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The annual exhibition of graduating post-graduate Art students from SoDA, the School of Design and Art, Curtin University.
Open: Monday - Friday, 12-5pm, plus Sunday 30 October 1-4pm
Extra opening hours during the Curtin Art Department Degree Show:
Saturday 19, Sunday 20, Saturday 26 and Sunday 27 November 12-4pm
Materiality, Materialness and Belief
Traditions have given people a perceived sense of security, provided guidelines on how to behave and given an understanding of their world. Closer and more frequent contact among people has brought changes, by introducing new values and thereby altering traditional beliefs and customs. This project seeks to find form and commonalty, relating to religion, culture and life, which positions the process of creating an artwork as a religious or contemplative experience.
This project is practice-led research; a process of creating based on research; a concept and questioning the ideas, materials, techniques and theories used (artist influences included). It also concentrates on the terms materiality and materialness. These terms relate to engaging and working with materials and so help to explore the key ideas of fragility, translucence and transparency.
The materiality of the works created work to communicate the ideas inherent in each work, creating a more meaningful image to the viewer... The concept - narrative, builds and evolves around and through the materiality of the objects created.
Charissa Delima, Untitled, 2010, engraved and laser cut silk orgamza, installation view, JCG, 2011
Charissa Delima, Untitled, 2010, laser cut and sand blasted perspex, installation view, JCG, 2011
Charissa Delima, 2 (Untitled), engraved acrylic, 30x30cm, photo: Krissie Dawson
The work is strongly influenced by the environmental concerns of an artist living and working in a suburb that is still undergoing development. Seeing a mix of industrial detritus discarded alongside railway tracks next to a new gleaming shopping centre erected in a wealthy suburb. The tension between these disparate states is compelling.
The jewellery artefacts were developed through an investigative, process driven practice over a year and a half while exploring the broad issues of time, environment, protection, degradation, and preciousness. These issues have refined to a more focused look at the tensions between the conflicting desires to protect and use resources, specifically how our need to consume the resources embedded in our environment can impinge on the need to maintain a habitable planet. The brooches, rings and pendants reflect the fragile habitable environment through the combination of found objects, recycled materials and handcrafted components. The materials are selected and used to invoke tension within the object. The work presents the audience with a dilemma: to wear the work that must be cared for or to preserve the work by not wearing, the choice and risks to the work are direct consequences of the owner's decisions and actions, the owner should be mindful of the worth and fragility of the artefacts and therefore transfer care to the artefact.
Terina Eastman, Decrepitus, 2010, found metal, sterling silver, stainless steel, installation view, JCG, 2011
Terina Eastman, Cisterna I, 2010, found metal, sterling silver, stainless steel, installation view, JCG, 2011
Terina Eastman, Cisterna II, 2010, found metal, sterling silver, stainless steel, installation view, JCG, 2011
Terina Eastman, installation view, JCG, 2011
Jewellers have a stake in art that manifests itself in the objects they make, and these objects are defined by the parameters of the relationship to the body and preciosity. The notion of precious objects is the key consideration in my practice, and I examine preciousness in terms of an individual's territorial identity. I consider how an individual's relationship to a place or a territory is expressed culturally, which extends into objects and the Australian contemporary consumer market. My practice is reflective; it is informed by observations I make whilst considering the indexing of social space and the concomitant relationship of specific objects in relation to particular social canons. The theoretical observations I make are filtered through statistics, sociology, philosophy and the art-world. This informs the social observations I consider to be at the core of my practice. My concern is the world of objects, materiality and the crossing over, re-locating or re-contextualizing of precious objects. This is played out visually by embedding social visual indices in the objects I design and fabricate. Indexicality is used to trigger the rhetoric and build the visual tension in my work via the mechanisms of metonymy and metaphor.
