Posts Tagged ‘The Quiet Wild

02
Jan
13

Melbourne’s magnificent eleven 2012

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Here’s my pick of the eleven best artists/exhibitions which featured on the Art Blart blog in 2012. Enjoy!

Marcus

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1/ Review: The work of Robyn Hosking, AT_SALON at Anita Traverso Gallery, Richmond

6th March – 24th March 2012

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Robyn Hosking
The Wing Walker
2011
Mixed media

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Robyn Hosking
The Wing Walker (detail)
2011
Mixed media

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… My favourite has to be The Wing Walker (2011) as an irate Julia Gillard tries to get rid of Kevin Rudd once and for all, even poking him with a stick to push him off the edge of the biplane. Balanced on a slowly revolving turntable with the world at its centre, this political merry-go round is panacea for the soul for people sick of politicians. This is brilliant political satire. The planes are all ends up and even when Julia thinks she has got rid of Kevin there he is, hanging on for dear life from the undercarriage of one of the planes…

Reminding me of the fantasy creatures of Tom Moore, these whimsical manifestations deal with serious, life changing and challenging issues with purpose, feeling and a wicked sense of humour. I really enjoyed this art (and joy is the correct word) because it takes real world issues, melds fantasy and pointed observation and reflects it back, as the artist observes, in a funfair’s distorted mirror. Magic!

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2/ Review: Martin Parr: In Focus at Niagara Galleries, Richmond, Melbourne

Exhibition dates: 6th March – 31st March 2012

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This is a fine exhibition of the work of celebrated English photographer Martin Parr at Niagara Galleries, Richmond, albeit with one proviso. The mainly large colour prints are handsomely displayed in plain white frames within the gallery space and are taken from his well known series: Last Resort, Luxury, New British and British Food. Parr’s work is at its best when he concentrates on the volume of space within the image plane and the details that emerge from such a concentrated visualisation – whether it be the tension points within the image, assemblage of colour, incongruity of dress, messiness of childhood or philistine nature of luxury.

And so it goes. The dirt under the fingernails of the child eating a doughnut, the lurid colours of the popsicle and jacket of the kid with dribble on his face, all fantastic… They are joyous paeans to the quirky, incongruous worlds in which we live and circulate. They evidence life itself in all its orthogonal absurdity.

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Martin Parr
England. New Brighton.
From the series Last Resort
1983 – 1985
Pigment print
Edition of 5
102 x 127 cm
Image courtesy of the artist and Niagara Galleries, Melbourne

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Martin Parr
England. New Brighton.
From the series Last Resort
1983 – 1985
Pigment print
Edition of 5
102 x 127 cm
Image courtesy of the artist and Niagara Galleries, Melbourne

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3/ Review: Tourist #5: Disappearing Project 1 – 41 by Nicola Loder at Helen Gory Galerie, Prahran, Melbourne

Exhibition dates: 14th March – 7th April 2012

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I have always loved the work of Nicola Loder ever since I saw her solo exhibition Child 1-175: A Nostalgia for the Present at Stop 22 Gallery in St Kilda in 1996. This exhibition is no exception. Loder is the consummate professional, her work is as imaginative and intriguing as ever and there has been a consistent thematic development of ideas within her work over a long period of time. These ideas relate to the nature of seeing and being seen, the mapping of identity and the process of its (dis)appearance…

Loder’s exquisitely sensuous description of disappearance allows us to see the phenomenal word afresh. I look forward with a sense of anticipation to the next voyage of discovery the artist will take me on.

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Tourist #5: Disappearing Project 1 – 41 by Nicola Loder, installation photograph at Helen Gorie Galerie

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Nicola Loder
Tourist #5: Disappearing Project 1-41 (no 11)
2012
Polyester thread, muslin
86 x 69cm

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4/ Review: Jane Brown / Australian Gothic at Edmund Pearce Gallery, Melbourne

Exhibition dates: 25th April – 12th May 2012

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Jane Brown
Big Trout, New South Wales
2010
Museo silver rag print
59 x 46 cm

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Jane Brown
Adelong, New South Wales
2011
Fibre based, silver gelatin print
16.5 x 20.5 cm

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This is a good exhibition of small, darkly hewn, traditionally printed silver gelatin photographs, beautifully hung in the small gallery at Edmund Pearce and lit in the requisite, ambient manner. There are some outstanding photographs in the exhibition. The strongest works are the surrealist tinged, film noir-ish mise-en-scènes, the ones that emphasise the metaphorical darkness of the elements gathered upon the stage. Photographs such as Big TroutThe Female Factory, Adelong, New South Wales and Captain’s Flat Hotel, New South Wales really invoke a feeling of unhomely (or unheimlich), where nature is out of kilter. These images unsettle our idea of Oztraliana, our perceived sense of Self and our place in the world. They disrupt normal transmission; they transmutate the seen environment, transforming appearance, nature and form.

