Over 30 years of practice as an internationally exhibiting artist and architect, Goodwin has sustained a prolific and award winning practice provoking boundaries between art and architecture. In 1996 Goodwin established the Porosity Studio at the College of Fine Arts within the University of New South Wales where he currently holds the position of Professor of Fine Arts and Design. He teaches part-time via intensive, international and multi-disciplinary studios providing a unique context for the renegotiation of delineations between art, architecture and urbanism. A United Kingdom based series of Porosity studios have recently been fully sponsored by the British Council.
In 2002 Goodwin was awarded the prestigious Discovery Grant from the Australian Research Council to fund the development of his ideas on Porosity – a redefining of public space in cities leading to urban propositions of parasitic architecture. In 2008 he received his PhD for further Porosity research. This research continues today under a second Australian Research Council Linkage grant in collaboration with architecture academic Russell Lowe entitled, Real-Time Porosity: Using Computer Gaming Technology to Map and Analyse Pedestrian Movement in Public and Private Space.
Major prizes include: The National Sculpture Award 1985, The Sculpture by the Sea Prize 2003, Helen Lempriere Award 2004, the Blackett Award for Architecture in 2004, and the Wynne Prize from the Art Gallery of NSW 2011.
Goodwin’s Architectural practice concentrates on parasitic connections between private and public space. Recent works include the Cope Street parasite and the Deepdene Parasite. Goodwin has also completed several public structures including four pedestrian bridges, one of which was constructed for the Olympic Games precinct in Sydney 2000.
His artwork is held in major collections including the Art Gallery of NSW, the National Gallery of Victoria and the Nuremburg Museum.
Kruger has appropriated a well–known passage from Michelangelo’s Sistine Chapel ceiling frescoes, where the creation of man is represented through the touch of God’s finger to Adam’s. Combining a black–and–white reproduction of this painting with text, she draws a parallel between the Biblical creation story and that of a lauded masterpiece of Western painting. Kruger’s background in graphic design is evident in the way she boldly overlays the clipped image with her aggressive text. By using the word “You,” Kruger implicates us in continuing patriarchal narratives of religion and art history.
“Stop thinking about art works as objects, and start thinking about them as triggers for experiences. (Roy Ascott’s phrase.) That solves a lot of problems: we don’t have to argue whether photographs are art, or whether performances are art, or whether Carl Andre’s bricks or Andrew Serranos’s piss or Little Richard’s ‘Long Tall Sally’ are art, because we say, ‘Art is something that happens, a process, not a quality, and all sorts of things can make it happen.’ … What makes a work of art ‘good’ for you is not something that is already ‘inside’ it, but something that happens inside you — so the value of the work lies in the degree to which it can help you have the kind of experience that you call art”.
The Burnie Print Prize has attracted the notice of some of the nation’s most talented printmakers since its inception since its inauguration in 2007. The major acquisitive prize is $12,000. This is sponsored by the Friends of the Burnie Regional Art Gallery, with a generous donation of $6,000 which matches the Burnie City Council’s equally generous dollar for dollar contribution.
This year’s judges were Olga Sankey, Artist, Senior Lecturer, Art, Architecture and Design, University of South Australia, Jane Stewart, Principal Curator of Art, Tasmanian Museum and Art Gallery and Michael Edwards, Director CAST (Contemporary Art Spaces Tasmania).
The winner of the major acquisitive prize for the Burnie Print Prize 2013 is artist, Susanna Castleden, from Fremantle, WA.
Olga Sankey, Artist and Senior Lecturer, University of South Australia, said, in making the announcement to a packed gallery, “While printmaking is a medium it is also a way of making significant works of art, where form and content complement and enhance one another. This is represented in the winning work and the Judges were unanimous in their decision for the final choice.”
“We selected Susanna Castleden’s hand coloured screen print because it is based on a strong idea which led to the choice of material and the formal presentation. We believe this work enhances the mind and leaves the viewer pondering.” Olga Sankey concluded.
Julie Rrap’s involvement with body art and performance in the mid-70s in Australia continued to influence her practice as it expanded into photography, painting, sculpture and video in an on-going project concerned with representations of the body. Between 1986 and 1994 Rrap lived and worked in France and Belgium where she exhibited widely. This opportunity to broaden her horizons grounded her work in a more international context and she exhibited in Belgium, Switzerland, France, Holland, Germany and Italy.
Rrap returned to Australia in 1994. In 1995, she held a survey of her work at the Australian Centre for Contemporary Art, Melbourne and in 2007, the Museum of Contemporary Art, Sydney held a major retrospective of Rrap’s work titled Body Double, curated by Victoria Lynn.
This performance retrospective traces the prolific career of Marina Abramović (Yugoslav, b. 1946) with approximately fifty works spanning over four decades of her early interventions and sound pieces, video works, installations, photographs, solo performances, and collaborative performances made with Ulay (Uwe Laysiepen). In an endeavor to transmit the presence of the artist and make her historical performances accessible to a larger audience, the exhibition includes the first live re-performances of Abramović’s works by other people ever to be undertaken in a museum setting. In addition, a new, original work performed by Abramović will mark the longest duration of time that she has performed a single solo piece.
Elizabeth Gower has been exhibiting innovative work, including collages and wall hanging, since 1976. Her interest lies in the human desire to create order from the chaotic. Gower creates stunning abstract compositions from humble materials, with an emphasis upon translucency, fragility and impermanence. Her practice draws much of its content and form from the world of the everyday – commercial images and objects as well as familiar and domestic materials such as newspaper and tissue paper. Exploiting the associations evoked by such banal material, her work has often been connected with a feminist sensibility, however this framing should be countered with a recognition of the strong aesthetic concerns at play.