Sachgebiete

Beschreibung:

151 S., zahlr. Abb. Broschiert.

Bemerkung:

Sehr gutes Ex. - OUT OF HUMOUR KAY CAMPBELL -- WIT'S END: THE COMIC SPIRIT AND CONTEMPORARY ART PAMELA HANSFORD -- IF YOU READ THIS YOU'RE A DICKHEAD OR -- YOU'VE GOT TO BE FUCKIN' KIDDING -- (INFECTIOUS HUMOUR, AFFECTED ART AND REFERENTIAL EFFECT) PHILIP BROPHY -- PLATES -- SMILING SABOTEURS: IRONY AND CONTEMPORARY ART CATHERINE LUMBY GAG -- GEORGE ALEXANDER -- FOLLY -- EDWARD COLLESS THE PAINTER'S DILDO (PORTRAIT OF DALE FRANK) -- CONTRIBUTORS' BIOGRAPHIES // JEFF GIBSON; Delusions of Grandeur FROM SERIES Personality 1991 Inadequate Personality FROM SERIES Personality 1991; Egopathy FROM SERIES Personality 1991 Arithomania FROM SERIES Personality 1991 JENNY WATSON; This Tear's Fashion 1984; Eye of the Storm 1984; ROBERT MACPHERSON; Scale from the Tool (Sabco) 1977; Gilgai: Rain and Six Kinds of Rain, Seven Frog Poems for Clement Wragge 1990-91 DALE FRANK; DETAIL, The Artist's Fairy Floss Sold On The Merry-go-round Of Life (Sucker Dealer) 1991; The Artist's Fairy Floss Sold On The Merry-go-round Of Life (Sucker Dealer) 1991; Classicism 1950; ALEKS DANKO Heavy Aesthetic Quality - Grave Tard Edition 1971; JANET BURCHILL; 3RD VERSION OF MUTE 1985-1990 Square Peg in a Round Hole 1991 JENNIFER MCCAMLEY Chair 1991 MARIA KOZIC; Read This (daffodils, carnations, pansies) 1990 LINDA MARRINON; Sorry 1983 What I Must Bear 1982; ARI PURHONEN; Cell 1990 KATHY TEMIN; The Duck-Rabbit Problem iggi MATTHYS GERBER; DETAIL Nude (Black Painting) 1990; Nude (Black Painting) 1990; L'Origine du Monde 1992 TIM JOHNSON; PAGE FROM Fittings 1972 PAGE FROM Public Fittings 1972; HANY ARMANIOUS; The Witness 1992; Prank 1989; PETER TYNDALL; detail,; A Person Looks At A Work of Art /; someone looks at something...; 1980 // The Museum of Contemporary Art inherits a special orientation towards foreign contemporary art reflected in the Bequest of John Wardell Power. Within this context, the Museum is selective in its focus on Australian art, and seeks to work collaboratively, where appropriate. The Museum's policies and programs not only actively involve artists from many countries, but also draw contribution from independent professionals in many fields, including curators, writers, critics, editors, publishers and designers. Such is the case with this book and the exhibition which inspired it. Kay Campbell, a Senior Curator at the MCA, has worked with Pamela Hansford in drawing together a selection of Australian artists and writers whose work depends in various ways on registers of humour or irony. Wit's End provides a series of intellectually challenging readings of work by artists with whom many may already be familiar. Other artists may be quite unfamiliar to most readers and regular museum and gallery visitors. It is one of the MCA's most crucial roles to promote an active awareness of art's possible constructions and multiple meanings, and to elicit enquiry at many levels : from those seeking first encounters and understanding of evolving forms of contemporary art, to those with a long-developed or even professional commitment. This book is a multi-faceted look at aspects of contemporary art that is engaging and amusing. My thanks go to the Australia Council for an initial grant for the development of Wit's End through project development grants, and to Ashley Barber of Librex Press for managing the production of the publication and co-publishing this book with the Museum. Kay Campbell has contributed greatly to the Museum's collection management and exhibition programs. In this project she has more personally helped to realize a lively and challenging exhibition and associated publication. Great appreciation must also be extended to Pamela Hansford for critical contribution in shaping and editing Wit's End. Wit's Endis the third MCA project focussing exclusively on Australian art. Publications such as this have a life beyond the exhibiting of works of art and, as such, represent a significant contribution to the dialogue between artists, on the one hand, and curators and critics on the other. The Museum is delighted with the perspective provided by Pamela Hansford as an independent editor, and with the contribution of Librex Press, which has made it possible for this exchange to reach a wider audience. It is hoped that the collaborative nature of the project will be a model for future Museum projects. Leon Paroissien Director, Museum of Contemporary Art. ISBN 1875632085