Colliding W orlds: Education Resource
Transcript of Colliding W orlds: Education Resource
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AcknowledgementsEducationResourcewrittenbyJohnneylon:artmuseum/educationconsultantThewriteracknowledgestheinsightsonpracticeandworksprovidedbytheparticipatingartists.
PublishedbytheAnne&GordonSamstagMuseumofArtUniversityofSouthAustraliaGPOBox�47�,AdelaideSA500�T 08830�0870E [email protected]/samstagmuseum
copyright©theauthor,artists,andUniversityofSouthAustralia
Allrightsreserved.ThepublishergrantspermissionforthisEducationResourcetobereproducedand/orstoredfortwelvemonthsinaretrievalsystem,transmittedbymeanselectronic,mechanical,photocopyingand/orrecordingonlyforeducationpurposesandstrictlyinrelationtotheexhibitionColliding Worlds,attheSamstagMuseumofArt.
ISBn978-0-980366�-8-�
SamstagMuseumofArtDirector:EricaGreenExhibitionsandPublicPrograms:EmmaEpsteinSamstagAdministrator:JaneWicksMuseumAssistant:SarahWall
GraphicDesign:SandraElmsDesign
Colliding WorldsEducation Resource: John Neylon
About this Education ResourceThisEducationResourceispublishedtoaccompanytheexhibition
Colliding Worlds�5May–�4July�009Anne&GordonSamstagMuseumofArt,Gallery�
Colliding Worldsisa�009comeOutFestivalexhibition
ThisEducationResourceisdesignedtosupportlearningoutcomesandteachingprogramsassociatedwithviewingtheColliding Worldsexhibitionby:
n Providinginformationabouttheartists
n Providinginformationaboutkeyworks
n Exploringexhibitionthemes
n challengingstudentstoengagewiththeworksandtheexhibition’sthemes
n Identifyingwaysinwhichtheexhibitioncanbeusedasacurriculumresource
n Providingstrategiesforexhibitionviewing,aswellaspre-andpost-visitresearch
Itmaybeusedinconjunctionwithavisittotheexhibitionorasapre-visitorpost-visitresource.
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Contents1 Background briefing 5
Aboutthisexhibition 5
Theartists 5
curatorialperspectives 5
2 Exploring the works 6
PiaBorg 6
nicholasFolland 8
HaydenFowler �0
ShaunKirby ��
PatriciaPiccinini �4
AnnaPlatten �6
3 Exploring the exhibition: Themes 18
Theme�:nature �8
Theme�:Materiality �8
Theme3:narrative �8
Theme4:Reality �9
Theme5:culture �0
Theme6:collidingWorlds �0
4 For Teachers 21
PlanningasuccessfulvisittoColliding Worlds ��
curriculumconnections:Keycompetencies ��
5 Get started 24
Year LevelThisResourceisprimarilydesignedtobeusedbysecondarytoseniorsecondaryvisualartteachersandstudents.componentscanbeadaptedforusebyupperprimaryandalsotertiarystudents.
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1 Background briefing
Thisexhibitionisafeatureeventofthe�009comeOutFestivalprogram.Theoveralltheme,Colliding Worlds,isinspiredbya�93�sciencefictionnovelbyPhilipWylie(When Worlds Collide)whichtellsthestoryoftwofictionalrogueplanetsthatenteroursolarsystemandcausecatastrophicdamageandtheendofcivilisation.However,whilethecollidingworldsofculturemightportenddestruction,lossandconflict,theyareinfactrichinfertileexchange,bringingdiversityandthepromiseofsustainability.
Colliding WorldsbringstogetheradiversegroupofdistinguishedAustraliancontemporaryartistsworkinginverydifferentmedia:sculpture,new-media,animation,paintingandinstallation.Theirimaginativecreations,conceptsandpersonalartistictrajectoriesaresoutterlydifferentfromeachotherthatunderstandingisstretchedandanycomfortzonechallenged.
The artistsPiaBorg,nicholasFolland,HaydenFowler,ShaunKirby,PatriciaPiccininiandAnnaPlatten.AlloftheColliding Worlds’artistshaveworkedandexhibitedextensivelywithinAustraliaandoverseasandarerepresentedinsignificantpublicandprivatecollections.Fourofthegroup(Borg,Folland,FowlerandKirby)areSamstagScholars.InformationregardingtheAnne&GordonSamstagInternationalScholarshipscanbefoundatwww.unisa.edu.au/samstag
Curatorial perspectivesThecuratorofColliding WorldsisEricaGreen,DirectoroftheAnne&GordonSamstagMuseumofArt.*Thefollowingstatementsaretakenfromhercatalogueintroductoryessay.Theygiveinsightsintothecuratorialprocess,particularlythebusinessofinterpretingthethemeandselectingartistsandworksofartwhichwillbest,asshecomments,‘expressthevisualandinterpretivepossibilitiesofthisunusuallyrichidea.’
‘clearly,inourpresentcircumstancesofclimaticdisruptionandgloballythreatenedecologies,thecollidingworldsconceptisremarkablyapt,contemporaryandprescient.However,itisnotonlyournaturalenvironmentsandsensitiveecologiesthatarestressed,reactiveandchanging.Infactthenotionofa‘collisionofworlds’canbeseenasanallegoryofmoderntimesinthebroadestsense,portrayingalsoahumanworldwheredifferenceandtheunavoidablecollisionofcompetingvalues–political,technological,social,religiousandethnic–threatentheestablishedorder.’
‘Yetsomesayithasalwaysbeenthusinhumanaffairs,andthatcollidingworldsarenatural,cyclical,andaharbingerofultimateprogressforgood.’
‘Andwherescientiststypicallywilllooktorarespeciesoftropicalrainforestfrogsastrueindicatorsofclimatechange,wemight,inasimilarvein,alsobenefitbyreflectingontheinsightsthatartistsprovidetousintheiroften-inspirationalculturalwork.’
‘Theworkofsomeartistsmayseeminscrutable,fantasticorbizarre,andmaysometimesalienateandevencauseoffence.Butwiththebenefitofhindsightwecometorevereartisticideasthatopennewspaceandprovidenewwaysoflooking,orworkthatcandidlyportrayssociety’sunderbelly,withitsflawsandfears.’
*Information:SamstagMuseumofArt:www.unisa.edu.au/samstag
Considern Istheideaofartbeinginsomewayanindicatorofbroadertrendsinsocietyreliableoruseful?
canyouthinkofexamplestosupportthis?
n WhenEricaGreentalksof‘competingvalues’inmodernsociety,whatdoyouunderstandbythis?
n Shouldwehavetowaitfor‘thebenefitofhindsight’beforeweunderstandwhatworksofartmightactuallybesaying?Orshouldartiststryhardertomaketheirintentionsclear?
n Onceyouhavereviewedtheexhibition,isthereanyworkthatspeaksdirectlytoyouintermsofitsmeaning?
About this exhibition
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Pia Borg is a film director and animator currently based in the UK. Artistwebsite/dealer/gallery:www.unisa.edu.au/samstag/scholars/scholars06/borg.aspwww.rca.ac.uk
‘Myfilmscollageasynthesisofstop-motion,animatedfoundobjects,photos,mirrorsandpuppetswithliveactionintonon-linearfairytalenarratives,oftendrawinginspirationfromarcaneinventions,automatons,andtheearlyspecialeffectsofcinemaandtheatre.‘
Artiststatement,�009:www.rca.ac.uk
PerspectivesPiaBorg’sfilmspresentaconstantflowofanimatedactioninwhichher‘actors’(foundobjects,photographs,mirrors,puppetsandclaymationfigurines)actoutfantasticalnarratives.Thegadgetryandmechanicalmovementofthevariousvisualcomponentsinvokearcaneinventionsandtheearlyspecialeffectsofcinemaandphotography.
