the problems of living. Her A-Z
questions, this paper will explore a particular
into elegant parred back conceptual systems
of One Thousand and One Nights, show the
Living Units are highly compact environments,
juncture in art history (the early post-modern
that have an inherent scientific clarity and
mass and substance of paint–vivid, smeared
best described as moveable domestic living
return to the object) and the lessons we can
endorse the historic links between conceptual
and sandwiched between glass sheets. Like
modules, accommodating a variety of
learn about the embedded but often obscured
art and science.
much of Richter's work, they draw attention to
household activities: cooking, clothes storage,
relations between art and artists and their all-
I would like to discuss S.T.S. 9301 Irma and
the stuff of paint as immediate and physical.
work and sleep. Her practice highlights many
too-material support systems.
aspects of Apple's practice in relation to the
At the same time, they connect to the history
aspects of contemporary life: Habitation,
techniques and history of scientific ideas and
of painting on glass and its place in a very
Apparel and Leisure through Escape. It is the
their methodologies.
different type of art. More curiously still,
last of these themes that is the focus of this
they connect us to tropes and concepts that
paper. My emphasis will be on the aspect of
are central to the photographic, that is, to
humor in Zittel's work, to which there is little
spontaneity, indexicality, authenticity and
direct reference in the literature.
Rosemary Hawker's research and teaching centres on in
Tim Laurence holds the position of General Manager
Christina Barton is an art historian, curator and writer,
Mary Morrison's interests lie in the intersection
interpreting contemporary art with particular attention
Education at UTS: Insearch and is an Adjunct Professor
known for her work on New Zealand art post 1960. She
between art and science. She is a graduate of Elam
to medium relations, theories of representation and
in the Faculty of Design Architecture and Building at
is also co-editor of Reading Room: A Journal of Art and
School of Fine Arts, University of Auckland and Victoria
in particular, the relationship between photography
UTS. His academic discipline is Design. His area of
Visual Culture. She is currently researching the work of
University. Her MA, titled ‘Posthuman pathology:
and painting the work of Gerhard Richter. She recently
research is Design Art, artists whose work crosses the
Billy Apple, New Zealand's leading conceptual artist.
a postmodern art project located in critical care,'
spoke at the Panorama: New Perspectives on Richter
boundaries of Art and Design.
investigated the culture of hi-tech medicine at Auckland
symposium at Tate Modern. ([email protected])
City Hospital. The results were presented at the World Congress of Intensive Care Medicine, a 4 yearly meeting. ([email protected])
Friday: 10.15am - 11.55am
MESOAMERICAN SOURCES AND IDEAS
GHOST NETS ART: MARINE DEBRIS &
TRADING ECOLOGIES: SPECIES,
LARESA KOSLOFF AND THE FORCE OF
IN GIACOMETTI'S ‘MAINS TENANT LE
MATERIAL ACTIVISM
LANDSCAPES, PHOTOGRAPHS
VIDE' (‘L'OBJET INVISIBLE') OF 1934
Recognition of non-western cultural autonomy
Following Alfred Crosby's influential text
Laresa Kosloff's artwork Cast (2011),
is a firmly implanted ethic in contemporary
The sculptural work of Alberto Giacometti
Ecological Imperialism (1986), the impact of
commissioned by ACCA, Melbourne,
art discourse, but what lies beyond this
has long been a rich source for art historians
colonialism on disparate ecologies and the
involved the artist attending the vernissage
recognition? What is the potential for a
interested in its association with Surrealism.
complex inter-relationships of cultural and
of the current Venice Biennale and asking
genuine shared discourse that neither
This article examines the true impact of
ecological ‘contact' have been recognised and
well-known artists to sign her leg cast. This
imposes hegemony nor ghettoizes the
Surrealism upon Giacometti's early sculptural
considered in a number of contexts.
paper focuses on the notion of ‘contact,' or
‘Other'? Through a concept of what I term
productions, and suggests that the Surrealist
This paper briefly considers the impact of
‘contagion,' in so-called ‘savage' theories of
‘material activism' I examine how the Ghost
movement may not have been as important to
introduced species on local ecologies and
ritual and magic with its close association with
Nets Art movement from northern Australian
the early history of Giacometti's sculpture as
construction of landscapes in New Zealand,
the concept of animism. Animism provokes, at
Indigenous communities initiates a mode
his engagement with Mesoamerican figurative
drawing on early visualisations of this process
a fundamental level, questions such as: What
of cross-cultural socialization. Indigenous
art and culture. It considers the extent to
and on my photographic project Imaging
is a thing? Do things think? As such this paper
communities across Australia's northern
which Mexican and other Mesoamerican
asks: How are the objects of performance art
coastlines are involved in an environmental
artefacts and ethnographic objects were
It then focuses on the traffic of species in the
contaminated through contact? Can things
project to retrieve and document marine
available in Paris at the beginning of the
opposite direction – the ‘reverse colonisation'
command responses from us? In a provocative
debris fishing nets (called Ghost Nets). Many
Twentieth century, and discusses Giacometti's
of New Zealand species introduced back to
argument that asserts Kosloff's right leg
of these communities are transforming this
involvement with Mesoamerican art prior to
the colonial centre. Cordyline australis (tī
as taboo, animated and full of mana, the
toxic material into fibre art, helping in disposal
his connection with Surrealism.
kōuka, the cabbage tree) will serve as an early
contrasting opinions of Sigmund Freud and
of the material but more importantly creating
and ongoing example, particularly in relation
Walter Benjamin are employed as they discuss
awareness of the problem and stimulating
to Southwest England where, as the ‘Torbay
magic. Freud degrades ‘savage' animism while
cross-cultural environmental ‘events'. This
palm', it has become the defining symbol of
Benjamin asserts it. A theory of ‘magical
paper draws on ideas derived from Paul
the ‘English Riviera'. This discussion draws
discourse' emerges in which contagious
Carter's Material Thinking, Nicolas Bourriaud's
on my project Torbay tī kōuka investigating
animism knows no distinction between
Relational Aesthetics and Australian
the current status of this plant in its revised
subjects and objects.
Indigenous concepts of healing Country, to
globalised setting.
examine cross-cultural socialization in art as material activism.
John Finlay studied Art History and Theory at Essex
Dr Sally Butler is Senior Lecturer in Art History at the
Wayne Barrar, Associate Professor, School of Fine
Chris Braddock is an artist and academic. His art
University (1989-92) and received his doctorate from
University of Queensland. Publications and curated
Arts, Massey University is a photographer whose
practice involves performance, video and sculpture. See
the Courtauld Institute of Art, London in 1998. He is an
exhibitions include Our Way, Contemporary Aboriginal
work has been widely exhibited in New Zealand and
www.imageandtext.org.nz. His theoretical research
independent art historian of French history and culture,
Art from Lockhart River (UQP 2007 and touring UQ
internationally. His books include Shifting Nature
stems from the disciplines of art history, anthropology
specialising in the field of twentieth century modern
Art Museum exhibition to Singapore & USA) and
(2001), and An Expanding Subterra, published in 2010
and performance studies. Braddock's forthcoming
art. His book Picasso's World is published by Carlton
Before Time Today, Reinventing Tradition in Aurukun
by the Dunedin Public Art Gallery in association with his
book Performing Contagious Bodies discusses objects
Books, London, 2011. He is currently a Teaching Fellow
Aboriginal Art (UQP 2010/UQAM exhibition).
currently touring exhibition.
that stem from performance through the theories of
in art history at Victoria University of Wellington.
animism in magic. ([email protected])
Friday: 10.15am - 11.55am
HOSSEIN VALAMANESH: LONGING
FIONA PARDINGTON'S ‘EIGHT SHELLS':
SYNERGIES OF MATERIALITY BETWEEN
TURNING THE SPOTLIGHT ON SUSAN TE
RECLAMATION OF TE AO MĀORI FROM
MAORI AND VIKING
Hossein Valamanesh's oeuvre is informed by
This paper assumes the special significance
Since the 1950s the family of self-taught artist
his Iranian heritage, Australian landscape,
Eight Shells (2004) consists of six photographs
to an object of its materiality. Traditional
Susan Te Kahurangi King has been collecting
relationships and journeys. In 1974, soon
of shells collected by the ethnographer
perspectives have privileged the iconography,
and storing her artwork and are now the
after arriving in Australia, Hossein travelled
James Herries Beattie during fieldwork in
style and socio-cultural and historical context
custodians of over 7000 individual works, from
with a group of artists to remote desert
1920 that are now in the collection of the
of an object over its substance. This offers a
tiny scraps of paper through to five-metre-long
communities. People from the Aranda, Loritja,
Otago Museum. Written inside the shells
visual rather than tactile investigation of the
rolls. King slowly ceased verbal communication
Pintupi and Walpiri cultural groups had
are the names given to the shells by various
object where seeing and reading, dominate,
between the ages of four and six and, being
been relocated to Papunya, a government
local Māori, the geographic locations of
to the extent, that touching and making often
a compulsive drawer, her artwork gave her
settlement. Here Hossein met men, including
Beattie's informants, and the museum's
become obscured. As well as historical and
family insights into how she was interpreting
Nosepeg Tjupurrula, who had worked with
inventory number. In photographing these
theoretical research, this paper reflects on
the world. The collection also includes the
Geoffrey Bardon in 1971–72. The artists
shells, Pardington draws attention to multiple
research resulting from a 21st century bone
diaries of Susan's grandmother Myrtle Murphy,
encouraged Hossein to work alongside them,
overlapping discourses of knowledge within
workshop established to carve a chess-set
the homeopathic treatment notes made by her
and it was in the painting shed at Papunya that
which they might have significance, including
inspired by both the Lewis chess pieces and
mother Dawn King and family photographs,
he completed his first painting in Australia.
ethnography, structural linguistics, cultural
traditional Maori carving. On one side of the
primarily taken by father Doug King.
memory, intercultural dialogue, whakapapa
board is the Scandinavian inspired pieces
While some knowledge of the great challenges
(kinship & genealogy), and the reclamation of
and on the other figures influenced by a
that King has faced in order to pursue her
Indigenous culture in Aotearoa/New Zealand.
