Posts Tagged ‘Earthworks


Exhibition: ‘Ends of the Earth: Land Art to 1974’ at Haus der Kunst, Munich

Exhibition dates: 11th November 2012 – 20th January 2013


Alice Aycock. 'Clay #2' 1971/2012


Alice Aycock (American, b. 1946)
Clay #2
1,500 pounds of clay mixed with water in wood frame
Size: each 121.9 x 121.9 x 15.2 cm
Courtesy of the artist



“Not taking Land art as a given the exhibition revisits various milieus and networks of heterogeneous practices around the world where the desire to engage the land or to work with the earth followed diverse artistic objectives and impulses. In researching this diversity, we found that the dominant art historical interpretation of Land art – as fundamentally an American sculptural phenomenon that developed out of Minimalism and Postminimalism, expanding into the “field” beyond art spaces to occupy or to become one with vast landscapes like the deserts of the Southwestern United States – accounts for only a limited number of artists’ works.”

Philipp Kaiser and Miwon Kwon. Ends of the Earth and Back catalogue essay, p.18



This posting continues the theme of land/(e)scape, combining as it does performance, site, nonsite, language, film and earth. It is such a pity that the documentation of these early Land Art events in the form of photographs tends to be so poor. The paucity and quality of the visual evidence adds to the ephemeral, transient nature of the art while undermining the works cultural significance. As Robert Smithson notes in his commentary on the piece Spiral Jetty (1970), if the work occupies a “site” and the essay and the film are Nonsites where language (the essay), photographic images (the film), and earth (the jetty) are viewed as material equals – in other words, each is given equal weight within the project – then on the evidence of these images as a lasting artefacts of an action, the photographs seem to me to be just shorthand notes, cursory artefacts like a smudged fingerprint at a crime scene.

Is it necessary that they be great art? No, because the art was not about ego it was about being there at the actual event. But, other than an overt ability to show the outcomes of the performance, what is necessary from these documentary photographs is that they engage the viewer on a higher level than just ocular observation. While Land Art must be extremely difficult to photograph there is nothing memorable here that will stick in my consciousness, that will trigger a memory of the photograph as “vision” (hallucination, simulation, projection?) of these amazing events, which is a great shame. Rendering shapes of things does not make for memorable art, even as that very (Land) art aimed to investigate higher concepts relating to “this tortured earth.”

Dr Marcus Bunyan

Many thankx to the Haus der Kunst, Munich for allowing me to publish the text and photographs in the posting. Please click on the photographs for a larger version of the image.

Please also read the accompanying essay, Ends of the Earth and Back by Philipp Kaiser and Miwon Kwon (615kb pdf). See the excellent Ends of the Earth: Land Art to 1974 MOCA website for more art work and photographs via Google Earth of the original locations of the Land Art.


Zorka Saglova. 'Laying Napkins Near Sudomer' 1970


Zorka Saglova (Czech, b. 1942)
Laying Napkins Near Sudomer
Six gelatin silver prints
15 3/4 × 23 5/8 in. (40 × 60cm) each
collection of Jan Sagl



For Laying Napkins near Sudomer, the artist laid out approximately 700 napkins to form a triangle in a grass field near Sudomer, the site of a famous Hussite battle in 1420. The action referred to local folklore relating how Hussite women would spread pieces of cloth on a marshy field to snag the spurs of the Roman Catholic cavalrymen as they dismounted, making them easy targets for the Hussite warriors.


Michael Snow. 'La Région Centrale' 1971


Michael Snow (Canadian, b. 1928)
La Région Centrale
16mm film transferred to DVD (blackbox projection), black-and-white, sound
191 min.
Courtesy of the artist


Robert Kinmont. '8 Natural Handstands' 1969/2009


Robert Kinmont (American, b. 1937)
8 Natural Handstands
Nine gelatine silver prints
Size: each 21.5 x 21.5cm
Courtesy of Alexander and Bonin, New York


Robert Kinmont 8. 'Natural Handstands' 1969/2009 (detail)


Robert Kinmont (American, b. 1937)
8 Natural Handstands (detail)
Nine gelatine silver prints
Size: each 21.5 x 21.5cm
Courtesy of Alexander and Bonin, New York


Keith Arnatt. 'Liverpool Beach Burial' 1968


Keith Arnatt (British, 1930-2008)
Liverpool Beach Burial
Gelatin silver print
Size: 40.6 x 50.8cm
Courtesy of the Keith Arnatt Estate and Maureen Paley, London



