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Carbon Obscura
Carbon Obscura is a wordplay on camera obscura, which was an early form of camera used to assist artists to draw a scene during the Renaissance. The work takes photography (drawing with light) to new dimensions, these are cameras like no other, and light becomes animated in waves of fog. The artist takes his intrigue with light and projections to new places and opens portals for the audience allowing them to enter the space of the camera. Initially conceived in 2007 for an installation in the greenhouse at Montsalvat as part of Structure Place and Space curated by Tony Tembath the work enchanted the audience and various versions followed. In this series of works, Godman created darkened spac...
Europe & Back
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Working with Plants
WORKING WITH PLANTS Please note: this EPub is optimized for viewing on Thorium Reader. Thorium Reader is the free EPUB reader of choice for Windows 10 and 11, MacOS and Linux. https://www.edrlab.org/software/thorium-reader In the mid 1990s, Lloyd Godman made the connection that the process of taking photographs with photographic film and growing plants was analogous - both use light and water - plants are in fact an abstract form of photography. In 1996 he began by growing simple images into the leaves of Bromeliad plants as a form of bio-imprinting, which in turn led to sophisticated interactive installations of tillandsia plants ( airplants ) in galleries and other spaces in New Zealand, A...
The Making of Indigenous Australian Contemporary Art
This publication brings together existing research as well as new data to show how Arnhem Land bark painting was critical in the making of Indigenous Australian contemporary art and the self-determination agendas of Indigenous Australians. It identifies how, when and what the shifts in the reception of the art were, especially as they occurred within institutional exhibition displays. Despite key studies already being published on the reception of Aboriginal art in this area, the overall process is not well known or always considered, while the focus has tended to be placed on Western Desert acrylic paintings. This text, however represents a refocus, and addresses this more fully by integrating Arnhem Land bark painting into the contemporary history of Aboriginal art. The trajectory moves from its understanding as a form of ethnographic art, to seeing it as conceptual art and appreciating it for its cultural agency and contemporaneity.
New Art Three
Presents profiles of important contemporary artists in Australia - whether newly arrived, emerging or increasingly recognised. This volume presents 48 artists from all over the country and includes paintings, drawings and scultpure. Two works by each artist are featured in colour, together with a concise biography, artist's comment and full exhibition details.
New Sculpture
Artists featured are: Arthur Ashby, Rodney Broad, Peter D. Cole, Brigid Cole-Adams, Michael Esson, Jutta Feddersen, John Gardner, Marea Gazzard, Garry Greenwood, Anton Hasell, Joy Henderson, Greg Johns, Ted Jonsson, Inge King, Maria Kuczynska, Polly MacCallum, Alexis McKean, Michael Nicholls, Roger Noakes, Leslie Oliver, Robert Parr, Lyn Plummer, Emanuel Raft, Peter Randall, Ann-Maree Reaney, Colin Reaney, James Rogers, Mona Ryder, Manne Schulze, Stephen Skillitzi, Mary Stimson, Alick Sweet, Peter Tilley, Tony Trembath, Stephen Trethewey, George Turcu, John Turier, Hossein Valamanesh, Trevor Weekes, Liz Williams, Dan Wollmering.
Vanguard
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World Art
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Artext
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