Maori tradition. This is both a post-colonial
artistic practice can contribute to a greater
This presentation will situate Eight Shells
metaphor and a strategy to explore synergies
understanding of her oeuvre, her family are
within Pardington's larger series of museum
in materiality between Maori and Viking
committed to ensuring that it is her art that
photographs that explore related theoretical
cultures as the figures take shape and assume
is placed in the spotlight, rather than the
issues of cultural identity and the transmission
their positions on the board for a game that's
circumstances in which it was made.
of knowledge to subjects with both explicit
interiority encompasses movement, strategy,
Māori content (i.e. taonga/treasures) and
power and possession.
related objects that are not overtly Māori (i.e., specimens of extinct birds that are similarly preserved in museums).
Mary Knights, Director, SASA Gallery, UniSA, is a writer,
Erika Wolf's primary field of research is Soviet art,
Associate Professor Joanne Drayton (PhD) is the author
Monica Syrette is Assistant Curator at the Grainger
curator and academic. She was awarded a PhD in 2010
photography and visual culture. Her research and post-
of Edith Collier Her Life and Work, 1885-1964 (CUP,
Museum, University of Melbourne. She is a PhD
by UTAS for her thesis ‘On the Brink of the Abyss,' which
graduate supervision also encompasses photography
1999); Rhona Haszard: An Experimental Expatriate
candidate at Sydney College of the Arts, researching
focused on J.K. Huysmans. Her most recent publication,
in New Zealand and the Pacific. Recent publications
New Zealand Artist (CUP, 2002); and Frances Hodgkins:
the history and practices of studios for artists with
co-written with Prof Ian North is Hossein Valamanesh:
include an essay on Shigeyuki Kihara in Pacific Arts and
A Private Viewing (Random House, 2005) She was
intellectual disabilities. From 2004 to 2008 she was
Out of Nothingness (Adelaide: Wakefield Press: 2011).
the anthology Early New Zealand Photography: Images
awarded a National Library Fellowship to write a
Archivist at Arts Project Australia, her main case study
and Essays (co-edited with Angela Wanhalla).
biography Ngaio Marsh: Her Life in Crime (HarperCollins
NZ, 2008; HarperCollins UK 2009). ([email protected])
Friday: 10.15am - 11.55am
NEW FRONTIERS FOR PUBLISHING:
REMOVING SOCIAL BARRIERS:
EXHIBITION CATALOGUES AND THE 21ST PROMOTING INCLUSION IN GALLERIES CENTURY
THROUGH ACCESS PROGRAMS
This paper will discuss the extent to which
This paper addresses the issue of accessibility
exhibitions and their catalogues have
in the area of disability. The Art Gallery of New
spearheaded new directions in art history as
South Wales has been committed to removing
well as the growing impact of the Web.
social barriers and promoting inclusion
Once seen as a (possibly illustrated)
through Access programs such as Signing art,
supplementary souvenir of an art exhibition,
Touch tours, Starting with art school education
catalogues have evolved into one of the most
program and the Community Access tours.
important sites for publishing art historical
In the recent past Access programs have
research. In this country, with its limited
been consolidated and integrated into the
publication outlets, catalogues may be the
organisation wide approach. This paper aims
first (sometimes only) publication for scholars
to address barriers to access and explore the
undertaking original research in Australian art. structure of programs which aim to increase Exhibitions have long been one of the primary
participation and to provide opportunities for
vehicles for the communication of ideas and
life-long learning.
art to wider audiences. 450,000 visitors came to GOMA's ‘21st Century: Art in the First Decade.' While traditional blockbuster catalogues have print runs of over 30,000; QAG, along with the NGA, has a major web presence with its exhibition catalogues, and this is a growing trend. *Paper co-authoured with Catherine Speck
Joanna Mendelssohn
Danielle Gullotta
Joanna Mendelssohn is (joint) Editor in Chief of Design
Danielle Gullotta has been developing, promoting and
and Art of Australia Online (http://www.daao.org.
delivering Access programs at the Art Gallery of NSW
au) and author of studies on Sydney Long, the Lindsay
since 2008. Access programs are delivered to both
family, George Gittoes, Richard & Pat Larter. She is the
education and the general public. This role has included
coordinator of Art Administration at COFA, an award
training and in-servicing gallery staff and volunteer
winning art critic and contributing editor for Artlink.
guides and ensuring the gallery is accessible to the wide
range of people in the community. ([email protected])
(continued from previous page)
COSSONS' IMPERIAL LATHER OR HOW
TOUCHING ART: ENGAGING THE SENSES
WHEN EVERYTHING AROUND US FELL:
THE CULT OF THE WARRIOR: VISITOR
NOT TO RUN A MUSEUM: THE CASE OF
IN THE EXPERIENCE OF WESTERN ART
HOW VISUAL ARTS ORGANISATIONS
EXPERIENCE AT THE ART GALLERY OF
IN CANTERBURY RESPONDED TO THE
The British Empire and Commonwealth
Throughout the nineteenth century museums
The First Emperor: China's Entombed Warriors,
Museum (BECM) has recently attracted major
became spaces of quiet contemplation,
From destroyed works and damaged
at the Art Gallery of New South Wales,
coverage in the New Zealand Listener, the
visually delightful but bereft of any haptic
studios through to cancelled exhibitions
was the second most visited exhibition in
Art Newspaper and The Independent over
engagement with objects. This reflected
and red-stickered venues, the impact of the
the Gallery's history. It was supported by a
a complex saga involving the problematic
their responsibility to protect and conserve
earthquakes of 2010/11 on Canterbury's
range of public programs aimed at attracting
disposal of art works, which have included
collections. Today, museological literature
visual arts scene has been intense and
communities outside of the traditional gallery
both indigenous and colonial related
champions varied, multisensual encounters,
wideranging. The response to this complex
demographic. The programs were interactive,
items. In addition, the BECM's evident
in an effort to be more accommodating
and ongoing situation from artists, dealers,
conversational and inclusive—in stark contrast
shortcomings in collection care are now
of different modes of learning. One such
project spaces, galleries and audiences is a
to the exhibition space which highlighted a
causing considerable concern especially
example of this was the exhibition Touching
story of adversity, change, adaptation and
purely aesthetic and scholarly context for the
among the historical profession in the UK.
Art: Louvre's Sculptures in Movement (2010)
ingenuity. This paper will discuss how existing
objects. This contrast reflects the double bind
Following the publication of Janet Marstine's
at the Hong Kong Museum of Art. It featured
visual arts organisations dealt with a variety of
for institutions in which they are challenged
edited Routledge Companion to Museum
18 plaster and resin replicas of sculptures
challenges—finding new premises, supporting
to be places of accessible enjoyment and
Ethics (2011), I will summarise how, where,
borrowed from the Louvre Museum. Visitors
artists, re-establishing the confidence of
popular entertainment while maintaining
why and why the BECM has fallen short
were ‘invited to appreciate the true beauty of
their audiences—and also considers the new
their authority as places of scholarship and
of the ethical standards that it might have
art by actually reaching out and touching great
visual arts venues, temporary art projects and
research. This paper will critically examine the
been expected to have upheld; I will provide
works'. This paper explores the motivation
institutional support systems that came into
gallery's strategies for bridging this divide by
an update on developments; and will ask
behind this exhibition suggesting that it
being. How did relationships between artists,
socially engaging their audiences with the art
where to from here. In answering the latter,
attempted to present the museum as a more
art, arts organisations and audiences change,
objects on display. Ultimately it is concerned
I hope to get perspectives from both the
appealing and accessible space by offering
what have we learned and what does the
with how museums are negotiating their
museum's new director as the public face
visitors a physcial and intimate experience of
changing status in the 21st century.
of the museum, from any trustees willing
art that transcended the visual.
*Paper co-authoured with Anna Lawrenson.
to respond to questioning, as well as from a major, disaffected donor, the Commonwealth Education Trust (formerly Commonwealth Institute).