Liverpool Beach Burial, which the artist described as a “situational sculpture,” was realised by Arnatt with his students at the Manchester College of Art. It was first exhibited in Konzeption – Conception: Dokumentation einer heutigen Kunstrichtung / Documentation of Today’s Art Tendency at the Städtisches Museum, Leverkusen, Germany, in 1969. The artist recorded instructions for its making: “(1) Choosing a site and marking out a straight line. (2) Marking off 4-foot intervals. Each mark representing a digging position for each of the hundred-plus participants. (3) Each participant chose a site on the line and dug his / her own hole. (4) When the holes were deep enough the participants were ‘buried’ by nonparticipants.” (Lucy R. Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972, Berkeley and Los Angeles: University of California Press, 1997, p. 50).



As the first major museum exhibition on Land Art, Ends of the Earth provides the most comprehensive historical overview of this art movement to date. Land Art used the earth as its material and the land as its medium, thereby creating works beyond the familiar spatial framework of the art system. The time period covered in Ends of the Earth spans the 1960s to 1974, when, in the context of Land Art, movements such as Conceptual Art, Minimal Art, Happenings, Performance Art, and Arte povera, became more distinct and began to diverge.

The nearly 200 works by more than 100 artists from Australia, Brazil, Canada, Germany, Great Britain, Iceland, Israel, Japan, the Netherlands, the Philippines and Switzerland demonstrate that Land Art was not a predominantly North American phenomenon. The exhibition presents works that are less well known than the canonical works Spiral Jetty, Lightning Field and Double Negative, thereby creating a shift in perspective. By including works of the then participating artists, the show refers to the earlier and pioneering exhibitions Earthworks and Earth Art (New York, 1968 and 1969). Michael Heizer and Walter De Maria are interested in realisations in outside and lend the mediated part within an exhibition only secondary importance. They are, therefore, not included in this presentation.

Even before the emergence of the movement in the 1960s, artists from the most varied locations around the globe were increasingly moved to claim the earth and use land as an artistic medium. In a basic sense, this also included the examination of the nature of the earth as a planet. Yves Klein, for instance, wondered what the earth looked like from space. In 1961, he transformed his vision that the dominant colour from this perspective would be blue, and that all man-made boundaries could be overcome with this colour, into his series Planetary Reliefs.

Land Art artists often worked under the open sky, making productive use of the fact that the great outdoors posed other conditions for a work’s lifespan than enclosed spaces did. Some works only existed for the short time of their creation, like Judy Chicago’s ephemeral works consisting of coloured flames and smoke, which served as references to religious ceremonies and the landscape as a deity. For ten weeks, the cliffs along Little Bay, Sydney, were packed in synthetic fabric and rope for Christo and Jeanne-Claude’s Wrapped Coast – One Million Square Feet, which, like many other works of Land Art, was enormous in scale. Another famous work of similar proportions was Spiral Jetty by Robert Smithson; on the Great Salt Lake in Utah, USA, the artist built a 1,500-foot long spiral-shaped jetty made of material found on site.

Land Art artists were fascinated by remote locations like deserts. Hreinn Fridfinnsson constructed a house on an uninhabited lava field near Reykjavik. The inside was made of corrugated sheet metal and the outside was covered in wall paper, because, as wall paper is intended to please the eye, “it is reasonable to have it on the outside, where more people can enjoy it.” Some artists transported the conditions of specific places into exhibition spaces: The Japanese artist group “i” moved four truckloads of gravel on a conveyor belt into an exhibition space and arranged it into a pile there. Alice Aycock fills a minimalistic grid with wet clay. This work will be recreated for the exhibition in Haus der Kunst; the clay will dry out during the run of the exhibition, will crack and gradually come to resemble the land in California’s Death Valley (Clay #2, 1971/2012). With Hog Pasture: Survival Piece #1 (1970-71/2012), not only will new material – in this case a green pasture – make on selected occasions its way into the museum but a live domestic pig as well, which will pasture on the meadow from time to time.

From the earliest days of the movement, collectors, patrons, art dealers, and curators also explored sensitively which works of Land Art could be exhibited in museums and galleries, and how this should be done. In their own way, they helped establish Land Art as a legitimate artistic genre. In the case of Robert Smithson’s Spiral Jetty an art dealer helped funding the production of an accompanying film, and the work was executed in three equally valid versions: as the site-specific headland, as an eponymous essay and as a film.