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5/ Review: Jacqui Stockdale: The Quiet Wild at Helen Gory Galerie, Melbourne

Exhibition dates: 18th April – 19th May 2012

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Jacqui Stockdale
Rama-Jaara the Royal Shepherdess
2012
Type C Print
100 x 78cm

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Jacqui Stockdale
Lagunta Man, Leeawuleena
2012
Type C Print
100 x 78cm

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These are incredibly humorous, magical and symbolic photographs. A thought came into my mind when I was in the gallery surrounded by the work: for me they represented a vision of the Major Arcana of the Tarot (for example Jaguar Hombre could be seen as an inverted version of the Hanged Man with his foot in a figure four, the Hanged Man symbolising the need to just be in the world, yielding his mind and body to the Universal flow). The Major Arcana deal with the human condition, each card representing the joys and sorrows every man and woman can experience in a lifetime. In a way Stockdale offers us her own set of subversive Major Arcana, images that transgress the boundaries of the colonial vernacular, offering the viewer a chance to explore the heart of the quiet wild.

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6/ Review: Littoral by Kristian Laemmle-Ruff at Colour Factory Gallery, Fitzroy

Exhibition dates: 4th May – 26th May 2012

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It was such a joy then to walk around the corner from the CCP to the Colour Factory Gallery and view the exhibition Littoral by emerging artist Kristian Laemmle-Ruff. This is one of the best, if not the best, “photography” exhibition I have seen so far this year. As soon as you walk into the simple, elegant gallery you are surrounded by fourteen large scale horizontal photographs that are suffused with colour variations bouncing across the gallery – here a blue, there a green, now a lush orange palette. The effect is much like Monet’s waterlilies at the Musée de l’Orangerie in Paris; seated in the middle of the four curved paintings you are surrounded by large daubs of paint of various hues that have an elemental effect – resonances of earth, air, water, fire – on the viewer. The same affection of colour and space can be found in Laemmle-Ruff’s photographs.

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Kristian Laemmle-Ruff
Olympic Stadium
2012
Type C print
100cm x 67cm

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Kristian Laemmle-Ruff
Truck in Safi
2010
Type C print
100cm x 67cm

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7/ Review: Lost & Found: Family Photos Swept away by the 3.11 East Japan Tsunami at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 1st June – 15th July 2012

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What we are left with in these images are vestiges of presence, remnants or traces of people that have passed on. In a kind of divine intervention, these photographs ask the viewer questions about the one fact that we cannot avoid in our lives, our own mortality, and what remains after we pass on. We can never know these people and places, just as we can never know the place and time of our death – when our “time” is up – but these photographs awaken in us a subconscious remembering: that we may be found (in life), then lost (through death), then found again in the gaze of the viewer looking at the photographs in the future present. We are (dis)continuous beings.

There is no one single reading of these photographs for “there are only competing narratives and interpretations of a world that cannot be wholly, accurately described.” These indescribable photographs impinge on our consciousness calling on us to remember even as the speed of contemporary life asks us to forget. This ethical act of looking, of mourning and remembering, of paying homage to presence acknowledges that we choose not to let pass into the dark night of the soul these traces of our forebears, for each emanation is deeply embedded within individual and cultural memory.

These photographs are a contemporary form of Western ‘dreaming’ in which we feel a link to the collective human experience. In this reification, we bear witness to the (re)assemblance of life, the abstract made (subconsciously) concrete, as material thing. These images of absent presence certainly reached out and touched my soul. Vividly, I choose to remember rather than to forget.