Mark Stocker is Associate Professor in the Department
Dr Lawrenson completed her PhD in 2007 through
Felicity Milburn has been a Curator at Christchurch
Dr O'Reilly completed her PhD in 2006 at the University
of History and Art History at the University of Otago.
the Centre for Cross-Cultural Research at ANU. She
Art Gallery Te Puna o Waiwhetu (formerly Robert
of Sydney. Her thesis examined the work of French
One of his main research interests is Victorian sculpture
has subsequently worked in the gallery sector and
McDougall Art Gallery & Annex) since 1998. In 2009,
Romantic Landscape painter Paul Huet (1803-1869). She
in Britain and New Zealand. His involvement in the
has taught at a number of tertiary institutions. She is
she curated the survey exhibition Séraphine Pick, which
has worked in cultural organisations on exhibitions and
BECM case history began in late 2009, when he was
currently a Lecturer in the Museum Studies program at
toured to City Gallery, Wellington and Dunedin Public
has been involved with the Museum Studies program as
consulted by the Christchurch Art Gallery on the
the University of Sydney.
a lecturer since 2007. ([email protected])
proposed acquisition of a bronze statuette of John
Robert Godley, which purported to be by Thomas Woolner. ([email protected])
Gordon Walters, Kahukura, 1968. Acrylic and pva on canvas. 114 x 152cm. Victoria University of Wellington Art Collection.
Friday: 1.50pm - 3.10pm
‘AFFECTIVE BEHAVIORS': PERFORMANCE
MAKING CONTACT WITH ‘UNSEEN'
FASHION AS AN EMBODIED ARTFORM
AND THE PLEASURES OF RISK
WORKERS SANTIAGO SIERRA'S ‘7
Fashion, by virtue of the fact that it is
This paper will examine what philosopher
FORMS' AND MORAL SHOCK IN THE
designed to be worn, is seen as one of the
Teresa Brennan describes as the transmission
most embodied of art forms. Paradoxically
of affect, namely the social and physiological
however, despite the inextricable association
Many of Santiago Sierra's works focus
impact that occurs when the emotions or
of fashion with the body, there has been a
unashamedly on the discomfort of the
affects of one person and their enhancing
concerted effort to disavow this relationship in
audience. This paper will examine the cost
or depressing energies enter into the body
Western culture. Underpinning this however,
of witnessing artworks such as Sierra's 7
of another. Using as a case study a number
is a highly problematic privileging of the mind
Forms that intentionally set out to antagonise
of my own performance/installation
over the body. As will be argued, this fails
and manipulate the implicit trust that exists
artworks developed over the past ten years,
to acknowledge the inescapably embodied
between audiences and the artist. It will show
I will examine how live encounters might
nature of our existence as well as perpetuating
that art works that rely upon moral shock, an
be framed to preface and heighten self-
our patriarchal denigration of the feminine.
aesthetic of self-loathing and the antagonism
reflexivity in relation to the nexus of individual
In this paper it is proposed that instead of
of emotions as the keystone for their success
and environment. These performance/
upholding as the ideal, clothes that transcend
have the potential to erase the audiences'
installations, many of which involve large
the body, we need to envisage new modes of
implicit trust in art and perhaps in turn undo
inflatable structures suggestive of adolescent
dress, which engender a sense of the body,
any perceived political good or artistic aim. The
play, function in part to examine ideas of trust
not as an object of spectacle but as an active
complexity of Sierra's work is amplified by the
and fear but also to challenge the idea that
corporeal presence. The fashion designs of
audience's reactions to the contact between
we are self-contained within our energies.
Issey Miyake are proffered as an example of
bourgeoisie spectator and worker, between
The paper will outline how the careful
how this more kinaesthetic awareness of the
the exploiter and the exploited and this paper
configuration of performative environments or
body may be achieved.
will examine the potentially harmful costs of
installations may offer insights and potentially
this witnessing.
new ways of thinking and experiencing the patterns and peculiarities of affect.
Jennifer Kalionis
David Cross is an artist, writer and curator with
Jennifer Kalionis is a PhD candidate and art history tutor
Dr. Llewellyn Negrin is Head of Art and Design Theory
research interests across performance, installation,
at the University of Adelaide.
and Coordinator of Teaching and Learning at the School
and public art. He is Associate Professor in Fine Arts at
of Art, University of Tasmania, Australia. She has
Massey University, School of Fine Arts.
published articles in the areas of theories of fashion
and the body and postmodernism and visual culture. In 2008 she published a book Appearance and Identity: Fashioning the Body in Postmodernity, New York: Palgrave Macmillan. ([email protected])
Friday: 1.50pm - 3.10pm
FROM GLANCING CARESS TO LIMPET
MANAGING DISSENT: THE ISSUE
NEGOTIATING CONSCIOUSNESS IN
EMBRACE; DEPICTIONS OF INTIMACY IN
EXHIBITION REFIGURED
CONTEMPORARY VISUAL CULTURE:
CONTEMPORARY NEW ZEALAND ART
This paper maintains that the relationship
AN EXPRESSIONIST THEORY OF
This paper investigates works by four
between conceptual art and feminism is more
contemporary New Zealand artists–Michael
ambivalent than official histories attest, as
This paper considers aspects of Lee UFan's
Harrison, Kushana Bush, John Ward-Knox
instanced in the 1980 exhibition Issue: Social
thought of what we can apply as a basis
and Séraphine Pick–who work with drawn
Strategies by Women Artists at London's
for developing an understanding of the
or painted figuration to explore moments of
Institute of Contemporary Art. Seeking to
expressionist aesthetic self that will resonate
intimate human contact, from embrace to
bridge increasingly obdurate divisions within
not only with the modern Western past but
full sexual union. Each artist engages with
feminist art, curator Lucy Lippard conceived
also with the traditions of the East. Although
the history of figuration and makes particular
Issue as an international sampling of politicized the structures of those consciousness
media and stylistic decisions influencing the
art by women. Set within the discursive site of
traditions are very different from Lee's
way they are read/ encountered. This paper
an exhibition that embodies points of tension
contemporary interpretation of the West,
will look at how these decisions inform how
and discontinuity on the level of artistic,
this contact with Lee has brought to the
they operate within a context of display, in
curatorial, and critical practice, this study
fore elements of the aesthetic self and an
settings both private and public.
documents a provisional politics of women's
intensification of subjectivity that this study
In the work of Harrison, Bush and Ward-Knox
conceptual art and criticism that precipitated
negotiates and claims to be founded across
there is a labour intensive, intensely detailed
new forms of social engagement. I conclude
consciousness traditions of the contemporary
and measured making process. Despite their
that the productive nexus of conceptual and
expressionist aesthetics. I conclude that
modest scale, these works invite close, slow
feminism advances an alternative framework
‘experience of perceptual unity', as described
readings and resist speedy, highly literal
for understanding art's social utility past and
by Francis Crick and Christof Koch, may be
interpretation. Eagerly acquired by collectors
regarded as creative homeostatic experience
primarily from dealer gallery first showings,
that the totality of our phenomenal expression
the works reside in owners' houses as private,
is thought to be held together as one. It seems
cherished pictures. How do small-scale,
to be the characteristic of a lived, expressive
delicate works depicting tenderness and
physical intimacy fare when placed in public museums and galleries, where the private moment of contemplation is transformed into a watched encounter?
Heather Galbraith
Beth Anne Lauritis
Heather Galbraith is a contemporary art curator and
Beth Anne Lauritis is Assistant Professor of Modern
Paul Tanchio is a PhD candidate in Fine Art and
writer, currently Associate Professor/Head of School at
and Contemporary Art History and Theory at Clemson
Theoretical Enquiry at the University of Sydney. His
the School of Fine Arts, College of Creative Arts, Massey
University. She received her Ph.D. at University of
research interests include art philosophy and aesthetics,
California, Los Angeles in 2009. Her current research
metaphysics and visual culture within the contexts of
foregrounds critic Lucy Lippard in considering the
Asia-Pacific and world histories. He is working on the
exhibition of women's conceptual art.
project concerning a Nishidian theory of art practice.
