This file is part of the following reference:

Lord, Anne Mary (2008) Art and ephemera post-structuralist perspective: visual art, ephemera and environment. PhD

thesis, James Cook University.

Access to this file is available from:

http://eprints.jcu.edu.au/15317

Art And Ephemera

A Post-Structuralist Perspective:

Visual Art, Ephemera and Environment

Thesis submitted with documentation of installations and exhibitions by

Anne Mary LORD, Dip. Fine Art Alexander Mackie CAE;

Grad. Dip. Education;

Grad. Dip. Printmaking Monash University Gippsland;

MVA Griffith University

in December 2008

for the degree of Doctor of Philosophy

in the School of Education and School of Creative Arts

James Cook University

ii

Statement of Access

I the undersigned, author of this thesis, understand that James Cook University will make

this thesis available for use within the University Library and, via the Australian Digital

Theses network, for use elsewhere.

I understand that, as an unpublished work, a thesis is protected under the Copyright Act and

I wish the following restriction to be placed on this work.

Proper public written acknowledgement should be observed for any copying of plate, text

or diagram.

Beyond this, I do not wish to place any restriction on access to this thesis.

.................................................................. ..........................................

(Anne Lord) (Date)

Statement Of Sources

DECLARATION

I declare that this thesis is my own work and has not been submitted in any form for

another degree or diploma at any university or other institution of tertiary education.

Information derived from the published or unpublished work of others has been

acknowledged in the text and list of references is given.

.................................................................. ..........................................

(Anne Lord) (Date)

iv

Electronic Copy of Thesis for Library Deposit Declaration

I, the undersigned, the author of this work, declare that the electronic copy of this thesis

provided to James Cook University Library is an accurate copy of the print thesis

submitted, within the limits of the technology available.

.................................................................. ..........................................

(Anne Lord) (Date)

v

Acknowledgments

Firstly I wish to show appreciation and grateful acknowledgment to my Primary Supervisor

Doctor Linda Ashton and Associate Supervisor Professor Ross Gibson for great support,

guidance and above all a focus on the highest professional standards. They are artists,

writers and researchers and provided support through knowledge, their high achievements

and vast experiences.

Linda Ashton has shown immense patience, friendship, and guidance, and provided

unwavering standards in her supervisory role, providing insight as a perspicacious and

strong person. Theoretical perspective, particularly through the post-structuralist lens,

opened new ways of looking at visual arts theory and practice.

Ross Gibson has given generous guidance and his expert knowledge of contemporary arts,

authorship and understanding of place, particularly regional insights, though from an

international perspective. Knowing what a candidate needs to ask and words about ‘getting

the voice true to yourself’, assisted the emergence of my story.

My husband Cleve Patrick McGuane I acknowledge lovingly for understanding, great

support and wisdom.

My mother Mary Louisa Lord has shown enduring patience and kind support. My siblings

are always there for me as well.

The School of Creative Arts, James Cook University is my host institution and for this

academic support I am grateful. The School of Education, JCU has allowed me to access a

new terrain in post-structural theory and art education, with their Senior Visual Art teacher

Dr. Linda Ashton and this generosity is appreciated.

Professional proof reader Mary Gallagher has devoted considerable time and effort to the

intricacies of meaningful English. Australian Standards for Editing Practice have been

vi

followed and editorial intervention has been restricted to Standard D, Language and

Illustrations, and E, Completeness and Consistency.

Artists, listed prominently in the thesis, have generously provided information and time,

and more importantly their rigorous critical engagement with a discipline that is only just

being recognised as truly scholarly and intrinsically part of research culture. Visual artists

are acknowledged as mentors and all-important participants of this research.

vii

Abstract

A principal objective for this study was to investigate visual art that incorporates ephemera

for conceptual and practical reasons. In my study, the ephemeron is not archived, it is

intentionally allowed to disintegrate as an art process and I link this act through art praxis

to potential metaphors for environmental wellbeing.

My research identifies new approaches in art practice that address ecological strife. Post-

structuralist theorising was applied to the visual arts to empower the ephemeral art object.

