Studiocrasher

Studiocrasher StudioCrasher brings you interviews with artists, curators, art historians and critics, as well as comments and short clips.

StudioCrasher interviews are in-depth explorations of art practice, curation and criticism. StudioCrasher streams interviews with artists, curators, art historians and critics, as well as comments and short clips. These videos are an open resource to students, teachers and researchers, and aim to break away from over-simplified 'sound bite' explanations of art. And the first question is always 'what was modernism?'

Last four tours of 'Art of Peace' at the Art Gallery of Western Australia.  Book now:
25/05/2025

Last four tours of 'Art of Peace' at the Art Gallery of Western Australia. Book now:

Exhibition tour by Prof Kit Messham-Muir (Curtin) of Art of Peace at Art Gallery of Western Australia

Professor Kit Messham-Muir's Art in Conflict project
24/04/2024

Professor Kit Messham-Muir's Art in Conflict project

Led by Professor Kit Messham-Muir from Curtin University, the ARC Linkage Project Art in Conflict: Transforming contemporary art at the Australian War Memorial investigates some of the conflicts and compromises that characterise official schemes for commissioning Australian contemporary war art.

One major outcome of the project is Art in Conflict, an exhibition of contemporary art from the collection of the Australian War Memorial currently touring Australia. A showcase of diverse responses to war, the exhibition includes more than 70 artworks including from artists such as Khadim Ali, Rushdi Anwar, eX de Medici, Mike Parr and Ben Quilty.

The ARC Linkage Project uses art to broaden the Australian community’s perspectives, foster curiosity, and encourage dialogue.

Read more: https://www.arc.gov.au/news-publications/media/feature-articles/using-art-challenge-australian-communitys-perspective-conflict

'Susanna Castleden: Making 1:1 Wind Turbine Blade' is a 2022 documentary exhibited at Energaia: Imagining Energy Futures...
07/02/2024

'Susanna Castleden: Making 1:1 Wind Turbine Blade' is a 2022 documentary exhibited at Energaia: Imagining Energy Futures at the John Curtin Gallery, 28 March - 8 May 2022. It follows the creation of a large scale work for the Energaia exhibition by Susanna Castleden.

This StudioCrasher documentary is a collaboration between Castleden and Kit Messham-Muir.

Created with the generous assistance of research partner Iberdrola Australia and funding from The School of Media, Creative Arts and Social Inquiry, as part of the Curtin University Visualising Energy Futures Project.

Featuring © 2022 Susanna Castleden, 1:1 Wind Turbine Blade.

Location Camera: Susanna Castleden, Bevan Honey
Production, editing, music, interviewer: Kit Messham-Muir
Special thanks to Sharon Baker, Bevan Honey and Greg Needham (Iberdrola Australia).

© 2022 Susanna Castleden, Kit Messham-Muir

The Energaia exhibition catalogue reads:

Created on site at a wind farm near Geraldton, this artwork was made in and with the environment. The position of the 54 turbines along the coastal ridge orients the turbine blades to capture the power of the prevailing winds. By extension, that same wind energy impacted on the laboriously prepared handmade washi paper sheets that make up the artwork, as it was bruised and creased by the wind while pressed against the turbine blades. There was a brutal and powerful transfer of energy evident when making the work on that windy ridge.

The artwork, created on the site over three days, is made using a process of reduction where the image is created by removing a layer of dark gesso to reveal the lighter surfaces below. Here the white turbine blades appear to emerge through a dark and somewhat turbulent sky. The tip of one of the turbine’s three blades has been printed five times, emphasising the repetitive motion of the turbine as—wind extremes notwithstanding—it perpetually turns
at exactly 14.4 revolutions per minute.

Wind turbine sites are usually only experienced from a distance, which makes them conceptually and physically remote. The wind turbines themselves are at a scale that is almost beyond comprehension; the rotor diameter on this turbine is 82 metres, and the
tower hub 80 metres from the ground. The reference to scale in the artwork title 1:1 Wind Turbine Blade brings both an architectural and mapping perspective to the work, as a way to emphasise a human physical relationship to the object. The blades are no longer an abstraction, at 1:1 scale they come into proximity with both the space of the gallery and to our own physical consciousness.

From a distance, wind farms have a serene and benign beauty that belies the force of the wind and the corresponding power it generates. In this artwork, I wanted to engage with the sheer scale of the turbine blades—as well as their location in one of Australia’s windiest regions—as a way to understand, and consequentially visually relay, the physical and atmospheric registers of this immense energy source.

Susanna Castleden’s artworks are held in numerous collections including the National Gallery of Australia and the Art Gallery of WA. She is the recipient of several national awards including the Linden Prize (VIC), Burnie Print Prize (TAS) and the BankWest Art Prize (WA). Susanna is acting Dean of Research in the Faculty of Humanities.

Kit Messham-Muir is a Professor of Art in the School of Media, Creative Arts and Social Inquiry. His expertise is contemporary art and visual culture with a particular focus on conflicts of various kinds, including political violence, terror and war.

Susanna would like to acknowledge research partner Iberdrola Australia for hosting this project at the wind farm in Walkaway Western Australia and give particular thanks to Greg Needham for his support for this project. Thanks to research assistant Sharon Baker for her assistance preparing the 532 layers of gesso on the 133 sheets of paper, and to Bevan Honey
for technical preparations and assistance on site.

'Susanna Castleden: Making 1:1 Wind Turbine Blade' is a 2022 documentary exhibited at Energaia: Imagining Energy Futures at the John Curtin Gallery, 28 March...