Friday: 1.50pm - 3.10pm
THE CURATORIAL CONSTRUCTION OF
ART, DEMOCRACY AND AUTHORSHIP:
SOME PEOPLE'S ART
ARTWORLDS: EXHIBITION MAKING IN
AN ANALYSIS OF THE ARGUMENTS
From so-called public art to relational
THE GLOBALISING ART MUSEUM
SURROUNDING RELATIONAL AND
aesthetics – discourse around contemporary
This paper discusses how the current desire
art abounds with references to forms of
of the art institution to be global in both
encounter between artworks and members of
The traditional dichotomy between the
collecting and programming and intensifying
the public. However, much of this discourse
individual author and democratic values,
its relevance for audiences highlights the
fails to adequately consider how socially
between private spectatorship and active
variability of the global artworld and the
engaged works imagine and negotiate their
participation has become of growing interest
participatory museum. It considers two recent
publics. This paper will look at projects
in the last two decades. The growing area
cases: ‘21st Century: art in the First Decade'
by North American artist Harrell Fletcher
of relational, dialogic and pragmatic art
at the Gallery of Modern Art, Queensland
and Soviet émigré artists Vitaly Komar and
comes with a barrage of theory, principally
and the program ‘Play Vanabbe' at the Van
Alexander Melamid. I will explore how these
that of Bourriaud, which makes claims for
Abbemuseum in Eindhoven, the Netherlands.
works engage uniquely with ideas about
its moral superiority in line with mainstream
It outlines the different geopolitical contexts,
"the public" – and a related, even more
ideology. However such claims have met with
collection histories, and curatorial strategies
ideologically loaded, term, "the people".
considerable criticism from theorists such as
that informed curatorial programming and
Despite the political abuses of "the people",
Bishop, Kester, Martin, and Rancière. amongst
the different worldings of contemporary art
the concept (as Mick Wilson has considered)
others. This paper analyses both sides of this
they communicated. These cases suggest the
holds possibilities for contemporary artists,
debate to argue that although such work
challenges and potential for the ‘participatory
and I argue that it allows for more nuanced
is the least democratic of all art forms, and
art museum' to become a discursive site of
thinking about the relationship between art
in some cases reduces art to the level of
production by encouraging a self-reflexive as
and its publics. I will discuss Fletcher's current
entertainment, it does not invalidate individual
well as social audience that can form a critical
People's Biennial project (co-curated with Jens
works, or the value in the local specificity of
Hoffmann), which considers people outside of
such micro-art.
the typical address of the art world.
Zara Stanhope is a curator and a PhD candidate at
Originally from UK, Simon Blond emigrated to Australia
Holly Arden is currently completing a PhD investigating
the Australian National University, Canberra. She
in 2001. Since then he has lectured at Curtin University
art and its publics in the Theory Program of the Faculty
co-convened the ANU conference The World and World-
Art Department, becoming head of Visual Culture and
of Art and Design, Monash University. Holly has worked
Making in Art: Connectivities and Differences (2011).
Art History. He is researching part time for a PhD at
in a variety of curatorial roles, with a focus on public
Forthcoming peer-reviewed texts include ‘Uninvited
the University of WA with a focus on originality and
space. She was a co-founder and co-editor of Machine
Guests: The Blue House' in Re-imagining the City:
subjectivity after postmodernism.
visual arts journal between 2005-2007.
art, globalisation and urban spaces (Intellect, 2012),
and ‘Curating for the 21st Century?' in The Journal of Curatorial Studies. ([email protected])
Friday: 1.50pm - 3.10pm
COMING INTO CONTACT WITH
CONSTRUCTING THE LOCAL: NEW
SYLVIA SCHWENK: MY ART PRACTICE
‘THERAPEUTIC CRAFT': CRAFT
ZEALAND CONTEMPORARY STUDIO
IN THE EXPANDED FIELD OF
REVIVAL, RURAL UPLIFT, AND HEALTH
FURNITURE IN THE 1980S AND 1990S
PROFESSIONALS IN CANADA AND THE
This paper considers the dynamic between
Sylvia will talk about her art practice in the
UNITED STATES, 1920-1950
the local, the international, and the cross-
expanded field of performance art. Sylvia's
This paper explores the transnational
cultural in New Zealand contemporary studio
recent research and the participatory works
exchange of medical ideas of ‘therapeutic
furniture of the late twentieth century. A
of performance art she directs look at the
craft' across the border between New England
particular focus is the impact of the discourse
multidimensionality of performance art,
and Atlantic Canada. It reveals how various
relating to ‘art furniture' which emerged in
and she seeks to extend the definition of
women revivalists in this transborder region,
the 1980s, influenced by the post-war craft
performance art to include the originary
all trained as health professionals, came into
revival, and reflecting international art and
live work and what the she calls re-live
contact with traditional handicraft forms
design movements which aligned furniture
works of art, such as photographs, videos,
and then applied them to revival programs
with art. An expressive emphasis developed
texts, installations, reperformances created
aimed at rural uplift. It argues that medical
in New Zealand studio furniture, and in the
in response to the live performance; and
therapeutics, and in particular the social
1980s and 1990s it pursued an international
experiences, relationships, oral stories and or
utopian mission that accompanied the
credibility while also seeking to articulate
memories that are created from participating
creation of occupational therapy, came to play
a local, cross-cultural identity. Articulation
in participatory works of performance art.
a central role in shaping rural rejuvenation
of the local was often manifest in visual
Sylvia's practice and research also looks at
activities of the early to mid-20th century.
references to New Zealand's Pacific location,
how participatory works of performance art
This reveals the therapeutic rationale behind
or its natural landscape. However, alternative
and what she calls performosis, which is a
handicraft revival activities such as rural
expressions continued to emerge, as the
time dependent process where spectators and
knitting circles, weaving collectives and
seemingly paradoxical relationship between
passers-by performing their everyday activities
teaching and learning workshops and sheds
the international and the local was explored
become active parts in a performance, can
new light on the later history of arts and crafts
and reassessed.
be used to build relationships and have social
Sasha Mullally teaches courses in the social and
Rigel Sorzano has been researching and writing on
Sylvia Schwenk is a German-born artist based in
cultural history of medicine at the University of New
New Zealand art, craft and design since 2004. Having
Sydney and Berlin. She is the recipient of numerous
Brunswick. Her research examines the intersections of
completed an MA in Art History earlier this year, I am
commissions including a recent commission from
gender and class in the social organization health care
currently tutoring at the University of Auckland and
the European Union to present a public work of
services, recently including the history of handicrafts
working on projects in relation to proposed doctoral
participatory performance art on the German and
in 20th century rural rejuvenation programs of the
studies in 2012. ([email protected])
Dutch border. Sylvia has also received many awards,
northeast North American borderlands. (sasham@unb.
grants and scholarships, and her work is held in public
and private art collections. www.schwenk.com.au([email protected])
Friday: 1.50pm - 3.10pm
THE TRANSNATIONAL SUBLIME; DIGITAL
TAHA WAIRUA AND THE VISUAL
NARCISSUS 2.0: PORTRAITURE IN A
POETICS AND THE REPRESENTATION OF
Maori art remains central to the experience
Like Narcissus looking at his own image in
Throughout much of its history the camera
and transmission of knowledge and cultural
a pool of water, the portrait image acts as
has been treated as a mechanical surrogate
identity, with the history of Maori visual
a mirror held up to the human face. In this
for human vision. However the photograph's
culture as testament to a consistent and
image, the self encounters the ‘self-made-
puzzling disjunctions and aporia have
profound cultural engagement for Maori.
other.' In today's media saturated environment
always rendered it strangely disquieting as a
‘Contact' for the viewer may initially be visual,
the archetypal mirror image of Narcissus is
substitute for "what we would have seen had
but is understood as the experience of a
only one of many technologically mediated
we been there". In any case, the development
salient connection between the work and the
images of the human face that are now
of digital photography in the closing decade of
viewer, as a feeling of emotion and presence,
available to us. It is through these mediated
the Twentieth Century severed this traditional
or evoking taha wairua. Taha wairua is a
image avatars that we can come literally
nexus irreparably. The digital image, unlike
significant determining factor as to whether
face-to-face with ourselves. In particular,
its celluloid ancestor, is registered in
the work is acknowledged as having relevance
digital technologies have revolutionised the
computational form and is therefore more
and resonance to the affiliated individual
genre of portraiture enabling new forms of
analogous to conceptualization than to optics.
or community irrespective of time, place or
representation and narcissistic projection
Further, the invention and deployment of
genre. This paper looks at aspects of gauging
including digital alter egos, robotic clones and
programs like Photoshop and Illustrator have
taha wairua and applies these observances to
virtual identities. In this paper I will look at the
enabled the transformation of the image in
works of some contemporary Maori artists to
ways in which this fascination with our own
ways that distance it profoundly from any
explore how digitally mediated works continue image is played out, and how different visual
perceptible real world correlates.
to cultivate this inimitable cultural contact.
images and media technologies enable us to
These new technologies of representation
see and understand ourselves (and others) in
facilitate the production of expansive polyglot
images that serve as corollaries of the transnational flows, planetary exchanges and far-flung tensions that are such a ubiquitous feature of life in the epoch of globalization.
