Inclusive of art historically accented articles, filmed artist talks, filmed art historical talks and artists galleries, the current platform coherently consolidates the varying mediums Panoptic Press has been producing over the past four years.
Dr Courtney Pedersen: FASST 2016. “In both art and fashion, there has always been a keen interest in redesigning the body as a response to technological and social change. Dr Courtney Pedersen invites us to consider the provocations that these practitioners…”
Renata Buziak: Unfolding Rhythms. “Renata Buziak has been testing the limits of the photographic print by exploring the aesthetic tension that has always existed between the photogram and photograph and more dramatically by complimenting sensitometry with…”
Chris Worfold: A View of the Woods.“An embracing of the known and unknown, this exhibition doesn’t inhabit a pre-ordained theoretical trajectory. I’m not making these paintings to establish a postmodern or indeed a meta-modern position as a…”
A fearless and at times brutal re-imagining of the act of contemporary figurative painting, the artwork of Celeste Chandler unmistakably engages with the development of a new set of strategic maneuvers in her reconfiguration of a visual lexicon with which to communicate ideas.The unmitigated import of Chandler’s visual grammar of potentiality surrounds an artistic economy of sensation mediated by the inherent instability of an ambiguous perception.
…similarly we may ask the question, who is afraid of conceptual art? (1) However, when we are met with a combination of both propositions, augmented by a third, then perhaps the more appropriate question to ask would seemingly be fashioned along the lines of – who is afraid of the relational aesthetics of conceptual indigenous artist Archie Moore? Perhaps not so surprisingly – in a country infected with social divisiveness, wedge politics, historical revisionism and an oligopolized media – quite a few!
London based artist, Varda Caivano’s most recent exhibition at the University of Chicago’s Renaissance Society is, as put by Terry Meyers, another example of how this artist has “in productive and meaningful ways been painting versions of the same painting – her painting”.What does it mean to paint today as a serious artist? How does an artist confront and engage with the history of painting and the much debated ‘death of painting’? After several do not resuscitates, what does a painting look like that has vitality, that is powerful, that is necessary and is critically contemporary?
Carolyn Craig: Gambit Lines. Bosz Gallery July 2016. “Living in the subject body means living within certain parameters. Our body-minds are restricted by learned behaviour, both intentional and unintentional, due to the influence of cultural normativity.
Zoe Porter: Under Arena. Evoking a distinct sense of a hybrid form: referencing both the human and animal this hybridity acted as a psychological trigger allowing us access into an otherworldly frame of reference: Under Arena, D.I.B 30 September 2015…
Rex Butler: I Am, You Are, We Are Australia. “Art historians for some time have tried to define what “Australian” art is. Their definitions have inevitably been exclusive, often leaving out, for example, Australian artists working overseas and artists from…
The interdisciplinary nature of performative art held, in this case, a captivating professionalism. The corporeal medium in turn translated toward a hyper-extended process of mark making. And whilst endurance was not an aspect of this particular performance, the suspension of time can be seen as a strategy that was utilised to perfection in the elevation of a series of material events.
In viewing himself firstly as a drawer rather than a painter, and being known more for delicate watercolours than lusty oils and acrylics, Nic Plowman’s Popes, Kings and Other Fools exhibition at Anthea Polson Art marks a turn in his career. Where Plowman’s two previous shows were self-referential in reflecting his serious health issues and near-death experience, his new work examines the unparalleled status of religious figures in Christian art.
I think that what you’re searching for as an artist is to be able to visualise something that you know but haven’t yet seen. I know that this is a contradiction, perhaps even a paradox and yet I see it manifesting throughout all of my work, particularly in relation to the motives and motifs that repeat as they have done throughout my visual arts practice. It’s taking the familiar toward the unfamiliar in adding to the conversations that have preceded the finished object.
Gary Carsley: Sciencefictive. The superabundance of conceptual questions that one is met with when viewing the complex series of surfaces, seamlessly revolve around an artistic inference…
Franz Ehmann: Many Things (it’s a colourful world). “…essentially it is colourful and a world in which many things are going in different directions…In a way throughout my practise there exists a stimulus…
Rex Butler: Ben Quilty The Fog of War. “Why are certain art works popular? Because they express something of our attitudes towards things, and thus tell us something about ourselves.
Ultimately, the performance tapped into the viewer’s imagination and psyche to create a heightened sense of reality as to the garments’ ability to transcend the reality of everyday life. As auteur Sorronda offers a different experience to that which is offered in the boutique context. This experience goes beyond a simple concept of exchange to build a relationship with the consumer that is mediated by the garments.
When we look at the abstractions of startling photographic beauty Renata Buziak designates as Biochromes, we are immediately struck by thoughts of the transubstantiative atemporality of nature. This art/science endeavour embraces a distinct affect that literally jolts us from our subsumed linear elasticity and suggests altered temporalities beyond those of a cyclical transience, linear adaptability, experiences of flux, fluidity and vestigial remnants…
Print making is often considered one of the more menial mediums throughout contemporary art practice. However when we look forward from say Goya, we can clearly see print making involved in the distribution and subversion of knowledge: providing it, instituting it and importantly challenging acquired knowledge. And it is this form of disruption that can clearly find the viewer and artist inhabiting a space of artistic rupture. © Carolyn Craig all rights reserved.
Dr Laini Burton: FASST 2016. “Motivated by the question: How might we ‘fashion’ our bodies in the future? this paper will reflect on a range of examples from cosmetic surgery and extreme…”
Kellie O’Dempsey: Artist + Curator of the performance art event Under Arena, opening the Drawing International Brisbane Symposium 2015. An initiative of Griffith Centre For Creative Arts Research…
Flatline (Todd Fuller + Carl Sciberras): “What we are dealing with here is the interior/exterior nexus of line, point, space, shape and contour and how these basic actions can be interrogated…”
Header Image: Dr Laini Burton, Dr Courtney Pedersen, Michelle Xen, PostHumanism, FASST, 20 March, 2016. Music Courtesy: Raphaella Smits, Elegie, Johann Kaspar Mertz.
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