Artists
Slideshow of featured works
1/11
Polly Borland
Untitled XXXII from Smudge 2010
chromogenic print
76 × 65 cm
image courtesy and © the artist
2/11
Eliza Hutchison
57 seconds 2004 from Hair in the gate, a biograph 2011–12, ongoing
inkjet print
36.5 × 54.8 cm
image courtesy and © the artist
3/11
Paul Knight
19 months #1 from Untitled 2010
folded type C photograph
88 × 98 cm
image courtesy and © the artist
4/11
Angelica Mestiti
Rapture (silent anthem) 2009 (video still)
high-definition video, silent
10:10 min
image courtesy and © the artist
5/11
David Noonan
Untitled #6 from Images 2005
archival inkjet print on paper from original paper collage
61 × 43.5 cm
image courtesy and © the artist
6/11
David Rosetzky
How to feel 2011 (video still)
high-definition video, colour, sound
148:39 min
image courtesy and © the artist
7/11
Tim Silver
Untitled (Rory) #3 2009
pigment print on etching rag 310gsm
image size: 135.5 × 90 cm
paper size: 155.5 × 110 cm
photography: Jamie North
image courtesy and © the artist
8/11
Glenn Sloggett
Amputee op-shop bride 2009 from Filthy, a white trash (lost) love story 2009–11
type C photograph
80 × 80 cm
image courtesy and © the artist
9/11
Grant Stevens
Crushing 2009 (video still)
digital video, sound
4:13 min
image courtesy and © the artist
10/11
Darren Sylvester
How do you know if it’s real love 2002
lightjet print
100 × 100 cm
collection of Lisa Paulsen, Sydney
image courtesy and © the artist
11/11
Justene Williams
Milk seeped in bread and rocked the leg 2012–13 (video still)
7-channel HD video installation: 7 projectors, 2 pine shelves, pine table, 3 pine step/seats, white bread, pillows
dimensions variable
image courtesy and © the artist
Polly Borland
What is your initial response to Borland’s work in the exhibition? Define anthropomorphism. How has it been used in art over time? In what way does it add another layer of meaning to an artwork? Would you describe Borland’s work as anthropomorphic?
Eliza Hutchison
Develop a series of work based purely on a memory relating to a social issue or event. Include motifs and symbolic references and carefully consider your choice of materials and techniques to enhance the meaning of the work. Compare your approach to Hutchison’s work in the exhibition.
Paul Knight
Look at 19 months #1 from Untitled 2010, reproduced above. Describe what you see. What is the relationship between the subject matter and way the image has been presented? Discuss the contradictions in this image. Why do you think the artist included the photographic edge? Discuss whether this image would be as successful if it were in another medium?
Angelica Mesiti
Rapture (silent anthem) shows a crowd but the actual performance they are watching is out of view and the artist has eliminated any noise. How does this affect the way you see the work? What role does the viewer play?
David Noonan
Respond to Images 2005 and construct a photographic or video-still collage representing a time in your life. Discuss whether this approach is more effective than showing a single image.
David Rosetzky
How to feel 2011 is described as a non-narrative video as Rosetzky allows the performers to control the dialogue. They respond through dance to their feelings and emotions and work collectively in a group of six in an empty warehouse then in pairs in a cafe. What are the advantages and disadvantages of this artistic process? Now that you are aware of the process, do you as a viewer respond differently to the work?
Tim Silver
The role of the artist, the audience and the artwork has been challenged in Silver’s practice. Research the artist’s process and discuss how the traditional definitions of these roles have been altered.
Glenn Sloggett
Create a photo story of a friend or family member without using the human form. Consider the places and objects that best represent them. Also think about the less obvious connections and how you can best capture these moments in your images.
Grant Stevens
Stevens’ video Crushing is based on a script about a romantic break-up. The words appear and disappear accompanied by a music soundtrack. What is the impact of deleting images from the artwork? Compare Stevens’ work to Mesiti’s work in the exhibition and write a critique discussing your preference.
Darren Sylvester
What qualities of commercial photography are evident in Sylvester’s work in the exhibition? Does it matter if the boundaries of commercial, fashion and fine art photography are blurred? What do you think Sylvester is saying about how we view the world?
Justene Williams
Experience Williams’ work in the exhibition. Describe what you see. How does it show influences of dada and Cabaret Voltaire? How does Williams use new media in the work? Discuss how the work reflects contemporary art practice.