Callum Morton

Reinventing The Wheel: The Readymade Century

Publication to accompany the exhibition “Reinventing The Wheel: The Readymade Century”, 3 October – 14 December 2013, Monash University Museum of Art, Victoria, Australia.

Arguably the most influential development in art of the twentieth century, the use of the readymade was set in motion 100 years ago with Marcel Duchamp’s Bicycle Wheel. Giving birth to an entire artistic language, Duchamp’s conversion of an unadorned, everyday object into a figure of high art completely inverted how people considered artistic practice. Suddenly, art was capable of being everywhere and in everything. It was a revolutionary moment in modern art, and the ripples from this epochal shift still resonate today.

Reinventing the Wheel: the Readymade Century pays tribute to this seminal work and traces the subsequent elaboration of neo-dada practices, with a particular focus upon everyday and vernacular contexts; the mysterious and libidinous potential of sculptural objects; institutional critique and nominal modes of artistic value; pop, minimalism and industrial manufacture. These discursive contexts will also provide a foundation to explore more recent tendencies related to unmonumental and social sculpture, post-fordism and other concerns, particularly among contemporary Australian artists.

Bringing together works by over 50 artists – from Duchamp and Man Ray to Andy Warhol and Martin Creed, along with some of Australia’s leading practitioners – this is a one-of-a-kind salute to an idea that continues to define the very nature of contemporary art.

Artists:

Carl Andre, Hany Armanious, Nairy Baghramian, Ian Burn, John Cage, Christo & Jeanne-Claude,  Tony Cragg, Michael Craig-Martin, Martin Creed, Aleks Danko, Julian Dashper, Simon Denny, Marcel Duchamp, Sylvie Fleury, Ceal Floyer, Claire Fontaine, Gilbert & George, Félix González-Torres, Agatha Gothe-Snape, Greatest Hits, Matthew Griffin, Richard Hamilton, David Hammons, Matt Hinkley, Lou Hubbard, Barry Humphries, Jeff Koons, Joseph Kosuth, Louise Lawler, Klara Lidén, Andrew Liversidge, James Lynch, Robert MacPherson, Rob McKenzie, Callum Morton, John Nixon, Meret Oppenheim, Joshua Petherick, Kain Picken, Rosslynd Piggott, Man Ray, Scott Redford, Stuart Ringholt, Peter Saville, Charlie Sofo, Haim Steinbach, Ricky Swallow, Masato Takasaka, Peter Tyndall, Alex Vivian, Danh Vo, Andy Warhol, and Heimo Zobernig.

Curatorial team:
Max Delany (former MUMA director), Charlotte Day, Francis E. Parker, and Patrice Sharkey.With texts by Rex Butler, Charlotte Day, Francis Parker, Patrice Sharkey, and a never before published text by Thierry de Duve.
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Pitch Your Own Tent
Art Projects | Store 5 | 1st Floor

Extensive catalogue produced on the occasion of the exhibition “Pitch Your Own Tent: Art Projects | Store 5 | 1st Floor” curated by Max Delany, at Monash University Museum of Art, 23 June to 27 August 2005.
Featuring essays by Carolyn Barnes, Max Delany, Robyn McKenzie, Tessa Dwyer, Andrew Hurle, Danny Huppatz and Sarah Tutton.

Monash University Museum of Art presents Pitch Your Own Tent: Art Projects | Store 5 | 1st Floor, an exhibition and publication examining the recent history of contemporary Australian art from 1979-2002 through the activities and practices of three influential artist-run spaces: Art Projects, Melbourne 1979-1984, established by John Nixon; Store 5, Melbourne 1989-1993, established by Gary Wilson; 1st Floor, Melbourne 1994-2002, established by David Rosetzky.

The exhibition explores a strong lineage in the recent history of contemporary Australian art; of avant-garde, experimental and innovative practices and discourses developed by communities of artists through independent artist-run exhibition and publishing initiatives.

Each of the three respective artist-run spaces will be represented through one of MUMA’s three galleries, which will provide the opportunity to represent each organisation in context, whilst also allowing a comparison of the ideas, modes of display, and material culture of each respective enterprise. One contention of the exhibition is the degree to which it is artists themselves who are responsible for the interpretation and writing of art history.

One important parameter that has been established within the curatorial framework is to involve only those works of art which were actually presented in the programs of the respective artist-run spaces, thereby invoking the forms, production values and materiality of the respective periods.