In general, language, film, and photography played a central role in Land Art’s creation and development. Land Art artists and members of the media established close connections to one another. Magazines and television stations commissioned art works and were the first to publish these. Now legendary is Gerry Schum’s Fernsehgalerie, which was the first exhibition created for television and was broadcast by Sender Freies Berlin on 15 April 1969. For eight consecutive days in October of that same year, the WDR television network interrupted its regularly scheduled programs, at 8.15 pm and 9.15 pm, for a few seconds and presented the eight photographs of Keith Arnatt’s Self-Burial, which depicted the artist gradually sinking into the ground. The television station refrained from accompanying this with an introduction or commentary.

Following the presentation of Tinguely’s self-destructing sculpture Hommage à New York, the NBC television network commissioned the artist to create a work. In collaboration with Niki de Saint-Phalle, Tinguely made a large-scale kinetic sculpture out of waste material he had found in and around Las Vegas. The work was used in choreographed explosions that took place south-west of Las Vegas near a nuclear test site. Tinguely’s spectacle was presented in the same newscast as was a major report about the international nuclear talks, which took place that same week.

Many other works touched on the subject of “this tortured earth”, as Isamu Noguchi described it. Land Art artists examined the wounds and scars that humans inflict on the planet earth, whether by the war machinery (Robert Barry, Isamu Noguchi), dictatorships (Artur Barrio), nuclear testing (Heinz Mack, Jean Tinguely, Adrian Piper) or colonisation (Yitzhak Danziger). The media’s intensive coverage of Land Art activities led to unusual and complex contributions. Receptive to Land Art’s demand for a sensitive consciousness regarding the conditions of production, presentation and dissemination of art, they also gave expression to the technological, social and political conditions of the time.

Organised in collaboration with the Museum of Contemporary Art in Los Angeles.

Press release from the Haus der Kunst website



Charles Eames (American, 1907-1978)
Ray Eames 
(American, 1912–1988)
Powers of Ten



Powers of Ten takes us on an adventure in magnitudes. Starting at a picnic by the lakeside in Chicago, this famous film transports us to the outer edges of the universe. Every ten seconds we view the starting point from ten times farther out until our own galaxy is visible only a s a speck of light among many others. Returning to Earth with breathtaking speed, we move inward – into the hand of the sleeping picnicker – with ten times more magnification every ten seconds. Our journey ends inside a proton of a carbon atom within a DNA molecule in a white blood cell.

This film was inspired by the 1957 book Cosmic View by Kees Boeke as well as by architect Eliel Saarinen’s statements about scale. It opens with an overhead shot of a man and a woman lying on a picnic blanket in a park in Chicago. In an effort to depict the scale of the couple, the planet Earth, and the galaxy relative to one another and to that of the universe, the camera zooms out at a distance of a factor of ten every two seconds, until the galaxy is seen as merely a speck of light among many others. The camera then zooms back in, with ten times the magnification every ten seconds, focusing in the end on the proton of an atom.


Charles Simonds. 'BodyEarth' 1974


Charles Simonds (American, b. 1945)
16mm film transferred to DVD, colour
3 min.
Collection of the artist


Zorka Saglova. 'Homage to Gustav Obermann' March 1970


Zorka Saglova (Czech, b. 1942)
Homage to Gustav Obermann
March 1970
Six gelatin silver prints
15 3/4 × 23 5/8 in. (40 × 60cm) each
Collection of Jan Sagl; Courtesy Jan Sagl



Beginning in the late 1960s, Saglova was one of the first artists to work in the landscape outside Prague, carrying out actions with her friends, many of whom were part of the artistic underground in then-Communist Czechoslovakia. For Homage to Gustav Obermann, Saglova arranged twenty-one plastic bags filled with jute and gasoline in Bransoudov (near Humpolec) in a circle during a snowstorm. The bags were set on fire at nightfall. This event was held in memory of a shoe-maker from the town who was said to have protested the German occupation during World War II by walking in the surrounding hills while spitting fire. Two months later, for Laying Napkins near Sudomer, the artist laid out approximately 700 napkins to form a triangle in a grass field near Sudomer, the site of a famous Hussite battle in 1420. The action referred to local folklore relating how Hussite women would spread pieces of cloth on a marshy field to snag the spurs of the Roman Catholic cavalrymen as they dismounted, making them easy targets for the Hussite warriors.


