Body Of Artwork Research Articles

In-Habitant: An Inquiry into a Non-Dualistic Duality of Human and Nonhuman

Abstract In-Habitant is an art and life project based on artist Umut Tasa’s decadelong encounters with urban wildlife. It is a quest to utilize art as a research method to contemplate her memories, nature discoveries, audiovisual records, and archive of haiku and prose through a body of artworks. These artworks bring together the corporeality of nonhumans with their digital re-presentation and literary text with creative coding. The author inquires into dualistic and nondualistic ontological approaches to human-nonhuman relations in urban settings.

Fermenting Futures: An Artistic Exploration of Yeast Biotechnology

Abstract The Fermenting Futures project is a body of artworks by the authors that explore the importance of yeast from cultural, scientific, ethical, and aesthetic perspectives. The project was created through an embedded artists’ residency at the Institute of Microbiology and Microbial Biotechnology of the University of Natural Resources and Life Sciences, Vienna, Austria. Yeast’s ability to ferment alcohol and make bread rise has played a key role in the development of human civilization; the works in the project ask us to consider how yeast biotechnology might now help confront global environmental problems.

Graphic Swim: 2D and 3D Printing in Glass Casting

This document is a report on developing processes to encourage flow of the graphic image in kilnformed glass. It is also a description and reflection on a body of artworks in glass in which new visual qualities were exposed through a mishap and turned into an aesthetic choice. The research links 2D print approaches to 3D printing and their integration in cast glass. It updates the author’s practice-based PhD research, a study that utilizes glass printing, cutting and fusing processes to combine the printed image within the glass object. The outcomes of the study can be organized under two approaches that have been developed, one appropriate to practical workshop teaching, and the other for the conceptualization and fabrication of new personal artworks.

Dionysus and drama in the Buddhist art of Gandhara

AbstractThis essay examines the relationships existing between Dionysian traditions of wine drinking and drama that reached the easternmost part of the Hellenistic world, and the Buddhist culture and art that flourished in Gandhara (Eastern Afghanistan and Northern Pakistan) under the Kushan kings between the first and third centuries CE. By piecing together archaeological, artistic and literary evidence, it appears that along with viniculture and viticulture, Dionysian rituals, Greek theatre and vernacular drama also became rooted in these eastern lands. Continuous interactions with the Graeco-Roman world strengthened these important cultural elements. At the beginning of the Common Era Dionysian traditions and drama came to be employed by the Buddhists of Gandhara to propagate their own ideas. The creation of a body of artworks representing the life of the Buddha in narrative form along with the literary work of Ashvaghosha, may be an expression of the same dramatic format that developed locally along with a strong Dionysian ritual presence.

Exactitude is truth: representing the British military through commissioned artworks

The work of regimental artists is often derided for being jingoistic, irrelevant and predicated on anachronistic representational strategies rooted in high-Victorian battle painting. Despite their marginal status, a core of professional painters today work regularly for the British armed services to record, and occasionally commemorate, contemporary and past feats of arms, as well as more mundane public service duties such as ceremonial display and Keeping the Army in the Public Eye (KAPE) tours. Their work is largely unseen by the non-military public, mainly because it is intended for a closed community of serving soldiers, their families and veterans who are associated with the unit. Yet, as a sizeable contemporary body of artwork, it contributes to the commemorative rhetoric of the British military and employs a number of artists of national standing.Drawing on the author's own experiences as a several-times commissioned military artist, this paper is a work in progress that examines the work of several painters including John Ross, Ken Howard and Keith Holmes who have worked occasionally for the British armed services in the past three decades. But the paper will take as its principal case study the work of painter David Rowlands, commissioned in the 1990s by the Permanent Joint Headquarters (United Kingdom) as their official artist to record the British build-up in the Arabian Gulf, and since then fully employed by units in the British army (and some overseas military units) to paint commemorative works related to active service overseas, largely in Iraq and more recently Afghanistan.Through an examination of Rowlands' work, the paper touches upon the formal language of military painting, particularly the tensions between illustration and interpretation, between factual and technical accuracy, and examines the issues of authenticity and historical verity. The paper also touches upon issues of agency and reception, and the stresses between the commissioning process, the independence of the artist as interpreter and broader concerns of testimony and visual authority.

Dis-Location/re-Location: “Aloerosa”

This paper explores ways in which difference is grafted into/onto skin, with reference to a selected series of photographic prints. These prints form part of a larger body of artwork and an educational program and research project, titled Dis-location/Re-location. The project investigates personalized postcolonial identity through reference to colonialism, geographies, histories, political positions, and cultural affiliations. Artwork is used as a space within which to interrogate personal and collective relationships to South African British colonial history and its current personal and public residues of identity construction within the context of postcolonial, post-apartheid South Africa. In the artwork, skin forms a figurative and metaphorical site of intervention for the grafting of tensions, ambiguities, and differences in the formation of new hybrid, transforming conceptions of personal and collective identity formations.