The scope of this study involves potential locations or sites to effectively present and

publicise this practice. Other than professional support from the art industry, the scope was

broadened or restricted by an artist’s ability to respond with a very light environmental

footprint to art and ephemera. Internet was a methodological strategy to counter what might

have been isolation, and participants responded using email, from regions and centres. Thus

it was significant for assembling data. My roles as artist, researcher and educator led to

online communication and publication about this topic, and temporary art ~ installations 1

created for this study are a substantial part of this research.

Mentors and models in the contemporary visual arts include professional creative arts

practitioners and their work. Selected mentors (artists and authors) and models (current

examples as well as precursors) assisted in identifying parameters for this study in a climate

of global environmental change. Buskirk’s (2005) ‘contingent objects’ and Bourriaud’s

(2002) ‘relational aesthetics’ are crucial for this study in recognising alternative approaches

to ‘art history’. Selected theorists assisted methodological strategies to question the power

of archived art as the art canon. Critical distinctions of ecological responsibility separate

current art perspectives about land from some pre-1990 practice.

1 The symbol ~ is used throughout the thesis to identify a situation where the words can be

interchangeable.

viii

Tiravanija’s the land (1998 - ongoing) includes key ideas that extend parameters for

investigation of art not necessarily archived during or after installation, and he uses

ecologically sensitive and informed approaches to comment on current environmental

issues. Art collectives, such as the land, access the digital as a tool for ephemera and to

counter regional isolation.

Memory triggered by sight, and site as culture in nature, provided inspiration for this

investigation, where art and nature are potentially interchangeable. Memory plays a role in

identifying regeneration and transformation, evidenced in artist Wolfgang Laib’s materials:

pollen, wax and milk; Gustav Metzger’s (1961) ‘acid nylon technique’ and his (2007)

‘shattered stones’ extend the scope of performative art objects, as does Sheela Gowda’s

Collateral (2007), made from incense. Models from pre-1990 artwork and readymade

precursors elucidate aesthetic of ephemera through time-based change.

Post-structuralist theory and discourse analysis facilitated a revised positioning of visual

art, through interaction of visual art and ephemera and how this impacts on contemporary

society. My ‘Glossary for Art and Ephemera’ contributes to new knowledge. Through this

theorizing glossary I invite dialogue from scholars, visual artists and the art industry.

Neo-narrative and autobiographical voices query how the process of ephemera and

disintegration could identify new visual arts practice, and how this practice impacts on

decisions in disparate communities. Access and equity are discussed through facilitating

artists’ stories into my study, as voices that have been excluded in the past. Agentic ˚ re-

positioning of art that privileges ephemera in a binary ˚ 2, as opposed to the archived, is

predominant in this study. Analysis of the data empowers ephemera as art, and as metaphor

to activate change in attitude to crisis in natural environment.

2 Option K for ˚ denotes the word is referred to in the glossary, Chapter Four.

ix

Qualitative research assists the development of key questions about the relationship of

visual artists’ concepts about material change and how they impact on the broader

community’s environmental concern. Material investigation played an important part in the

thesis, for though ‘art and ephemera’ is anti-archive, the disintegration and ephemeral

nature of art materials are key to the art discussed in this thesis. This study presents a

humble practice and materials ranging from pollen, fading photographs and incense to

flotsam, detritus or garden mulch. The study identified art methods that empowered the

ephemeron in visual art to act as a metaphor for the implementation of potential new

policies for sustainable modes of practice in and beyond the visual arts. These apply to

creative arts models for social and pedagogical application that could relieve stress caused

by excess of commodity. These provide ways to address environmental concern. I have

accumulated significant data and refer to this to provide recommendations for educational

curriculum development to suggest that art and ephemera be considered as a viable and

pragmatic alternative to, and not a replacement for, archival practice. Authors referenced

for practice-based research and pedagogy, include Davies, Ashton, Foucault, Sullivan and

Thompson.

James Cook University research strength, People Identity Place, supports my regional

influences from northwest Queensland. My original home, with naturally treeless plains,

lies between the watershed for the Lake Eyre Basin and the Gulf of Carpentaria. Significant

ideas emerged for my artwork from this region that is dry for most of any year. Sketches,

diaries and archived photographic records contribute to my reflection on place. My findings

inform researchers about the relationship of artists as cultural providers and communicators

of ecologically sensitive issues. These methods demonstrate concern for the twenty-first

century environmental situation identified by Stern (2007). Though much has been

discussed and created in the area of art and social change, this research project identifies

changes apparent in the natural environment, to act as creative visual art metaphors to

increase awareness of climate change.