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8/ Review: Berlinde De Bruyckere: We are all Flesh at the Australian Centre for Contemporary Art (ACCA), Melbourne

Exhibition dates: 2nd June – 29th July 2012

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The main work We Are All Flesh (2012) reminded me of a version of the game The Hanged Man (you know, the one where you have to guess the letters of a word and if you don’t get the letter, the scaffold and the hanged man are drawn). The larger of the two hanging pieces featured two horse skins of different colours intertwined like a ying yang paux de deux. Psychologically the energy was very heavy. The use of straps to suspend the horses was inspired. Memories of Rembrandt’s The Anatomy Lesson of Dr. Nicolaes Tulp and The Godfather rose to the surface. My favourite piece was 019 (2007). Elegant in its simplicity this beautiful display case from a museum was dismantled and shipped over to Australia in parts and then reassembled here. The figurative pieces of wood, made of wax, seemed like bodies drained of blood displayed as specimens. The blankets underneath added an element of comfort. The whole piece was restrained and beautifully balanced. Joseph Beuys would have been very proud.

The “visceral gothic” contained in the exhibition was very evident. I liked the artist’s trembling and shuddering. Her narratives aroused a frisson, a moment of intense danger and excitement, the sudden terror of the risen animal

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Berlinde De Bruyckere
We Are All Flesh
2012
Treated horse skin, epoxy, iron armature
280 x 160 x 100 cm
Courtesy the artist, Hauser & Wirth and Galleria Continua

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Berlinde De Bruyckere
019
2007
Wax, epoxy, metal, glass, wood, blankets
293.5 x 517 x 77.5 cm
Private Collection, Paris

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9/ Review: Light Works at NGV International, Melbourne

Exhibition dates: 23rd March – 16th September 2012

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This is an intimate and stimulating photographic exhibition at the NGV International featuring the work of artists Mike and Doug Starn, David Stephenson, Hiroshi Sugimoto, Bill Henson, Adam Fuss, Simone Douglas, Park Hong-Chun, Eugenia Raskopoulos, Sam Shmith, Christoph Dahlhausen and Patrick Bailly-Maitre-Grand. It is fantastic to see an exhibition of solely contemporary photographs at the National Gallery of Victoria taken from their collection (with nary a vintage silver gelatin photograph in sight!), one which examines the orchestration of light from which all photography emanates – used by different photographers in the creation, and there is the key word, of their work. Collectively, the works seem to ooze a mysterious inner light, a facing towards the transcendent divine – both comforting, astonishing and terrifying in part measure.

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Hiroshi Sugimoto
Japanese 1948-, worked in United States 1972-
Winnetka Drive-In, Paramount
1993
Gelatin silver photograph
42.3 x 54.1 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the Bowness Family Fund for Contemporary Photography, 2009
© Hiroshi Sugimoto, courtesy The Pace Gallery, New York

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Mike Starn
American 1961-
Doug Starn
American 1961-
Sol Invictus
1992
Orthographic film, silicon, pipe clamps, steel and adhesive tape
175.0 x 200.0 x 35.0 cm
National Gallery of Victoria, Melbourne
Purchased with funds donated by the National Gallery Women’s Association, 1994
© Doug Starn, Mike Starn/ARS, New York. Licensed by VISCOPY, Sydney

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10/ Review: Gregory Crewdson: In A Lonely Place at the Centre for Contemporary Photography (CCP), Fitzroy, Melbourne

Exhibition dates: 28th September – 11th November 2012

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In his visual mosaics Crewdson engages our relationship with time and space to challenge the trace of experience. His tableaux act as a kind of threshold or hinge of experience – between interior and exterior, viewer and photograph. His photographs are a form of monism in which two forces (interior / exterior) try to absorb each other but ultimately lead to a state of equilibrium. It is through this “play” that the context of the photographs and their relationship to each other and the viewer are “framed.” This device emphasises the aesthetic as much as information and encourages the viewer to think about the relationship between the body, the world of which it is part and the dream-reason of time. This intertextual (n)framing (n meaning unspecified number in mathematics) encourages the viewer to explore the inbetween spaces in the non-narrative / meta-narrative,”and by leaps (intuitive leaps, poetic leaps, leaps of faith)” encourage escapism in the imagination of the viewer. It is up to us as viewers to seek the multiple, disparate significances of what is concealed in each photograph as “felt knowledge” (Walter Benjamin), recalling to mind the sensory data placed before our eyes, something that can be experienced but cannot be explained by man: “the single moment of the present amidst the transience of life and searching for some kind of eternal truth.”