‘InformedbyGermanExpressionistcinemaandutilisingtraditionalanimationtechniques,eachframeiscarefullycomposedfromamontagethatencompassesoldphotographs,foundobjects,humanhair,scannedtextures,dust,insectsanddiscarded�6mmfootage.Shunningtheslicknessofdigitisedanimation,Borgexpressesapreferencefora‘dirty,junkyaesthetic,’citingasinfluentialtheearlyexperimentalworkofFrenchfilmmakerGeorgesMéliès.‘
WendyWalker,‘Thememorable:ephemeral’,catalogueessay,The�006Anne&GordonSamstagInternationalVisual
ArtsScholarships,SamstagProgram,UniversityofSouthAustralia,�006.
WorkPalimpsest,�008,film,�0:05min
‘Thisfilmattemptstoexploretherelationshipoftimeandspacebyrepresentingafixedlocationoveraperiodofthreecenturies.Thecompressionoftimeisillustratedwithacombinationoftime-lapse,realtime,andstop-framephotography.Thespaceitselftransformsandmutates,playingwitharepresentationofhistoricalreferencesfrom�7thcenturypaintingtoearly�0thcenturycinema.Thechoreographyofthecharactersappearing,disappearingandreappearingpayshomagetothephotographsofthespiritsoftheVictorianera.Astimeprogressestherepresentationsofthesecharactersfadebutleaveafainttrace;thesetraceseventuallyoverlap,creatinganewcollage–likethetitlesuggests.Thesoundusedwithinthefilmiscreatedusingshortwaveradiorecordingsevokingthe“electronicvoicephenomenon”recordingsofthedeceased.’
Artiststatementaboutthework,�009.
Framing questions and researchn Theartisthasstatedthatthe‘choreographyofthecharactersappearing,disappearingand
reappearingpayshomagetothephotographsofthespiritsoftheVictorianera.’Thephotographyofspirits(orghosts)wasanoffshootoftheSpiritualismmovementofthe�9thcentury.Seeifyoucanfindoutmoreaboutthismovementandtheroleplayedbyphotographywithinit.
n Themesofghostsandthreatsposedbytheparanormalhaveoftenbeenexploitedbymodernorcontemporarycinema.Investigatethistrendandseeifyoucanfindoutmoreaboutitandwhyitremainsapopulartheme.
Pia Borg
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n Asignificantbodyofearlycinema(early�0thcentury)filmsconsistedofhorrorfantasises–hauntedhouses,mechanisedmonsters,mummies,vampiresandthelike.ElementsofPalimpsestappeartoquote‘hauntedhouse’conventionsofectoplasmicappearances,unexplainedmovementsandthedramaticplayoflightanddark.Investigatethisaspectofearlycinemaandre-evaluateBorg’sworkfromthisperspective.
n ThecentralideaunderlyingPalimpsestisthatofasinglespacebeingthesiteofanunfoldingsequenceofeventsoveralongperiodoftime.Scriptorcreateavisualstoryboardforaplaceorsiteofyourchoosingwhichdepictseventsovertime.Youmightliketoconsidercreatingafutureprojectionratherthanre-creatingthepast.
PiaBORG,Palimpsest,�008,filmstill,courtesytheartist
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Nicholas Folland is an installation artist based in Adelaide. Artistwebsite/dealer/gallery:www.greenaway.com.auwww.unisa.edu.au/samstag/scholars/scholars99/folland.asp
‘Whilemypracticegenerallyhighlightsananxietyforpotentialfailureineverydayactivity,theprimaryworkconsidersthisnotionthrougharelationshipbetweenthecontrolledspaceofdomesticdwellingandtheunpredictablechaosofthenaturalenvironment.Byforcingeverydayappliancestoapointofexcess,andbycollidingtheirpracticalapplicationwiththeirinherentreferencetonaturallyoccurringforces,Iattempttohighlightafragilerelationshiptotheworld,andtoshiftourperceivedsenseofstabilityandsecuritywithinthehome.’
Artiststatement,�009.
Perspectives nicholasFollandpreferssculpturalandinstallationformatstoexpresshisideas.Afeatureoftheseworksisastrongtheatricalqualitywhichsuggeststhathisobjectsmightbesetsorpropsforaplayoropera.Theobjectshecreatesinvolvethemanipulationoffoundobjectsandmaterials,oftenindustrialordomesticinorigin.Mostoftheseobjects(individualsculpturesandinstallations)haveapared-downqualitywhichrequirestheviewertoexercisetheimaginationandinventstoriesorreasonstoexplaintheidentityandfunctionofindividualitemsortherelationshipbetweenseveral.ThedelicatebalanceinFolland’sworkbetweenthenaturalandtheartificialhasoftenbeenremarkedon.Astheartistcomments,‘Muchofmyworkeitherincludesorimpliesatransformationtakingplace,orsomethingin-betweenstates.Hopefullythere’sasensethatsomethinghasjusthappened,orthatit’saboutto,and,likeamomentofrealisation,it’soutofyourcontrol.’Hispracticeisbuiltaroundnotonecentralideabutseveraloverlappinginterestswhichareexpressionsofaninterestintheworldviewsthatsocietiescreateinordertomakesenseof–andcontrol–theirsurroundings.Thisinterestextendstothesystemsofhypothesising,exploring,analysingandrecordingusedtomapknown,almost-knownandunknownworlds.
Onecritichascommented,‘nicholasFolland’sworksappearasexperimentsreflectinguponprocessandtheconstructionofknowledge.Theyevokestudiesofearthandair,wetanddry,hotandcold;theyplaywithmobility(placedandplaceless),containment,andtheimaginativequesttoencompasstheelementsof“nature”and“landscape”whilepointingtotheambiguitiesoftheirowntask,toincommensurabilityandunpredictability,thepleasureandriskofknowingandperception.’*
*RuthFazakerley,review,nicholasFollandexhibition,GreenawayArtGallery,�–�6August,�00�,ArtlinkVol�no.4.
Workfloe,�009,foundglass,nylon,300x650x�80cm
‘Theworkwasgeneratedfromthedrawingsofearlyexplorers,whowouldoftencreateaccurateprofiledrawingsofnewcoastlinestoassistinfuturenavigation.Onmanyoccasionstherewasnottimeoranopportunitytoactuallygoashoreandinvestigatethenewlands,sowhilethesedocumentswoulddescribeacoastline,theyprovidenootherinformationastowhatthelandmassmightcontain,oritsfuturepotential.Tomywayofthinking,theyweresoclosebutstillsofarfromknowing.Inaway,thedrawingsjustincreaseadesireforknowledgeandenhanceasenseofmystery.’
Artiststatementaboutthework,�009.
Nicholas Folland
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floeisoneofanumberofworksmadebyFollandwhichpickuponthethemeofexploration.Theseworkshavedrawnreferencesfromthe�9thandearly�0thcenturyageofexplorationandtheexperiencesofexplorerssubjectedtotheextremesofdesert,oceanandpolarice-capenvironments.TheAntarctic–andsomeofitsbest-knownpioneerexplorers,RFScottandSirDouglasMawson–havebeendrawnintoFolland’screativenarrativesinacontextofrepresentingsociety’sdesiretobreakdowntheworld’slastfrontieroftheunknown.Themapandchartreferencingthatstronglydeterminestheformoftheworkisconsistentwiththeartist’sinterestinanduseofmapstructureswithinotherworkstosignifyhowelusivethisquestforultimateknowledgeis.Toemphasisethispoint,FollandremindsusthatthecoastlineoncedrawntoassistMawson’sexplorationsis,withglobalwarming,beginningtochange.Intheprocess,theoriginaldrawingsnowbegintotakeonanostalgicidentity.