Eden Lennox, Yes, Love and This, 2009/2010, 925 silver with chemical patina, copper, brass bolts, pre-printed tin collage, acrylic, gold leaf, model lawn, stainless stell bolts, installation view, JCG, 2011
Eden Lennox, Star 50g, 2010, 925 silver with chemical patina, brass bolts, pre-printed tin, cubic zirconia, vintage record, installation view, JCG, 2011
Eden Lennox, Fuck Off, 2009/10, 925 silver and copper with chemical patina, model lawn, stainless steel, neoprene, installation view, JCG 2011
Eden Lennox, installation view, JCG, 2011
Eden Lennox, Wink, 2010, copper, 925 silver (with chemical patina), gold leaf, food tins, brass bolts and vintage dolls eye
Peng Liu has produced a series of ten oil paintings and a drawing of China's 500 year old imperial palace, "The Forbidden City" of the Ming and Queng Dynasties.
Painted from photographs taken during his visit to China and using a palette of winter colours, Liu's work centres on the corners of the buildings, areas often overlooked by tourists, but which the artist feels captures the sensuality of the architecture.
In his work, Liu considers the psychological issues confronting visitors to the Palace as well as its history and place in contemporary China.
Peng Liu, Untitled, 2010, charcoal on paper, installation view, JCG, 2011
Peng Liu, Untitled, 2010, oils on canvas, installation view, JCG, 2011
Peng Liu, Untitled, 2010, oil on canvas, 170 x 100cm, courtesy of the Artist
Peng Liu, Untitled, 2010, oil on canvas, 170 x 100cm, courtesy of the Artist
Atomism is an ongoing collaborative work, between myself and Paul Thomas that investigates, from the position of an artist, the wave and quantum theories of light. Richard Feynman tells that light hits a mirror at all points not just at the point of reflection. All points of the mirror receive and reflect this light, most the light is lost, out of phase with its neighbors, only the light in phase with it neighbors is visible, or makes sense to our eye. Atomism explores what happens to the light that is not why is not reflected. This particular work takes an image from a camera then prints thousands of copies of it across a screen. Each is rotated to match the phase of a light wave that would hit the screen at the point where it is printed, resulting in a simulacra of a mirror.
Richard Feynman, "Fits of Reflection and Transmission: Quantum Behavior", "The Sir Douglas Robb Lectures", University of Auckland 1979.
above: Kevin Raxworthy, Atomisim, 2011, code, produced in collaboration with Paul Thomas, installation view, JCG, 2011
Kevin Raxworthy, Atomism, 2011, code, produced in collaboration with Paul Thomas, screen shot
This project attempts to collage together two definitions of the word "Master":
1. of the academic qualification,
2. of the 1980's Filmation cartoon He-Man and the Masters of the Universe (based on Mattel products of the same name). Following the artist's travels undertaken through everyday life: nonsense, alter egos, assemblages, drawings, notes, moving and still images are generated. In a state of constant questioning, fragments are torn from the everyday, adjusted, then collaged together. The resulting work represents an evolving travelling folly through the everyday, attempting to break the veneer of the quotidian and feast on the wriggling gizzards inside.
Joanne Richardson, Diamond Day of Disappearance, Episode 2, part of the Masters of the University project, 2011, video projection, action figures, found Castle Grey Skull and props, installation view, JCG, 2011
Joanne Richardson, Igloo Building 3.0 - A Type of Happening, part of the Masters of the University Igloo Building project, 12 October, installation view, JCG, 2011
HIJACKED 2: Australia / Germany
Toured by the Australian Centre for Photography
22 July - 23 September
Following the very successful 2008 exhibition and publication Hijacked: Australia and USA, the new Hijacked 2: Australia/Germany exhibition is now showing at the John Curtin Gallery.
Presenting a diverse and provocative selection of new photography from Australia and Germany, the exhibition erases traditional boundaries between artists, professionals and emerging talent and points towards the future of contemporary photography. The photographs exhibit a fascination with international subcultures, fragmented trends, alternative life styles and urban landscapes.