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Installation photograph of the series Beneath the Roses from the exhibition Gregory Crewdson: In a Lonely Place at the Centre for Contemporary Photography (CCP), Melbourne

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© Gregory Crewdson. Courtesy Gagosian Gallery

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11/ Exhibition: Janina Green: Ikea at Edmund Pearce Gallery, Melbourne

Exhibition dates: 28th November 28 – 15th December 2012

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Installation photograph of 'Ikea' by Janina Green at Edmund Pearce Gallery, Melbourne

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Installation photograph of Ikea by Janina Green at Edmund Pearce Gallery, Melbourne

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Janina Green. 'Orange vase' 1990 reprinted 2012

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Janina Green
Orange vase
1990 reprinted 2012
Silver gelatin print on fibre based paper, handtinted with orange photo dye
85 x 70 cm

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Fable = invent (an incident, person, or story)

Simulacrum = pretends to be a faithful copy, but it is a copy with no original

Performativity = power of discourse, politicization of abjection, ritual of being

Body / identity / desire = imperfection, fluidity, domesticity, transgression, transcendence

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Intimate, conceptually robust and aesthetically sensitive.
The association of the images was emotionally overwhelming.
An absolute gem. One of the highlights of the year.

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13
May
12

Review: ‘Jacqui Stockdale: The Quiet Wild’ at Helen Gory Galerie, Melbourne

Exhibition dates: 18th April – 19th May 2012

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After a slow start to the season there has be a veritable feast of excellent photography exhibitions in Melbourne over the last month or so, including John Gollings and Jane Brown at Edmund Pearce Gallery, the Fred Kruger and Light Works exhibitions (at NGVA and NGVI respectively), Littoral by Kristian Laemmle-Ruff at Colour Factory (the next local review after this one) and this exhibition, The Quiet Wild by Jacqui Stockdale at Helen Gory Galerie.

This is a very strong exhibition by Jacqui Stockdale, the metre tall colour prints (printed by the Colour Factory) displaying magnificently in the large gallery at Helen Gory. The photographs remind me of a perverse take on the ethnographic Cartes de visite that were produced during the colonial Victorian era in Australia, images of native peoples taken in studios with painted backdrops together with their cultural artefacts (which, coincidentally, can be seen in great detail and sadness in the Fred Kruger exhibition at NGVA). Drawing on personal places and stories, Mexican carnival and wrestlers masks, Indian masks, Aboriginal names and locations, Velasquez’s Las Meninas, the ghost of Frida Kahlo, rituals, gods (such as Rama) and deities, Australian scenery, performance (the process of painting the models and the outcome of this interaction), Stockdale creates a wonderful melange of archetypal characters that subvert traditional identities and narratives. Her creations “shape-shift” and frustrate attempts at categorization and assimilation.

Stockdale’s performative tactics and multiple modes of address, her polyvocal subject if you like, may be said to be an effect of textuality: “a conscious recognition and pursuit of an altogether different set of values and historical and cultural trajectories.”1 Undeniably this performative act (this “ritual spectacle”2) has links to the Bakhtin’s idea of the carnivalesque and the carnival paradigm, which accords to certain patterns of play. Stockdale inverts cultural stereotypes (which embody elements of fixity, repetition, and ambivalence) located within the realms of the fetish, the scopic, and the Imaginary in order to subvert the collective memory of viewers that have been inscribed with a stereotypical collective vernacular: her work transgresses the fantasy that plays a formative role in colonial exercises of power.3

“Bakhtin likens the carnivalesque in literature to the type of activity that often takes place in the carnivals of popular culture. In the carnival… social hierarchies of everyday life – their solemnities and pieties and etiquettes, as well as all ready-made truths – are profaned and overturned by normally suppressed voices and energies. Thus, fools become wise, kings become beggars; opposites are mingled (fact and fantasy, heaven and hell).”4

In Stockdale’s world, a “world upside-down” (quite appropriate for Australia), “Each new identity is one of inversion; man becomes woman, child becomes adult, animals transform into humans and vice-versa.” Another example of this inversion can be seen in the “branding” of her photographs. In colonial Cartes de visite the sitter is, more often than not, unknown – unless it is an important person. It is the photographer’s name which is printed on the front and back of the card. In these photographs the photographers name is an illegible signature at bottom left, while the title of the person in the photograph is stamped into the work at bottom right. Here Stockdale again inverts traditional textual readings, the titles of her “photographic portraits that embody a world of mystical characters in masquerade” indecipherable to the uninitiated: a coded language of identity and place – Lagunta ManEl Gato, Les Jumeaux, Dogboy of Gondwanan, Infanta Shamanta and Rama Jaara, The Royal Shepherdess. ‘Lagunta’ is Aboriginal for Tasmanian Tiger and ‘Leeawuleena’ for the land around Cradle Mountain. ‘El Gato’ is the cat, ‘Jaara’ being the Aboriginal name for the Long Gully region and ‘Gondwanan’ the name for the southernmost of two supercontinents (the other being Laurasia) before the world split apart into the structure that we known today.