David McNeill has curated exhibitions and published
Kura Puke is a lecturer at the School of Visual and
Dr Kathy Cleland is a curator, writer and researcher
articles on artistic responses to globalisation,
Material Culture at the School of Visual and Material
specialising in new media art and digital culture.
nationalism and diaspora, contemporary African
Culture, Massey University. Kura is an artist who works
She is Director of the Digital Cultures Program at the
art, and most recently, on Lebanese art produced in
with electronic lighting technologies, and has an MMVA
University of Sydney, an innovative cross-disciplinary
response to the 2006 IDF invasion and the Cronulla
from Toi Oho ki Apiti, Putahi a Toi, Massey University
program that critically investigates the social and
riots. He teaches courses on postcolonial, contemporary
cultural impacts of new digital media technologies.
and "outsider" art. ([email protected])
Friday: 1.50pm - 3.10pm
AMOROUS ENCOUNTERS: THE
VNS MATRIX: INFILTRATION
PAINTING IN THE ERA OF LIGHT-BASED
In 1991, an Adelaide-based artist collective,
In this paper I draw together various voices
VNS Matrix (1991–1997) wrote the
Since the digital revolution of the early 1990s,
and artistic practices to reflect upon the
‘Cyberfeminist Manifesto for the 21st
light-based forms of image-making have
exchanges that take place in the making
Century' and plastered it around town. The
increasingly colonized our lifeworld, steadily
and the viewing of visual arts. Recent
group—comprised of artists Francesca da
eclipsing their pigment-based counterparts.
scholarship suggests not only a material base
Rimini, Josephine Starrs, Julianne Pierce and
Faced with this transition, artists have sought
to understanding visual arts but importantly
Virginia Barratt—is credited as one of the first
to demonstrate the continued relevance of
an encounter that is embodied. While
to use the term ‘cyberfeminist'. Their work
pigment in our pixellated age. In this talk,
Barbara Bolt (2004, 2007) contends that
challenged and penetrated male-dominated
I consider the efforts of five contemporary
art emerges out of a dialogic relationship
realms including the internet, technology
painters in this regard. Luc Tuymans, Albert
between the individual body of the artist,
and mass media, calling for corruption and
Oehlen, Fabian Marcaccio, Wade Guyton
her performativity in the production of work,
disorder. Via new media works they pictured
and Christopher Wool, all use their work to
the material conditions of its making and the
an aggressive, cyber-modified version of
comment on the shortcomings of today's light-
social formations wherein these acts take
feminist computer (s)heroes.
based forms of image-making. In this way they
place, Arnold Berleant (2004) posits that the
This paper will examine the work of VNS
affirm the continued vitality of pigment in a
aesthetic experience of art is an encounter
Matrix via two avenues.
light-based image ecology whose need for its
that also involves the bodily attitudes of the
Firstly, contact will be explored in terms of
services is waning.
viewer. These concerns are underscored
the artistic exchange between VNS's four
by writers such as Alison Bartlett (2010)
artists: the social contact of collaboration and
and David Abram (1997) who argue for a
creativity. Secondly, contact will be explored
corporeal understanding of knowledge and its
in light of their subject matter and distribution
formation. As such I consider what it means to
methods: a contact of excess, hybridised
encounter the carnality of art.
and collapsed visual imagery in conjunction with unexpected and demanding methods of display.
Dr Ann Schilo works in the School of Design and Art at
Louise Mayhew is completing her PhD on the history of
Luke Smythe is a doctoral candidate in the History of Art
Curtin University. Ann's teaching and research intersect
women-only art collectives in Australia c.1970–2010.
program at Yale University.
in various fields and follow a number of key themes
Towards this research she has written ‘Jill Posters will be
surrounding art theory and practice with particular
Prosecuted' for Impact7: Intersections & Counterpoints,
interest in folk material culture, women's creative
on the phenomenon of women-only screenprinting
practices, feminist theory, and the visualisation of
groups, and the book chapter ‘Sisterly Love', on
contemporary artist-sister collectives for Collaboration
Friday: 1.50pm - 3.10pm
CLEMENT MEADMORE: DESIGN INTO
TRANSFORMATION OF THE
MAKING THE BODY: MATERIALITY AND
AESTHETIC: THE HYBRID NATURE OF
CRAFT IN PRACTICE-BASED RESEARCH
Clement Meadmore began his career as a
CONTEMPORARY ART AND DESIGN
My studio practice encompasses craft
furniture designer and gallerist, becoming a
Much of contemporary design methodology,
techniques that have been traditionally
pivotal figure in the influential Gallery A scene
practice and education now emphasises the
denigrated as ‘women's work' in order to
in Melbourne and later Sydney from the 1950s
design of ‘total', integrated experiences rather
consider materiality and its relationship to the
to the early 1960s. He later moved to New
than the creation of discreet objects: witness,
corporeal (female) body, particularly in regards
York and established himself as a successful
for example, the growth of user-centred,
to my self-defined notion of sublimated
sculptor, never to live in Australia again.
participatory, and collaborative design, along
disgust/anxious desire. Drawing upon Elizabeth
This paper reappraises the aims of
with the methodological use of anthropology,
Grosz's theories of the corporeal body, I have
Meadmore's early furniture design practice
ethnography, phenomenology and
instigated a studio practice that favours the
by locating it within an Australian context
dramaturgy. In order to understand this turn to body over the mind, and reconsiders the
and proposes a closer relationship between
interconnected practice and its consequences,
status of the handmade craft object. Through
his early Bauhaus-informed multidisciplinary
this paper will chart the significant moments
my research, craft practices such as knitting
design work and his later sculptures than has
in the long history of contact between art and
have emerged as highly significant: influencing
previously been considered.
design to show that its contemporary version
deliberations upon my own physicality through
This paper draws on archival research, recent
entails a transformation of the category of
the very act of a labour and time intensive
reassessments of Meadmore's important
the aesthetic: the aesthetic dimension of
making process. On completion, my various
position within Australian art history of
design is no longer defined in terms of beauty
‘knitted anatomies,' that hover at the intersect
the 1950s and 60s and recent theories of
but as sensate, embodied information. The
of clothing/skins/vessels of containment, not
aesthetic autonomy and discipline hybridity
consequences of this departure will be traced
only reference the body, but are of the body.
to reconsider the career of one of Australia's
through a number of examples, as will some of This paper will be an account of the trials and
most accomplished mid-twentieth century
its inherent ironies and contradictions. Finally,
small delights of making a body.
sculptors, often excluded from canonical texts
the effects of the absorption of the category
due to his expatriate status.
of beauty into the totality of the aesthetic/designed experience will be linked to the question of whether there is any room left for a political concept of the autonomy of the aesthetic.
Angela Goddard is Curator, Australian Art to 1975, at
Dr Matthew Holt is the Program Manager of Design
Deborah is a PhD Candidate at the University of
the Queensland Art Gallery. She is also Reviews Editor
at UTS:Insearch. He has a PhD in art history from the
South Australia, where she is engaged in a major
for the Australian and New Zealand Journal of Art, and
University of Sydney and publishes on both art and
studio project titled The Anatomical Venus: Anxious
currently undertaking a master's degree in art history
design history. He is also a produced playwright, and
desire and sublimated disgust. The artist's body in
and theory at the University of New South Wales
a collection of his short stories is being published later
contemporary art practice as informed by 18th and
College of Fine Arts, Sydney.
this year. ([email protected])
19th Century anatomical models. (pridt002@mymail.
Friday: 3.30pm - 4.50pm
THE LOST MEDIUM OF CONTEMPORARY
ROSÂNGELA RENNÓ: ENGAGEMENT
THE ASSERTION AND SUSPENSION
EXISTENCE: REFLECTIONS ON SIGMAR
AND DISENGAGEMENT WITH THE
OF CONTACT IN THE ART OF THOMAS
POLKE'S WE PETTY BOURGEOIS!
COMRADES AND CONTEMPORARIES
This paper examines how emotional contact
This paper discusses the work of German artist
In 2009 the Hamburger Kunsthalle exhibited
or affective engagement is both provoked and
Thomas Demand by taking a slight distance
a sprawling, multi-participant ensemble from
displaced by the Brazilian artist, Rosângela
from the concept of ‘contact' as signifying
1970s called, We Petty Bourgeois! Comrades
Rennó in her series: Corpo da Alma [Body of
a condition of touching or immediate
and Contemporaries, primarily associated
the Soul] (1990-2003). The images in Corpo
proximity. It will be argued that the artist's
with Sigmar Polke, but also a band of counter-
da Alma are drawn from photojournalism.
particular activation of photography and the
cultural troubadours. Who does the ‘we' in
Each photograph shows someone holding a
viewing experience this generates suspends
the title appeal to, and what does it suggest?
photograph either in a domestic setting or
conventional dichotomies between proximity
I will explain its provocation by examining
in the more public context of the street. By
and distance, contact and disassociation. In
two of its key invocations or reference points.
making the images difficult to see, Rennó aims
the process, Demand's art dismantles strict
The first is to an English ‘medium', named
to revitalise interest in routine media images
divisions between realist and anti-realist
Rosemary Brown, who claimed to be in
that might otherwise be subject to the kind
heuristics of photography.
contact with long-dead, legendary composers,
of compassion fatigue described by Susan
such as Bach, Beethoven, Schubert, and Liszt.
Sontag, amongst others. Paradoxically, then,
The other key reference is to Hans Magnus
engagement is coupled with disengagement
Enzensberger¹s much-discussed 1976 essay
and obstruction. The paper will consider how
‘On the Inevitability of the Middle Classes,'
the series nonetheless promotes contact with
which Polke read soon after it was published
the viewer by slowing down perception of the
and from which the artist derived the title
emotions depicted in the original photographs.
for this ‘work.' I will seek to show how this fantastic ensemble prompts a rethink of the role of art, its class alignments and the future of the ‘vanguard.'
