Dystopian and Utopian Impulses in Art Making

Description

Contemporary art has a complex relationship to crisis. On the one hand, art can draw us toward apocalypse: it charts unfolding chaos, reflects and amplifies the effects of crisis, shows us the dystopian in both our daily life and in our imagined futures. On the other hand, art’s complexity helps fathom the uncertainty of the world, question and challenge the order of things, and allows us to imagine new ways of living and being – to make new worlds.

This collection of written and visual essays includes artistic responses to various crises – including the climate emergency, global and local inequalities and the COVID-19 pandemic – and suggests new forms of collectivity and collaboration within artistic practice. It surveys a wide variety of practices, oriented from the perspective of Australia, New Zealand and Asia. Art making has always responded to the world; the essays in this collection explore how artists are adapting to a world in crisis.

The contributions to this book are arranged in four sections: artistic responses; critical reflections, new curatorial approaches and the art school reimagined. Alongside the written chapters, three photographic essays provide specific examples of new visual forms in artistic practice under crisis conditions.

The primary market for the book will be scholars and upper-level students of art and curating at both undergraduate and postgraduate level. Specifically, the book will appeal to the burgeoning field of study around socially engaged art.

Beyond the academic and student market, it will appeal to practicing artists and curators, especially those engaged in social practice and community-based art.

List of Figures

Acknowledgements

Introduction: Contemporary Art and Crisis Grace – McQuilten and Daniel Palmer



PART 1: ARTISTIC RESPONSES

1. Beyond the Dystopia-in-Progress: Rehearsing an Indigenized Future ‘Australia’ Through Public Art – Robert E.Walton and Claire G. Coleman

2. Weentayoothan – Which Way? – Vicki Couzens

3. The Space in Between Us: Photographic Portraiture, Social Distancing and Touch – Cherine Fahd

4. A Melting Landscape: Mapping the Eco-Acoustics of the Swiss Alps – Philip Samartzis

5. Survivalist Samplers: Restoring Sampling Traditions and Utopian Perspectives – Sera Waters

6. Presenting the News Anew – Alison Alder, Marian Crawford and Richard Harding (aka The News Network Project Australia: AA & MC & RH)

7. Practicing Utopias – Sophia Cai, Bigoa Chuol, Gabriela Georges, John Mashar with Tania Cañas and Bruno Catalán

Visual Essay 1: Inland Sea – Heather Hesterman 



PART 2: CRITICAL REFLECTIONS

8. The Art of Giving Up: Contemporary Artists and Domestic Violence – Madeleine R. Clark

9. Refugees, Neighbours and the Question of Empathy: Jakkai Siributr’s There’s No Place – Zara Stanhope 

10. The Thorny Question of Art and Economy – Nancy Mauro-Flude and Kate Rich 

11. Imagine a World Without Zoonotic Viruses – Keely Macarow 

12. Writing About Art from Behind an Inclined Rock (A Geological Allegory for the Third Millennium) – Susan Ballard

Visual Essay 2: Lisbon Dreaming – Clare McCracken 



PART 3: NEW CURATORIAL APPROACHES

13. Amor Mundi: Towards a Curatorial Ethics for Climate Crisis – Tara McDowell

14. The Gentle Activism of ‘Bruised Food’: Art and Curation in Times of Crises – Marnie Badham and Francis Maravillas 

15. Hong Kong’s Utopian Dream: Art, Nostalgia and Identity – Kelly Ka-Lai Chan 

16. Thinking With, and Acting From, This Place: Caring In and Through Our Practices – Jacina Leong

Visual Essay 3: Scribble Me This … – Benjamin Sheppard



PART 4: THE ART SCHOOL REIMAGINED 

17. Unsettling Projects: Keeping Art Schools Agile Through Dialogue and Disruption – Fiona Lee

18. Towards Community Praxis in Community-Oriented Art Education – Kelly Hussey-Smith



Notes on Contributors

Sujets

• Arts visuels
• Arts visuels
• ART
• General
• General officer
• Samuel Adams (beer)
• POLITICAL SCIENCE
• Utopias