Last year I convened a one-day conference at Kings College London. Here's the session I ran with three artists who deal ...
26/07/2020

Last year I convened a one-day conference at Kings College London. Here's the session I ran with three artists who deal with war: eX de Medici (Aus), David Cotterrell (UK), and Mladen Miljanovič (Bosnia & Herzegovina).

London: Panel 2: War, Temporality and Shifting Ideas of ‘now’ Chair and Session Convenor: Assoc Prof Kit Messham-Muir, Curtin University David Cotterrell, Un...

War, Art and Visual Culture video series - discussions and conversations with artists and photographers, now on YouTube....
09/07/2020

War, Art and Visual Culture video series - discussions and conversations with artists and photographers, now on YouTube.

Watch the first three of the twenty videos from the War, Art and Visual Culture series, recorded in Los Angeles, London and Sydney during 2019.

New videos released twice a week (Mondays and Fridays).

Los Angeles: Panel 1: War, Art and Visual Culture Chair: Max Presneill, Curator and Director, Torrance Art Museum Shaun Gladwell Max Moore Allison Stewart An...

PhD SCHOLARSHIP OPPORTUNITY: Curtin University, RTP strategic projectsPROJECT TITLE: Investigating the contemporary aest...
06/08/2019

PhD SCHOLARSHIP OPPORTUNITY: Curtin University, RTP strategic projects

PROJECT TITLE: Investigating the contemporary aesthetic of militarisation

PROJECT SYNOPSIS: The twenty years after 9/11 have been marked by an evolving militarisation of mainstream western visual culture, in which James Der Derian calls the Military Industrial Media Entertainment Network (MIME-network). This PhD project continues the research of the larger Art in Conflict project in the School of Media, Creative Arts and Social Inquiry by investigating the aesthetics of conflict today.

Project Lead Contact
Name: Associate Professor Kit Messham-Muir, Faculty of Humanities
Email: [email protected]
Contact Number: +618 9266 2354

https://students.curtin.edu.au/essentials/higher-degree-by-research/hdr-scholarships/rtp-policy/rtp-strategic-projects/

https://students.curtin.edu.au/wp-content/uploads/sites/6/2019/07/HUM-Investigating-the-contemporary-aesthetic-of-militarisation.pdf

The 2020 Australian Government Research Training Program Scholarships Competitive Round is now open for student applications. As part of the application process, students are required to nominate a project in liaison with a Curtin supervisor who will provide a mandatory referee report on the student...

Read Kit Messham-Muir's latest journal article, 'Conflict, Complicity and Ben Quilty's After Afghanistan Portraits,' pub...
17/08/2018

Read Kit Messham-Muir's latest journal article, 'Conflict, Complicity and Ben Quilty's After Afghanistan Portraits,' published in Australian and New Zealand Journal of Art, Volume 18 Issue 1. First 50 clicks on this link get the article for free.

(2018). Conflict, Complicity and Ben Quilty's After Afghanistan Portraits. Australian and New Zealand Journal of Art: Vol. 18, No. 1, pp. 71-89.

CALL FOR PAPERS: AAANZ 2018 Annual Conference, Melbourne.SESSION: Art in Conflict: The politics of compromise and compli...
02/08/2018

CALL FOR PAPERS: AAANZ 2018 Annual Conference, Melbourne.

SESSION: Art in Conflict: The politics of compromise and complicity in contemporary art about war and political violence

Session convenor(s): Kit Messham-Muir (Curtin University)
Submit paper proposals to: [email protected]

Today, we see images of war and political violence quite unlike those seen in the past, and this shift is often reflected in much contemporary art. The stakes are high in visual culture surrounding conflict, with media images of the 2015 attacks on Paris, or Nice and Berlin in 2016, or London and Stockholm in 2017. In these times, contemporary art can provoke us to reflect on those images and offer alternative views of modern war and political violence. As Laura Brandon argues, ‘war art has an important role to play in the public’s understanding of conflict’. Some national institutions engage official war artists, while other artists embed themselves with troops similar to journalists, and others operate independently. But what are the political complexities surrounding contemporary art that addresses war and political violence? How might commissioned contemporary war art be seen as compromised or complicit with official narratives around war? Does aesthetics necessarily depoliticise images of violence and its aftermath? Theorists such as Sarah James and Julian Stallabrass argue that contemporary artistic images of war and its aftermath are a form of ‘military sublime’, neutralising the political dimensions of violence with the beauty of an image. Yet others, such as official war artists Lyndell Brown and Charles Green, challenge the common assumption that aesthetics and politics are mutually exclusive. They argue that the didacticism of overtly political contemporary war art effectively nullifies its political effect; while, as Jacques Ranciere argues, the most effective politics in art operate through the aesthetic realm. This session invites proposals for 20-minutes papers from practising artists, theorists and art historians addressing aspects of contemporary war art; however, historical perspectives are also welcome.

Aesthetics, Politics and Histories: The Social Context of Art AAANZ Conference 2018 December 5-8, 2018, School of Art, RMIT University, Melbourne, Australia RMIT University School of Art will host the 2018 AAANZ conference in December 2018 to open critical dialogue on the histories of art by examini...

09/07/2018

StudioCrasher has just reached 100,000 views

05/06/2018

Interview with Brisbane-based artist, Denise Reichenbach (360° video):

Art in Conflict PhD Stipend Scholarship: 3-year stipend at $27,082 p/a. Applications close 30 August 2018Open to Austral...
29/05/2018

Art in Conflict PhD Stipend Scholarship: 3-year stipend at $27,082 p/a.

Applications close 30 August 2018

Open to Australian and NZ citizens, Australian permanent residents and Australian residents on permanent humanitarian visas.

PHD SCHOLARSHIP

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