‘Art and ephemera’ is asserted as a viable alternative to archival art. Forms of art and

ephemera exist as statements about conditions of change, and, of these, key pieces

x

illuminate the impact of people in their own natural environmental location and how this

could be addressed through change of attitude. My concern for regional place and

environment led to development of my art praxis that comments on, and addresses, human

activity and impact on place.

xi

Table Of Contents

PART ONE: CONTEXT 2

Preface 4

Chapter One

1.0 Ephemera in Art, Culture and Society 6 Introduction 6

Background and Context of the Study 7

Accepted Histories 9

Immateriality 10

Contemporary Issues of Natural Environment 12

Researcher’s Prior Knowledge 13

Research Questions 14

Mentors and Models 16

Ephemera as a Concept in Art 18

Place 20

Personal Perspective and Rationale for the Thesis 22

Ephemera as Site-work 24

Cultural Diversity and Concepts for Ephemera 25

Aims for this Study 28

The Visual Artist and Cross-disciplinary Issues 29

Introduction to Perspective and Methodology 30

Scope of the Research 32

Chapter Two

2.0 Perspective:

Post-structuralist Positioning for Art and Ephemera 35 A Premise - Theories of Place, Time and Change 35

Challenge to the Status Quo 38

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Environment and Ecology 42

Periphery and Local Knowledge 44

Beliefs and Ecology 45

Social Scale and Art and Ephemera 46

Post-structuralist Perspective and Theorising 47

Contradictions 54

Natural Environment 55

Art Research and Discourse 61

Chapter Three

3.0 Methodology 67 Introduction 67

Widely Differing Phenomena 70

Introductory Positioning 71

Socio-political Contexts 73

Research about Art 74

3.1 Gathering Data 76 Collection Strategies 76

Autobiographical Data 77

Attribution and Ethics 78

Textual Devices for the Thesis 79

Qualitative versus Quantitative 80

Dullness and Richness 82

3.2 Primary Data 83 Key Primary and Autobiographical Data 83

Digitised Objects and Memory Work 86

Place 87

Exhibitions ~ Installations and Publications 88

Site, Art and Ephemera 89

Visual Diaries and Researcher’s Practices of Ephemera 90

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Eroded Material as a Tool for Art 90

Toward Installation and Site 92

Paper and or Digital 93

3.3 Secondary Data 93 Criteria Checklist and Mentors 94

Aged Icons to Multi-Media 96

Mentors Models and Maquettes 97

Academics ~ Artists 99

Mentors and Eco-systems ~ Environments 100

Chapter Four

4.0 Glossary: Art and Ephemera 104 Introduction 104

The Glossary in Art 104

4.1 Glossary for Art and Ephemera 106

4.2 Locality - Inland and Trees 129

Kaza’s (1997) ecosystem cultures 134

4.3 A Premise for Analysis 136

Environment and Earth 138

Environment: Locality, Inland and Trees 139

Spirituality and Cultures: Respect for Land and Trees 139

Objects, Disintegrating: Anti-commodity 140

Immateriality: Documented moment: Internet and Decentralisation 140

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PART TWO: THEMED ANALYSIS

Chapter Five

5.0 Precursors and Models for Art and Ephemera 142 Introduction to Models 142

Links with Aboriginal Art 145

Precursors: art ~ ephemera 148

Chinese Tang and European Medieval Icons 152

5.1 Twentieth Century Influences 158

Material Influences 160

An Argument for Slippage and Non-categorisation 163

Changing Technology: ‘art and ephemera’ 176

East ~ West: an interface 170

Technology Models and Ephemera 175

Concepts Related to Photo-documentation of Ephemera 177

Memory and (No) Documentation 179

Earth Art, Eco Art and Ephemera 180

Problematising the Gallery as Site 183

Links to Contemporary Visual Arts 184

Perverse Art 186

Developmental Processes for Art and Ephemera 187

Chapter Six

6.0 Blurring the Boundaries: Spirituality and Cultures,

Ephemera and Art: Respect for Land and Trees 192 Some Prototypes – in Concept and Form 192