Informations

• Publié par: Intellect Books
• Date de parution: 21 février 2023
• Nombre de lectures: 0
• EAN13: 9781789386547
• Langue: English
• Poids de l'ouvrage: 2 Mo

Extrait

Dystopian and Utopian Impulses in Art Making
Dystopian and Utopian Impulses in Art Making
The World We Want
EDITED BY
Grace McQuilten and Daniel Palmer
First published in the UK in 2023 by
Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2023 by
Intellect, The University of Chicago Press, 1427 E. 60th Street,
Chicago, IL 60637, USA
Copyright 2023 Intellect Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or byany means, electronic, mechanical, photocopying, recording, orotherwise, without written permission.
A catalogue record for this book is available from the British Library.
Copy editor: MPS Limited
Cover designer: Aleksandra Szumlas
Cover image: Cherine Fahd, video still detail from Ecdysis , 2019-21.
HD video 3:00. Courtesy of the artist.
Production manager: Debora Nicosia
Typesetter: MPS Limited
Hardback ISBN 978-1-78938-652-3
ePDF ISBN 978-1-78938-653-0
ePUB ISBN 978-1-78938-654-7
To find out about all our publications, please visit our website. There you can subscribe to our e-newsletter, browse or download our current catalogue and buy any titles that are in print.
Print and bound by CMP Digital Printing Solutions
www.intellectbooks.com
This is a peer-reviewed publication.
Contents
List of Figures
Acknowledgements
Introduction: Contemporary Art and Crisis
Grace McQuilten and Daniel Palmer