Andrew McNamara heads Art and Design in the
Susan Best teaches art history and theory at the
Toni Ross is a Senior Lecturer in Art History at College
Creative Industries Faculty of QUT, Brisbane, Australia.
University of NSW. She is the author of Visualizing
of Fine Arts, University of New South Wales. Her
His publication, An Apprehensive Aesthetic: The Legacy
Feeling: Affect and the Feminine Avant-garde (London: I
recent publications examine the pertinence of Jacques
of Modernist Culture (Peter Lang, 2009), won the Art
B Tauris, 2011). ([email protected])
Rancière's theory of the politics of aesthetic modernity
Association book of the year award for 2010. In 2011,
to contemporary art practice. ([email protected])
he edited Sweat: The Subtropical Imaginary.
([email protected])
Friday: 3.30pm - 4.50pm
CONTACT WITH ‘THE REAL' IN STUDIO
NO CONTACT: BACK OF THE HEAD
CONCEPTUALISING CONQUEST IN
SELF-PORTRAITURE: A NEW READING
NICOLAS POUSSIN'S, ‘RAPE OF THE
OF REMBRANDT'S KENWOOD SELF-
The vast majority of portraits present the
PORTRAIT, c. 1665-1669
subject full-face, partially full-face, or profile
Poussin's painting the Rape of the Sabine
The paper employs a strand of social cultural
to the viewer. They involve or imply an
Women (c. 1637), Musée de Louvre,
theory that posits a constant dialogue
encounter– contact–between the executive
Paris, presents an image of expansionist
between ourselves and our social world,
artist or photographer and the subject, as well
cultural contact in graphic detail. Rome,
which is in turn internalized through symbolic
as between the viewer and the subject. There
poised to become a colonising force,
representations of our culture as we are
are very few pictures, in which the subject is
asserts its dominance and makes plain the
mentored through a process of guided
in, or close to, the front plane, filling much of
modus operandis of this adventurism as it
participation into the ideas and processes
the picture space, where the subject is back
deceives and overwhelms the neighbouring
of whatever culture or historical period we
to the viewer – in which viewers see only the
Sabines. The term' rape', used in the title,
happen to be born into. It applies this to the
back of the head. They do exist, though. What
conjures up all the forms of exploitation
ungovernable indeterminacy of the portrait
do, or can, such back-of-the-head pictures
that will follow this event, and creates an
when its subject is the artist painting it. I argue
represent or ‘say'. Do they denote, or signal
image of expansionist exploits that will be
that Rembrandt embeds in his Kenwood Self-
or suggest an absence of, or resistance to,
commonplace in centuries to come. Yet, at the
Portrait an experience of deferred transition
or rejection of, contact? Or can back-of-
heart of this painting is a tear, a ripping apart
from a universal, schematic conception of
the-head pictures more effectively visualize
of cultural and social cohesion that will affect
the artist to a contingent, performative,
either particular forms of contact or ideas and
oppressor and oppressed alike. To this extent
experiential one. We realize that the timeless
feelings about socio-cultural conditions and
the Rape of the Sabine Women is more than a
image of the artist is actually an immediate
relationships than conventional full-face to
depiction of an historical moment, it illustrates
memory of himself turning from mirror to
profile portraits and picturings? This paper
a contest between Apollonian order and its
canvas so as to confer on him the social
will explore a selection of back-of the-head
Dionysian other, asserting the internalised and
contact of seeing himself as others see him.
pictures, including a portrait by the Victorian
externalised struggle of the ‘civilising' order.
‘Michelangelo', G.F. Watts, Gerhard Richter's well-known Betty, Colin McCahon's The Listener (Head), plus more contemporary pictures.
Winthrop Professor Richard Read has published
Leonard (Len) Bell's books include Colonial Constructs:
Grahame Kime is the Arts Centre Coordinator for
in major presses and journals on the relationship
European Images of Maori (1992), In Transit: Questions
Hazelhurst Regional Gallery and Arts Centre. His
between literature and the visual arts, nineteenth and
of Home and Belonging in New Zealand Art (2007),
exhibitions include: Heaven on Earth: Visions of Arcadia,
twentieth-century European and Australian art history
Marti Friedlander (2009) and From Prague to Auckland:
Flora: Still Life Moving Fast, Shen Jiawei: From Moa to
and contemporary film and complex images in global
the photography of Frank Hofmann (1916-1989) (2011).
Now 1960 – 2010 and The Leslie Walton Collection.
Grahame has a Masters by Coursework from the University of Sydney and is currently completing a Masters by Research on the work of Nicolas Poussin. ([email protected])
Friday: 3.30pm - 4.50pm
IMPRESSIONS OF A PRINT DEALER:
EPISTOLARY CONTACT: HEYSEN TO
ART AND SCIENCE: AN ANALYSIS OF
HAROLD WRIGHT AND HIS ARTISTS
NINETEENTH CENTURY NEW ZEALAND
This paper examines a range of bookplates
This paper will explore the letters between
PHOTOGRAPHS COLLECTED BY ARTIST
made for the London-based print dealer
two prominent Australian artists, Nora Heysen
AND BOTANIST JOHN BUCHANAN (1819-
and collector Harold Wright (1885-1961).
and her father Hans Heysen. Nora was an
Throughout his long career at the Bond Street
inveterate traveller, so some letters were
By using the device of a double exposure, the
firm Colnaghi's, Wright developed close
written from centre to periphery, but others
nineteenth-century portrait photographer
relationships with many printmakers. To some
came from remote locations in the Pacific as a
McGregor was able to situate fellow
he was simultaneously mentor, avid collector
war artist. Those from cosmopolitan centres
Dunedinite John Buchanan (1819-1898) as
and friend. These images illustrate an
convey the mixed emotions of an expatriate
metaphorically inhabiting two worlds at once:
intimate social network whose central figure
artist ranging from the alientation and
science and art. Combining negatives in the
was a dealer and testify both to his unfailing
loneliness to the liberating freedom of working same print was a specific technique belonging
support of his artists and their loyalty to him
anonymously in a large metropolitan centre
to the nascent category of art photography in
even after 1929 when the market for modern
outside national expectations. Those from
nineteenth-century New Zealand. It was also
prints was severely compromised by the Wall
remote locations reflect modernist visions
a procedure that facilitated the documentary
but also the frustrations and practicalities
‘proof' of supernatural occurrences known
of working with ‘exotic' subjects. For both
as spirit photography. As well as telling us
father and daughter, their letters also traverse
something about this subject's dual roles
artworld politics, changes in art institutions,
in colonial society, the ghosting indicates
the decline of the Society of Artists as
that on this occasion the photographer was
commercial galleries ascend, and the demise
encouraged—perhaps by his subject—to
of portraiture. This is a narrative that has stood reach beyond the technical and conceptual
outside modernist accounts. The letters also
limitations of the idea of photography as the
track the conflicting demands of married life
literal recording of the visual world. This paper
on Nora the artist.
will analyse this and a representative sample of the other photographs collected by John Buchanan in his albums.
David Maskill is Senior Lecturer in Art History at
Catherine Speck is an Associate Professor at the
Linda Tyler was appointed as the inaugural Director
Victoria University of Wellington. (david.maskill@vuw.
University of Adelaide and coordinates postgraduate
of the Centre for Art Research at The University of
programs in Art History & Curatorial and Museum
Auckland in February 2006. In this role, she teaches
Studies at the Art Gallery of South Australia and
two General Education papers for Elam, administers
the University of Adelaide. Publications include:
the Art Collection, Gus Fisher Gallery, and the Window
Painting Ghosts: Australian Women Artists in Wartime
project. Her PhD research is on John Buchanan.
(Craftsman House /Thames and Hudson 2004) and
Heysen to Heysen (National Library of Australia 2011) ([email protected])
Friday: 3.30pm - 4.50pm
‘CULTURE WARRIORS' AS CULTURAL
‘ARATJARA – ART OF THE FIRST
‘ANZART IN EDINBURGH'
This paper will examine the exhibition,
This paper explores the issue of sending
The exhibition Aratjara – Art of the First
ANZART in Edinburgh, organised by the Richard
abroad exhibitions as cultural diplomacy.
Australians opened in Düsseldorf, Germany
Demarco Gallery during the 1984 Edinburgh
Government and non-government agencies
at the Kunstsammlung Nordhein-Westfalen
Festival. ANZART in Edinburgh comprised
are increasingly engaging in cultural diplomacy
before touring to the Hayward Gallery, London, three distinct components: exhibitions of
or ‘soft power' strategies – that is using soft or
and the Louisiana Museum, Humblebaek
Australian and New Zealand contemporary
cultural means to advance a range of interests
(Denmark) in 1993-94. This paper will discuss
art, curated respectively by Denise Robinson
abroad. Within Australia's cultural exchanges
the making of Aratjara, its presentation and
and Wystan Curnow, and a separate exhibition
Indigenous Australian art figures prominently.
reception at the Hayward Gallery, and will
of the New Zealand painter Colin McCahon.
