Papers by Anni Wawrzynczak
Art monthly Australia, Oct 1, 2009
The artistic merits of Pat Hoffie's artworks exhibited in a series of exhibitions titled '... more The artistic merits of Pat Hoffie's artworks exhibited in a series of exhibitions titled 'Fully Exploited Labour', which uses the name of a single work of hers are discussed. A publication of the same title provides details about her work from 1993 to 2008, highlighting her collaboration with Asian craftsmen in creating works such as 'No such thing as a level playing field' (1994) and 'Hero Walk II: I Croak/You Croak (I stuff/you are stuffed' (1994).
Art is a Scheherazade job that goes night after night after night. The same anew. The main thing ... more Art is a Scheherazade job that goes night after night after night. The same anew. The main thing is … don't get involved with any of this if you can think of one other thing that, in your heart, you believe is a better thing to do with your life. If you can think of another life; a lawyer, nun, brain surgeon, jet pilot, do that thing and don't get involved. Don't do it, not just because the profession is over determined but because, if you go to it as a second choice, it is going to show in your work. Your work will be second rate and you will clutter up the place with overly managed bad art. Don't do it because you want 'to express yourself '. Don't do it because you want a career. Don't do it because you feel art needs you. Don't do it if you don't need art. 1 This excerpt from Noel Sheridan's essay 'Yes Tasmania', in Chameleon: a decade (1983-1993) speaks of the compulsion that, from the beginning of the 1970s, drove small groups of artists and like-minded individuals to begin setting up alternative spaces. These spaces were for artists who, excluded by various art institutions because their youth and use of media such as prints, posters, photocopies and new media precluded serious collecting, were compelled to make and show work that was socially 8 Alison Alder, speech at the opening of Megalo Access Arts' new premises at the former Hackett
Art monthly Australia, May 1, 2013
From the early 1970s, small groups of artists and likeminded individuals, excluded by the institu... more From the early 1970s, small groups of artists and likeminded individuals, excluded by the institutions, became compelled to make and show work that was socially and politically relevant, on their own terms, in self-run alternative spaces. By 1980, this compulsive ethos had reached Australia's national capital, Canberra.
How Local Art Made Australia’s National Capital, 2020
1 'The formalized study of curating first properly emerged at the Ècole du Magasin in Grenoble, F... more 1 'The formalized study of curating first properly emerged at the Ècole du Magasin in Grenoble, France, in 1987 with a 10-month course dedicated to curatorship. This was followed by a permanent two-year Master's degree course at the Royal College of Art in London in 1992. These programs recognized the importance of curatorship and heralded a new place for the curator-emphasizing the position's essential responsibility in the creation of an exhibition or display' (Alice Pfeiffer, 'Delving into the art of curating: as job enjoys a star turn, several new degrees offer "a passport for life"',
Declaration of Originality I, ………………………………………………….……. [sign and date] hereby declare that the the... more Declaration of Originality I, ………………………………………………….……. [sign and date] hereby declare that the thesis here presented is the outcome of the research project undertaken during my candidacy, that I am the sole author unless otherwise indicated, and that I have fully documented the source of ideas, references, quotations and paraphrases attributable to other authors.
In 1961, the National Capital's Development Authority commissioned, from the Australian sculp... more In 1961, the National Capital's Development Authority commissioned, from the Australian sculptor Tom Bass, a totemic civic work designed to articulate a vision of Canberra as a centre of enlightenment and culture. It was, in its way, the promise of a future. How remote this vision must have seemed to the 50,000 residents who inhabited the quiet streets of 1961 Canberra. Fifty years have passed since Bass's winged Ethos took up its position in the city and almost 360,000 residents now call Canberra home. While Territory-wide enlightenment remains a work in progress in many areas, the 1961 cultural vision has manifested with particular vibrancy in the city's visual arts communities.
Art monthly Australia, 2009
The artistic merits of Pat Hoffie's artworks exhibited in a series of exhibitions titled '... more The artistic merits of Pat Hoffie's artworks exhibited in a series of exhibitions titled 'Fully Exploited Labour', which uses the name of a single work of hers are discussed. A publication of the same title provides details about her work from 1993 to 2008, highlighting her collaboration with Asian craftsmen in creating works such as 'No such thing as a level playing field' (1994) and 'Hero Walk II: I Croak/You Croak (I stuff/you are stuffed' (1994).
From the early 1970s, small groups of artists and likeminded individuals, excluded by the institu... more From the early 1970s, small groups of artists and likeminded individuals, excluded by the institutions, became compelled to make and show work that was socially and politically relevant, on their own terms, in self-run alternative spaces. By 1980, this compulsive ethos had reached Australia's national capital, Canberra.
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Papers by Anni Wawrzynczak