Thomas, Mandy (2003) <abstractions>. [Exhibition/Event]

[img] Supplemental Material (PDF 43kB)
Administrators only | Request a copy from author
[img] Promotional Material (PDF 1MB)
Administrators only | Request a copy from author

View at publisher


Strange encounters, mobility, evocative textures, cultural connections, stories, water, land, travel, discontinuity - the overriding sense of the <abstractions> exhibition and workshops was that they were a meditation on, and a reconfiguration of the concept of home and belonging. Home and groundedness are never unproblematic, never simply a refuge from the world beyond, but can be disconcerting and disorienting. In this way I viewed being involved in the exhibition as an experience of being unsettled, of myself reflecting on unhomeliness. For me this was partly because curation is a novel disciplinary detour but also because the artists' voices, their involvement in the workshops and their compelling works made it imperative for us all to intersect our work and ideas, but without a set itinerary. Being a curator or artist in <abstractions> was always a collective, mutual, shared event, but clearly not in a claustrophobic communal sense of agreement and consensus. Rather, the events were slightly anxious, uncertain moments which flowed with some lack of fluency, dislocation and apprehension. The result was an exhibition in which diverse visual vocabularies destabilised and questioned the very grounds of belonging beyond the terms I had imagined when we started out. We were all asked to bring down certain borders, to enter a world of flux. It felt simultaneously enthralling and disconcerting.

Impact and interest:

Citation counts are sourced monthly from Scopus and Web of Science® citation databases.

These databases contain citations from different subsets of available publications and different time periods and thus the citation count from each is usually different. Some works are not in either database and no count is displayed. Scopus includes citations from articles published in 1996 onwards, and Web of Science® generally from 1980 onwards.

Citations counts from the Google Scholar™ indexing service can be viewed at the linked Google Scholar™ search.

ID Code: 63456
Item Type: Creative Work (Exhibition/Event)
Refereed: No
Additional Information: "This exhibition explores the idea of abstraction in art in varying contexts, including cross-culturally. Art emerging from varied cultural backgrounds and times, created for widely varying purposes, and motivated by a range of personal intentions and understandings may resemble modernist abstraction. How meaningful are these similarities in form or manner? Or to ask a slightly different question, what do these similarities mean? What do they indicate about the practice of art? What are the intentions of the artists? Such confluences may be coincidental, serendipitous, imitative, ironically imitative, conscious, unconscious, politically motivated, meaningful, meaningless. Whatever the artist's intent, the audience for the images will also bring their own kaleidoscope of understandings, knowledge of art traditions, personal wishes, imaginings, psychologies and contemporary political climate to seeing the art. Modernist abstraction may have provided, for example, a context for the apprehension and consumption of Aboriginal art in some contexts, but as Howard Morphy and Nigel Lendon point out, some curators now suggest that the complexity of meaning conveyed by a simplicity of form found in some Aboriginal art has 'actually helped people come to terms with Western abstraction.'[11] If all art involves abstraction, then cross-culturally, or across time and the art practice of individual artists, there are multiple 'abstractions'. This exhibition invited people to consider these varied meanings of abstraction by collecting together the work of eight artists, each with their own connection with abstraction. Beyond these varied and individual expressions, however, the exhibition asked the broader question 'is there a wider (or generalisable) concept of Abstraction as it might apply to a diverse range of artistic practices cross-culturally.'"
Other Contributors:
Role Contributors
  • Savanhdary Vongpoothorn
Funders: Australian National University
Material: Acrylic (or and Paper) on Canvas
Measurements or Duration: 3 x (165 x 95 cm) and 4 x (60 x 60 cm)
Number of Pieces: 45
Published Source: Brochure and Website
Publisher: Australian National University
Location: From date: To date:
Drill Hall Gallery, Australian National University 2003-10-02 2003-11-09
http://www.anu.edu.au/culture/abstractions/index.htm 2005
Additional URLs:
Keywords: Savanhdary Vongpoothorn, Abstractions, Exhibition, Curation, Cross-Cultural Interaction
Subjects: Australian and New Zealand Standard Research Classification > STUDIES IN CREATIVE ARTS AND WRITING (190000) > VISUAL ARTS AND CRAFTS (190500)
Australian and New Zealand Standard Research Classification > LANGUAGES COMMUNICATION AND CULTURE (200000) > CULTURAL STUDIES (200200)
Divisions: Current > QUT Faculties and Divisions > Creative Industries Faculty
Copyright Statement:

Copyright on all the works of art shown belongs to the relevant artists, and/or their family and communities. Copyright of photographic images is held by individual photographers and institutions as named or the Centre for Cross-Cultural Research, ANU. Copyright for text is held by individual authors or the Centre for Cross-Cultural Research, ANU. Every attempt has been made to locate the holders of copyright and reproduction rights of all images reproduced on the website. The Centre for Cross-Cultural Research thanks the individuals, communities and institutions who gave permission to reproduce works.

Requests and inquiries concerning reproduction and rights should be addressed to the Centre for Cross-Cultural Research, Australian National University.

Deposited On: 18 Oct 2013 00:36
Last Modified: 18 Oct 2013 00:36

Export: EndNote | Dublin Core | BibTeX

Repository Staff Only: item control page