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"Kaye, Nick"
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One Time Over Another: Tom Marioni's Conceptual Art
Defining his conceptual practice as [i]dea oriented situations not directed at the production of static objects, Tom Marioni's work poses questions about where and when the presence of his artwork is constructed and perceived. Here, and while engaging with media including drawing, painting, sculpture, installation, and photography, the narratives Marioni sets around his individual works consistently emphasize processes that precede or surround his presentation of objects, installations, events, and actions.
Journal Article
Acts of Presence: Performance, Mediation, Virtual Reality
The Acts of Presence: Performing Presence CAVE Scenarios DVD-ROM accompanies this article. Presence is central to the operation of immersive virtual reality facilities. These VR technologies explore how phenomena of presence are performed, mediated, and experienced by individual participants, defining questions in computer science that can be advanced through performance theory, while offering new ways of thinking around liveness and mediation.
Journal Article
Video Presence: Tony Oursler's Media Entities
Explores the relationship between performance art and American artist Tony Oursler's (1957) video images. Oursler, who is also a sculptor and painter and who teaches at the Massachusetts College of Art in Boston, Massachusetts, has focused upon the implementation of the video image in performance art since his exhibition entitled 'The Waiting' in 1992. The author suggests that through the creation of media entities such as 'Crying Doll' (1993) or 'Blob' (2004) Oursler explores the circulation and the exchange of the signs of presence - and thus of self and identity - through media consumption.
Journal Article
Displaced Events
In conceptual and performance art in the late 1960s in North America and Europe the photograph’s displacement and ‘betrayal’ of its object were closely linked to experimental art’s approach to ephemeral and time-based processes. Here, as part of a broader, well documented impulse toward the ‘de-materialisation’ of the art object,² the emphasis in conceptual art on the use of text, photographs, scores or instructions offered in place of conventional media and forms frequently intersected with the tactics of performance art. Where conceptual art sought, as the artist Dennis Oppenheim has suggested, to ‘radicalise the making of sculpture’³ by privileging a
Book Chapter
Locating Memory
As a visual medium, the photograph has many culturally resonant
properties that it shares with no other medium. These essays
develop innovative cultural strategies for reading, re-reading and
re-using photographs, as well as for (re)creating photographs and
other artworks and evoke varied sites of memory in contemporary
landscapes: from sites of war and other violence through the lost
places of indigenous peoples to the once-familiar everyday places
of home, family, neighborhood and community. Paying close attention
to the settings in which such photographs are made and used--family
collections, public archives, museums, newspapers, art
galleries--the contributors consider how meanings in photographs
may be shifted, challenged and renewed over time and for different
purposes--from historical inquiry to quests for personal, familial,
ethnic and national identity.
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