Les Levine. 'Systems Burnoff X Residual Software' 1969/2012


Les Levine (American, b. 1935)
Systems Burnoff X Residual Software
Installation recreation 1,000 copies of 31 photographs (31,000 photographs total) taken by Levine at the March 1969 opening of EARTH ART exhibition in Ithaca, New York
Jello and chewing gum
Courtesy of the artist


Christo and Jeanne-Claude. 'Wrapped Coast - One Million Square Feet' 1968-69


Christo (Bulgaria, 1935-2020) and Jeanne-Claude (Bulgaria, 1935–2009)
Wrapped Coast – One Million Square Feet
Collages, photographs, model, film
Collection of the artist



The largest single artwork ever made, Wrapped Coast was mounted in Little Bay, Sydney, Australia, on October 28, 1969, and remained on view for ten weeks. Christo and Jeanne-Claude, with the assistance of 125 students, teachers, professional climbers, and workers and under the supervision of Major Ninian Melville, retired from the Army Corps of Engineers, wrapped approximately one and a half miles of coast, including cliffs up to 85 feet high, using synthetic fabric and rope. This was the first work in the series of Kaldor Public Art Projects initiated by Australian collector John Kaldor. The project was financed by the sale of Christo’s preparatory drawings, collages, models, and lithographs. In the end, all materials used were removed from the bay and recycled. ABC Australia filmed a documentary of the project.


Peter Hutchinson. 'Paricutin Project' 1971


Peter Hutchinson (British, b. 1930)
Paricutin Project
Photo and ink on cardboard and moulded bread in object-frame
40 x 55cm
Courtesy Galerie Bugdahn und Kaimer, Düsseldorf



The Paricutin Project was first shown in 1969 at John Gibson Gallery in New York as a model illustrating Hutchinson’s conception of an action to take place on Mt. Paricutin, a volcano in Michoacán, Mexico. A year later, Time magazine funded Hutchinson’s trip to the site to make the work in exchange for exclusive rights to publish the photographs. In an attempt to produce life in a place generally thought of as lifeless, the artist laid 450 pounds of bread crumbs in a line approximately 250 feet long around the rim of the volcano. Mould appeared after six days, in part because of the heat and steam rising from the earth. Two photographs of the project were published in the June 29, 1970, issue of Time. Later that same year, large-scale photographs of the work, along with text describing the trip, were shown at John Gibson Gallery.


Patricia Johanson. 'Stephen Long' 1968


Patricia Johanson (American, b. 1940)
Stephen Long
CBSTV 1968; edited by Joanna Alexander, WNET TV, New York, 1971
16mm film transferred to DVD, colour, sound
5 min.
Courtesy of the artist



Interested in the physical limitations of sight and in measuring how far the eye can see, Johanson created this 1,600-foot-long by 2-foot-wide sculpture made of plywood planks painted with yellow, red, and blue bands. Sited on a portion of the defunct Boston & Maine Railroad tracks from Buskirk, New York, to Bennington, Vermont, the work is named after Stephen Long, a military officer who became a railroad surveyor and engineer. Both the location of the work and its title emphasise the impact of rail transportation on modern perceptions and experience of the landscape. The work gained considerable local media attention, and John Lindsay, Mayor of New York, invited Johanson to permanently install the piece in the mall at Central Park. As the available space was only 1,300 feet long, the artist, unwilling to alter the work’s length, declined the invitation.


Kristjan Gudmundsson. 'Painting of the specific gravity of the planet Earth' 1972-73


Kristjan Gudmundsson (Icelandic, b. 1941)
Painting of the specific gravity of the planet Earth
Acrylic on metal
Size: 25.4 x 25.4cm
Sólveig Magnúsdóttir, Reykjavik


Judy Chicago. 'Atmospheres: Duration Performances' 1967-74


Judy Chicago (American, b. 1939)
Atmospheres: Duration Performances
16mm film transferred to DVD, colour, sound
14:12 min.
Courtesy of the artist


Heinz Mack. 'Tele-Mack' 1968


Heinz Mack (German, b. 1931)
16mm film transferred on DVD, colour, sound
24:35 min.
Production of Saarländischer Rundfunk, author Professor Heinz Mack
Courtesy of Kunst und Ausstellungshalle der Bundesrepublik Deutschland GmbH



