CONVERSATION - Postponed until
This dialogue between Nikos Papastergiadis and Paul Carter will explore their shared interest in the complex patterns of cultural exchange and the diverse forms of social interaction that inform collaborative art practice. Structured around the themes of the everyday, cultural identity and place, their conversation will trace the spatial aesthetics underwriting a variety of contemporary photo-media and performance projects.
This seminar will also mark the launch of Nikos Papastergiadis’ new book, Spatial Aesthetics: Art, Place and the Everyday (Rivers Oram Press).
Associate Professor at
the University of Melbourne.
He has written widely
on migration, contemporary
art and social theory.
His books include Dialogues
in the Diaspora, Modernity
in Exile, The Turbulence
of Migration, and
most recently, Spatial
Aesthetics: Art, Place
and the Everyday.
A wide ranging discussion focusing upon Sievers’ extraordinary life as a photographer and activist.
Born in Berlin in 1913, Wolfgang Sievers AO trained and then taught at the Contempora School for Applied Arts, an off-shoot of the Bauhaus school, later closed down by the Nazis. Sievers’ mother was a Jewish writer and educator. His architectural photographs were first published in his father’s art historical books on German architecture. In 1938 Sievers was called up as an aerial photographer to the Nazi Luftwaffe and managed to escape to England, and then Australia. During WW2 he served four years in the Australian Army and in 1946 re-opened his own studio in central Melbourne. In the 1950s Sievers was commissioned by the then Department of Overseas Trade to develop Australia’s image from a land of ‘sheep and wool’ to a sophisticated industrial and manufacturing nation. Specialising first in architectural photography, and later in industrial photography, Sievers is one of Australia’s most important modernist photographers and our greatest industrial photographer.
Julian Burnside QC is actively involved in supporting the arts in Australia, in particular the visual arts and chamber music. He regularly commissions works by Australian composers, and collects contemporary paintings, photographs and sculpture.
Digital cameras and processing software have clearly changed working practises of photographers, artists, designers and hobbyists. A great deal of ink has been spilled over whether the resulting artform is or is not like photography. During this lecture Cubitt asks a slightly different question: what else is digital photography like? He takes a look at other analogue media forms that may appear in the histories of how light has been represented, reproduced, recorded and projected. Cubitt addresses whether these old media can teach us anything new about digital media, as they are or as they might turn out to be.
Sean Cubitt moved recently from Aotearoa New Zealand to join the Media & Communications Department, the University of Melbourne. Cubitt has written on video art, film, digital culture and the art formerly known as new media. Recent publications include: The Cinema Effect (Massachusetts Institute of Technology Press 2004) and EcoMedia (Rodopi 2005). Cubitt is also coeditor of the forthcoming collection, How To Study The Event Movie – The Lord of the Rings – A Case Study (Manchester University Press).