The title, Pitch Your Own Tent, makes reference to Gustave Courbet who pitched his own tent in front of the 1855 Exposition Universelle in Paris, to Ti Parks tents (one of which was exhibited at Art Projects and will be included in the exhibition), to Rikrit Taravanija’s tent installed in front of the AGNSW, and to the perpetually provisional and itinerant nature of artist-run spaces generally.

Given that the programs of Art Projects, Store 5 and 1 st Floor were each ambitious, diverse and encompassed exhibition and publishing programs conducted over periods of 5-9 years, the exhibition will inevitably focus upon the principal artists, and selected works which have made influential and/or lasting contributions, or are strongly representative of innovative visual arts culture of the time.

Artists include:
Art Projects – Anti-Music, Tony Clark, Peter Cripps, John Davis, John Dunkley-Smith, Richard Dunn, Robert Jacks, Robert MacPherson, John Nixon, Imants Tillers, Ti Parks, Mike Parr, Peter Tyndall, Ania Walwicz, Jenny Watson.
Store 5 – Stephen Bram, Sandra Bridie, Tony Clark, Bronwyn Clark-Coolee, Marco Fusinato, Diena Georgetti, Melinda Harper, Gail Hastings, Anne-Marie May, John Nixon, Rose Nolan, Kerrie Poliness, Kathy Temin, Gary Wilson, Constanze Zikos.

1st Floor Artists and Writers Space – Amanda Ahmed, Guy Benfield, Kate Beynon, Martine Corompt, Michael Delany, Kate Ellis, Mira Gojak, Eliza Hutchison, Raafat Ishak, Brendan Lee, Andrew McQualter, John Meade, Sean Meilak, Callum Morton, David Noonan, Alex Pittendrigh, David Rosetzky, Jacinta Schreuder, John Spiteri, Lyndal Walker.

Text: Carolyn Barnes, Max Delany, Tessa Dwyer, D.J Huppatz, Andrew Hurle, Robyn McKenzie, Sarah Tutton, edited by Max Delany.

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Discipline No 2
Autumn, 2012

Second issue of Melbourne’s Discipline!

CONTENTS

ESSAYS
Nicholas Croggon & Helen Hughes Editorial
Emanuele Coccia (trans. by Connal Parsley)  End of Love
Amelia Barikin  Time Shrines: Melancholia and Mourning in the Work of Ash Keating
Francis Plagne  Matt Hinkley and the Embedded Mark
Helen Hughes  Aestheticising Architecture / Architecturalising Aesthetics: Callum Morton and Bianca Hester
Timothy Morton  Yukultji Napangati: Occupying Dreaming
Helen Johnson  A Moment An Immeasurable Whole (on Mira Gojak)
David Homewood  RR / SK: Public Exhibition
Steve Salisbury  Kimberley Dinosaur Tracks
Kate Warren  Unstable Realities in Omer Fast’s Five Thousand Feet Is The Best
Adrian Martin  Price Tag
Vivian Ziherl  Recommended Reading: LIP Magazine (1976-1984)
Sarinah Masukor  All The News That’s Fit To Sing: Vernon Ah Kee’s Tall Man
Tim Alves  The Telling Moment Revisited: Vernon Ah Kee’s Tall Man
Nikos Papastergiadis  Can There Be a History of Contemporary Art?
James Parker  Retromania and the Atemporality of Contemporary Pop

GUEST EDITED SECTION – MARIA FUSCO (EDITOR)
Maria Fusco  Editorial: The Human Word is Midway Between the Muteness of Animals and the Silence of God
Nikolaus Gansterer & Moira Roth  The Hand & The Creature
John Berger  Why Look At Animals?
Yve Lomax  A Philosopher, A Cat, A Monkey and Nudity
John Bevis  Mnemonics for Bird Songs and Calls
Nikolaus Gansterer & Moira Roth  The Hand, The Creatures & The Singing Garden

ARTIST PAGES
A Constructed World
Elizabeth Newman
Sandra Selig
Kate Meakin
Rongsolo
Christopher LG Hill
Paul Knight
S.T. Lore

POSTER INSERT
Janet Burchill
Editors: Nick Croggon and Helen Hughes
Guest Editor: Maria Fusco
Design: Annie Wu and Ziga Testen

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