In January - February 1987 Bea Maddock visited Antarctica with two other artists, Jan Senbergs and John Caldwell, invited as part of the Australian Antarctic Division's 'Artists in Antarctica' programme. While alighting at Heard Island she seriously injured her knee and leg (she was permanently disabled by the accident) and was unable to continue to the mainland. However, she spent some time on the island itself drawing the coastline, and from the ship and her cabin window the Antarctic landmass. Upon her return to Launceston Bea Maddock developed these into this suite of etchings, completed in April 1988.
Labels: Manuel Aalbers
Humans of New York is a photographic project that could be modified into a 'slower' project using drawing, and relocated to a place in which you live or work. Brandon says:
My name is Brandon and I began Humans of New York in the summer of 2010. I thought it would be really cool to create an exhaustive catalogue of New York City’s inhabitants, so I set out to photograph 10,000 New Yorkers and plot their photos on a map. I worked for several months with this goal in mind, but somewhere along the way, HONY began to take on a much different character. I started collecting quotes and short stories from the people I met, and began including these snippets alongside the photographs. Taken together, these portraits and captions became the subject of a vibrant blog. With over seven million followers on social media, HONY now provides a worldwide audience with daily glimpses into the lives of strangers in New York City. It has also become a #1 NYT bestselling book.. It’s been quite a ride so far. Feel free to follow along.
Charles Cooper Lower George 2011 (ink and conte crayon on paper 103 x 76 cm)
Lower George is part of a study of road markings. Charles says: On one level, the images are about 1) the generic communal space of the roadway, 2) the variety of distinctive patterns that denote , for instance, places at which pedestrians and drivers are obliged to negotiate with each other and 3) particular locations at which such markings, and interactions, occur e.g. Lower George Street outside the MCA (now altered, which touches on another dimension in the work).
Labels: Charles Cooper
Worsaae, under the commission of Christian VIII of Denmark, spent nine months travelling around Britain and Ireland during 1846 and 1847. One of the most famous Scandinavian antiquarians of the nineteenth century, he had spent time visiting Sweden, Austria, Germany and Switzerland during the preceding years. The terms of his royal commission, as they related to his tour of Britain and Ireland, primarily focused on an investigation of the Viking-age antiquities and monuments of Scandinavian character.
Piero Manzoni Socle du Monde (Base of the World) 1961. A large metal plinth, inscribed in French: 'The Base Of The World, Homage To Galileo' placed upside down in the grounds of an art museum in Herning, Denmark, claiming the planet as an artwork on a plinth, and displacing viewers into outer space.
Labels: Piero Manzoni
Sol LeWitt Buried Cube Containing an Object of Importance
but Little Value 1968
The burial of the cube reportedly took place in a local garden, but these photographs, referring again to the notion of the series or process, are the only proof that LeWitt's actions actually took place. Without seeing the event taking place, or knowing what is held within the cube, Buried Cube relies on the idea, as opposed to a finished object. A conceptual piece, this work was produced shortly following the publication of LeWitt's 1968 manifesto describing the new Conceptual art movement. In the manifesto, he declares, "The execution is a perfunctory affair. The idea becomes a machine that makes the art." Likewise, by emptying this "burial"-like an actual interment, an extremely important, emotional, and personal affair-of content, value, gesture and expression, LeWitt disengages himself from the work and takes a strong "death of the author" stance. In his own words: "Once it is out of his hand the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way."source
Regina Walter, Camoufleur. The work derives from the historical material of camouflage defence by artists working at Bankstown airport during WW11. Artists such as Max Dupain and Frank Hinder were among the Sydney Camouflage Group, led by Zoologist William Dakin. Their experiments proved to be ingenious methods of disguise, decoy and deception. Adapting Roy Lichtenstein's illusion house series, this work recreates a disguised airplane hangar. The work echoes the Camouflage Group's optical trickery, using similar elements of deception, and is reminiscent of a 1940's style home in black and white
Labels: Regina Walter