These are incredibly humorous, magical and symbolic photographs. A thought came into my mind when I was in the gallery surrounded by the work: for me they represented a vision of the Major Arcana of the Tarot (for example Jaguar Hombre could be seen as an inverted version of the Hanged Man with his foot in a figure four, the Hanged Man symbolising the need to just be in the world, yielding his mind and body to the Universal flow). The Major Arcana deal with the human condition, each card representing the joys and sorrows every man and woman can experience in a lifetime. In a way Stockdale offers us her own set of subversive Major Arcana, images that transgress the boundaries of the colonial vernacular, offering the viewer a chance to explore the heart of the quiet wild.

Dr Marcus Bunyan for the Art Blart blog

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Many thankx to Helen Gory Galerie for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

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Jacqui Stockdale
Rama-Jaara the Royal Shepherdess
2012
Type C Print
100 x 78cm

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Jacqui Stockdale
Les Jumeaux
2012
Type C Print
100 x 78cm

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“In this modern world of distractions there is a wild nature that stirs inside of us. A desire for transcendence, to become someone else, dance part naked and chant our lost songs so that they can be heard above the sounds of cities and mobile ring tones. 

The Quiet Wild is a series of photographic portraits that embodies a world of mystical characters in masquerade set against hand-painted landscapes. The portraits playfully mimic the genre of exotic postcards and historical paintings where a fanciful subject is formally positioned within a make-believe landscape. The hand-painted settings in my photographs feature Australian scenery from places around Australia that have meaning to me including my mother’s property in Bendigo, the Melbourne Botanical Gardens and Lake Saint Claire in Tasmania.

I paint the models bodies and combine costumes and props including my own collection of rare masks originally used in dances of Mexican Carnival. This new work responds to established portrayals of human identity and masquerade informed by my research into different aspects of folk Carnivals where the masquerades are a fusion of clandestine voodoo, ancestral memory and personal revelation ritual and performance. Performance also plays a part in my photographic process where I interact with the models and allow the process to greatly determine the outcome. Each new identity is one of inversion; man becomes woman, child becomes adult, animals transform into humans and vice-versa.

The difference between painting the human subject and taking their portrait with a camera it is that during a photo shoot there is more of an element of performance. The subject, over a period of many hours often becomes a new character, extending a side of them that is not prevalent in daily life or invents a new identity. This is brought about by what I dress them in and how I direct them, provoking certain ideas, strengths about an animal power or super natural deity. I begin with an idea of character and a selection of costumes and them work intuitively as though in the dark or with eyes part open. I rarely end up with what I first imagined and revel in the surprise or discovery of a combined effort.

The inspiration for this series of work has come from a unique, rich and beautiful form of human expression that is found in the ritual side of folk art in the cultures around the world but mostly in Mexico. The traditional dances of Mexican Carnival provide an opportunity to revive the primeval gods from the depths of our communal memory, since dance constitutes our remotest language and most primitive sacred offering. The masks I have used in this series are from these types of ritual dance. They are recontextualised and worn in the works Lagunta Man and El Gato, Les Jumeaux, Dogboy of Gonwanan, Infanta Shamanta and Carnival of the Night. Other influences come from images of Exotic Postcards, regarding the formal presentation of the models, the constructed settings and the borders and way of labeling the image. Luchadora Botanica was influenced by a Goya Painting, Negro Returno – I wanted to bring one of my recent collages to life, See ‘to return’.

What I have done is imagined my own family as part ritualistic characters, setting in them in a landscape that I have visited.”

Artist statement by Jacqui Stockdale 2012

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Jacqui Stockdale
Jaguar Hombre
2012
Type C Print
100 x 78cm

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Jacqui Stockdale
Lagunta Man, Leeawuleena
2012
Type C Print
100 x 78cm

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“The ghost of Frida Kahlo is a haunting one that permeates many artists consciousness bringing with it not just a tragic story but intoxicating aromas of Mexican exotic, masks, Voo-Doo, bloody Mayan rituals and Catholicism gone troppo.