Hijacked 2: Australia/Germany is curated by Mark McPherson (Western Australia), Ute Noll (Germany) and Markus Schaden (Germany).
Hijacked 2: Australia/Germany, installation views, JCG, 2011
Oliver Seiber, Reita, Koln, 2007, pigment print, dimensions variable, courtesy of Galerie Priska Pasquer
Lee Grant, Bernadette and Brian, 2009, pigment print, 60 x 60cm, courtesy of the Artist
Louis Porter, Hoppers Crossing, 2008, pigment print, 101.6 x 127cm, courtesy of the Artist
Jackson Eaton, Hasisi by the stream in Gangwon-do, 2007, pigment print, 107 x 71cm,
courtesy of the Artist
Joseph Schulz, posp16, 2005, C-type print, 52.6 x 40cm, courtesy of Galerie Heinz-Martin Weigand
Australian artists include WA's Jackson Eaton & Suzie Fox plus Narelle Autio, James Brickwood, Michael Corridore, Andrew Cowen, Tamara Dean, Suzie Fox, Lee Grant, Derek Henderson, Rebecca Ann Hobbs, Ingvar Kenne, Bronek, Georgia Metaxas, Polixeni Papapetrou and Louis Porter.
German artists include Johanna Ahlert, Natalie Bothur, Jörg Bruggemann, Thekla Ehling, Albrecht Fuchs, Jan von Holleben, Karsten, Anne Lass, Jens Liebchen, Myriam Lutz, Julian Röder, Josef Schulz, Oliver Sieber, Ivonne Thien, Olaf Unverzart, Sasha Weidner.
Friday 22 July, 12.30 pm: LEE GRANT and LOUIS PORTER participating artists discuss the origin of their series of works featured in Hijacked 2: Australia/Germany.
Wednesday 27 July, 12.30pm: Participating artists SUZIE FOX and JACKSON EATON in discussion with Curator MARK McPhERSON
Wednesday 10 August, 12.30pm: DR PANIZZA RUTh ALLMARK Senior Lecturer and Coordinator Mass Communications and Media & Cultural Studies, Edith Cowan University, responds to the works featured in the exhibition.
Wednesday 17 August - a special Science Week presentation, 12:30pm: The curse of organic matter: preventative conservation in a public art collection. BARBARA COTTER, Collection Manager, John Curtin Gallery, will discuss the preventative conservation of artworks, referring to the Curtin University Art Collection. She will consider variables that determine the optimum life of artworks, including biological materials and factors such as humidity, pollution and light.
Wednesday 31 August, 12.30pm: DR ROBERT COOK Curator of Modern and Contemporary Photography and Design, Art Gallery of Western Australia, will respond to the exhibition.
Curtin University's Vice-Chancellor, Jeanette Hacket, officially opening Evolving Identites: Contemporary Indigenous Art and Mohawk and Noongar: Art of Contemporary Indigenous Women
For the first time, the combined strengths of Curtin, Edith Cowan and Murdoch University Art Collections will unite to present Evolving Identities: Contemporary Indigenous Art, an exhibition that showcases Australian Indigenous visual art practice.
University art collections play a significant role researching and exhibiting Indigenous art in order to educate both Australians and other nations about Indigenous art practice.
Curators Connie Petrillo (ECU) Mark Stewart (Murdoch) and Pauline Williams (Curtin) have selected artworks from each collection that not only explore identity, and their ongoing connection to country but also those who recognise the influence of others as role models.
The exhibition will provide reference points for cultural practice and offer artistic commentaries on an inclusive contemporary Australian Society.