Valuing Visible Elements of Change 195

Influences from Visual Collections 201

Time-based Change 204

Mindful Attention 206

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Ready-mades 213

Pollen and Bio-mass 218

Emerging and Contemporary Models: Links to Spiritual Beliefs 220

Ephemera and Impact Linking China and Australia 221

Material Choice and Ephemera 224

Place as a Root for Ephemera and Reverence 227

Links to the Contemporary 231

Chapter Seven

7.0 Artists ~ Mentors: Contemporary Art and Ephemera 234 Wolfgang Laib and Gustav Metzger 235

Events and Site 242

Mierle Laderman Ukeles 244

Sheela Gowda 246

Ann Hamilton 250

Ephemera as Metaphor 253

Ephemera and Memory 254

Digital Documentation as a Trigger 256

Sensory Aspects of Art and Ephemera 258

Entrepreneurs and Discourse 260

Identifying Problems 265

Dissolving Difference 267

Chapter Eight

8.0 Art and Ephemera in Australia 271 8.1 Leave No Trace 281

Townsville Art and Ephemera: Locality 286

A Brisbane-based Art and Ephemera 290

Sydney-based Artists and Ephemera 292

8.2 Events: Strand Ephemera (2007) and In Site Out (2007) 296

Key Examples Strand Ephemera 298

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Comparative Positions 307

Key Examples In Site Out 308

Chapter Nine

9.0 Objects and Passing 315 Meaning and Transition 316

From Archival to Ephemeral Artwork 320

Commodity and Anti-commodity 323

Objects: Fabricated to Change 325

Cultural Metaphors and Ephemera 333

Ephemeral Ready-mades 342

Ephemera as a Process 344

Ephemeral Art Objects (Lord) 2004-2008 349

Objects, Fabricated and Disintegrating 357

Understanding Disintegrating Icons 359

Chapter Ten

10.0 Ecology, Art and Ephemera 363 10.1 The Environment, Issues and Art 363

Opportunities to Create Art for Environmental Issues 368

From ‘Land Art’ to ‘Land, art’ and ‘the land’ 371

Strategies 376

10.2 Web Pages and Regions 378

The Manifesto Then and Now 385

Making and Sending a Message [From Print to Digital] 386

Homogenising Technology, Printouts and Alternatives 389

Immaterial 391

Responsibility 392

Chapter Eleven

11.0 Ethics of Waste and Aesthetics of Garbage 396

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Introduction 396

Tiravanija’s ‘the land’ and Ukeles’ garbage 397

Things Left in Gutters and in Pristine Places 399

Claiming the Gutters 403

Tools of Change (2007): Metal Objects in Earth 413

Getting to Chalk, Ochre, Survey Pegs and Un-mapping 414

Chapter Twelve

12.0 To the Future: Conclusions in the Interim of Change 417 Responses to Research Questions and Findings 418

Social Contexts for Issue-based Art and Ephemera 424

Potential Contribution to Policy for Education 426

A New Project – ‘letting go’ 429

Future Directions: New Work 430

Implications for Future Practice-based Research 431

The End is a Beginning – Publication 433

The Scope of the Study and Limitations 433

Conclusion for Art and Ephemera: In the Interim of Change 437

Bibliography 439

Appendices 498 Appendix I 498

Figure Background Landscape to Ephemera

Appendix II 499

Researcher Anne Lord’s Practice-based Research: Emergence of Projects

Pre-requisites: Drawing, Brush and Ink, Lithography, Livres d’artiste

Photography as a Tool

Appendix III 503

Exhibitions ~ Installations, Projects, Ephemera and Process 2001 to 2008

Appendix IV 504

Urban Troposphere 2001

Catalogue

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Invitation

Appendix V 505

(W)ink (2002) curated group exhibition and catalogue

Appendix VI 506 Survivor Trees (2003) - a series: Decisions about place - Australia to China

Appendix VII 509

Exchange (2003)