Given the growing interest in this area, it is
consider how it stood apart from earlier
This paper will investigate the original vision
timely to assess official efforts in deploying
international exhibitions of Aboriginal art.
for the exhibition, sparked by Demarco's visit
Australian culture to advance Australia's
to New Zealand and Australia in 1982, how
international interests.
the exhibition developed, its reception and
This paper uses as a case study the 2009
subsequent tour. It will consider ANZART in
US presentation of Culture Warriors. This
Edinburgh in the broader context of Demarco's
exhibition of contemporary Indigenous
Festival project, and his history of international
Australian art was sent to Washington D.C. to
exhibitions since the 1960s. It will examine the
help reshape how US audiences viewed both
role of the Queen Elizabeth II Arts Council and
Australia and its issues involving Indigenous
the Visual Arts Board of the Australia Council
Australians. While Culture Warriors may have
in the development of the exhibition.
fallen short of its aspirations, it was far from a run-of-the-mill cultural diplomacy exercise and for this reason should be considered as a useful point of reference for future cultural diplomacy initiatives.
Gay McDonald is a Senior Lecturer in the School of
Sarah Wall is a PhD candidate in Art History at the
Logan Sisley studied art history at the University of
Art History and Art Education, COFA/UNSW. She
University of Melbourne, researching the development,
Otago and the University of Auckland. He is currently
is currently completing research on the role of the
presentation and reception of exhibitions of Australian
Exhibitions Curator at Dublin City Gallery The Hugh
art museum in advancing official foreign policy
Aboriginal art in Europe.
Lane, Ireland, and a member of the studio team for the
objectives via the ‘soft' channels of cultural diplomacy
studio 468 residency programme, Rialto, Dublin.
(international circulating exhibitions).
Friday: 3.30pm - 4.50pm
‘ART GIRLS': RUSSIAN WOMEN AND THE
IT'S ALL MINE: THE RECENT RISE OF THE ART THEFT IN AOTEAROA NEW ZEALAND
MAKING OF A CREATIVE CLASS
PRIVATE ART MUSEUM IN AUSTRALIA
Art theft is the considered to be the third
Russian sponsorship of the visual arts has
The new private art museums that have
biggest business for criminals globally, after
been dominated in recent years by the wives,
developed in Australia and elsewhere
drugs and arms trading. It is estimated to be
girlfriends and sisters of prominent oligarchs.
over the last decade demonstrate not just
worth NZ$5.5-8.3 billion annually. But is this
These women have commented on their
their founders' power to shape critical and
the case for New Zealand? This paper seeks to
involvement in the arts as a response to the
curatorial programs in their own interest
explore high-profile art thefts over the past 50
need for the development of a creative class
but also the decline of the intermediary
years in order to consider the ways in which
in post-communist era Russia. This paper takes
role of public art museums, as authoritative
there is ‘contact' between the art market and
a broader perspective on the motivations of
conduits and interpreters between art,
criminality. It seeks to consider how interaction
these ‘art girls' along a trajectory of women's
artists, patrons and publics. In the advent and
between different players in the art market
involvement in patronage, sponsorship and
activities of MONA, the Museum of Old and
and wider art world influences the theft of
philanthropy extending back to the time of
New Art, in Hobart this year, of White Rabbit
art. While reasons for such theft are usually
Catherine the Great. It explores issues of
Gallery in Sydney in 2009 and TarraWarra
financial (such as the theft of the Tissot from
national identity in connection with ideas
Museum of Art outside Melbourne in 2003
Auckland Art Gallery), within a New Zealand
that have historically fostered Russian
there is clear evidence of both new sites of
context, political motives seem to dominate—
interest in the arts as a form of cosmopolitan
curatorial ambition and of changing patterns
witness the theft of Colin McCahon's Urewera
engagement with international art circles.
of patronage. The new private art museums,
Triptych and the taking of thirteen poupou
The paper considers how support for the arts
while free to act directly in their founder's
from Te Poho o Tipene, in 2004.
in Russia has been framed by socio-political
interests, may appear to be quasi-public
circumstances that have given rise to a sense
spaces, with all the trappings and much of the
that support for the arts within wealthy
aura of other forms of twentieth and twenty-
families is most appropriately carried out by
first-century art museum. This paper examines
their radical challenges to established public museums and to curatorial practice, and their implications for public debate, collections and scholarship.
John Barrett-Lennard
Jennifer Milam is an Associate Professor in the
John Barrett-Lennard has spent twenty-five years as
Ngarino Ellis (Ngapuhi, Ngati Porou) lectures papers
Department of Art History at the University of Sydney.
a contemporary art curator and director of university
in the Art History Department at the University of
Her books include the Historical Dictionary of Rococo
museums and contemporary art spaces, across
Auckland including Art Crime and Critical Issues in
Art (2011), Fragonard's Playful Paintings. Visual Games
Australia and overseas. He has published extensively
Maori Art. She has just handed in her PhD thesis, A
in Rococo Art (2006) and Women, Art And The Politics
on art museums, audiences and ideas of the public, as
Whakapapa of Tradition. Iwirakau Carving, 1830-1930
Of Identity In Eighteenth-Century Europe (2003).
well as curated major exhibitions, including an Adelaide
and has co-edited two books, Te Ata. Maori art from the
Biennial, the Australian component of the Biennale of
East Coast, and Te Puna. Maori Art from Te Tai Tokerau
Venice and a recent major show of the work of Imants
Friday: 3.30pm - 4.50pm
ART AND ACTIVISM IN A POST-
THE FICTIONAL AND AESTHETIC
AGAINST THE DEATH PENALTY: VICTOR
CHARACTERISTICS OF POLITICS. THE
HUGO'S QUILL AND BRUSH
This paper will use Gerald Raunig's 2007 book
POLITICAL ACT OF THE ARTS
Victor Hugo is arguably the most famous
Art and Revolution: Transversal Activism in
This paper responds to Jacques Rancière's
exponent of French Romanticism. His political
the long Twentieth Century as a way into
assertion that what politics and art have
engagement and massive literary production
exploring the points of contact between art
in common are their abilities to perform
often overshadows his graphic works. Victor
and revolution. Raunig's book is significant as
‘material rearrangements of signs and images,
Hugo's engagement against the death penalty
it represents one of the few recent attempts
between what is seen and what is said,
was a lifelong battle. His most famous literary
at theorizing connections between the
between what is done and what can be done.'
output on the subject was the novel Le
aesthetic and the social. This paper will also
Rancière argues for the fictional and aesthetic
dernier jour d'un condamné (1829). While
explore other approaches to the topic such as
characteristic of politics and the political
living in Guernsey Hugo drew four hanged
Claire Bishop's contribution to 2006 edition
characteristics of the arts, both of which
men drawings against the condemnation a
of Artforum ‘The Social Turn: Collaboration
disclose the relationships, commonalities and
murderer and incendiary, Tapner, including
and its Discontents'. Bishop controversially
exclusions of society. This paper will look at
the famous work, Ecce. In this paper I intend
argued that the rise in experimental socially
how participatory performance works use
to explore the ways in which Victor Hugo
engaged art at the end of the 90s has lead to a
‘bodily positions and movements, functions
promoted social engagement against the
related rise in "ethical art criticism"–these two
of speech, the parcelling out of the visible
death penalty using two different languages,
combined factors creating a situation where
and the invisible' to explore the interplay
image and text. While the image and the text
works are no longer judged critically as art but
that exists between politics and art. Using
repeated a similar message in different ways,
rather by the way in which they ‘strengthen
performance works that engage with border
they resulted in very different public reactions.
the social bond'. In the aftermath of the Global
control and nationalism, I will look at how art
I intend to explore here why the image was
Financial Crisis, how do we assess what impact
mobilises public participation in simple acts
better received than the text and how the
globalization, and the alter-globalisation
which accrue interruptive significance.
image achieved a higher level of engagement
movement had on our understandings of art?
with the public.