PART 1: ARTISTIC RESPONSES
1. Beyond the Dystopia-in-Progress: Rehearsing an Indigenized Future Australia Through Public Art
Robert E.Walton and Claire G. Coleman
2. Weentayoothan - Which Way?
Vicki Couzens
3. The Space in Between Us: Photographic Portraiture, Social Distancing and Touch
Cherine Fahd
4. A Melting Landscape: Mapping the Eco-Acoustics of the Swiss Alps
Philip Samartzis
5. Survivalist Samplers: Restoring Sampling Traditions and Utopian Perspectives
Sera Waters
6. Presenting the News Anew
Alison Alder, Marian Crawford and Richard Harding (aka The News Network Project Australia: AA MC RH)
7. Practicing Utopias
Sophia Cai, Bigoa Chuol, Gabriela Georges, John Mashar with Tania Ca as and Bruno Catal n
Visual Essay 1: Inland Sea
Heather Hesterman
PART 2: CRITICAL REFLECTIONS
8. The Art of Giving Up: Contemporary Artists and Domestic Violence
Madeleine R. Clark
9. Refugees, Neighbours and the Question of Empathy: Jakkai Siributr s There s No Place
Zara Stanhope
10. The Thorny Question of Art and Economy
Nancy Mauro-Flude and Kate Rich
11. Imagine a World Without Zoonotic Viruses
Keely Macarow
12. Writing About Art From Behind an Inclined Rock (A Geological Allegory for the Third Millennium)
Susan Ballard
Visual Essay 2: Lisbon Dreaming
Clare McCracken
PART 3: NEW CURATORIAL APPROACHES
13. Amor Mundi : Towards a Curatorial Ethics for Climate Crisis
Tara McDowell
14. The Gentle Activism of Bruised Food : Art and Curation in Times of Crises
Marnie Badham and Francis Maravillas
15. Hong Kong s Utopian Dream: Art, Nostalgia and Identity
Kelly Ka-Lai Chan
16. Thinking With, and Acting From, This Place: Caring In and Through Our Practices
Jacina Leong
Visual Essay 3: Scribble Me This
Benjamin Sheppard
PART 4: THE ART SCHOOL REIMAGINED
17. Unsettling Projects: Keeping Art Schools Agile Through Dialogue and Disruption
Fiona Lee
18. Towards Community Praxis in Community-Oriented Art Education
Kelly Hussey-Smith
Notes on Contributors
Figures Figure 1.1: Xavier Irvine/Robert Walton, Early Child of Now Overview Diagram: Gathering and Existence , 2018. Digital image. Courtesy of the artists. Figure 2.1: Vicki Couzens with daughters Jarrah Bundle and Yaraan Bundle, Grandmother's and Woman's Cloak , possum skins and twine, installation view, Yoonggama exhibition at Footscray Community Arts Centre, 2019. Photograph by Jody Haines. Figure 2.2: Vicki Couzens with daughters Jarrah Bundle and Yaraan Bundle, Grandmother's and Woman's Cloak , possum skins and twine, installation view, Yoonggama exhibition at Footscray Community Arts Centre, 2019. Photograph by Jody Haines. Figure 2.3: Vicki Couzens, pang ngootee weeng wanoong , installation view, Yoonggama exhibition at Footscray Community Arts Centre, 2019. Photograph by Jody Haines. Figure 3.1: Cherine Fahd, With Isobel Parker Philip from the series Shadowing Portraits , 2014–16. Courtesy of the artist. Figure 3.2: Cherine Fahd, documentation of Ecdysis (2019) with the author seated with and behind the subject. Courtesy of Suriya Black. Figure 3.3: Cherine Fahd, video still of Ecdysis , 2019–21. HD Video 3:00. Courtesy of the artist. Figure 3.4: Cherine Fahd, video still detail from Ecdysis , 2019–21. HD video 3:00. Courtesy of the artist. Figure 3.5: I want to hold her hand . Photograph by Christopher Hopkins, 2020. Courtesy of The Age. Figure 3.6: Cherine Fahd, A Proxy for a Thousand Eyes , Sydney Opera House. Photographic documentation 2020. Courtesy of Pamela Pirovic. Figure 3.7: Cherine Fahd, A Proxy for a Thousand Eyes , Sydney Opera House. Photographic documentation 2020. Courtesy of Pamela Pirovic. Figure 3.8: Cherine Fahd, A Proxy for a Thousand Eyes , Sydney Opera House. Photographic documentation 2020. Courtesy of Pamela Pirovic. Figure 4.1: Philip Samartzis, Eco Acoustics: Listening to a Changing Environment , 2021. Photograph by Melody Sky. Courtesy of the Verbier 3D Foundation. Figure 4.2: Philip Samartzis, Eco Acoustics: Listening to a Changing Environment , 2021. Photograph by Melody Sky. Courtesy of the Verbier 3D Foundation. Figure 4.3: Philip Samartzis, Fieldwork 1 , 2019. Colour photograph. Courtesy of the artist. Figure 4.4: Philip Samartzis, Fieldwork 2 , 2019. Colour