Australian and New Zealand Journal of Art最新文献_第2页

ʻAi Pōhaku, Stone Eaters: Affirmation, Defiance, and Kānaka ʻŌiwi Visual Culture Today 夏威夷Pōhaku，食石者:肯定，反抗，和Kānaka夏威夷Ōiwi今天的视觉文化

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Australian and New Zealand Journal of Art Pub Date : 2023-12-04 DOI: 10.1080/14434318.2023.2274906

Drew Kahuʻāina Broderick, Josh Tengan

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Embodying Oceanic Relationality: An Introspective of the 2022 Hawai‘i Triennial 海洋关系的体现:对2022年夏威夷三年展的反思

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Australian and New Zealand Journal of Art Pub Date : 2023-11-26 DOI: 10.1080/14434318.2023.2273920

Nicole Kuʻuleinapuananiolikoʻawapuhimelemeleolani Furtado

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Review 审查

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Australian and New Zealand Journal of Art Pub Date : 2023-11-26 DOI: 10.1080/14434318.2023.2276323

Hana Pera Aoake

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‘To Hell With Drowning’, Australian Associate for Pacific Studies Biennial Conference, 11–14 April 2023, hosted by Australian National University, Canberra, ACT 2023年4月11-14日，澳大利亚太平洋研究双年会议，澳大利亚国立大学主办，堪培拉

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Australian and New Zealand Journal of Art Pub Date : 2023-11-21 DOI: 10.1080/14434318.2023.2273927

Jocelyn Flynn

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Groundswell in the Gallery: North and South Pacific Indigenous Dance in Confluence 画廊里的浪潮:南北太平洋土著舞蹈的融合

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Australian and New Zealand Journal of Art Pub Date : 2023-11-21 DOI: 10.1080/14434318.2023.2272874

Mique’l Dangeli, Tammi Gissell

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Ko Te Moananui-a-Kiwa te wāhi whakarahi. The Pacific Ocean Joins Us All Ko Te Moananuii-a-Kiwa te wāhi whakarahi.太平洋与我们同在

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Australian and New Zealand Journal of Art Pub Date : 2023-07-03 DOI: 10.1080/14434318.2023.2288398

Ngarino Ellis, Heather Igloliorte

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Old/New: The Anti-Gatekeeping Method 旧/新:反守门方法

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Australian and New Zealand Journal of Art Pub Date : 2023-01-02 DOI: 10.1080/14434318.2023.2225737

Verónica Tello

{"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}

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I AM GORDON BENNETT 我是戈登·贝内特

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Australian and New Zealand Journal of Art Pub Date : 2023-01-02 DOI: 10.1080/14434318.2023.2218895

R. Butler

{"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}

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Queer Curatorial Relations: A Dialogue on Five Recent Projects 酷儿策展关系:近期五个项目的对话

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Australian and New Zealand Journal of Art Pub Date : 2023-01-02 DOI: 10.1080/14434318.2023.2218903

Frankie Barrett, Peter Johnson, M. Ratliff

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Iconomy: Towards a Political Economy of Images 经济学:走向形象的政治经济学

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Australian and New Zealand Journal of Art Pub Date : 2023-01-02 DOI: 10.1080/14434318.2023.2222384

Giles Fielke

{"title":"Iconomy: Towards a Political Economy of Images","authors":"Giles Fielke","doi":"10.1080/14434318.2023.2222384","DOIUrl":"https://doi.org/10.1080/14434318.2023.2222384","url":null,"abstract":"ed as ‘videodeath’, Smith wends his way only partly towards the images of executions for dissemination via video, like those used by Islamic terror organisations to shock and instil fear in their audience-enemies. The 17-year-old woman who filmed the police killing of Floyd, for nine unflinching minutes, was perhaps unwittingly participating in the structure of our spectacle culture that not only incites but in some sense always produces more violence. George Holliday, who used his Handycam to video LAPD officers beating Rodney King in 1991, and who died of COVID-19 on 21 September 2021, was in some ways responsible—or perhaps more pointedly, the video camcorder he used was responsible— for the 63 deaths that followed the trial of the officers, in the rioting that occurred when they were acquitted of wrongdoing in their arrest of King. (King himself died tragically in 2012 at age 47 after years of addiction and violence following the 1991 event that made him a globally famous victim of police brutality.) Yet even as Smith considers these possibilities (113–17), he skirts the existing arguments about media and violence already made so well by contemporary commentators such as Groys (‘we all know bin Laden as a video artist first and foremost’), in preference for the vague idea of ambient images as the more suitable vector for establishing the effectiveness of these recorded killings within the iconomy. The reader is left asking: why? This incongruence leads to a question that Smith seems reluctant to ask: what is it that mediates what he has gathered here in the section titled ‘Iconoclash’? As the central part of the text, there remains a very demanding debate to be had about the so-called ‘image-complex’ attributed to Meg McLagan and Yates McKee (61)—one that recapitulates the arguments against the medieval bans on the use of images made by the iconophile Nikephoros (via Mondzain’s thesis arguing for its contemporary significance). Is the answer to the question of iconoclash too much for Smith to bear? When the French philosopher Alain Badiou intervened into this question of the clash of contemporary images in a lecture from 2013 titled ‘Images of the Present Time’ (translated and published as The Pornographic Age), he argued, typically provocative, that ‘the emblem of the present age, its fetish, which covers with a false image naked power without image, is the word “democracy”’. What we have in reality is the unsolicited distribution of images by market-based, algorithmic, and visual regimes. In revealing the political contents Smith is aiming at, the anarchic solution that appears seems too difficult to fathom. Enter Donald Trump, the eventually successful presidential candidate announcing his campaign in 2015, initially as an independent, and initially distinct from the GOP. Trump’s interest in, and most often successful interventions into the media-sphere as a montage of attractions is closer to Soviet-style propaganda than the d eclass e li","PeriodicalId":29864,"journal":{"name":"Australian and New Zealand Journal of Art","volume":"23 1","pages":"111 - 118"},"PeriodicalIF":0.1,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46218375","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}

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