Power Institute of Fine Arts – förlag

The final work by the author before his death in 1992, Chaosmosis is a radical and challenging work concerned with the reinvention and resingularization of subjectivity. It attempts to embody affective change, the short-circuiting of signification and the proliferation of sense necessary to engage with non-discursive, artistic, poetic and pathic intensities. It includes critical reflections on Lacanian psychoanalysis, structuralism, information theory, postmodernism, and the thought of Heidegger, Bakhtin, Barthes, and others.

Long before virtual reality captured the imagination, holography provided artists with a new, challenging, three-dimensional medium. Its very immateriality demanded that artists approach its illusions in unforeseen and inventive ways. Apparition provides the first detailed study of holographic art in Australia, of the artists producing it and the scientific institutions assisting them. It includes examinations of the work of Paula Dawson, Alexander, and Margaret Benyon and of the institutional collaborations developed by artists such as George Gittoes and David Warren. The book also provides an important historical survey of this advanced-technology art and canvasses the theoretical, perceptual and philosophical issues posed by the hyperreality of the holographic medium.

As the Modernist dream of a world purged of archaic decor and ornamentation recedes we should remember that the diet of a raw, umediated universe has always unsettled Homo Sapiens. This books looks at some of these mediations: How do we transform the stuff of the world and impart it with familiarity? How do pets come to be invested with pleasing form? How did provocative woman? And why is oil paint the ultimate "plastic" material, capable of mimicking everything under the sun - and a few other things besides? Taking its inspiration from Gaston Bachelard's idea of a material imagination, this book looks beyond the labour that ensures physical survival to the elaboration of the world into forms that accommodate our collective desires.

A Singular Voice brings together essays by the controversial and popular Australian art and architecture scholar, Joan Kerr, that have appeared over the past 30 years. The Joan Kerr story is as much a history of changing attitudes to Australian art and architecture as it is a record of the remarkable academic career of a woman distinguished by her open mind, her infectious enthusiasm for everything from colonial architecture to contemporary Aboriginal art, and her generosity to her peers.From the ancient remains of a dinosaur in an outback museum display to the importance of art in our everyday lives, Joan Kerr always had an interesting and different point of view. Whether she wrote about 19th-century Tasmanian painting, the architecture of imprisonment, or the forgotten and marginalized of Australian art, her writing crackles with energy. Her voice was unlike any other--a singular voice.A Singular Voice is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Getty Foundation, the Gordon Darling Foundation, and the Nelson Meers Foundation.

This is the first anthology to chronicle the global critical reception of Aboriginal art since the early 1980s, when the art world began to understand it as contemporary art. Featuring 96 authors--including art critics and historians, curators, art center co-ordinators and managers, artists, anthropologists, sociologists, philosophers and novelists--it conveys a diversity of thinking and approaches. Together with editor Ian McLean's substantial introductory essay and epilogue, the anthology argues for a reevaluation of Aboriginal art's critical intervention into contemporary art since its seduction of the art world a quarter-century ago.Ian McLean is a well-known commentator on Aboriginal and non-Aboriginal Australian art and the intersection of Indigenous and settler cultures. He is the author of The Art of Gordon Bennett and White Aborigines: Identity Politics in Australian Art. He is a member of the Advisory Council of Third Text, and professor of Australian art history at the University of Wollongong.How Aborigines Invented the Idea of Contemporary Art: Writings on Aboriginal Contemporary Art is part of the four-book series Australian Studies in Art and Art Theory and is published with the assistance of the Getty Foundation and the Nelson Meers Foundation.