Framing questions and researchn SomeinterpretationsofFolland’sworksuggestthathissculpturesandinstallationsarevisual
metaphorsforattitudesorstatesofmind.Analysefloefromthisperspective.
n natureisoftenrepresentedinFolland’sworkassomethingthatcanbeobservedandrecorded,but,atthesametime,isalsounrepresentableorunpredictablychaotic.Howisthisideaexploredorexpressedinthisinstallation?
n Folland’schoiceanduseofmaterialsisareflectionofhisintentions.Analysefloefromthisperspective.
n ‘Muchofmyworkeitherincludesorimpliesatransformationtakingplace,orsomethingin-betweenstates.Hopefullythere’sasensethatsomethinghasjusthappened,orthatit’saboutto,and,likeamomentofrealisation,it’soutofyourcontrol.’
Doyouthinkthiscommentoftheartistappliestothisinstallation?
nicholasFOllAnD,floe(studioworkinprogress),�009,foundglass,nylon,300x650x�80cmcourtesytheartistandGreenawayArtGallery,Adelaide,©nicholascharlesFolland,�009/licensedbyVIScOPY,Sydney�009
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Hayden Fowler is currently living and working in Berlin, Germany and Australia.Artistwebsite/dealer/gallery:www.gbk.com.auwww.unisa.edu.au/samstag/scholars/scholars08/fowler.asp
‘Thecentralconcernofmypracticeistheproblematiccontemporaryrelationshipbetweenhumanityandnature.Iaminterestedintheemotionalrelationshipsofindividualstothenaturalworldandtheincreasingdeprivationofthisconnectionwithincontemporarycivilisation.Myworkisstronglyrelatedtothethemesoffreedom,lossanddesire,andwiththeromantichopeforareturntonature.
Iworktorecombineandjuxtaposenaturalandartificialelementstoexploreboththeartificeofthemodernenvironmentandthedisjointedcontemporarynature/culturerelationship.Byrelocatinginstinct,tradition,andhumannaturerelationshipsintounfamiliarandunnaturalenvironments,myintentionistoinvestigatethefragmentation,sanitisationandrepressionofhumannatureandculturewithintheconstraintsofcontemporaryFirstWorldexistence.
InconstructingfictionalspacesIuseaframeworkofhumanhistory,mixingandcollapsinghistorytogeneratenewparalleltimesandplaces.Myreferencesrangefromtribalismandanimism,pastandimaginarycivilisations,throughtothefuturisticprojectionsof�0thcenturysciencefictionandutopiandystopiannarrative,tryingtofindanewunderstandingofthehumandiscourse,whichbeginswithtotalimmersioninthenaturalworldandendsintotalremovalfromit.’
Artiststatement,�008.
PerspectivescentraltoFowler’spracticeistheinterrelationshipbetweenhumanityandtheanimalkingdom.Thistheartistseesassignifyinghumanity’splaceintheworld.Inancientandtraditionalsocietiesthisrelationshipiscomplexandisoftenexpressedthroughmythologies,accountsandlegendswhichmayinvolveshape-changing(humantocreature,andreverse),hybridity(suchasPanasman/goat)andallocationofspecialortotemicpowersandsignificancetoaparticularcreatureorspecies.Thisrelationshiphasbeeninvariablyexpressedthroughalltheartsforms.Fowler’spracticeinvigoratesandinterrogatesthistraditionbyrelocatingitwithinfictional,futuristicspacessuchasaspacecraft(asseeninSecond Nature)or,asinonework,(Call of the Wild,�007),havingapairofextinctHuiabirdstattooedontohisbodywhileondisplayinashopwindow.Throughsuchstrategies,theculturalauthorityandmeaningparticularcreaturesoncehadaredismantled.But,asFowler’stheatricalpresentationssuggest,asenseofconnectionbetweenhumanityandnatureremains,evenifwemaynotknowwhatthismeansanymore.
‘HaydenFowler’sinterdisciplinarypracticereflectsontheconsequencesoftheincreasingseparationbetweenhumanityandnatureatatimewhenitisbecomingmoreandmoredifficulttodefinewhatisnatural.’
JasminStephens,‘calloftheWild’,exhibitioncatalogueessay,GalleryBarryKeldoulis,Sydney,�008.www.gbk.com.au
‘HaydenFowler’sstillsandvideosalsohaveastrongsenseoftheatricalnarrative.Fowler’sanimalsoperateinstinctivelywithinahighlysanitisedsetorbackground,butrepresentaspectsofhumannature.ThereisapoliticaldimensiontoFowler’snarratives.Hunger’slambsparalleltheprofligatewasteoftheFirstWorldwiththedesperatepovertyoftheThird.ThegoatsinGoat Odyssey,themicedriventhroughthesetinWhite Australia,andthecockinWhite Cockarefollowinganimposedorder,impotentandpowerlessdespitetheexpressionofinstinctivebehaviour.’
louiseMartin-chew,‘AlternativeRealities’,catalogueessay,The�008Anne&GordonSamstagInternationalVisualArtsScholarships,SamstagProgram,UniversityofSouthAustralia,�008.
WorkSecond Nature,�008,digitalvideo,36:�0min
Hayden Fowler
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‘Second Naturearticulatesanumberofcontemporaryissues:theisolationofhumansfromeachotherandfromthenaturalworld,themergingoftheorganicandthemachine,andthepotentialdeathofEarthitself.’
‘SetbeyondbothEarthandnature,Second Naturereferencesthespacecolonyofsciencefictiondiscourse,itsinhabitantsclingingtoremnantsoflife,civilisationandnaturewithinthesparsenessandausterityofthemachinewhichsupportsthem.Thedepictionsofthisspaceslidebetweenbeauty,humourandasenseofhorror,articulatingthesilentcreepingterrorofhumanity’s“success”infreeingitselffromthelimitationsofnatureandtheearth.’
‘Withinthesespace-agedchambers,historyisbothcondensedandextrapolated,referencingtribalcostume,theprehistoricgoddessfigureVenus,andthegoldoffallencivilisations.Hishandfulofanimalcharactershassurvivedthehistoricfallfromanimistsymbolstocompanionanimalandnowaccompanyhumanityonthisjourneyintoapparentnothingness.’
Artiststatementaboutthework,�009.
Framing questions and researchn Whydoyouthinktheartistassociateshumanity’ssuccess(freeingitselffromthelimitationsofnature)
withterror?Howdoesheconveythisideainthiswork?
n Theartistcommentsthatintheseworksthe‘boundariesbetweenhuman,animal,plantandmachineareblurred.’Analysethevideofromthispointofviewandseeifyoucanidentifywaysinwhichhedoesthis.
n Inmakingthisvideotheartistintendedtocreateasenseofmoodoratmosphere.Doyouthinkthisvideohasorcreatesaparticularmood?Ifso,howwouldyoudescribeitandhowhastheartistcreatedit?
n Todayitisstillquitecommonforpeopletohavetattoosofcreaturesappliedtotheirbodies.Whatkindsofcreatures?Whatdoyouthinkthismightbesayingaboutthesepeopleoraboutsocietyingeneral?
HaydenFOWlER,Second Nature,�008,digitalvideo,36:�0min,courtesytheartistandGalleryBarryKeldoulis,Sydney
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Shaun Kirby is a Melbourne-based artist. Artistwebsite/dealer/gallery:www.unisa.edu.au/samstag/scholars/scholars98/kirby.asp
PerspectivesShaunKirby’sworkdefieseasyanalysis.criticalinterpretationhasoftendrawnattentiontoelementsofobliqueness,layering,contradiction,open-endednarrativeandcross-referencingofculturalandlinguisticassociationintheartist’spractice.Atthesametimethereisagreementthathisworkshaveastrongvisualpresence.Thereareanumberofreasonsforthis,amongthemthewaytheartistfactorsinthearchitecturalspacesinwhichworksaresited.ThechallengeinviewingKirby’sworkistoacceptthatawork’smeaningwillliesomewhereinthespacesbetweenthings.Theartistexplainsthisasbeinglikemoirépatternscreatedbyoverlapping,animatedtemplates.Theartisthascommentedthatwithinworksthereshouldbeadegreeofopacityandresistance,evenperversity.Identifyingthecentralideasonwhichtheartworksarebasedisequallychallenging.Thereisnoexplicitsocialorpoliticalagenda.Despitethis,thereisasenseofdysfunction,uneaseorthreat,whichsuggestssomekindofruptureorinstabilityinsocialorder.Thiscanbeexplainedtoadegreebytheartist’sinterestin�950sfilm noir,aswellas�930sExpressionistfilmswhichhadthreatasacentraltheme.Thistheme,however,whileimplied,isoftenheldincheckinKirby’sworkbyelementsofhumourandparody.AsKirbycomments,‘thereisalwaysasortofmisanthropichumourlurkinginthebackgroundofmywork.’