This is clearly evidenced in Jacqui Stockdale’s latest exhibition at Helen Gory Galerie in works such as Negro-Returno, Long Gully. The white lacy heart-shaped overlay of ghostly trees conceals a part-portrait of Frida here depicted in front of Long Gully Bendigo, the Stockdale property, after the Black Saturday bush fire three years ago. This haunting shadowy backdrop appears again in Rama Jaara, The Royal Shepherdess, ‘Jaara’ being the Aboriginal name for the Long Gully region. It is a personal aside of something that obviously touched this artist deeply, one to which she has bought her troupe of tableau vivant players to. Here, a Mauritian girl called Mimi, standing at attention, arms akimbo, dressed in remnants of regal colonial attire. The pose reminiscent of that of the Infanta Margarita in Velasquez’s Las Meninas. The dog has moved from bottom right to bottom left, here a small spotted Chinese Joss paper effigy made for the journey to the afterlife, rather than a great bounding Spanish mastiff. Our young self-possessed Mimi stares directly out of the picture space not as an Infanta, but as one of nature’s children, a shepherdess, her hairstyle resembling a ram’s head, informing that part of the title, ‘Rama’ a play on words.

Both the artists brothers are also players in this tableau: the younger as Lagunta Man, Leeawuleena and the artist’s twin as El Gato, van Diemonia. ‘Lagunta’ is Aboriginal for Tasmanian Tiger and ‘Leeawuleena’ for the land around Cradle Mountain. ‘El Gato’ is the cat, and both carrying a filmic reference to the recent movie The Hunter, filmed around Cradle Mt in Northern Tasmania. While the compositional phrasing has more than a nostalgic whiff of 19th century still studio photography, seen here such staged manners marry well to popular cinematic culture.

As this exhibition unfolds certain characterising concerns appear and reappear. Decapitation, and cross-cultural iconography make this a lavish art dining at the high table of pictorial fusion cuisine. Mexican masks, Joss paper, skulls, rites of passage tit-bits mix it with popular culture on the shag pile to produce a totally new hybrid. Folk memories merge with diaristic experiences, found objects flirt with finely painted trompe-oeil effects in an almost self-regulating metamorphosis.

In this Stockdale becomes a sort of gatekeeper, a ring master choreographer who will both mystify and amaze you with her family carnivale. Picture by picture, costume by costume, the staged imagined and the real, combine into a most fascinating enticement I find impossible to resist.”

Catalogue essay by Jeff Makin, 2012

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Jacqui Stockdale
Dogboy of Gondwanan
2012
Type C Print
100 x 78cm

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Jacqui Stockdale
Negro Returno, Long Gully
2012
Type C Print
100 x 78cm

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Jacqui Stockdale
Luchadora Botanica
2012
Type C Print
100 x 78cm

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1. Fisher, Jean. “Witness for the Prosecution: The Writings of Coco Fusco,” in Fusco, Coco. The Bodies That Were Not Ours. London: Routledge, 2001, pp. 227 – 228.

2. Bakhtin, Mikhail. Rabelais and His World (trans. Helene Iswolsky). Cambridge: MIT Press, 1968, p.5.

3. “According to Bhabha, stereotypes are located within the realms of the fetish, the scopic, and the Imaginary. He suggests that fantasy plays a formative role in colonial exercises of power. Bhabha describes the mechanism of cultural stereotypes as embodying elements of fixity, repetition, fantasy, and ambivalence, and suggests that if certain types of images are constantly presented in a range of different contexts, they will become imprinted onto the collective memory of viewers and inscribed within a collective vernacular.”

Vercoe, Caroline. “Agency and Ambivalence: A Reading of Works by Coco Fusco,” in Fusco, Coco. The Bodies That Were Not Ours. London: Routledge, 2001, p.240.

4. Anon. “Carnivalesque,” on Wikipedia. [Online] Cited 13/05/2012. en.wikipedia.org/wiki/Carnivalesque

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Helen Gory Galerie
25 St Edmonds Rd
Prahran VIC 3181
T: +61 3 9525 2808

Opening hours:
Wed – Sat 11am – 5pm

Helen Gory Galerie website

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His work explores the boundaries of identity and place. He writes the Art Blart blog which reviews exhibitions in Melbourne, Australia and posts exhibitions from around the world. He has a Dr of Philosophy from RMIT University, Melbourne and is currently studying a Master of Art Curatorship at The University of Melbourne.

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