Solo Exhibition

Catalogue, ISBN

Appendix VIII 510

Red Gate Residency, Beijing and Australia China Council Residency,

Shanghai – new work in China

Appendix IX 513

Absence (2004) an installation at Umbrella Studio,

19 November to 12 December 2004.

Solo exhibition Catalogue and essay

Appendix X 517

Corresponding Latitude KickArts Cairns 2004-5 group exhibition and catalogue

Appendix XI 519

Walk This Way, (2004) group exhibition and catalogue

Appendix XII 519

Healing and Books Livres d’Artistes

Erosion - Finding Metal

Appendix XIII 521

Artists’ Books

Broken arm - Artist’s Books, ‘Throw Sad Things to the Wind’

Mackay Artspace

Artist’s Book Sinistre Dextra and from left to right

Artist’s book - An 1890s portrait

Broken arm, dyslexia - Artist’s Books Show, 2005

Port Jackson Press, Melbourne

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Black and White Books, Artisan Books, 159 Gertrude St Fitzroy,

Melbourne, Mending & the Mattock

BOOKS.05 Noosa Regional Gallery, 2005

Appendix XIV 524

Artists’ workshop, Leave no trace

Processes of Change

Habitus Habitat

Appendix XV 527

New material, studio garden soil – metal, rust and humus

Appendix XVI 528

Habitus Habitat December 2005 - February 2006

Habitus Habitat Touring 2008 to 2011

Appendix XVII 530

Watersheds and Basins (2006) and Murray Darling Palimpsest MDP

Catalogue

Artist’s Statements

Ephemeral Milestone

Peg for non-site

Impossible Bucket

Appendix XVIII 530

Tools of Change (2007) – development

Drawings of eroded metal developed from August to October 2006

Tools, some found in the garden and some in second-hand shops. Fourth October I

bought an old saw. Then I found some more, neglected and rusted.

Faded photographs realise the significance of these in the work I have done for re-

writing history paper, 2006-7.

Transparency of shadows

Tools of Change (2007) the installation. Catalogue, ISBN and Invitation

Appendix XIX 533

Ashton Opening Night Address (2007)

The School of Creative Arts James Cook University

xx

Appendix XX 536

Ice Sculptures and Community Responses

Strand Ephemera 2007

In Site Out 2007

Appendix XXI 537

A Searching for links; B Poisoned trees and callous acts; C Anne’s Diary

Appendix XXII 543

Ethics Approval H2255 22 November 2005

Appendix XXIII 544

DVD works produced during the candidacy for PhD

List of Publications:

Exchange (2003),

Absence (2004),

Watersheds and Basins (2006),

Tools of Change (2007)

Citations: Absence

Strand Ephemera

In Site Out

Appendix XXIV 545

Conference Presentations during the study:

2001 International Conference of Arts and Humanities Hawaii;

2006 Re-writing History; MDP 2006; ERE 2007; In Site Out 2007

Appendix XXV 546

Ongoing work

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List of Tables Table 1.1 Art Industry tools and the researcher ~ artist’s tools 8

Table 3.1 Research Models in Table Format 80

Table 3.2 Studio Practices Culminating in Exhibitions / Installation 88

Table 3.3 Tools, Objects and Materials 91

Table 3.4 Researcher ~ artist’s art and ephemera since 2005 92

Table 4.1 Wabi-Sabi 128

Table 5.1 Collapsing binaries of new and old, archive and ephemera 156

Table 5.2 Blurring a Binary 177

Table 7.1 Revised Binary: Potential for Archive ~ Ephemera 259

Table 7.2 Dissolving Boundaries Between Tradition and Ephemera 269

Table 9.1 A Binary of Desire and Taboo, Waste and Want 348

Table 11.1 Revising perceptions / prejudices 410

List of Figures Figure 3.1 Methodology: A Bridge between Theory and Method

(Nagy Hesse-Biber and Leavy 2006, 21) 68

Figure 3.2 Adapted Nagy Hesse-Biber and Leavy (2006)

(Lord) in blue interprets and extends this diagram for Art and Ephemera 69

Figure 3.3 Key Areas for Synthesis of Art and Ephemera 72

Figure 5.1 Models and ongoing influences from art movements;

