Australian and New Zealand Journal of Art最新文献

{"title":"Review","authors":"Léuli Eshrāghi, Sarah Biscarra Dilley, Tarah Hogue, Lana Lopesi, Freja Carmichael","doi":"10.1080/14434318.2023.2288018","DOIUrl":"https://doi.org/10.1080/14434318.2023.2288018","url":null,"abstract":"Published in Australian and New Zealand Journal of Art (Vol. 23, No. 2, 2023)","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"314 4 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139057714","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ʻAi Pōhaku, Stone Eaters: Affirmation, Defiance, and Kānaka ʻŌiwi Visual Culture Today","authors":"Drew Kahuʻāina Broderick, Josh Tengan","doi":"10.1080/14434318.2023.2274906","DOIUrl":"https://doi.org/10.1080/14434318.2023.2274906","url":null,"abstract":"Published in Australian and New Zealand Journal of Art (Ahead of Print, 2023)","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"1 2","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Embodying Oceanic Relationality: An Introspective of the 2022 Hawai‘i Triennial","authors":"Nicole Kuʻuleinapuananiolikoʻawapuhimelemeleolani Furtado","doi":"10.1080/14434318.2023.2273920","DOIUrl":"https://doi.org/10.1080/14434318.2023.2273920","url":null,"abstract":"Published in Australian and New Zealand Journal of Art (Ahead of Print, 2023)","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"106 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138542350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review","authors":"Hana Pera Aoake","doi":"10.1080/14434318.2023.2276323","DOIUrl":"https://doi.org/10.1080/14434318.2023.2276323","url":null,"abstract":"Published in Australian and New Zealand Journal of Art (Ahead of Print, 2023)","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"52 4","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘To Hell With Drowning’, Australian Associate for Pacific Studies Biennial Conference, 11–14 April 2023, hosted by Australian National University, Canberra, ACT","authors":"Jocelyn Flynn","doi":"10.1080/14434318.2023.2273927","DOIUrl":"https://doi.org/10.1080/14434318.2023.2273927","url":null,"abstract":"Published in Australian and New Zealand Journal of Art (Ahead of Print, 2023)","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"55 8","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138513554","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Groundswell in the Gallery: North and South Pacific Indigenous Dance in Confluence","authors":"Mique’l Dangeli, Tammi Gissell","doi":"10.1080/14434318.2023.2272874","DOIUrl":"https://doi.org/10.1080/14434318.2023.2272874","url":null,"abstract":"Published in Australian and New Zealand Journal of Art (Ahead of Print, 2023)","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"76 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138542316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Ko Te Moananui-a-Kiwa te wāhi whakarahi. The Pacific Ocean Joins Us All","authors":"Ngarino Ellis, Heather Igloliorte","doi":"10.1080/14434318.2023.2288398","DOIUrl":"https://doi.org/10.1080/14434318.2023.2288398","url":null,"abstract":"","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"9 1","pages":"133 - 135"},"PeriodicalIF":0.1,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139363828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Old/New: The Anti-Gatekeeping Method","authors":"Verónica Tello","doi":"10.1080/14434318.2023.2225737","DOIUrl":"https://doi.org/10.1080/14434318.2023.2225737","url":null,"abstract":"The Australian and New Zealand Journal of Art will be hosted by UNSW Art & Design until 2027 under the direction of an editorial collective comprising myself, Diana Baker-Smith, Jennifer Biddle, Jaye Early, Bianca Hester, Anastasia Murney, Astrid Lorange, and Jos e Da Silva. The current issue is our first publication. We thank our colleagues at the Centre of Visual Art, University of Melbourne, particularly Jeremy Eaton, for facilitating a seamless transition. Approximately every four years, the Journal transfers to a new university so that it can distribute its financial and editorial responsibility among various academic institutions in the long term. It is customary for a new journal editor to declare a new vision over multiple pages in the first editorial. I will continue this custom, but I will keep it brief. The journal will implement an anti-gatekeeping method for scholarly publishing in the coming years. Working as a dedicated editorial collective, we are establishing a structure to expose the Journal to new voices through mentorship and collegiality. On this note, I would like to thank my colleague, Astrid Lorange, for leading a workshop