Zanny Begg works in a cross disciplinary manner and
Melissa Laing (PhD, University of Sydney) is a curator,
Dr Emilie Sitzia is a Senior Lecturer in Art History and
her work revolves around an investigation of the
artist and theorist currently employed by the ST PAUL St
Theory at Canterbury University in New Zealand. Her
politics of space, both in the broader globalised context
Gallery, AUT University. Her work explores (in)security
research interests are nineteenth-century art literature
and a more specific local one: she is interested in both
discourses, nation state territory and migration through
as well as literary art. She is currently preparing a
the architecture of space and the social relationships
the intersection of art and theory. Laing has presented
book on the interactions between art and literature in
which construct it. For more information: www.
at the 6th ECPR General Conference, University of
nineteenth-century France (Cambridge, forthcoming
Iceland, 2011, the 32nd Congress of the International
Committee of the History of Art at University of Melbourne, 2008 and the AAANZ Conferences in 2009 and 2006. ([email protected])
Friday: 3.30pm - 4.50pm
BETWEEN IMAGINED AND INHABITED
This paper will demonstrate how official war
SPACE: MINIMALIST AESTHETICS AND
artists have used detachment as a strategy
THE ENCOUNTER BETWEEN BODY
to influence their audience's perception of
AND MEMORY IN PETER EISENMAN'S
depicted events. By distancing the emotional
MEMORIAL TO THE MURDERED JEWS
involvement of the artist as a witness,
detached visual narratives assume an
Since the dedication of Maya Lin's Vietnam
‘objective' quality. Detachment implies that
Veterans Memorial in 1982, minimalist design
the artist has an observant eye, a factual mind, strategies have transformed the way in which
and a reluctance to deviate from the ‘truth' of
public memorials, particularly those that deal
the matter. These perceptions are especially
with problematic pasts, have been conceived,
useful if none of these implied traits are
constructed, managed and understood.
The paper examines the imagined and
Detachment is a visual strategy with a long but
inhabited landscape of Peter Eisenman's
understated history. In this paper it shall be
Memorial to the Murdered Jews of Europe
presented through case studies in Australian,
in the context of the effectiveness of the
New Zealand, and UK war art collections, but
communicative aspects of minimalist design
the implications of detachment extend well
strategies employed in the Vietnam Veterans
beyond war art. This argument will open the
Memorial, as described in Jeffrey Karl
concept of detachment as a form of counter-
Ochsner's theory of ‘linking objects'. Intended
intuitive engagement, in which the artist
meanings for the Memorial to the Murdered
mediates contact between their own lived
Jews of Europe as a place of remembrance, it
experiences and their audience's perception of is argued, are negated ultimately by the lack of
those events.
signification within its design, the absence of ‘linking objects'. In contrast to the imagined space of the memorial, as represented by text and photography, the inhabited space of the memorial is one of play and performance rather than one of reflection and understanding.
Dr Sam Bowker's PhD examined the function of self-
Dr Russell Rodrigo is an Architect and Lecturer with
portraiture in official war art (Australian National
the Faculty of the Built Environment, University of New
University). He now works in Education for the National
South Wales with an interest in the architecture and
Portrait Gallery (Canberra) and publishes primarily
philosophy of memory and place. Russell has recently
on matters related to portraiture. The relationships
completed a research-through-design PhD in memorial
between engagement, detachment, and narrative are
architecture and the spatialization of memory.
an ongoing research interest. ([email protected])
Cross, David 130
Hood, Jessica 89
Milam, Jennifer 152
Abramova, Ekaterina 54
Cvoro, Uros 107
Hughes, Helen 71
Milburn, Felicity 127
Al-Aaraji, Sukayna 55
Mitchell, Helen 104
Arden, Holly 135
Moleta, Tane 59
Dauber, Christine 81
Inglis, Alison 46, 67, 93
Moore, Fiona 55
Dempsey, Morag 42
Morrison, Mary 119
Baitz, Joanne 14, 40
Donaldson, A. D. S. 65
Mullally, Sasha 136
Ballard, Susan
Johnston, Melinda
Drayton, Joanne 123
Barilo von Reisberg, Eugene
Jolly, Martyn
Dunham, Laura 45
Barrar, Wayne
Jordan, Caroline
Neale, Anne 88
Barrett-Lennard, John 153
Negrin, Llewellyn 131
Barton, Christina
Eckett, Jane
Nevalainen, Emmi 91
Kalionis, Jennifer 131
Batchen, Geoffrey
Edwards, Rebecca
18, 30, 32
Nishioka, Mizuho 59
Kime, Grahame 147
Baxendell, Lydia
Elias, Ann
Knights, Mary 122
Begg, Zanny
Ellis, Ngarino
Kummerfeld, Rebecca 99
Bell, Leonard
Ennis, Helen
O'Reilly, Chiara
Berry, Jess
Enwezor, Okwui
Ouellette, Caroline
20, 25, 30
Best, Susan 42, 145
Laing, Melissa 155
Blackley, Roger 54, 66
Feeney, Warren 101
Larsson, Chari 95
Palmer, Sheridan 18
Blond, Simon 135
Ferran, Anne 68
Laurence, Timothy 118
Park, Marilyn 44
Body, Ralph 100
Ferris, Denise 111
Lauritis, Beth Anne 133
Parsons, Harriet 92
Bolger, Wendy 53
Findlay, Elisabeth 73
Lawrenson, Anna 126, 127
Peacock, Amanda 47
Bowker, Sam 157
Finlay, John 120
Ledbury, Mark 26
Peacock, Dianne 43
Braddock, Chris 121
Fitche, Matthew Warren 43
Lentini, Damian 106
Phillips, Filma Anne 86
Brennan, Anne 69
Francis, Niki 97
Lin, Jase Chia-Ching 57
Platz, William 72
Brett, Donna West 111
Fraser, Suzanne 89
Lionis, Chrisoula 56
Plummer, Matt 103
Brew, Christopher 70
Lonie, Bridie 69
Preston, Julieanna 48
Briceño, Ximena Natanya 49
Lorenzo, Catherine De 93
Preston, Laura 32, 98
Brittain, Corinne 14, 41
Galbraith, Heather 132
Lu, Duanfang 105
Prior, Deborah 143
Bruce, Janine 59
Garden, Wendy 110
Puke, Kura 139
Brunet, Lynn 107
Garrie, Barbara 70
Brunt, Peter 20
Gibbs, Sandy 45
Macneil, Georgina 77
Burton, Laini 64
Gilmour, Joanna 73
Marcello, Flavia 75
Ramage, Stella 90
Butler, Rex 20, 65
Goddard, Angela 142
Marshall, Jonathan 87
Rankin, Elizabeth 80
Butler, Sally 120
Grigsby, Darcy Grimaldo 17, 26, 30
Maskill, David 50, 148
Read, Richard 54, 146
Mayhew, Louise 141
Gullotta, Danielle 125
Reed, Stewart 85
McAloon, William 17, 103
Rice, Rebecca 113
Campbell, Joanne 74
McDonald, Gay 150
Riddler, Eric 83
Carroll, Grace 87
Hammerschlag, Keren 113
McLean, Ian 94
Robertson, Kate 96
Ciliberto, Anna 77
Hannah, Dorita 76
McNamara, Andrew 144
Rock, Tyler 48
Clancy, Majella 116
Hawker, Rosemary 118
McNeill, David 138
Rodrigo, Russell 157
Clayton-Greene, Kim L. R. 51
Healy, Mary 112
McQuarrie, Caroline 114
Roosmalen, Karin van 74
Cleland, Kathy 139
Holt, Matthew 143
McSpedden, Shelley 67
Ross, Cathy Tuato'o 115
Cooke, Ian 53
Hong, Lim Chye 83
Mendelssohn, Joanna 125
Ross, Toni 145
SPEAKERS INDEX (continued)
Ruck-Doyle, Jane 14, 41
Wynne-Jones, Victoria 117
Sainsbury, Maria 57
Zeplin, Pamela 64
Schilo, Ann 140Schmidt, Simone 117Schwenk, Sylvia 137Scott, Sarah 84Shelton, Ann 56, 68Silaghi, Cristina 101Simbao, Ruth 82Simmons, Laurence 102Sippel, Annika 51Sisley, Logan 151Sitzia, Emilie 155Skinner, Robin 44Smythe, Luke 141Sorzano, Rigel 137Speck, Catherine 125, 149Spiteri, Raymond 95Stanhope, Zara 52, 134Steffano, John Di 76Stephen, Ann 17, 18, 30, 32, 40, 66Stocker, Mark 126Sullivan, Deidra 115Swan, Rodney 47Syrette, Monica 123
TTamati-Quennell, Megan 33Tanchio, Paul 133Tappenden, Alice 14, 46Taylor, Lyrica 97Tyler, Linda 149
VVercoe, Caroline 112
WWall, Sarah 151Watts, Oliver 77Wlazlo, David 52Wolf, Erika 5, 58, 122Woodcock, Ian 75Woodrow, Ross 81162
Source: http://aaanz.info/wp-content/uploads/2011/11/2011AAANZProgramme.pdf
Principle of mass spectrometryPrinciple of LC/MSMass definitionsMass resolutionMass accuracy II - THE MASS SPECTROMETER: INSTRUMENT ARCHITECTURES AND MAIN CHARACTERISTICS Quadrupole, triple quadsIon TrapsTime of Flight III - LC/MS Ionisation modesSource designThe API mass spectrum
Table of Contents Drug and Alcohol Policy.1Tobacco Free Campus Policy.1Commonly Abused Substances and Health Risks.2Commonly Abused Substances and Health Risks cont.3Consequences.4 Disciplinary Drug and Alcohol Policy In compliance with the Federal Drug-Free Workplace Act of 1988, the Federal Drug- Free Schools and Communities Act of 1989, the Maryland Drug and Alcohol Abuse