threemovements

By the always amazing Sarah Walker

Fri, 17 May 2013 18:04:51 +1000

By the always amazing Sarah Walker

(via 10 Creative Uses for Old Wood Pallets | RenewPurpose)

Mon, 13 May 2013 19:39:30 +1000

(via 10 Creative Uses for Old Wood Pallets | RenewPurpose)

"I thought – this is what real art feels like. It does not seek permission, it does not ask to be..."

Sun, 12 May 2013 21:49:02 +1000

“I thought – this is what real art feels like. It does not seek permission, it does not ask to be loved, it does not strive to be beautiful, or clean or neat. It is not made quickly, or to direction. It is not normal, or safe. It does not even make sense. It is an idea that grows so slowly no-one can pin-point where it came from. And as the slow growing goes it will never be complete. It is hard. It is difficult. It is thankless. It will send you broke and into debt. And none of that will matter because it’s just something that you do, sure as blinking and breathing, while everywhere people tell you no and ask you why.”

- Dreamer’s Gate | Useless Lines

"I think we are well advised to keep on nodding terms with the people we used to be, whether we find..."

Tue, 07 May 2013 20:15:57 +1000

“I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind’s door at 4 a.m. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends. We forget all too soon the things we thought we could never forget. We forget the loves and the betrayals alike, forget what we whispered and what we screamed, forget who we were. […] It is a good idea, then, to keep in touch, and I suppose that keeping in touch is what notebooks are all about. And we are all on our own when it comes to keeping those lines open to ourselves: your notebook will never help me, nor mine you.”

- Joan Didion on Keeping a Notebook | Brain Pickings

David Binder: The arts festival revolution (by TEDtalksDirector)

Sun, 28 Apr 2013 22:33:08 +1000

David Binder: The arts festival revolution (by TEDtalksDirector)

Eye of the Storm: ALICE SPRINGS 25 – 28 APRIL 2013

Sun, 28 Apr 2013 22:32:52 +1000

Eye of the Storm: ALICE SPRINGS 25 – 28 APRIL 2013

Melbourne Futures: Mudfest map, 2009.

Sun, 28 Apr 2013 22:32:27 +1000

Melbourne Futures: Mudfest map, 2009.

Dictionary of Sydney

Sun, 28 Apr 2013 22:31:49 +1000

Dictionary of Sydney

Ai Weiwei | Louisiana Channel

Sun, 28 Apr 2013 22:30:47 +1000

Ai Weiwei | Louisiana Channel

"Vitrine: The Great Boom of Doom Amy Cleary and Danny Frommer The Great Boom of Doom is a..."

Sat, 27 Apr 2013 17:25:38 +1000

“Vitrine: The Great Boom of Doom Amy Cleary and Danny Frommer The Great Boom of Doom is a site-specific collaborative work that is formally derived from the Vitrine itself, specifically the curve of the windows and its function as a display space. Amy and Danny are interested in display systems, techniques and materials that range from dioramas that are made by children, models made by architects and mechanical engineers, and information design for museums. They are interested in how people represent the past as historical, and try to present an ideological and sustainable future. The artists explore through their own practice how humans relate to nature via their conceptual and technological frameworks, and how they try to shape, control, and exploit it. The beauty of the forms that can be derived from these frameworks interests them, however are also skeptical of their means and ends. Danny Frommer makes kinetic work that explores the relationship of humans to machines; craftwork to mechanical processes. He makes components out of things that are not normally mechanised in order to make forms that show the humour, beauty and fallibility of some of our systems of understanding. Through relief paintings and sculptural assemblages, Amy Cleary brings together traditional and non-traditional art making materials and forms – allowing the materials and forms to speak for themselves and to each other, producing unexpected outcomes.”

- PLATFORM

Linda Tegg, NEW13 Artist Interview, ACCA 2013 (by accaonline)

Sat, 27 Apr 2013 17:22:49 +1000

Linda Tegg, NEW13 Artist Interview, ACCA 2013 (by accaonline)

Tiny Portraits | Flaming Pines

Tue, 23 Apr 2013 22:55:26 +1000

Tiny Portraits | Flaming Pines

notes from "how to live without irony"

Tue, 23 Apr 2013 22:14:51 +1000

festishisation of memory/nostalgia through aesthetic tools

the art of conversation, the art of looking at people, the art of being seen, the art of being present.