Imagining Paradise: The Visual Depiction of Pre-Deportation Acadia, 1850-2000

There is a widely-held interpretation that l’ancienne Acadie was something of an earthly paradise. That idealized interpretation dates back to, and was heavily influenced by, the writings of Dièreville in 1699 and Abbé Raynal in 1770. The idea came to a literary flowering and a worldwide audience in Henry Wadsworth Longfellow’s 1847 poem Evangeline, A Tale of Acadie. Beginning with the first illustrated edition of Evangeline in 1850, and continuing for the next 150 years, a succession of artists offered different versions of the imagined bucolic paradise of Acadia. That body of artwork both reflected and advanced the intellectual and emotional construct that pre-deportation Acadie had been a pastoral place of peace, harmony, and plenty. In the latter half of the nineteenth century, British and American publishers commissioned British and American artists to depict scenes to accompany Evangeline. In the latter half of the twentieth century, Canadian heritage agencies commissioned Canadian artists to develop new artwork of pre-deportation Acadia, without Evangeline imagery or Evangeline-related storylines. None the less, the paintings produced in the last few decades of the twentieth century continued to offer, for the most part, variations on the basic idea that Acadie before 1755 was a time and a place that enjoyed idyllic conditions.

95/04568 Reflections on 100 years

Reflections: 25 years on, is a body of artworks by Gail Mabo reflecting on her artistic development. For Gail Mabo, 2017 marks the twenty-fifth anniversary of two significant events. On 3 June 1992, the High Court of Australia upheld the land rights claim led by her father, Eddie Koiki Mabo. The significance of these events is enhanced by occurring 50 years after the 1967 referendum that succeeded in removing from the constitution two references discriminating against indigenous Australians. Gail’s exhibition of new works and earlier pieces are a reflection of the changes witnessed over this passage of time in a broader sense, but also of her own personal growth as an artist. The Eddie Koiki Mabo Library Art Exhibition is held on the anniversary of the naming of the University Library on the Townsville Campus after Eddie Koiki Mabo (b. June 29, 1936 - d. January 21, 1992). Eddie Koiki Mabo was a Torres Strait Islander man from Murray Island (traditional name, Mer) and a long-time resident of Townsville. He is well-known as a land rights activist and was the lead plaintiff in what has become known as the Mabo Cases I and II. In 1982, he and several other Mer Islanders - Sam Passi, David Passi, Celuia Mapo Salee and James Rice - started a legal action that lasted 10 years. On June 3, 1992, a decision was handed down in the High Court of Australia in favour of the plaintiffs. This overturned the concept of terra nullius (no man’s land) that underpinned the Crown’s claim to own all the land of Australia. Sadly, Mr Mabo passed away five months before the decision was made. Eddie Koiki Mabo was one of the most important historical figures to have spent time at the University. Employed at JCU as a groundsman, he was also a student, guest lecturer, and colleague and friend of JCU staff and students. Several catalyzing moments that led to the Mabo cases are acknowledged to have occurred at the University. These include conversations with his friends, the historians Henry Reynolds and Noel Loos; and a 1981 conference where he delivered a speech that sparked the interest of lawyers (Butt, Eagleson & Lane, 2001; Loos & Mabo, 2013; Screen Australia Digital Learning, 2008; Sharp, 1996). In 2008, JCU Vice-Chancellor, Sandra Harding noted that the naming of the library will “forever commemorate the link between the man who changed the land laws in Australia and James Cook University.” The Art Exhibition: An exhibition of the artworks of Gail Mabo, his daughter, was held on the first anniversary of the naming of the Eddie Koiki Mabo Library. Library and Information Services staff endeavour to hold an annual Indigenous art exhibition in commemoration from May 21st for three weeks to coincide with National Sorry Day (May 26), National Reconciliation Week (May 27 to June 3), and Mabo Day (June 3). The event enables Library and Information Services staff, students and visitors the opportunity to participate in the JCU Reconciliation Action Plan in a broad public manner. As a vibrant celebration, the exhibition enlivens our public space and generates conversation not only about the art but also the building name, the man behind it, the importance of Aboriginal and Torres Strait Islander peoples, and to recognise and value cultural diversity as an asset which enriches the life of the university community. On May 21, 2008, JCU launched its Reconciliation Statement and, to give effect to the University’s commitment to reconciliation, the University named the University Library on the Townsville Campus after Eddie Koiki Mabo. The Hon Jenny Macklin MP, Minister for Families, Housing, Community Services and Indigenous Affairs unveiled the commemorative plaque that bestows his name on the library where he spent many productive hours reading, studying and researching law and land rights.

EMMA: Art Therapy Illustrating Personal and Universal Images of Loss

This case study examines a body of art work produced by Emma, a geriatric client admitted to a psychiatric ward for what appeared to be symptoms of Alzheimer's disease. On the ward, Emma attended art therapy groups, where she spontaneously created metaphors of loss. Her art work showed many similarities to art work produced by cancer patients. After a three-month stay on the psychiatric ward, Emma was diagnosed with cancer of the liver. She was transferred to a medical unit where she died three weeks later. Emma produced all her art work before she was diagnosed with cancer. This article presents evidence that Emma unconsciously knew she was dying, and independently worked on issues of her own death through her art work.