Futurism, Arte Povera, Fluxus, the SI 165

Figure 5.2 Tang and Medieval similarities 165

Figure 5.3 Archived and Non-archived 165

Figure 5.4 Gutter Waste Humus Garbage Earth 166

Figure 9.1 Lord, Diary Drawing 25 September 2007 317

Figure 9.2 Disintegration and Ephemera as Object:

Themes in Art and Ephemera 318

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List of Plates Plate 1.1 Wolfgang Laib 2005, Pollen from Pine

Art Gallery of New South Wales 3

Plate 1.2 Rirkrit Tiravanija 1998 ongoing, the land

www.theland.org 3

Plate 1.3 Gustav Metzger 1965, Auto-destructive Art Acid Nylon Technique

(Henri 1974) 3

Plate 1.4 Gustav Metzger 2007, Aquivalenz Shattered Stones

Munster Sculptur Project 3

Plate 1.5 Sheela Gowda 2007, Collateral

Muenster Sculptur Project [photograph Lord] 5

Plate 1.6 Wolfgang Laib 1992, Pollen from pine

[photograph Fondation Beyeler Basel 2005] 5

Plate 1.7 Chia Ming Cheng 2005, Burnt Joss Papers

Sydney [photograph Lord] 5

Plate 1.8 Anne Lord 2005, Impossible bucket

tree humus and glue 5

Plate 1.9 Wolfgang Laib sieving hazelnut pollen for installation

Centre Pompidou Paris 1992, [photograph Fondation Beyeler Basel 2005] 17

Plate 1.10 Wolfgang Laib 2005, Pollen from Pine

AGNSW [photograph Lord 2005] 17

Plate 1.11 Anne Lord 2005, metal spike drawing on paper, 21 x 27 cm. 21

Plate 1.12 Anne Lord 2005, hose connector eroded metal,

studio-garden, digital photograph 24

Plate 1.13 Anne Lord 2005, Discussion at Wallaman,

re-photographed pixels from monitor 31 x 42 cm. 27

Plate 1.14 Anne Lord 2005, Eroding Peg on fallen tree,

[Digital image - photograph Lord] 35

Plate 2.1 Sanja Ivekovic Poppy Field 2007,

Documenta XII, Kassel [photograph Lord] 58

Plate 2.2 Sakarin Krue-On 2007, Terraced Rice Field Art Project

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Documenta site work on hillside Bergpark Wilhelmshohe,

in front of Schloss Wilhelmshohe castle, [photograph Lord 2007] 59

Plate 3.1 Anne Lord 2007, Old metal rods dug up in studio garden,

graphite on paper 84

Plate 3.2 Flood on open ground at Kilterry house N W Queensland –

[photograph 1930s Bert Seymour] 85

Plate 3.3 Anne Lord 2006, Metal axe-head, rusted and split 91

Plate 3.4 Anne Lord 2006, the impossible bucket, and humus materials 92

Plate 4.1 Anne Lord 2003, Eroded Coolibah from the series Survivor Trees

56 x 76 cm. lithograph 130

Plate 4.2 Anne Lord 2003, Eroded Coolibah and Mandarin text,

from the series Survivor Trees detail 56 x 76 cm. lithograph 130

Plate 4.3 eroded Buddha in Yungang Caves

Datong north west China 700 AD 132

Plate 4.4 unknown photographer, 1890 photograph, left original state of

silver-gelatin, right Lord 2007 An 1890s Portrait,

digitally enhanced image of woman [re-photographed Lord 2005] 133

Plate 4.5 Lord 2008, Kilterry signpost, 100 metres from house,

and the ‘Lane’ going north 135

Plate 5.1 Alan Sonfist 1975, Pool of Virgin Earth, on chemical waste dump

Artpark, Lewiston, New York, Diameter 25’ x Depth 6’ [Lippard 1985, 229] 144

Plate 5.2 Models and influences: Aboriginal cave paintings

[photograph cited in Chaloupka 2000, 11] 146

Plate 5.3 left Stones with grinding marks on site, right 2005, sharp rocks for tool making,