‘SodissolvedarecategoriesofpracticeinthepresentproductionsofShaunKirby,it’simpossibletorefertohimasapainter,asculptor,abricoleuroraninstaller,thoughheiseachofthose.certainlyheisanartist,butoneforwhomartislessadefiningnounthananindefinitearticle.Flux,notfixity,ishiselement.Hisavowalisforambiguityofmeaning,ormultiplicityofit,totheextentthatanyuni-dimensionalreadingoftheworkdepravesit.’
MAGreenstein,‘BacktotheFuture’,catalogueessay,The�998Anne&GordonSamstagInternationalVisualArtsScholarships,SamstagProgram,UniversityofSouthAustralia,�998.
Work cousin beast,�005,mixedmedia
Theworkcousin beastconsistsofatablewithaspiderlurkingbeneath,flankedbyasetofphotographssourcedfrom�9�0sglassslidepositivesdepictingsnakes–andboysholdingsnakes–somewhereintheAustralianbush.ThisisacharacteristicKirbywork-format:asculpturalobjectassociatedwithphotographs.Theartistprovidessomecluestothework’scontentandpossiblemeaning.HestatesthattheworkwasmadearoundatimeinAustraliawhentherewas‘afloodofpoliticallymotivatedrhetoric’aboutnotionsofAustralian-nessandAustralianvalues.Thisraisedinhismindthewayinwhichatermlike‘home’(asin‘nation’)canimplybothrefugeorthreat.Kirbybelievesthat‘insomewaysitisamalignantconceptthatmasksdivision,ambiguityandambivalence,repressedhistoriesandselectiverememberings.The‘drifter’,‘itinerant’,the‘stranger’;allarenegativemanifestationsofthisfiction.It(mostoftenfiguredasmale)isinsomesensea‘spoiler’,anarchetypethatmightbeseentothreatentheunravelingofsocial,ethicalandmoralattachments.Itisalurkingpresenceattheedgeofourphysicalandpsychicworlds,aphantomthatthreatenstomanifestandwreaksomeformofterribledamageorrupture.’
This‘lurkingpresence’isexpressedincousin beastbythespider(‘ratherlooselybasedonthewhite-tailedspiderthaturbanmythhasmadethecarrierofaflesh-eatingnecroticbacteria’)andthephotographsthatfortheartistformakindofnegative‘DadandDave’imageofAustralian-ness,perhapsdarkerandmorerealthantheromanticmythsofmateship,the‘fairgo’.
linkedtothis,theartistseestheimagesincousin beastasresonating‘stronglyintermsofAustralianattitudestothelandscape,thefloraandfauna,andthecountry’sIndigenouspeople.’
Shaun Kirby
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Framing questions and researchn OnepossibleinterpretationofKirby’sworkisthatbeneaththesurfaceofsocialorderis
anunderbellyofviolenceandthreat.Discussoranalysecousin beastfromthisperspective.
n Theartisthassuggestedthat‘theseimagesrepresentasortof‘antiDadandDave’,akindofdarktwinofthecosynostalgicfictionsofnationalism’.WhowereDadandDave?Andhowcanthesefiguresbelinkedtonationalism?
n TheproportionsofthetablearederivedfromthearchitectureofWalterBurleyGriffin.WhowasWalterBurleyGriffin?Whydoyouthinktheartistisassociatingthisparticulararchitectwith‘underlyingdarknessandviolence’?
n Doyouthinkthatthisworkissayingsomethingabout‘Australianattitudestothelandscape,thefloraandfauna,andthecountry’sIndigenouspeople’?
ShaunKIRBY,cousin beast,�005,mixedmedia,dimensionsvariable(table:�.5x�.5x0.9m),courtesytheartist
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Patricia Piccinini is a Melbourne-based artist.Artistwebsite/dealer/gallery:www.patriciapiccinini.net
‘Oneofthepointsofmyworkisthatwenowknowthatweallcamefromthesamegeneticmaterial;thatalllifeonEarthcamefromthesamecommongeneticancestor.Sooneofthepointsoftheexhibitionisthatthereisafamilyinsidetheshow,andthereisalsoafamilythatincludesusaswellasthesecreaturesthatIpresent.Soifwearefamily,thenhowdoesthatchangeourattitude,howdoesitdetermineourresponsibilitytothecreatureswecreate?Inmywork,perhapsIamsayingthatwhetheryoulikethemoryoudon’tlikethem,weactuallyhaveadutytocare.Wecreatedthem,sowe’vegottolookafterthem.’
FromlecturebyPatriciaPiccinini,8December,�003,FacultyofFineArts,TokyonationalUniversityofFineArtsandMusic.www.patriciapiccinini.net
PerspectivesAfterleavingartschoolintheearly�990sPiccininispentalotoftimedrawingatanatomymuseums.AroundthistimeshebeganaprojectcalledThe Mutant Genome Project(�994–95).Theinspirationwasaninternationalscienceresearchproject,startedin�990,calledtheHumanGenomeProject(HGP)whichaimedtoidentifythegeneticmakeupofthehumanspecies.Theartistbecameinterestedintheideaof‘designedhumanity’.centraltotheartist’spracticefromthispointonistheideaofcreatingorgivingbirthtonewlifeformswhichcarrysomeimprintofthehumanspecies,partlyinbiologicalformandpartlyinbehaviour.Initiallysheexploredtheideaof‘designerbabies’,expressedaslUMPS(lifeFormwithUnevolvedMutantProperties).Bythelater�990sherprojectionsofpossiblefuturelifehadencompassedtissueengineering(asseeninProtein Lattice,�997,essentiallyrealisedasamousewithahumaneargrowingonitsback)andmachine/humanhybridscentredoncarandtruckbodies(Truck BabiesandCar Nuggets).In�000,scientistssuccessfullysynthesisedDnAtomaketheworld’sfirstsyntheticorganism(SO�),essentiallyalifeformcreatedwithchemicals.Piccinini’sresponsewasasecondsyntheticorganism,SO�,expressedasanalmostbald,mole-likecreature(‘sirenmole’).Inanextendedseriesofphotographsandinstallations,theartistcastthiscreatureasatechnologicalanimal,dependentonhumansforitssurvival.Amajorexhibition–We Are Family,presentedatthe�003VeniceBiennale–wasashowcasefortheartist’slinesofinvestigationtodateandthehighlevelofproductionskillsrequiredtocommunicatethem.ThisexhibitionincludedtheworksStill Life With Stem Cells,�00�,Game Boys Advanced,�00�,andThe Young Family,�00�.
‘PatriciaPiccininiisanartistwhoexploresthefrontiersofscienceandtechnologythroughhersculptures,photographsandvideoenvironments.Sincetheearly�990s,Piccininihaspursuedaninterestinthehumanformanditspotentialformanipulationandenhancementthroughbio-technologicalintervention.Fromthemappingofthehumangenometothegrowthofhumantissueandorgansforstemcells,Piccinini’sartchartsaterraininwhichscientificprogressandethicalquestionsareintertwined.’
RachelKent,‘Fastforward:acceleratedevolution’,catalogueessayforexhibitioncall of the wild,MuseumofcontemporaryArt,Sydney,�00�.
