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The Amplified Man Project Brochure 2

Copyright 2004: Adam Norton

A3 in size and Navy Blue in colour. Little yes, black? Not so much. Perhaps its content it enough to render it considerably blacker than Navy Blue… Without any essay, manifesto, literary criticism or the likes; images are left to speak for themselves. In a booklet largely spent exploring themes of war, science and destruction the artist has in some way removed a source of ammunition, by way of removing written texts. Not so many words to be twisted and used as weapons of criticism that might have otherwise been used to shoot him down in flames.

Images drawn and printed over lined and graphed paper are reminiscent of the times many of us spent doodling, bored during Maths and English lessons on a Friday afternoon. While Norton shows a certain amount of skill the content of the images can be described as the rather typical imaginings of a teenage boy. Just add a skull and crossbones.

Sightlessness Todd Robinson

Copyright 2006: Artspace and authors

An introduction written by Blair French follows on from a series of photographs of Todd Robinson’s works. Half a page discussing the works relevance and value to the gallery, placing the work into its context within a broader arts practice and introducing essay by Russell Storer.

The essay begins with entering the space of the exhibition. Russell Storer writes about how meticulously the objects have been placed,the precision of the lighting, the soundlessness of the space; all coming together to form a sensual experience for the audience. The work brings them into contact with objects and materials of the everyday in a way that amplifies and reshapes how the audience relates to objects that might have otherwise been familiar and overlooked or taken for granted outside of such an exhibition.

Russell Storer’s first downfall in writing about the work comes through quite early in the essay in the form of binaries: absence and presence. These themes are quite legitimate, and do quite often complement and contrast with each other on many different levels BUT when you pair them together within the first paragraph of as essay it suddenly becomes all too reminiscent of 2nd year university projects. Discussing a work through the use of pairs and triads too often undermines the sophistication of what the artist has created.

Storer goes on to pepper the essay throughout with lists of pairs and the essay begins to resemble something more of a shopping list than a piece of engaged writing. He writes about the laborious quality of one work but rather than exploring that in more depth Storer skips on quite quickly to another work with also emphasizes such a quality, as though he had suddenly ran out of things to say.

In a more positive light one might argue that Storer has picked up on a common thread within the two works and used this to his advantage, as a means of seamlessly stringing them together in his writing, which is potentially quite a lovely analogy considering the textiles based materiality of much of the works.

Storer then goes on to write further about the Todd Robinson’s art making processes and practices and some of the implications of what the artist has done. Wrapping objects creates an inner and an exterior, creates potential for layers, removes or challenges the usefulness of the objects presented, the tactility of the works creates a sense of unfulfilled desire and tension between the object and the audience member. All in all these processes, in combination with the materiality of the works come together to create works that are quite effective in creating a phenomenological response in the viewer.

Art & Australia

Collection 2004-2012

Images Copyright 2012: The artists

Text Copyright 2012: Art & Australia Pty Ltd

My only criticism of the text within this little black book is that it is boring. This publication presents a brief text about the relationship between the magazine it is about, and the artists whose works adorn the covers. There is some emphasis on those artists who are featured on the back of the publication in regards to the magazine’s role in furthering the careers of artists who are in the earlier stages of their careers.

The text discusses the development of the collection through its award system and how this have changed over the course of time from being a closed award, becoming an open award partnered with the National Association for the Visual Arts and opening its doors to artists not only from Australian, but New Zealand as well.

The text then goes on to mention some of the successes of a few of the artists who have been awarded by Art & Australia and acknowledging their partnership with Credit Suisse Private Banking and thanking them for their assistance in funding the acquisitions in their collection.

The remainder of this publication is then predominantly used to show a selection of the works featured on the magazine covers apparently from 2004-2012, but in reality showing nothing beyond the year 2007, which is subsequently disappointing.