Mount Isa [photographs Lord] 146

Plate 5.4 Joseph Beuys 1970, Thousand Oaks Documenta7, Kassel Germany [photo

Right, Günter Beer http://www.diacenter.org/ltproj/7000/dokumenta7.html] 147

Plate 5.5 Models and influences: Beuys 1970, Thousand Oaks,

Documenta Kassel, Germany 147

Plate 5.6 Lord 2003, Hangzhou cave wall with crouching figure 148

Plate 5.7 Margaret Lyne 1920s Lace – some unravelling threads

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[photograph Lord 2008] 149

Plate 5.8 Medieval Figures, Notre Dame Cathedral Paris

[photograph Lord 2007] 149

Plate 5.9 Lord 1998, Orange digital image floated in water and caustic soda,

20 x 20 cm in Fold installation 150

Plate 5.10 Lord 2007, Backless Axe eroding rusted object,

retrieved from Townsville studio garden 151

Plate 5.11 Tang lady Art Gallery New South Wales

[photograph Lord 2006] 152

Plate 5.12 left medieval figure Notre Dame Paris front door

[photograph Lord 2007] right Standing figure of a Buddha,

Northern Qi (550–77), limestone, 150 x 40 x 25cm.

Courtesy of Qingzhou Municipal Museum and Shandong Provincial Museum

[http://www.artgallery.nsw.gov.au/?p=11581 viewed September 2008] 155

Plate 5.13 Readymade iconography eroded Buddha, photograph #34,

Yungang Caves near Datong [photograph 2003 Lord] 157

Plate 5.14 Gustav Metzger 1965, Auto-destructive Art,

Demonstration of Acid Nylon Technique

Cited Henri 1974, 167 Plate 136 Happenings 168

Plate 5.15 Agnes Denes 1982, Wheatfield—A Confrontation,

Battery Park Landfill, Downtown Manhattan [photograph John McGrail] 171

Plate 5.16 Mierle Laderman Ukeles 1977-1980, Touch Sanitation New York City,

Sanitation Department [www.feldmangallery] 172

Plate 5.17 Lord 1994, Earth face, site work on claypan,

NW Queensland [photograph Lord] 187

Plate 5.18 Lord 1995 -1996 ROT recycled paper 400 x 200 x 200 cm 188

Plate 5.19 Lord 2004 Absence installation Monotypes, digital banners,

earth, lithographs, table, chair, plastic suitcase, ice, water 900 x 1100 cm 189

Plate 6.1 Rirkrit Tiravanija, the land 1998 ongoing, and

artist group Superflex Supergas, a biogas system

[photograph Baas and Jacob 2004, 175] 198

xxv

Plate 6.2 Rirkrit Tiravanija, the land,

http://atc.berkeley.edu/upload/Rirkrit_Tiravanija1154977193.jpg 199

Plate 6.3 Lord 2007, Winged Ice Buddha, a mythic Australian figure

three stages 210

Plate 6.4 Ernesto Pujol 2004, Boy from The Land 2002-2004

[photograph Baas and Jacob 2004, 196] 211

Plate 6.5 Interpretations of the compassionate bodhisattva,

left to right, Reigen Eto (1721-1785) White robed Kannon, [AGNSW 2005, 68],

Kuan Yin and Avalokiteshvara [McArthur 2002, 43 and 117] 214

Plate 6.6 Marcel Duchamp (1967), Ready-Mades et Editions

de et sur Marcel Duchamp, poster 215

Plate 6.7 Dalai Lama in Stages of Mediation Sydney June 2008,

Blurring and meaning [photograph Lord] 219

Plate 6.8 Eroding Buddha <eroded061> Yungang caves near

Datong [photograph Lord 2003] 222

Plate 6.9 Sand Mandala made by Buddhist monks, 2008,

in Stages of Meditation Teachings Sydney 11th to 15th June 2008

[photograph Lord] 224

Plate 6.10 Sand Mandala made by Buddhist monks, 2008,

Stages of Meditation Teachings Sydney,

11th to 15th June 2008 [photograph Lord] 224

Plate 6.11 Anne Lord 2004, Buddha’s Footprint lithograph, plastic,

‘permanent’ markers for north Queensland rivers [photograph Lord 2004] 228