A founding member of Group Zero – an artist collective established in Düsseldorf in 1958 – Mack drafted the final version of his manifesto for Sahara Project in 1959. It was first published in Zero magazine in 1961, and subsequently republished and translated from German into French, Dutch, and English in 1967 for Mackazin, the artist’s journal-catalogue. Sahara Project, made in homage to Yves Klein, proposes placing large-scale sculptural works in remote areas of the world’s deserts, like mirages to be encountered by anyone coming upon them. One such location was the Sahara Desert, which was the main testing site for French nuclear weaponry after 1958. In 1967 Mack went on an expedition to the Sahara with the German public television station Westdeutscher Rundfunk (WDR), which led to two televised presentations of the project the following year – one for WDR and the other for Saarländischer Rundfunk. The popular weekly German magazine Stern presented the project in a feature spread in 1977.



Haus der Kunst
Prinzregentenstraße 1
80538 Munich
Phone: +49 89 21127 113

Opening hours:
Monday, Wednesday,  Sunday 10 am  -  6pm
Thursday 10am  -  10pm
Friday – Saturday 10am – 6pm
Closed Tuesdays

Haus der Kunst website


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Review: ‘The Water Hole’ exhibition by Gerda Steiner and Jorg Lenzlinger at ACCA (Australian Centre for Contemporary Art), Melbourne

Exhibition dates: 23rd December 2008 – 1st March 2009


“Warning. Watch your step while gazing at distant view.”

Sign at entrance to the exhibition



Gerda Steiner and Jorg Lenzlinger. Entrance to 'The Waterhole' exhibition at ACCA, Melbourne, 2009


Gerda Steiner and Jorg Lenzlinger
Entrance to The Water Hole exhibition at ACCA, Melbourne



A cave like entrance presents itself to the visitor as they enter the exhibition leading to a long winding tunnel that is lined with silver insulation foil and tree branches, lit by floor mounted electric light bulbs. The foil moves with the natural movement of air causing not a rustling of leaves but of artificial surfaces.

At the end of the tunnel the viewer enters a large installation space, confronted with a effusive pop art Garden of Eden, a Magic Forest.

It takes a while to work out what is going on, there are so many elements to the sculptural piece. The main elements are buckets, toilets, basins and drainage pipes, plumbing fittings that all lead to a bed with a drying dam in the centre of a satin bedspread: the ‘waterhole’ of the exhibition title. The waterhole is fed by water dripping from a medical bag suspended high in the air above the dam, a nice touch. The rest of the forest and pipes are dry. The installation comments on our water supplies and the ‘technologies of production’ (Foucault) that permit us to produce, transform or manipulate things. We might install rainwater tanks to catch water but if there is no water to catch in the first place then we are in trouble: we make our bed and have to lie in it, the empty basins like our catchment areas, dry and bleak.

Other elements of the forest have an environmental theme, the installation developed by the artists in response to the extensive drought most of Australia (and it particular Melbourne) is experiencing. Here are spiders with hairy legs and mobile phones for bodies infesting the installation, plumbing fittings with natural seeds sprouting from their ends, brightly coloured crystal forms fed each day with water by gallery staff so that they grow. An upside down umbrella with Polar bear images printed on it’s material has imaginary water draining down a bamboo pipe into a bucket; empty water bottles form a large nest with broken eggs inside; artificial plants, bones, crabs, seaweed and flying stuffed owls are form some of the other elements in the installation.

Climbing a few steps we enter a ‘bird’ watching gallery replete with binoculars to observe the humans in the forest as much as the forest itself. A water cooler sits incongruously in this watching space, silent and somehow complicit in its ironical presence.

The viewer then moves to another room. 4 video projectors display another water themed installation on the gallery walls, the videos meeting in the middle of the walls and reflecting each other. Ambient music accompanies images of rain!, spurting water, owls and plastic pipes, plastic flowers and plastic horses as the viewer relaxes on a waterbed in the middle of the space. The effect of the music and images is quite meditative when combined with the gentle rocking of the waterbed, the projections of the video forming kaleidoscopic ‘Northern lights’ on the ceiling of the gallery. This room is an extension of the themes of the large installation.