Work Game Boys Advanced,�00�,silicone,polyurethane,clothing,humanhair
Thetwoboysareclonedtwins.Oncloseinspectionalarmingsignsofprematureagingcanbeseen.ThesourceforthisideawasDollythesheep.Dollywasaewe(5July,�996–�4February,�003)famousforbeingthefirstmammaltobeclonedfromacell.Dolly’sdeathattheprematureageofsixyearsprompteddebateaboutthebiologicalandethicalconsequencesofcloning.
Work Still Life With Stem Cells,�00�,silicone,acrylic,humanhair,mixedmedia
ThisworkextendsideasexploredearlierinthelUMPseriesofundifferentiatedtissueforms.Thelumpsofapparentlylivingtissue,withtheirhuman-likeskin,vasculartraces,creases,veinsandfinehair,mightpotentiallybelungorhearttissue.Theactionofthegirlincaringforthese‘livingthings’invitesthinkingandquestionsaboutadjustingtofutureworldsinwhichsuchentitiesmaybecomecommonplace.
Patricia Piccinini
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Work The Young Family, 2002–03,silicone,polyurethane,leather,humanhair
Themothercreaturesucklingitsyoungisacocktailmixofbuffalo,pig,apeandperhapsothercreatures.Theexpressiononitsfacedemandsanemotionalresponse.Thequestionis:‘why’?
Framing questions and research n IthasbeensaidthatPiccininihasanambivalentattitudetowardstechnology.Inthecontextofthe
artist’sworksinColliding Worlds,whatmightthismean?
n ArtcriticJohnMcDonaldhascommentedthatPiccinini’sworksare‘sciencefictionvignettespluckedfromsomeimaginarymovieset’.*Howdoyouseethem?*Sydney Morning Herald,�7–�8September,�005
n AcuratorhascommentedaboutPiccinini’swork,‘thequestionofwhatconstitutesthe“natural”hasbeencentraltoherresearchandwork.Theconceptualstrandsthatlinkherdisparateprojectsareexaminationsofthedistinctionbetweennatureandartifice,thevirtualandthereal,andtheincreasinglycomplexandproblematicwaysinwhichourexperienceoftheworldismediatedthroughcontemporaryscientificinformationanddigitaltechnologies.’**JasonSmith,‘Sandman’,catalogueessayforSandmanexhibitioninstallation,nationalGalleryofVictoria,�00�–�003.
Whatdoyouthinkthesestatementsmean?Howdotheyapplytotheartist’sworksintheexhibition?
n IfyoucouldasktheGame Boyssomequestions,whatwouldtheybe?Whatkindofanswersmightyouget?
PatriciaPIccInInI,Game Boys Advanced,�00�,silicone,polyurethane,clothing,humanhair�40x36x75cm(irreg,lifesize),imagecourtesytheartist,MichaelBuxtoncollection,Melbourne
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Anna Platten is an Adelaide-based artist. Artistwebsite/dealer/gallery:www.evabreuerartdealer.com.au/platten.htmlwww.acsa.sa.edu.au/studios/platten/platten.html
‘Ifeelmymotivationforpaintinghasn’tchangedmuchfromthatwhichIhadasachild.AsIimagineformostchildren,drawingwasformeameansoftangiblyexploring,possessingandcontrollingtheworldaroundme…I’mstilltryingtodothesamethingbutnowtheemphasishaschangedfromacapturingofoutwardrealitytousingthatrealitytoembodythatwhichissensed,albeitinneranduncertain.Behindthemundanessofeverydaylifeweareallpartofanemotionalrealitywhichisanythingbutmundane.’
Artiststatement.
Perspectives AnnaPlatten’smeticulouslycraftedpaintinganddrawingsusetonalrealiststylesofdepictiontocreatescenarioswhichblendfantasyandcommonplaceelements.Hersubjectsarelargelydrawnfromherimmediateworldandencompassthemesoflifeasajourneyandthetransitionfromchildtoadulthood,singletomarriedstateandparenthood.Theresolutionofsuchprocessesisrarelycompleteorreassuring,butmoreambiguous,leavingtheviewerinsomedoubtaboutpurposesandoutcomes.Herworkhassometimesbeendescribedas‘surreal’butlacksthedarknessofthemostintenseofsurrealistexpression.Itinvitesinsteadanopportunitytoseelifeasatheatreoftheabsurd.Theassociationwiththeatreisoftenstrengthenedbythestage,marionette-theatre-likeandpantomimesettingsinwhichhercharactersappear.Symbolismsuchasladders,exoticcostumingandtoysoffercodedentrypointsintowhatappeartobeautobiographicalstatements.Platten’sadoptionofrealistmodeswasinitiallyinspiredbyFlemishearlyRenaissanceartists.Otherartisticmodelsfollowed,notablyVelázquez,RembrandtandWatteau.Shedoesn’tdrawfromtheimaginationbutworksfrompropsandcostumesaswornbymodels.
‘Plattenisconcernedwiththesymbolsandobjectsthatweseeorareinfluencedbyinourdailylife.Herworkcontainsrepresentationsofsymbolicobjectsofallkinds.Sheposeshersubjectsinawaythatrevealsthemostintimateaspectsoftheirpersonalities,withgreatattentiontofacialexpression,posture,thepositioningofthehands,andthedirectionofthegaze.Alltheseelementsconveyarchetypalaspectsofthehumanpersonality.’
chrisReid,‘Gazinginthetheatre’,catalogueessayfortheexhibitionAnna Platten: Paintings and drawings 1994 – 2004,AdelaidecentralGallery,�004.
The works The Journey,�008,oilonlinen
The Journey – gate,�008,oilonlinen
The Journey – crossing,�009,oilonlinen
The Journey – landmark,�009,oilonlinen
Thefigureofthewomaninperiodcostumewasoriginallyinspiredbya�6thcenturybiblicalillustrationwhichdepictedthehumansoulasawanderingfoolorjester.Theobjectsassociatedwiththefigure–thefool’shat,hobbyhorse,basketandhurdygurdyinherlefthand–werederivedfromthatillustration.Theartistcomments:
‘TherelevantreferencewasPsalm69,verse5,looselytranslatedas‘Onlyyoulordknowmyfolly,Icannothidemyguiltfromyou.’ The woman’s dress is an original Victorian which my sister Bronwyn andThe woman’s dress is an original Victorian which my sister Bronwyn andThewoman’sdressisanoriginalVictorianwhichmysisterBronwynandIfoundinalondonopp-shopoverthirtyyearsago.Itseemedperfect,duetoitstonalityandobviousage,toenhancetheideaofaridinghabitinwhichthejourney-erhadbeenforalong,longtime.’
‘Tomethefigure,althoughfemaleandyoung,standsinforanyonereflectingontheexperienceofpassingthroughlife,reflectingonone’sinteractionwiththeworldwithinandtheworldwithout.’
Anna Platten
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‘Ratherthantrying,asIhaveinthepast,tohaveanentirenarrativeineachpainting,IenvisionthisJourneyseriestobeexhibitedaspartofalargerbodyofworknominativelytitledas“theWakingDream”inwhichthenarrativeismadeasaninteractionbetweentheworks–thejourneyingfigureandthe“mythical”figuresIhopethatshemightencounter.’
Artiststatementaboutthework,�009.
Framing questions and research n InThe Journeyseries,theartisthastravelledbackintimeandusedimageryfromapreviouserato
representasignificanttransitionfromyouthtowomanhood.Imaginethat,asanartistfromsomefuturetime,youdecidetotravelbackto�009andselectsomeimagestodothesame.Whatimageswouldyouchooseandhowwouldyouusethem?
n considerinventingorchoosingvisualsymbolsthatrepresentwhoyouare:notjusthowyoulookbutyourpersonality,feelings,thingsthatmattertoyou,personalstoriesandsoon.composethesesymbolswithinaworkinsuchawaythatpeoplewillwanttospendtimegettingtoknowyou.
n IthasbeensaidthatmuchoftheinterestinAnnaPlatten’sartcanbefoundinthewayinwhichshemixessymbolismandrealismornaturalism.Analyseanyworkfromthisperspective.
