ANZJA Current Issue | Vol 19 Issue 1 2019 | Open Issue
Edited by Ian McLean
Michaela Bear explores the complex production processes, historical precedents and cross-cultural perspectives informing Lisa Reihana’s moving image work in Pursuit of Venus [infected]; Stefan Popescu and Aleksandr Andrews Wansbrough analyse the various media and familial transgressions enacted in Huck Botko’s abject Dessertumentary series; Catherine De Lorenzo situates the art historical importance of Ar_atjara, an exhibition held in Düsseldorf in 1993 of traditional and contemporary Aboriginal and Torre Strait Islander art, predominantly initiated and directed by Aboriginal people; Tara McDowell undertakes a spatial and temporal leap, formally analysing and providing art historical context for John Baldessari’s Punishment Pieces enacted by surrogates in university contexts in 1971 and 2017; Margot Osbourne addresses the financial and social conditions that informed the collection of mid-century British art by Sir Kenneth Clark for the Art Gallery of South Australia; Klem James asserts a paradox at play in the later work of Salvador Dali between sublimation, spirituality and the erotic; Raymond Spiteri employs dissensus as a framework to further elucidate the relationship between surrealism and modernism; plus reviews.
Image: Salvador Dali, ‘Leda Atomica, preparatory drawing from 50 Secrets of Magic Craftsmanship’. New York: Dial Press, 1948. © Salvador Dali, Fundació Gala-Salvador Dali/VEGAP. Copyright Agency, 2019
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