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Joe Scanlan
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Joe Scanlan
None
Joe Scanlan
Edited by Julian Heynen, Brigitte Kolle. Text by Julian Heynen.
The Studio Reader
The image of a tortured genius working in near isolation has long dominated our conceptions of the artist’s studio. Examples abound: think Jackson Pollock dripping resin on a cicada carcass in his shed in the Hamptons. But times have changed; ever since Andy Warhol declared his art space a “factory,” artists have begun to envision themselves as the leaders of production teams, and their sense of what it means to be in the studio has altered just as dramatically as their practices. The Studio Reader pulls back the curtain from the art world to reveal the real activities behind artistic production. What does it mean to be in the studio? What is the space of the studio in the artist’s p...
Rewriting Conceptual Art
"An international movement that developed along separate but parallel lines in Europe and America during the 1970s, Conceptual Art grew out of the legacy of Marcel Duchamp. Aiming to completely redefine the relationships between the production, definition and ownership of artworks and their various audiences, Conceptual artists rejected traditional formats, media and definitions. Instead they chose to address some of the key issues underlying modern life and art. Thse included the gulf between initial idea and finished work, the value assigned works of art in modern economies, the role of women and of feminine creativity in general, the politics of exhibition organization - in short, the ways art and the art world have been defined for centuries. Among the notable figures whose work is discussed in essays ranging from the evaluative to the theoretical are Judy Chicago, Robert Morris, Sol LeWitt, Marcel Broodthaers and Mary Kelly. The influence of Conceptual Art continues to be felt today in the work of such controversial young artists as Rachel Whiteread and Damien Hirst." - back cover.
Exquisite Corpse
Out of the 1920s Surrealist art studios emerged the exquisite corpse, a collaboratively drawn body made whole through a series of disjointed parts whose relevance today is the subject of Exquisite Corpse: Studio Art-Based Writing in the Academy. This collection draws from the processes and pedagogies of artists and designers to reconcile disparate discourses in rhetoric and composition pertaining to 3Ms (multimodal, multimedia, multigenre), multiliteracies, translingualism, and electracy. With contributions from a diverse range of scholars, artists, and designers, the chapters in this collection expand the conversation to a broader notion of writing and composing in the 21st century that bui...
Creative Enterprise
Intertwines a dual emphasis on evolving institutional priorities and major shifts in artistic production.
Grand Finals
There is no greater prize in Australian team sport than the VFL/AFL premiership flag. Premiership players are forever recognised and their deeds of their teams long celebrated. This book, the first in a three-volume series, recounts in details the players, the officials, the matches and the other key events that shaped the premiership team every year. The Grand Finals themselves are also recounted in great detail while the key statistics for the premiership teams are also featured. This book covers Grand Finals from the period 1897-1938 and is the first volume in a series to provide a complete view of every premiership team in every year of Australia's elite football competition. Among the contributors are: Emma Quayle (The Age), Rohan Connolly (The Age), John Harms (The Footy Almanac), Paul Daffey (afl.com.au), Jim Main, Glenn McFarlane(Herald Sun), Michael Lovett (AFL Record) and Robert Pascoe.
