Helen Johnson

Painting More Painting

Comprehensive publication to accompany the exhibition Painting. More Painting, at ACCA, 30 July–28 August 2016
and 2–25 September 2016. Featuring essays by Hannah Mathews, Quentin Sprague, Justin Paton and Jan Bryant; short, biographical texts on the seventy-nine participating artists; and documentation of all works in the exhibition printed in full colour, the catalogue offers analysis and insight into the depth and breadth of contemporary Australian painting.

Curated by Max Delany, Annika Kristensen and Hannah Mathews, Painting. More Painting was presented at the Australian Centre for Contemporary Art, Melbourne in two chapters: 30 July–28 August and 2–25 September 2016. Each chapter was structured around a series of solo presentations (including Abdul Abdullah, Vivienne Binns, Ry David Bradley, Stephen Bram, Helen Johnson, Lisa Radford, Nyapanyapa Yunupingu, Teresa Baker, Angela Brennan, Mitch Cairns, Diena Georgetti, Matthys Gerber, David Jolly, Karl Wiebke) alongside an expansive panoramic group exhibition set within a dynamic mural-scaled wall painting by Sam Songailo. The solo presentations offer a focused consideration of the practices of fourteen Australian artists – seven in each chapter – demonstrating a range of distinctive positions. Alongside, and extending out from, these solo presentations, the panoramic group exhibition in ACCA’s main gallery – arranged alphabetically – presents the work of early, mid and senior-career artists whose work is conceived within the canon of painting and the medium-specificity of painterly discourse.

Reflecting the resurgent activity and critical agency of painting over the past decade, the exhibition Painting. More Painting provides an overview of contemporary Australian painting in a context in which diverse conceptual, polemic and stylistic connections and debates can be drawn between individual approaches across generations.

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Making Worlds: Art and Science Fiction
Amelia Barikin and Helen Hughes (Eds.)

Making Worlds: Art and Science Fiction is an anthology of new texts by artists, curators, art historians and writers who are self-confessed science fiction fans. The linking point is the idea of science fiction as a platform for the building of alternate art histories. This collection is concerned with the ways in which science fiction might be performed, materialised or enacted within a contemporary context.

Edited by Amelia Barikin and Helen Hughes, with contributions by: Adrian Martin, Amelia Barikin, Andrew Frost, Anthony White, Arlo Mountford, Brendan Lee, Charles Green, Chris McAuliffe, Chronox, Damiano Bertoli, Darren Jorgensen, Dylan Martorell, Edward Colless, Helen Hughes, Helen Johnson, Justin Clemens, Lauren Bliss, Matthew Shannon, Nathan Gray, Nick Selenitsch, OSW, Patrick Pound, Philip Brophy, Rex Butler, Ryan Johnston, and Soda_Jerk.

Designed by Brad Haylock.

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Discipline-4-coverDiscipline-4-spread

Discipline No. 4


Edited by Nicholas Croggon, David Homewood, & Helen Hughes; with a guest edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center; and designed by Robert Milne.

Contents

Cover : Gordon Bennett

Editorial by Nicholas Croggon, David Homewood & Helen Hughes

Elizabeth Newman: Abstraction, Simulation, Obscuration by Francis Plagne

Critical Ambiguity: A Kantian Reading of Recent Work by Juan Davila by Helen Johnson

Trans-Pacific: Abstract Painting in Australia, New Zealand and America 1930–1960 by Rex Butler & A.D.S. Donaldson

Object Documentation by David Homewood & Bronté Lambert

The Dispute at the 19th Biennale of Sydney by Michael Ascroft

Illusion in Wendy Paramor’s Triad by Amelia Sully

Ambient Perspective and Endless Art by Nikos Papastergiadis & Amelia Barikin

Figures of the Machine: Richard Tuohy’s Halftone Films by Giles Fielke

Non-Resolution IRL by Danni Zuvela

Interview with Hito Steyerl by Amelia Groom

The Three Bodies of Angus Cerini by Jon Roffe

Encountering a Collection: Fiona Connor’s Wallworks by Kate Warren

What it’s Like to Dance Naked in the Museum and Other Thoughts: Stuart Ringholt’s Kraft (2014) by Liang Luscombe & Patrice Sharkey

Contemporary Art and Contemporaneity: Reflections on Method, Review of Reviews (Part 2) by Terry Smith

The Eternal Return of Irony: Gordon Bennett (1955–2014) by Ian McLean

Clothes by Centre for Style

Back Cover : John Citizen

Guess edited section by Ferdiansyah Thajib, KUNCI Cultural Studies Center (loose booklet in Bahasa and English)

Holopis Kuntul Baris: Karya Seni di Era Kolaborasi yang Tampak Mekanis / Holopis Kuntul Baris: The Work of Art in the Age of Manifestly Mechanical Collab­oration

Pengantar/Introduction by Ferdiansyah Thajib

Kerangka Kolektivitas/Terms of Collectivity by Simon Soon

Wok the Rock & Co.: Memahami Persahabatan dalam Dunia Seni Yogyakarta/Wok the Rock & Co.: Making Sense of Friendship in Yogyakarta’s Art Scene by Nuraini Juliastuti

Punkasila, Kerjasama dan Persahabatan/Punkasila, Cooperation and Friendship by Syafiatudina

Hestu A. Nugroho (Setu Legi)
(artist pages)

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Helen Johnson
Painting is a Critical Form

Within this book, Helen Johnson considers the operations of painting today, proposing means by which painting, as an aesthetic practice, might continue to make a critical address. She describes the book thus, Being a painter in a post-medium specific context does not mean approaching painting as some sort of anachronistic refuge, or thinking that the modernist project of the specific medium can be rehabilitated, or even continue to be flogged. As a site for the production of meaning, painting is a rich field of loadings, neuroses and suggestiveness that can mesh with aesthetic qualities to make a charged conceptual space. Focusing on works by Juan Davila and Martin Kippenberger, this book proposes an extended understanding of how painting can operate aesthetically, grounded in Immanuel Kant’s formulation of aesthetic experience as implicitly connected to critical reflection. Kant’s Critique of Aesthetic Judgement constitutes the basis of a mobilisation of aesthetics for the reading of painting beyond formalism, embracing aesthetic criticality as an open position of refusal, rather than the dogmatic pursuit of a rational conclusion.”

 

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