Three Little Black Books

Copyright 2012: Ebony Secombe

A collection of literary criticisms, written by the blogger, about three A3 sized publications with black covers, or referencing some sort of content that might be considered black, or bleak. The selection of these texts has been quite arbitrary but hopefully serves as a means of giving the writer an opportunity to develop her writing skills, critical thinking and knowledge of the art that she so loves. her style is perhaps at times sloppy,as her concentration falters and patience slips from underneath her finger tips. This particular blog has been a long time in the making, what with the lack of a computer, attempting to blog on a regular basis through the use of a “smart” phone that doesn’t quite live up to its name had been quite a challenge. Her sense of whimsey allows her to carry through to the end. Finally.

Does she triumph? Or tip over…

Self obsession being fed on a daily basis, narcissistic little crisis that I am. I found myself years ago drawn to my reflection as a means of expressing the self; as a means of therepy.

In years since I have thrown myself away and found myself lost. Just as self obsessed and narcissistic but no longer knowing that self, and afraid to look into that mirror, to analyse and truely know who I am looking at in that reflection.

This evening I challenge myself to look and reflect on what is seen.

The exhibition that this article has been written about may be “difficult to fault”, but this article is not. Within the first paragraph there appears to be some sort of error in communication, whether it be through publishing or the fault of the author the 2nd sentence goes on to say:

It is huge without becoming tedious; well documented with being bookish; and visually powerful without being overwhelming. (paragraph 1 page 71)

With being bookish or without it? Considering that the other two statements have used the term “without” and also considering that the article has taken a positive approach to reviewing the exhibition it seems a little out of place to be calling the related documentation “bookish”.

Perhaps Professor Grisham was trying to avoid being too repetitive. However if this has been the case it may have been more effective to have written something more along the lines of: “well documented yet refraining from being bookish” (me just now)

Grisham writes about the exclusion of Australian surrealist works in the exhibition as being justifiable but shortly afterward describes the exhibition as being a historical documentation. To expect this exhibition to be highly peppered with Australian work would be unrealistic. Had the exhibition taken an overly Australianised approach this would have had a detrimental effect on the exhibition, however to completely exclude Australian works from this exhibition is a sad reflection on the perception of the quality and value of Australia’s contribution to (and dialogue with) surrealist art on an international scale.

“while Salvador Dali has a ber of strong pieces…” (paragraph 4/1 pages 72-73)

I can only assume that this was meant to read number rather than “ber”…

And how is it that none of the said highlights of the show are represented in the multitude of images presented as a part of this article?

The article concludes with a comment on the impossibility of a definitive exhibition of international art in Australia.

I would like to conclude mine with the response: Can there ever be any kind of definitive international art exhibition in any one country? I think not.

Bibliography:

Written by Prof. Sasha Grisham; “Surrealism: The Poetry of Dreams” from craft arts INTERNATIONAL No.83, pages 71-73.

Picking up around the time I left off I guess. As opposed to what is offered by Art Galleries (MCA) and Exhibitions (Primavera) such as these, what I am currently offering is no longer current.

More of a reflection on what was learned not so long ago about what once was current; a means of reacquainting myself with what is and may soon be current in the art world once again.

The publication of Primavera 09 takes on quite a charming “handmade look” form this year. This less sleek approach mirroring the grittier more diverse directions of the practices of upcoming artists presented in this years (2009) exhibition. A drawback to this approach is that pages hesitant, in their opening become awkward to handle; thus impinging negatively on the experience of the reader. The seems of the pages tear as they are opened to their full.

Reading becomes a drag and upon reflection I am reminded of the long forgotten skill of skim reading, not too different from the product of skim milk. Does skimming produce a more nutritious, more fruitful result or something lacking in density and flavour? Genuine reading and skimming become blurred as I struggle onward.

Having attended this exhibition I continue through these words hoping to discern which of these works still evoke an image, a thought, or sensation, or some indication of a less ephemeral value.

Those which have retained a place in my memory include: Michaela Gleave’s “Raining Room (Seeing Stars) and “Autonomous Improvisation V1” by Wade Marynowsky. Having missed the work by spat + loogie which I recall being dismayed about not being able to attend. This makes two, possibly three out of the eight works memorable enough by my tastes to have maintained a place in my mind two years later.

Is this a satisfactory result? Where are these artists now? Who are the up coming artists of today? And furthermore tomorrow?