photograph. Courtesy of the artist. Figure 4.5: Philip Samartzis, Fieldwork 3 , 2019. Colour photograph. Courtesy of the artist. Figure 4.6: Philip Samartzis, Fieldwork 4 , 2019. Colour photograph. Courtesy of the artist. Figure 4.7: Philip Samartzis, HFSJG , 2019. Colour photograph. Courtesy of the artist. Figure 4.8: Philip Samartzis, Inside the Great Aletsch Glacier , 2019. Colour photograph. Courtesy of the artist. Figure 4.9: Philip Samartzis, Jungfrau , 2019. Colour photograph. Courtesy of the artist. Figure 4.10: Philip Samartzis, Mural of the Wanderer Above the Sea of Fog , 2019. Colour photograph. Courtesy of the artist. Figure 5.1: Sera Waters, Survivalist Sampler , 2019–20. Cotton on repurposed linen. 42 × 45 cm. Adelaide, South Australia. Photograph by Grant Hancock. © Sera Waters. Figure 5.2: Leonie Andrews, Survivalist Sampler: March 2020 COVID 19 Diary , 2020. Pencil and cotton thread on cotton, silk and linen. 69 × 93 cm. Canberra. Photograph by Stephen Lee. © Leonie Andrews. Figure 5.3: Caitlin Bowe, POSTPONED , 2020. Tea towel and embroidery floss. 45 × 69 cm. Adelaide, South Australia. © Caitlin Bowe. Figure 5.4: Carolyn Corletto, Untitled Survivalist Sampler , 2020. Vintage linen napkin, cotton thread. 40 × 40 cm. © Carolyn Corletto. Figure 5.5: Philippa Doyle, Covid Curtain (detail), 2020. Vintage embroidered tablecloth and table runner, cotton fabrics, cotton embroidery thread. Approximately 20 × 20 cm. Wellington, New Zealand. © Philippa Doyle. Figure 5.7: Julie Conway, Untitled , 2020. Photograph of Khadija Gbla wearing an embroidered Survivalist Sampler to WOMADelaide 2020. Dress: Embroidery silks in free style chain stitch on satin red, black and yellow patterned op shop dress. Approximately 95 × 50 cm. Adelaide, South Australia. © Julie Conway. Figure 5.6: Kay Lawrence, Rain fell in the past , 2020. Recycled cotton work apron c .1970, cotton thread, silkscreen ink. Silkscreen haiku by Barbara Campbell 2009. Approx. 92 × 70 cm. Adelaide Hills, South Australia. Photograph by Michal Kluvanek. © Kay Lawrence. Figure 5.8: Sera Waters, Survivalist Sampler #2 , 2020–21. Cotton on repurposed linen. 40 × 42 cm. Adelaide, South Australia. Photograph by Grant Hancock. © Sera Waters. Figure 6.1: Marian Crawford, Antiquities , 2015. Letterpress and intaglio prints on paper, in an artist book. 30 × 21 × 0.8 cm. Courtesy of the artist. Figure 6.2: Alison Alder, Newscrap , 2018. Digital video, HD video diptych. 19:14 minutes. Courtesy of Canberra Contemporary Art Space. Figure 6.3: Marian Crawford, Blood Antiquities , 2016. Letterpress, intaglio and relief printing, sequins, thread on paper. 38 pieces, each 30 × 21 cm. In The Unstable Image , 2016, curated by Aleksandra Antic and Olga Sankey, SASA Gallery, University of South Australia, Adelaide, SA. Courtesy of the artist. Figure 6.4: Alison Alder, The Sleep of Doubt , 2015. Screen print on paper. 15 × 20.5 × 0.7 cm. Courtesy of the artist. Figure 6.5: Alison Alder, Death of a Broadsheet , 2015. Screen print on paper, aluminium, wood, plastic, electric motor. Dimensions variable. Megalo Print Studio and Gallery, Canberra. Courtesy of the artist. Figure 6.6: Richard Harding, Pinkwashing , 2018. Screen Print. 9 prints 59.4 × 42 cm each. c3 Contemporary Art Space, Abbotsford, Victoria. Courtesy of the artist. Figure 6.7: Richard Harding, Pinkwashing Spin Me Out! , 2019. Window decal. Dimensions variable. Midsumma Festival, Bundoora Homestead Art Centre, Bundoora, Victoria. Courtesy of the artist. Figure 6.8: Richard Harding, Pinkwashing Final Rinse , 2019. Window decal. Dimensions variable. L8 Gallery, Jockey Club Creative Art Centre, Hong Kong. Courtesy of the artist. Figure 6.9: Marian Crawford, Antiquities , 2015. Letterpress and intaglio prints on paper, in an artist book. 30 × 21 × 0.8 cm. Courtesy of the artist. Figure 7.1: Sitting in the middle of a roundabout: Black/African/woman at the chasm of dreaming, rest and joy. ke mal, ke teth loac. Photograph courtesy of Nayndng Mayen. Figure V1.1: Heather Hesterman, detail from Reading Landscapes , 2021. 13 Digital Prints. 56 × 56 cm. Sturt National Park, NSW. Artwork © Heather Hesterman. Figure V1.2: Heather Hesterman, detail f