First, it signals a deep aversion to risk. As a function of fear and pre-emptive shame, ironic living bespeaks cultural numbness, resignation and defeat.

My friend Robert Pogue Harrison put it this way in a recent conversation: “Wherever the real imposes itself, it tends to dissipate the fogs of irony.”

It means undertaking the cultivation of sincerity, humility and self-effacement, and demoting the frivolous and the kitschy on our collective scale of values.

(New Sincerity has recently been associated with the writing of David Foster Wallace, the films of Wes Anderson and the music of Cat Power.

http://opinionator.blogs.nytimes.com/2012/11/17/how-to-live-without-irony/

patti smith on writing for everyone and the democratisation of...

Tue, 23 Apr 2013 22:13:49 +1000

patti smith on writing for everyone and the democratisation of creation. http://channel.louisiana.dk/

having a good rep is not just writing well, it is living well and being respectful to those around you and who you work with.

SITUATE: Art in Festivals

Tue, 23 Apr 2013 22:11:19 +1000

SITUATE: Art in Festivals:

SITUATE Art in Festivals is presenting an exciting opportunity for Early Career Artists and creative practitioners to participate in an intensive interdisciplinary residency to push boundaries, take creative risks and develop ideas for artworks that respond to a variety of festival sites and audiences.

SITUATE Arts Lab will take place over 15 days from 21 June – 5 July 2013 at Salamanca Arts Centre in Hobart alongside the new Dark MOFO festival. It will also involve an intensive design studio held at the Far South Wilderness Lodge on Tasmania’s south-eastern tip.

Up to 15 Artists from across Australia will participate in the Lab, facilitated by up to 10 leading national and international artists and curators (provocateurs) supported by specialist production staff. The opportunity is open to creative practitioners working in the visual arts, design, architecture, fashion, digital media, installation, community arts, live art, performance and other creative pursuits.

The process is designed to support the development of a wide range of artworks that provide not just a “wow” factor but seek to connect with audiences across diverse festival environments. The emphasis is on innovation, risk taking, artistic integrity and the creation of new ideas.

Heartful | yes please

Tue, 23 Apr 2013 22:10:26 +1000

Heartful | yes please

Proximity 2012 Showreel (by Proximity Festival)

Tue, 23 Apr 2013 22:06:03 +1000

Proximity 2012 Showreel (by Proximity Festival)

PROXIMITY FESTIVAL | Australia's first micro-festival of one-on-one art

Tue, 23 Apr 2013 22:00:01 +1000

PROXIMITY FESTIVAL | Australia's first micro-festival of one-on-one art:

Proximity Festival is the first platform in Australia dedicated to the creation and presentation of one-on-one intimate artworks. An artist run initiative led by co-curators James Berlyn and Sarah Rowbottam with provocateur Kelli Mccluskey, Proximity provides critical peer support, encouraging artists from all disciplines to experiment with new modes of practice in the creation of participatory art. The inaugural 2012 season, presented at The Blue Room Theatre as part of Fringe World and Summer Nights Festival, sold out and won the Spirit of Fringe Award.

About | The Rights Exposure Project

Tue, 23 Apr 2013 20:14:41 +1000

About | The Rights Exposure Project

"As a writer, I’m giving each reader not the words he wants, but the words he deserves. I do this..."

Tue, 23 Apr 2013 18:58:04 +1000

“As a writer, I’m giving each reader not the words he wants, but the words he deserves. I do this explicitly in my stories—the code word that gets you into the Gypsy bar, for example. But there’s also the code word that gets you into the page. The magic word. It’s almost a childhood game: what’s the magic word that’s going to open this universe for me, that’s going to let me into this book?”

- Origin Stories, Dwyer Murphy interviews Eduardo Halfon - Guernica / A Magazine of Art & Politics