Image:AnnaPlATTEn,The Journey – gate,�008,oilonlinen,�86x�30cm,privatecollection,imagecourtesytheartist
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Exploringtheexhibitionextendsbeyondlookingatanindividualartist’sworktoidentifyingandconsideringrelationshipsbetweenanyworksintheexhibition.AneffectivewaytodothisistoviewColliding Worldsasanexhibitionmadeupofgroupsofworkswithsimilarthematiclinks.Decidingonwhichthemesarerelevanttoanyexhibitionisapersonalprocess.Belowareanumberofsuggestedthemes.Asyouexploretheexhibitionyoumayidentifyadditionaloralternativethemes.
Theme 1: NatureTheideaofnatureiscentraltohumanlifeandidentity.Manytraditionalworldviewsholdnaturetobesomethingotherthanhumanlife,orthathumanityissomehow‘above’nature.Artofthemodernerahasbeenincreasinglydrawnintothedebateaboutwhatnatureactuallyisandhowhumanityfitsintoit.Mostrecently,inacontextofscientificanalysisoftheglobalbiosphere(andbeyond)inwhichhumanityasaspecieslivesandco-existswithotherspecies,manyartistshavebeenexploringthenatureofhumanidentityandtheimplicationsofbio-technologicalenhancementsofhumanity’s‘natural’form.
Consider:n Piccinini’smutant humans and creatures, envisaging the possibilities of bio-medical science creatingmutanthumansandcreatures,envisagingthe possibilities of bio-medical science creatingthepossibilitiesofbio-medicalsciencecreating
newlifeforms..
n Fowler’sinterrogationoftheinterrelationshipbetweenhumanityandtheanimalkingdom,setinthefuture.
n Folland’srepresentationofnatureasacontradiction–something‘fixed’thatcanberecorded,but,atthesametime,isunpredictablychaotic.
Theme 2: MaterialityTheterm‘materiality’referstotherolethatthematerialsusedtocomposetheworkplayindeliveringsomesenseofmeaningorsignificance.Intraditionalstudioartssuchasoilpaintingorbronzesculpturethisaspectwastakenasgiven,andcriticalcommentaryrestrictedtosubtletiesandindividualstylesofhandlingthemedium.Themodernerahasforegroundedthisaspectofart-makingtothepointwherethechoiceofmaterialsandtheirtactileandsymbolicpropertieshasbecomepartofthepackageintermsofsettingupanddeliveringmeaningsorsimplymakingemphaticstatements.Theincreasinguseoffoundobjectsandmaterials–suchasindustrialormassconsumerdomesticmaterialsandware–acceleratedthisprocess.Today,artistsdrawonarichcontemporarytraditioninwhichtheuseofsuchmaterialsoritemssuchasfat,rubber,furniture,industrialfasteners,clothing,off-cuts,toys,clay,timber,furorwaterisoftenreadasbeingsignificantandperhapscentraltothework’sintent.
Consider: n Piccinini’sfinely-craftedsimulationofhumanoranimalskin.
n ThesenseofarcanedustinesscreatedinBorg’svideo.
n ThehighdegreeofnaturalismorrealistdetailinFowler’svideowhichcontrastswiththeunrealityofthescenarios.
Theme 3: Narrative Thenarrative(story-telling)traditionsofWesternartwereinterruptedbytherevolutionarymodernerawhichregardedsuchtraditionsasobsoleteorbetterservedbycinema.Thelaterpartofthe�0thcenturysawarevivalofnarrativeasakeyartpracticestrategy.Thiswasdueinparttotheemergenceoffilm,videoandphotographic-basedpracticesaspreferredmodesofexpression.Paralleltothis,post-modernistperspectivesencouragedarevitalisationofnarrativestructuresinordertocritiqueculturalsystemsorinsertpreviouslymarginalisedaccounts(e.g.minoritygroups)intomainstreamhistories.narrativeincontemporaryarttakesvariousforms,withmanyfavouringfictiveconstructions(asinliteraryorcinematicfiction),broken/interrupted/overlappingnarratives,multipleendingsandstrategiesdesignedtoencouragetheviewertoidentifywiththecentralnarrative,createalternatives,or‘jointhedots’inordertouncoverthestory.Throughsuchmeansthepast,presentandfuturecanbeconsideredfrommanydifferentperspectives.
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Consider:
The idea of the journey as a special kind of narrative n Piccinini’ssculpturalinstallationsactasfreeze-framescenarioswhichusuallymotivateviewersto
constructstoriesorsomedialogueinordertobringthesecreaturetolife.
n Fowleraddsanextradimensiontotheinterrelationshipofhumansandanimalsbysettinghischaractersinsomefuturetime,onaspaceshiptravellingfurtherfromthepastandthevaluesandworldviewsthepastrepresents.
n Platten’syoungwomanisonalifejourney.
n Borg’sanimationtellsthelifestoryofanarchitecturalspace.
Theme 4: Reality ‘Reality’continuestobeago-totermtorepresentthecentralconcernsofmanycontemporaryartists.InEuropeanart,themodernideaofrealityhavingmany‘realities’orexistinginmanyformscanbetracedfromSurrealism(or‘super-realism’)earlyinthe�0thcentury,whichheldthattheinnerrealityofdreams,thesubconsciousandtheimaginativemindrepresentedamorecentralrealitythanthatoftheworldofappearances.Bythelater�0thcentury,‘reality’tookcentrestageaspostmodernistideasanddebateaddressedthesystemsandbasisonwhichsocietyfunctioned,suchasbeliefs,politicalandcommercialsystems,values,andnationalandindividualidentities.Inthevisualartsthefocusfixedonthewaytheartworldandtheworldsofpopularcultureandconsumerismintersected.Takingapositionthatitwasnotpossibletoseparateartfromthewidervisualenvironment(orvisualculture),manyartistsbasedtheirpracticeonacritiqueorexplorationofthewaymassmediahadcreateda‘hyperreality’basedonanendlesscirculationofsigns.Thevirtualrealityenabledbystate-of-the-artcomputergamesandrealityTVshowsareindicatorsofthesignificanceofrealityasaformofculturalandconsumerbranding.
Consider:‘Magic realism’ Thistermhascometobeappliedtoawiderangeofartpracticeswhichembracebotholdandnewmedia.Asthetermimplies,itemploysrealismsuchasclosesimulationsofphysicalreality(life-likefigures,forexample)orpowerfulillusionsofvisualreality.Thisrealismismixedwithslightorextremefictionalelementswhichcausetheviewertohoverbetweenwantingtobelieveandwantingtoenjoythestoryorspectacleforitsownsake.Elementsofthiskindofartcanbeseenin:
n Platten’sfictionalrecreationofayoungwomanonalifejourney.
n Fowler’sactualuseofrealactors(individualfiguresandanimals,completewithrealitytouchessuchasdroppings)setinafantasyspacecraftorfuturisticenclosure.
n Kirby’sominousspider.
n Piccinini’sdisturbinglyrealGame Boys.
Constructions of reality centraltosomeartists’practiceisaprobingintothenatureofseeingandunderstandingtheworld.Folland,forexample,takesapositionthattherealitythatwebelievetobeconstant(particularlynatureandliterallyrock-solidthingslikecoastlines)isfundamentallyunstable.collapsingorjuxtaposingtimeisanotherwaytochallengetheideaofrealityasfixedandfinal.
n Borg’sunfoldingseriesofhistorical‘facts’.Whichperiodistherealone?
n Platten’smodelforhertime-travellerispartearlybookillustrationandpartfellowartistFleurnoble.
n Fowler,insendinghischaractersonsomefuturisticvoyage,intensifiesthefocusonthe‘hereandnow’.