Moving forward the viewer enters another room – the meditation room. This room is most effective in encouraging contemplation of the different planes of our existence and our orientation in (environmental) space. Three beds are present, one suspended from the ceiling by four metal rods. Climbing onto this bed the movement from side to side caused by your weight makes you feel seasick and slightly disorientated. Above the second table is a wonderful mobile made of twigs, branches, dried leaves, plastic flowers, beads, plastic bags, baby dummies and jewellery moving gently in the breeze. Lying on the table with the mobile about a foot above your head things drift in and out of view as you change the focus of your eyes – close, mid, far and then onto the moving shadows on the ceiling.

The most effective bed has a small meteorite suspended in a net bag above it. The viewer slides underneath the ‘rock’ placing the meteorite about a foot or so above your face. The meteorite is brown, dark and heavy, swinging slightly above your ‘third eye’. You feel its weight pressing down on your energy, on your life force and you feel how old this object is, how far it has traveled, how fragile and mortal you are. It is a sobering and enlightening experience but what an experience it is!

Entering the final room small colour photos of people being hugged from behind and lifted into the air, laughing, line the gallery walls. These are the weakest elements of the exhibition and seem to bear no relation to all that has passed before. Running off of this gallery is an alcove that is a dead end, a full stop to the exhibition with an installation Desalination plant for tears. A cheap Formica desk sits at the end of the space. Perched above the desk is a tv showing live black and white images of the earlier bird watching gallery – the watcher now the watched. On the desk itself is a microscope (with slide of human tears), pencil, a candle for heat under a glass flask of water (looking like a spider from the large installation!) and various glass test tubes and vials. A diagram explains the working of a Desalination plant for tears, an analogous reference to the desalination plant earmarked for Wonthaggi, south-east of Melbourne. Irony is present (again) in the 2 leaves grown at Singapore Airport by desalinated water (2008), two framed, brown dead leaves, and in the Tear system diagram where glands have turned into forests and the eye into a lake (see below).

This is a magical and poignant exhibition that is a joy for children and adults alike. Children love it running around exploring the environments. Adults love it for it’s magical, witty and intelligent response to the problems facing our planet and our lives. Go and enjoy this interplanetary collision. Highly recommended!

Dr Marcus Bunyan for Art Blart

Many thankx to the Australian Centre for Contemporary Art for allowing me to publish the photographs and text in the posting.


Gerda Steiner and Jorg Lenzlinger. 'The Waterhole' 2009


Gerda Steiner and Jorg Lenzlinger
The Water Hole


Gerda Steiner and Jorg Lenzlinger. 'The Waterhole' 2009


Gerda Steiner and Jorg Lenzlinger
The Water Hole


Gerda Steiner and Jorg Lenzlinger. 'The Waterhole' 2009


Gerda Steiner and Jorg Lenzlinger
The Water Hole


Gerda Steiner and Jorg Lenzlinger. Installation view of waterbed at 'The Waterhole' exhibition at ACCA, 2009


Gerda Steiner and Jorg Lenzlinger
Installation view of waterbed at The Water Hole exhibition at ACCA, Melbourne


Gerda Steiner and Jorg Lenzlinger. Installation view of 'Desalination plant for tears' from 'The Water Hole' exhibition at ACCA, Melbourne, 2009


Gerda Steiner and Jorg Lenzlinger. Installation view of 'Desalination plant for tears' (detail) from 'The Water Hole' exhibition at ACCA, Melbourne, 2009


Gerda Steiner and Jorg Lenzlinger
Installation view of Desalination plant for tears from The Water Hole exhibition at ACCA, Melbourne


Gerda Steiner and Jorg Lenzlinger. Diagram from 'Desalination plant for tears' from the exhibition 'The Water Hole' at ACCA, Melbourne, 2009


Gerda Steiner and Jorg Lenzlinger
Diagram from Desalination plant for tears from the exhibition The Water Hole at ACCA, Melbourne



Australian Centre for Contemporary Art (ACCA)
111 Sturt Street
Victoria 3006

Opening hours:
Tuesday to Friday 10am – 5pm
Weekends and Public Holidays 11am – 6pm
Monday by appointment
Open all public holidays except Christmas Day and Good Friday

ACCA website

Gerda Steiner and Jorg Lenzlinger website


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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, a photographic archive and form of cultural memory, which posts mainly photography exhibitions from around the world. He holds a Dr of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

Marcus Bunyan black and white archive: ‘Dogs, chickens, cattle’ 1994-95

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