Comments for FLASH

Comment on Sue Ford: 1943–2009 by Lyn Tucker

Lyn Tucker — Wed, 23 Nov 2011 16:30:05 +0000

I caught the tail end of an interview with Sue’s son recently and decided to look her up. What a bitter sweet story, such a shame Sue has left us so early, and with so many plans left undone. Very sad. Her son was sorting through his Mum’s works. That touched me immensly.

Comment on Artist as Higher Lifer by Arlo Mountford on the influence of Aldous Huxley | 21st Century Blog 'Art in the First Decade' | Gallery of Modern Art

Sun, 28 Nov 2010 02:08:36 +0000

[...] Mountford in conversation with Naomi Cass, ‘Artists as Higher Lifer’ in Flash, Centre for Contemporary Photography, June [...]

Comment on Artist as Higher Lifer by 21st Century Blog 'Art in the First Decade' | Gallery of Modern Art | Brisbane, Australia

Tue, 28 Sep 2010 12:10:58 +0000

[...] Mountford in conversation with Naomi Cass, ‘Artists as higher lifer’ in Flash, Centre for Contemporary Photography, June 2009. Categories: Artist Tags: 2009, Arlo [...]

Comment on Nici Cumpston Attesting by Glenys Marriott

Glenys Marriott — Thu, 01 Jul 2010 18:38:13 +0000

Dear Nici
I just wanted to leave a note to say I love your work - we are related. Will I get to meet you at the CUMPSTON reunion in January?
Best wishes
Glenys in North Yorkshire, England

Comment on Sue Ford: 1943–2009 by Katherine Chinnick

Katherine Chinnick — Tue, 22 Jun 2010 11:20:02 +0000

After having the privilage of a residency at Dunmoochin in ‘06, my partner and I stayed on in the area. I have been compilling a personal history of and for Alma Shannahan, and the beginnings of Dunmoochin Community. We have been taking particular interest in the Pottery sales, held each month, and wondered if Sue would have taken photos of any of these events in the 60’s.
I have really enjoyed your web-site and shall seek out other exhibitions in the future. Kate

Comment on Lyndell Brown and Charles Green – Australia official war artists’s by Merle Hathaway

Merle Hathaway — Mon, 31 May 2010 02:49:47 +0000

This was one of the most memorable of exhibitions I saw that year - at The Potter. And it was quite difficult choosing one for Horsham’s collection.
In the toss-up between the outpost with chair (probably my personal favourite) and the more dramatic view from the cockpit, the latter won!
Good to revisit this through your words, Damian!

Comment on Stealing Souls by FLASH » Issue 2 2009

FLASH » Issue 2 2009 — Wed, 07 Apr 2010 04:20:56 +0000

[...] a blurry snapshot most likely shot on a digital camera and gleaned from the internet by Christos Tsiolkas; Arlo Mountford’s adventures in Adobe Flash animation, currently on display at CCP; Rosemary [...]

Comment on BRANDED: The Indigenous Aesthetic by NADOC 1986 Photography Exhibition « Australian Aboriginal Art: A Reading Group Blog

Tue, 09 Feb 2010 06:56:42 +0000

[...] to Brenda Croft’s me-take exhibition essay (PCP), “I see deadly people” and Glenn Pilkington’s FLASH comment, “Branded: The Indigenous Aesthetic.” The Aboriginal and Islander Photographers Exhibition was the first to showcase exclusively [...]

Comment on BRANDED: The Indigenous Aesthetic by Kira Randolph

Kira Randolph — Tue, 09 Feb 2010 05:57:44 +0000

I read this article in my Aboriginal Art Reading Group alongside Brenda Crofts’ Me-take exhibition (PCP) catalog essay and they were such complementary pieces. One reader in our group requested Pilkington write a 10,000 word essay; I hope to read more by him soon.

Comment on Len Lye: Same Old Story? by Roger Horrocks

Roger Horrocks — Thu, 24 Dec 2009 21:26:58 +0000

I agree very much with your main point, Adrian — Len certainly had (and continues to have) a Cheshire grin. I have just made my own attempt to do justice - via the book ART THAT MOVES: THE WORK OF LEN LYE, just published by Auckland University Press. In the book I try to bring together Lye’s many ideas on movement; and to illustrate his practice, I have added a DVD which contains four of his films, footage of five of his sculptures, and a film I’ve made about him. ART THAT MOVES is a companion to the biography I wrote 8 years ago — this one is a survey of his work and theories. Not that it’s going to dispel all his Cheshire mystery. (I chose exactly that kind of image of a laughing Lye for the cover.) I’ve also curated an exhibition on the theme of Lye’s art of movement, now on show at the Gus Fisher Gallery in Auckland. A lot smaller than the ACMI show but more selective. Anyway, thanks for the thoughtful comments in your post. -Roger Horrocks