Nannup, Laurel, ...crying our eyes out..., 2001, etching on BFK paper, 57.5 x 57.5cm, Artist's proof, image courtesy of the Artist and Curtin University Art Collection
Patrick Mung Mung, Ngarrgoorroon Country, 2006, natural ochre and pigments on canvas, 90 x 120cm, courtesy of the Artist and Murdoch University Art Collection
Julie Dowling, Minority Rites, 2003, acrylic and plastic medium on canvas, courtesy of the Artist and Murdoch University Art Collection
Rover Thomas, Rock Country on Texas Downs, 1988, bush gum and ochre on canvas, image courtesy of the Artist and Edith Cowan University Art Collection
Christopher Pease, 9 O'Clock St George's Terrace, 2000, acrylic on canvas, 100.5 x 225cm, image courtesy of the Artist, Goddard de Fiddes Gallery and Curtin University Art Collection
Touring from the Longyear Museum of Anthropology, Colgate University in New York, this exhibition illustrates the parallels between Native American and Aboriginal Australian cultures. Featuring the works of Mohawk women Katsitsioni Fox and Sue Ellen Herne together with the works of local Indigenous artists Sandra Hill and Laurel Nannup.
Sandra Hill, Intervention 1, 2010, oil on plywood panels, 79.4 x 137.2cm, courtesy of the artist and Longyear Museum of Anthropology, Colgate University
Laurel Nannup, Games We Played, 2010, limited edition linocut, courtesy of the artist and Longyear Museum of Anthropology, Colgate University
Sue Ellen Herne, Self Portrait, c1982, oil on canvas, courtesy of the artist and Longyear Museum of Anthropology, Colgate University
Katsitsionni Fox, We Were Free, 2010, mixed media, embossed paper, courtesy of the artist and Longyear Museum of Anthropology, Colgate University
A Perth International Arts Festival Event.
Danish-born artist Jesper Just combines meticulous high-end film production with an artist's profound insight into the human condition. Exploring gender and racial politics through the lens of cinematic convention, Just weaves mesmerizing narratives of enigmatic solemnity. Working consistently with small ensemble casts over many years, Just employs popular songs to unravel emotional interrelationships with breathtaking intensity. The work of Jesper Just has been widely collected and exhibited by major institutions throughout the world, including the Museum of Modern Art, New York and Tate Modern, London.
Sunday 13 February, 2pm
Jesper Just in conversation with John Curtin Gallery Director, Chris Malcolm.
Jesper Just, Something to Love, 2005, Super 16mm film, (production stills) , 9:38min, images courtesy of the Artist; Galerie Emmanuel Perrotin, Paris; and Galleri Christina Wilson, Copenhagen
Jesper Just, Sirens of Chrome, 2010, RED transferred to Blu-ray, 12:39 min, (production still), image courtesy of the Artist; Galerie Emmanuel Perrotin, Paris; and Galleri Christina Wilson, Copenhagen
Jesper Just, Bliss and Heaven, 2004, Super 16mm film transferred to DVD, 8:30 min, courtesy of the Artist; Galerie Emmanuel Perrotin, Paris and Galleri Christina Wilson, Copenhagen,
installation views, JCG, 2011
Jesper Just, No Man is an Island II, 2004, DVCAM, 4:39 min, courtesy of the Artist; Galerie Emmanuel Perrotin, Paris and Galleri Christina Wilson, Copenhagen, installation views, JCG, 2011
Jesper Just, Something to Love, 2005, Super 16mm film transferred to DVD, 9:38 min, courtesy of the Artist; Galerie Emmanuel Perrotin, Paris and Galleri Christina Wilson, Copenhagen,
installation views, JCG, 2011
Jesper Just, Sirens of Chrome, 2010, RED transferred to Blu-ray disc, 12:39 min, courtesy of the Artist; Galerie Emmanuel Perrotin, Paris; and Galleri Christina Wilson, Copenhagen, installation views, JCG 2011
Jesper Just, A Vicious Undertow, 2007, Black and white Super 16mm film transferred to DVD, 10:00 min
courtesy of the Artist; Galerie Emmanuel Perrotin, Paris; and Galleri Christina Wilson, Copenhagen, installation views, JCG 2011