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Theme 5: Culture Theideaandnatureofcultureisafixtureincontemporarydiscourse(thinking,discussionanddebate).The�0thcenturywitnessedwhatcanbedescribedas‘cultureWars’,whichhadtheirrootsin�8thcenturyand�9thcenturyrevolutionsinvolvingmanythings,includingtheemergenceofmiddle-classsocietyandindividualism.TheWarswerebroadlyaboutthedistinctionstraditionallymadebetweenso-called‘high’and‘low’culture.Accompanyingthiswereotherdebatesaboutsystemsandsourcesofculturalauthority(e.g.‘official’historiesofart,artmuseumsandacademies).Manystrategiesusedintherevolutionaryperiodsofthelate�9thtoearly�0thcenturyart(suchastheuseoffoundobjects)canbetracedtothisdeterminationtoreplaceolddefinitionsofculturewithonesthatmadesenseinacontemporarytrans-culturalworld.
Consider: n ThesubtleabsurdityinPlatten’simageofa‘modernface’setonaperiod-costumedbody.
n ThefauxclassicisminFowler’simages,referencingthe‘highculture’credentialsofsuchcreaturesasgoatsandhorses.
n PopularcultureasrepresentedinPiccinini’scomputergames(Game Boys)drawnintoseriousdebateaboutthefutureofhumanity.
Theme 6: Colliding WorldsImplicitinalloftheabovethemesistheideathatalternative,parallelorcomplementaryworldviewsexist.Whenthegaporalignmentbetweenonesetofworldviewsandanotherisextreme,collisionscanoccur.PartofexploringtheexhibitionColliding Worldsistoidentifyanyworldviewsindividualartistshold,anddecideifexploringorexpressingcontradictoryworldviewshaveasignificantroletoplaywithinthework.
Consider: n Folland’sbeliefthatnature(andthusreality)isbothunstableandultimatelyalwaysoutofreach
contradictsagenerallyheldbeliefthattechnology,scienceandnaturallawswillultimatelykeepeverythingundercontrol.
n Fowler’sreadingofhumanhistorywhichinvolvesrecognisingthathumanityasaspecieshasevolvedacomplexsetofrelationshipswiththeanimalkingdom.Itimpliesasympatheticpositiontoreasonswhysuchrelationshipsevolvedandtheartist’sconcernwithviewswhichholdthatinafutureworldanimalswillhaveto‘singfortheirsupper’.
n Piccinini’ssculpturesaddressaprevailingviewthatbio-technologicaladvanceswhichenhancehumanlifearewelcome,insuchawayastoraisedoubtsaboutethical,socialandevenbiologicalimplications.
n Kirby’stag-teamoflurkingspiderandlittlesnake-killingAussiesneedstoberead,astheartistsuggests,againstabackdropincurrentAustraliansocietyofhistoricalattitudestosuchthingsasdispossessionornature,ofwhichtheartistreveals‘disturbinglyretrogradeattitudes,viewsandvalues.’
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Planning a successful group visit to Colliding Worlds: Pre-exhibition Backgroundbriefing:Informthestudentsabouttheoriginsandcontentoftheexhibition.
ThecuratorialperspectivessectionatthebeginningofthisResourcewillbeausefulresourcehere.
Theprimaryfocusinbriefingstudentsshouldbethefactthatmostmodernformsofartareexperimental,arenotconcernedwithrepresentationforitsownsake,andoftenrequiretheviewertobringtheirownthoughtsandfeelingstotheprocessofmakingmeaning.Thingsthatcanbeidentifiedintheworksareoftensymbolicratherthanliteral.
Suggested activities:n lookatexamplesofcontemporaryart(reproductions/videos)whichexplorethemessimilartothose
identifiedinthisResource(seeExploringtheexhibition:Themes).
n ArtGalleryofSouthAustraliaon-linestudentresearchdownloads:checkouttheArtGalleryofSouthAustraliaon-lineeducationresourcessite–www.artgallery.sa.gov.au–anddownloadthefollowing:
SEE KNOW and FEEL enquiry map Access:GotoEDUcATIOn/unpackingart/TEAcHERS/EnquiryMapdownload.
UsethisasabasisforexploringandanalysingColliding Worldsartworks.Gatheringinformationusingtheenquiry-basedSEEKnOWandFEElapproachalsointroducestheideathatlookingatartworksinvolveslookingforcluestodevelopideasaboutwhataparticularworkmightmeanorbeabout.
Art Games:games-basedlookinganddiscussionisanexcellentwaytointroducetheideathatlookingisanactiveandengagingactivitywhichstretchestheimagination.
Access:GotoEDUcATIOn/unpackingart/TEAcHERS/ArtGamesdownload.
Planning a successful group visit to Colliding Worlds: At the exhibition
Option 1 Ifyoudecidethattheviewingsessionwillbebroadlyimmersiveandinvolvelittleformalworksuchassmallgroupanalysisofworks,scribing,studentreportingandteacherdebriefingthenconsiderthefollowingpackage:
Onarrival,brieflyassemblestudentsandfocusonthebroadthemeofColliding Worlds.Giveremindersaboutgallerybehaviourprotocols.DistributetheCollision Courseresearchsheetorothermaterialpreparedbytheteacher.
Tasks �5minutes Smallgroups(4 –5students)taketimetoviewsomeworks.
Duringthistimeitisbetterifstudentsallhavesomespecifictasks.SuggestselectionsfromtheCollision Coursemenu.
�0minutes Regroupandsamplesomegroupresponses/findings.
�5minutes Reversegroups’levelallocations.
�0minutes Finally,individualtimeoutwithstudentsgivenorselectingactivityfromtheCollision Coursesheet.
Auseful5-minuteclose-outexercise:beforeleaving,givestudentstimeoutforalastlookwithsomespecifictasksinmind.Forexample:chooseoneworkwhichinterestsyoumostandthinkaboutonethingwithinitoranaspectthatyoucouldtalkaboutlaterorperhapsuseinindividualartwork.
note:Timeallowancesforeachunitcanbetrimmedaccordingtoindividualschedules.
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Option 2 Thissessionwillinvolvestudentsbeinginvolvedinmoreformalandindividualanalysis,andresponseandscribing.
Asuggestionisthatstudentsinthissessiontrytwothings:
n Engagewiththeworkofanindividualartist.
n Engagewiththeexhibition’sthemes.
ForthistohappenitwouldbeusefulifthestudentshadaccesstotheColliding WorldsEducationResourcepriortovisitingtheexhibition.Thiscouldallowstudentstomakefocusselectionsbeforearrival.
This viewing package might look like: Onarrivalbriefly,assemblestudentsandfocusonthebroadthemeofColliding Worlds.Giveremindersaboutgallerybehaviourprotocols.DistributeCollision Courseresearchsheetorothermaterialpreparedbytheteacher.
Orientation time �0minutes Regroupandsamplesomegroupresponses/findings. Focusstudentsontaskstofollow.�0minutes Releasegroupasindividualstoengageinresearchtasks,suchasselectingfrom Collision Coursemenu.�0minutes Regroupandviewselectedworksusingstudents’researchandresponsesas theprimaryfocus.Auseful5-minuteclose-outexercise:beforeleaving;givestudentstimeoutforalastlookwithsomespecifictasksinmind.Forexample:chooseoneworkwhichinterestsyoumostandthinkaboutonethingwithinitoranaspectthatyoucouldtalkaboutlaterorperhapsuseinindividualartwork.
note:Timeallowancesforeachunitcanbetrimmedaccordingtoindividualschedules.
note:In on-site and follow-up discussion, direct students’ attention to key questions including:Inon-siteandfollow-updiscussion,directstudents’attentiontokeyquestionsincluding:Whydodifferentartistsseethingsindifferentways?Howimportantisthechoiceanduseofartmediuminexpressingideas?Aresomeworksmoreeffectiveorinterestingthanothersindealingwiththetheme/subject?Relateddiscussionshouldfocusontheprocessofinterpretation.Whatdoes‘tointerpretanideaorsubject’mean?Whatkindsofdevicesorsystemsofcommunicationdoartistsusetointerpretathemeorsubjecte.g.useofsymbolism,distortion,illusionism?