in April of this year in collaboration with un Magazine focused on emerging authors and the expanded modes of writing the Journal can support (the recording is available online via the Un Projects website). As the current issue shows, we intend to support authors new to academic publishing by providing editorial feedback before peer-review, assisting authors in responding to peer-review reports, and generally demystifying scholarly publishing. By demystifying the Journal, we can also address colonial predispositions in art history. Historically, the Journal has not placed a foremost priority on Indigenous sovereignty. However, we are developing protocols for publishing Indigenous scholarship in collaboration with the Art Association of Australia and New Zealand. In December 2023 and July 2025, the Journal will publish its inaugural special issues led by Indigenous intellectuals. M aori art historian Ngarino Ellis and Inuk art historian and curator Heather Igloliorte are the editors of the December 2023 issue, bringing together border-crossing and emerging Ng a Rauru, M aori, K anaka' Oiwi, Murruwarri, Wiradjuri, Alutiiq, Sugpiaq, Tsimshian, Bundjulung and Ngapuhi Indigenous knowledge on medicine, dance, museum","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"23 1","pages":"1 - 3"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47970350","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"I AM GORDON BENNETT","authors":"R. Butler","doi":"10.1080/14434318.2023.2218895","DOIUrl":"https://doi.org/10.1080/14434318.2023.2218895","url":null,"abstract":"In the last room of the Queensland Art Gallery’s 2020 exhibition Unfinished Business—The Art of Gordon Bennett, just before the spectator exited the show, was a page from one of Bennett’s notebooks, blown up and applied to the wall. Unfinished Business was a survey exhibition of Bennett’s work, one of several that have so far taken place since his death, this time with an emphasis on works on paper. These were framed and mounted on walls throughout the exhibition, along with a selection of paintings from throughout Bennett’s career. But this particular page from the notebook was enlarged and applied directly to the wall of the final room, as though to serve as something of an artist’s signature in relation to what had come before—indeed, at the very bottom of the the wall were Bennett’s initials, GB, along with the date on which he originally made the entry, 25 August 1990 (Fig. 1). What we have on that last wall of the gallery is testament to the ongoing importance of language in Bennett’s work. Words enter Bennett’s practice at least as early as 1987 with The Persistence of Language and continue virtually all the way to the end. Indeed, critics would later come up with the evocative term ‘word stack’ to describe a similar run of words in Bennett’s Notes to Basquiat series (1998–2002), which this notebook page is clearly a forerunner to. Earlier in the show, in fact, there was another page from Bennett’s notebook, very similar to the one in the last room, although it was actually framed and mounted on the wall. Its series of statements reads ‘I am Australian’, ‘I am Aboriginal’, ‘I am Human Being’, ‘I am Spiritual Being’, ‘I am Body’ and ‘I am Spirit’, followed by a final ‘I am’, Bennett’s initials and the date on which he made the entry, which is the same as the other page, 25 August 1990. In that version on the final wall, we have in slightly more abbreviated form ‘I am Gordon Bennett’, ‘I am Australian’, ‘I am Human Being’ and ‘I am Spirit’, again followed by a final ‘I am’, Bennett’s initials and the date. But although the two versions have the same date, we might say that the version on the wall comes later, insofar as we do not have that same crossed-out ‘a’ before ‘Human Being’, as though by now Bennett had made up his mind as to its proper formulation (Fig. 2). As we read this series or sequence of categories, just to consider the earlier version mounted on the wall for a moment—Australian, Aboriginal, Human","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"23 1","pages":"4 - 22"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42192534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Queer Curatorial Relations: A Dialogue on Five Recent Projects","authors":"Frankie Barrett, Peter Johnson, M. Ratliff","doi":"10.1080/14434318.2023.2218903","DOIUrl":"https://doi.org/10.1080/14434318.2023.2218903","url":null,"abstract":"This article seeks to contribute to the burgeoning","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"23 1","pages":"61 - 79"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44939420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}