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David Noonan
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David Noonan
London-based Australian artist David Noonan (b. 1969) uses found imagery as the basis for his screenprinted canvases and sculptures. His images encapsulate the romanticism of Golden Age cinema, and its associations with memory, fiction, and modern mythology. Enigmatic figures, printed in grainy black and white or sepia, pose in these elaborate artworks, invoking covert and futuristic rituals. This monograph offers the first comprehensive overview of his work.
David Noonan
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David Noonan Before and Now
Noonan is an artist to whom chosen media exists to be harnessed to create powerful atmospheric environs. Here the author explores Noonan's most recent work, burrowing backwards in time to reflect the artists' own fascination with the temporal and the temporary, where present, past and future coalesce.
A Dark and Quiet Place
A Dark and Quiet Place accompanies a new moving image work of the same name by Australian artist David Noonan (born 1969). Both the film and the book present a meditation on performance, its associated apparatus and the physical and imaginary domains they inhabit. That this is Noonan's first film work in over a decade is significant, as his practice since has frequently referenced both the material qualities of film and projection, and an ongoing interest in the slippages between figuration and pure abstraction. For the book, the artist has worked closely with award-winning design studio A Practice for Everyday Life to disassemble the film work back into a rhythmic sequence of still images, employing both the language of design and Noonan's characteristic strategies of layering and manipulation. In his response to the work, celebrated author Brian Dillon presents a piece of fiction at once speculative and rigorously rational, in which geometric shapes become performers, diagrammatic grids become complex stage sets, and the supremacy of the body is thrown into doubt.
Those We Forget
The official Australian casualty statistics suffered by the men of the Australian Imperial Force in the First World War are seriously wrong, with significant inaccuracies and omissions. Groundbreaking research exhaustively examining over 12,000 individual soldiers' records has revealed that hospitalisations for wounding, illness and injury suffered by men of the AIF are five times greater than officially acknowledged today. Why has it taken nearly one hundred years for this to come to light? Was it a conspiracy to suppress the toll, incompetence of Australia's official war historians Bean and Butler, or was it simply the unquestioning acceptance of the official record? You are invited on the journey in this book to find the truth. The findings are startling and will rewrite Australia's casualty statistics of the First World War. Lest we forget.
The Man from Misery
"Emmet Honeycut, a sniper during the Civil War, shoots a girl about to burn to death in a hotel fire. Although acquitted of murder, he becomes a pariah in town, but is reprieved by a telegram from Major Kingston, his former commander. Kingston's niece, Faith, has been abducted and he offers Emmet money to join his rescue party, which includes six other skilled men, and a beautiful woman whom Emmet comes to love. Enrique Salazar and Yago Garza are merciless cousins who control Santa Sabino and who plan to auction off young girls, including Faith, to wealthy landowners as sex slaves. When Kingston is betrayed and captured, Emmet leads the attack, kills the cousins, and frees the girls. The locals embrace him as their hero"--
Whispers of the Vampire's Blade
This full-length adventure for the newest D&D campaign setting showcases manyof the most unique traits of the Eberron setting.
Artists' Cocktails
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David Noonan: Only When It's Cloudless
"The exhibition engages with the fleeting nature of images, the memories they engender, and the juxtaposition of figures and abstraction, in ways that allow interpretation to remain speculative and open. Noonan's highly inventive combinations of representation and pattern, light and dark, and line and shape, resist labels. The exhibition is conceived as a spatial montage."--Foreword.