Planning a successful group visit to Colliding Worlds: Post-visitPost-exhibitionoptionsprimarilyconsistofsharingandanalysingtheinformationgatheredduringtheexhibitionvisit.Thisprocesscouldinclude:
n checkingdatageneratedusingproformas.
n Sharingindividualopinions.
n Differenttaskorthemegroupsreportingfindings.
ThereareanumberofartistwebsiteslistedinthisEducationResourcewhichwillprovidefollow-upresearchresources.Searchoptions(e.g.Google)willprovidefurtherinformationonindividualartists.
Curriculum Connections: Key CompetenciesActivelyengagingwithartworkswithinthisexhibitionwillsupportKeycompetenciesdevelopmentasfollows:
n Kc�collecting,analysingandorganisinginformation:Collision Coursetasksrequirestudentstouseanumberofstrategiestocollectandorganisedataonindividualworksandgroupsofwork.
n Kc�communicatingideasandinformation:Collision Coursetasksrequirestudentstoscribe,debateandreportfindings.
n Kc4workingwithothersinteams:Collision Coursetasksinvolvestudentsworkinginteams.
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Curriculum Connections: Essential LearningsFutures:Anumberofworksinthisexhibitionofferaglimpseofthefutureasmediatedbytechnologies.Theyaskquestionsabouthumanity’splaceinaworldwherecommunicationmediasystemsandnewtechnologiesconstantlycreatenewrealities.
Thinking:Thepowerofmanyoftheimageswillcausestudentstostopandthinkaboutmanythingssuchastheissuesfacedbyhumansocietyinarapidlychangingworld.Asagroup,theColliding Worldsartistsdemonstrateahighlevelofabilitytocriticallyevaluate,planandgenerateideasandsolutions.
Communication:Analysingworksorreportinganddebatingfindingsrelatedtoviewingworkswillrequirestudentstomakeeffectiveuseoflanguageandwritingskills.Analysingandrespondingwillalsoallowstudentstolearnmoreaboutartasapowerfulformofcommunication.Manyworksintheexhibitionareconcernedwithwaysinwhichworldviewsarecreatedandaskviewerstodebatetheconsequences.
Curriculum Connections: Visual Art specific outcomesColliding Worldsoffersauniqueopportunityforartteachersandstudentsto:
n Expand knowledgeofthediversityandcontentofcontemporaryartpractice.
n Learn about:
Differentkindsofartpractice.
Differentkindsofart-basedmethodsandmaterials.
Whereartistsgetideasfrom.
Ideasimportanttocontemporaryartists.
Theimpactofnewandemergingtechnologies.
Thelinkscontemporaryartpracticehaswithartofthepast.
n Develop skills in:
Engagingwith,analysing,andrespondingtoartworks,andcommunicatingaboutthem.
Visualthinking,problemsolving,andusingimagination.
Year Level application: Years 8 – Senior Secondary
Senior Visual Arts StudentsThisexhibitionprovidesinsightsintothepracticeofcontemporaryAustralianartists.Theseinsightscanbeexploredwithinacontextofcontemporaryartandculture.
SACE Visual Art Stage 1n Practicalwork–ideasforcreatingworksandexpressingideas.
n contemporaryPractice–offeringinsightsintostrategiesandmethodologies.
n InvestigativeStudy–ACollision Courseartistcouldpresentasalikelycandidateforastudent’sinvestigationofanartist.
SACE Visual Art Stage 2n creating–offeringmodelsandstrategiesforinventivethinkingandaction.
n Perceiving–offeringstructuredengagementwithoriginalanduniqueartworkstosupportthedevelopmentofskillsinanalysingandexpressingopinionsaboutartworks,understandingartwithinawiderculturalcontext,andwritingaboutandresearchingartusingoriginalworksasaprimarysource.
Visual Arts Years 8 – 10 Colliding Worldshasspecialvalueinexposingstudentstothediversityofartpracticewithincontemporarysocietyaswellasofferingideasforartspractice,artsanalysisandresponse,andanunderstandingofartinsocialcontext.
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Collision Course: student start-up Thefollowingtasksaredesignedtosupportandinitiatestructuredviewingandengagementforstudentsviewingtheexhibition.Theycanbeundertakeninanyorderandaresuitableforbothindividualandsmallgroupwork.Implicitinsometasksistheideathatstudentsorgroupswillreportfindingsanddiscussworkswithothers.Scribingisnotnecessarytoundertaketheseactivitiesbutsomeofthesetaskscouldinvolvescribingtosupportongoingpost-visitwork.
First and last impressionsn Whatdidyouthinkaboutwhenyoufirstcameintotheexhibitionandlookedaround?
n Wasthereanyworkinparticularyouwantedtolookat,orreturntoandlookatagain?Whydoyouthinkthishappened?
n Isthereaworkinthisexhibitionthatyouthinkyouwillneverforgetorfindhardtoforget?
n Beforeleaving,checkouttheexhibitiononemoretimetoseeifthere’sanideaortechniqueinaworkthatyoucouldtrywhenyougetbacktoschool.
Think aboutsn Whenyoufindyourselfwantingtolookatsomeworksinparticular,doyouthinkitisbecause
theimageorsubjectisinteresting,orisitbecauseoftheartist’stechniqueorwayofinterpretingthesubject?
n Ifthebuildingwasburningandyoucouldsaveoneworkfromthisexhibition,whichonewouldyousaveandwhy?
n Isthereaparticularworkinthisexhibitionthatcontainsorissayingthingsthatyouagreeordisagreewithstrongly?Talktosomeoneelseinyourgroupandshareyouropinions.
Easy?n Whichworkwastheeasiestandwhichworkwasthehardesttomake–andwhy?
Symbolsn canyoufindanartworkthatusessymbolstohelptellastoryorcommunicateanidea?
n Talktosomeoneelseaboutthisartworkanditsuseofsymbolism.
Analysis and response (individual work/s) chooseanyworkthatattractsyourattentionandapplyanyorallofthefollowingquestions:
n Arethevisualqualitiesofthisworkappealinginanyway?
n Wouldthisideahavebeenbetterexpressedinadifferentway?
n canyouseeanykindofconnectionbetweenthiskindofartandothersyouknowabout?
n Whatdoyouthinkthisworkisaboutormightbesaying?
n Writeacaption(extendedwalllabel)foraselectedworkbasedonyourownpersonalresponse,feelingsorinterpretation.
n Hasthisgivenyouanideaforsomethingyoucouldmakeaspartofyourartstudies?
n Whycan’tartistsjustsaywhattheymeanwithoutusingsymbolsoraskingpeopletoguesswhattheworkofartmightbeabout?
n Selectoneworkthatappealsinsomewayandtellsomeoneelseyourreasonsforyourselection.
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�5 Colliding WorldsEducationResource
Analysis and response (the exhibition)n Writeareviewoftheexhibitionwhichexploresthelinksorrelationshipsbetweentheworks.
n chooseoneofthethemessuggestedinthisEducationResourceandreviewtheexhibitionfromthisperspective.
n ArethereotherthemesnotidentifiedinthisResourcewhichcouldapplytothisselectionofwork?
n Writeapressreleaseforthisexhibition.
n comparetwoormoreworkswhichappeartobeexploringsimilarideasindifferentways.
n Theexhibition’scurator,EricaGreen,hasstatedthat,‘thenotionofa“collisionofworlds”canbeseenasanallegoryofmoderntimesinthebroadestsense,portrayingalsoahumanworldwheredifferenceandtheunavoidablecollisionofcompetingvalues–political,technological,social,religiousandethnic–threatentheestablishedorder.’
Doyoubelievethisexhibitionportraystheworldinthisway?