Entries Tagged 'Uncategorized' ↓

Ximeno Briceno (PhD, Gold and Silver) has been invited to present a paper to the Gray Area Symposium to be held in Mexico City, in a panel discussion addressing “What does Contemporary Jewellery Means to Us in Latin America?”

Www.grayareasymposium.org

The symposium is organized by Otro Diseño, Foundation for Cultural Exchange and Development and Design Flux.  The organization Otro Diseño is founded by curator Valeria Vallarta, a native of Mexico City who is based in the Netherlands.

The Otro Diseño foundation is dedicated to promote and promote create a dialogue between Latin America artists in the international landscape.  For more information please visit:
Www.otro-diseño.com

The symposium will be held in Mexico City from 12th -16 April, 2010 in the Ex Teresa de Medici Chapel, Mexico City.

Season 3 opens with a reception at 6 pm on 3 March in the School of Art Gallery, and runs until 5 pm Friday 12 March.

Dean Allison
Repeated, 2009
hot blow mold glass on steel
43 x 80 x 53 cm

Cinnamon Lee
Phototaxis, 2009
stainless steel, anodised aluminium, acetal, HBLED, arduino micro-controller,
5V DC power supply
140 x 65 x 65mm (without cord)
Image: courtesy of the artist

Kenichi Sato
Sitzmachine, 2009
plywood
79 x 60 x 63 cm

Season 2 opens with a reception at 6 pm on 17 February in the School of Art Gallery, and runs until 5 pm Friday 26 February.

Craig Edwards (Grad Dip, Ceramics)
Spring Creek series [detail] , 2009
porcelain with washed dirt and celadon glaze
dimensions various

Keven Francis (Grad Dip, Ceramics)
Transition (detail), 2009
acrylic paint and ceramics,
dimensions various

Nicole Muniz (MAVA, Glass)
Fragment, 2009
pâte de verre, copper
26 x 28 cm

Arion Siu Man Lam (MDA, Textiles)
East West Joined, 2009
Kangaroo hide and Chinese Brocade

Andy Warhol’s Iconic 200 One Dollar Bills from 1962 Sells for $43,762,500 at Sotheby’s

All postgrads who are away on fieldwork are encouraged to send us a beautiful image. Here’s Liz Coats’ contribution: Flying Victory, 400 B.C. Greek marble, from the Stoa of Zeus.

See Micky Allen, Raquel Ormella, plus Alison Alder and Ruth Waller, all making it @ MCA

The Research School of Humanities presents,
Work-in-Progress Seminar Series
1- 2.30 pm, Friday 11 September, Theatrette, Old Canberra House
JAPANESE CALLIGRAPHY IN THE 21ST CENTURY: AN ANTHROPOLOGICAL PERSPECTIVE
Dr Fuyubi Nakamura, Research School of Humanities, ANU

This paper discusses why and how calligraphy is practiced and produced in contemporary Japan and beyond. Based on ethnographic fieldwork on the “worlds of Japanese calligraphy”, known as shodōkai, it offers a fresh and current perspective on Japanese calligraphy. It provides a unique insight into the changing “calligraphic worlds” from the perspective of those who define and make them. The paper explores theories on material and visual cultures as mechanisms of historical and cross-cultural encounters, but also contributes to the understanding of reconfigurations of indigenous agencies and identities through an analysis of Japanese calligraphy.

Fuyubi is a socio-cultural anthropologist and specialises in the anthropology of art, museology and the material and visual cultures of Asia, especially Japan. Fuyubi obtained a doctorate for her thesis on contemporary Japanese calligraphy from the University of Oxford where she taught the anthropology of art and museum studies as a tutor.

Convenors: Ken Taylor and Stephen Foster
For general enquiries please contact:
Phone: 6125 2434
Email: administration.rsh@anu.edu.au
Web: http://rsh.anu.edu.au/
<http://rsh.anu.edu.au/> All Welcome

see here

This Saturday @ NGA

You have just this Saturday to catch Jan Hogan’s exhibition Becoming at the ANU School of Art Gallery – open from 12.00 to 5.00. This is an exhibition of prints and drawings which are the culmination of the artist’s various modes of engagement with and imprints from the land of Gundaroo Common made during her candidature as a PhD student at the School. The work above is Becoming, 2009 (woodblock matrix on floor, Japanese woodblock with Sumi ink and builder’s pigment on Kozo paper affixed to wall with rice glue, 448 x 732cm).

Jan has written about her approach to representing the land in Art Monthly Australia (June 2009): “My aim is not to draw a landscape but to find a new way of drawing the land.  I think of it as an open dialogue with materials, thoughts, the elements and the process of drawing all contributing.  The land and I need to come to some sort of understanding.  I want to feel my way in using all my senses rather than looking at the land using my perception and analytical skills.  Is it possible to convey the smell, the wind playing with the hair on my arms, the shifting shadows and the weight of the land in a drawing?

The work above is from the Emergence series, 2006-9, (Sumi ink, charcoal and Gundaroo dirt on Rives BFK, 80 x 80cm). “I lay the paper on the ground in the shadows of a large Yellow Box Tree.  The damp paper moulds itself to the indentations left by cows wallowing in the shade.  The roots of the tree make their presence felt under the paper and the shadows of the branches make extraordinary patterns on the surface.  The white paper no longer stares back awaiting a mark.  Instead it acts like a mark in the land.  My foreign piece of paper has gone and made the first step in the dialogue.  It reveals the traces of other presences and the encompassing nature of the tree…

“The paper retains traces of the land, the tree, the cattle, and the events of the day but what about human traces?  This is meant to be a dialogue after all, with as much input from the all elements as possible.  I start to put fingerprints on the paper.  I rub my finger on some compressed charcoal and then press on to the paper, accentuating the dark areas.  Gradually the fingerprints build to a multitude, acting like great crowds of people drifting across the land.  The ghostly quality of the prints as they shift in tone suggests that this is a reflection over time.  The drawing has made the past present in the now.  Generations of people have come and gone and left traces on the land.

“Something has begun to happen in the drawing, I am becoming aware that this piece of land has been traversed for centuries and continues to provide sustenance for both the community of people and the wider community of the environment.  The fingerprints amongst the dirt are poignant reminders of our eventual decline back into the earth.  What traces will be left of us?”

More images on iconophilia