Plate 6.12 Lord 2004, Bodhisattva V Lithograph 56 x 76 cm 229

Plate 6.13 Detail folded hands Shanghai museum [photograph Lord] 229

Plate 6.14 Eroded Buddha <046> Yungang Caves [photograph Lord] 230

Plate 6.15 left Buddha and followers, right Flying Bodhisattvas,

Shanghai Museum [photographs Lord] 230

Plate 7.1 Wolfgang Laib’s Pollen 2005, indicated by Lord

AGNSW – [photograph Mona Ryder] 237

Plate 7.2 Gustav Metzger 2007, Aequivalenz – Shattered Stones

xxvi

Muenster Sculpture Project [photograph Muenster catalogue] 238

Plate 7.3 Sheela Gowda 2007, Collateral, (detail) incense (agarbathi),

on stainless steel, 200 x 200 cm variable [photograph Lord 2007] 247

Plate 7.4 Sheela Gowda 2007, Collateral, incense (agarbathi),

on stainless steel, 200 x 200 cm variable [photograph Lord 2007] 248

Plate 7.5 Zheng Guogu 2005, Add Oil and March Forward,

(detail) fried dough, 9 x 25 x 11 cm each [photograph Lord] 249

Plate 7.6 Ann Hamilton, Myein 1999, Venice Biennale

[cited Baas and Jacob 2004, 178] 252

Plate 7.7 Zhang Huan 1994, 12 sq meters,

[photograph www.Guggenheim.org] (viewed 14 November 2008) 262

Plate 7.8 Janine Antoni 1992, Gnaw,

lard cube after collapse – photograph Brian Forrest (Buskirk 2005, 13) 264

Plate 7.9 Willoughby Sharp, curator (left), and Thomas Leavitt,

director Andrew Dickson White Museum of Art, Cornell University,

watering Hans Haacke’s 1973, Grass Pile, [cited Boettger 2002, p. 162, fig. 69] 267

Plate 7.10 Anselm Kiefer 2007, Women of Antiquity (detail) Myrtis,

a Greek poet blamed for competing with Pindar

[photograph Lord at AGNSW] 269

Plate 8.1 Joan Grounds 1994, Transpoes, with Sherre DeLys,

Royal Botanic Gardens Glasshouse [photograph Grounds] 273

Plate 8.2 Signs from Staunton’s Philosopher’s Corner (studio garden),

[photograph Lord 2005 276

Plate 8.3 Collected items for consideration Madonna Staunton,

[photograph Lord 2005] 278

Plate 8.4 Log, fungi and shadow [photograph Lord 2005] 282

Plate 8.5 Barbara Pierce 2005, folded tape at Wallaman Falls National Park,

in the artists’ workshop Leave No Trace [photograph Ed Pierce] 283

Plate 8.6 Barbara Pierce 2005, Tally (one of two), temporary work with leaves,

Wallaman Falls National Park Leave No Trace [photograph Ed Pierce] 284

Plate 8.7 Troy Whelan 2005, stories and temporary work,

xxvii

Wallaman Falls National Park, Leave No Trace [photograph Lord] 285

Plate 8.8 Linda Ashton 2003-2007, Well Travelled Trunks

[photograph Ashton] 286

Plate 8.9 Linda Ashton 2003-2007, Well Travelled Trunks,

School of Education garden [photograph Ashton] 287

Plate 8.10 and Plate 8.11 Linda Ashton 2003-2007, Well Travelled Trunks,

external site and external corridor [photograph 8.10 Ashton, 8.11 Lord] 288

Plate 8.12 Marion Gaemers 1999, Figure V from the series Dancers,

stitched palm flowering stems and rag [photograph Lord] 289

Plate 8.13 Luke Jaaniste 2005, sticky tape on amenities floor cover,

QUT Art Museum [photograph Lord] 290

Plate 8.14 Luke Jaaniste 2005, hole punch leaf,

QUT Cultural Precinct [photograph Lord 20 Sept 2005] 291

Plate 8.15 Tim Silver 2008, Untitled adrift, National Art School Gallery,

[photograph Lord] 293

Plate 8.16 Tim Silver 2005, Adrift series, National Art School Gallery,

2007 [photograph Lord] 294

Plate 8.17 Chia-Ming Cheng 2005, If the dead use money,

perhaps they need cash registers too, Kudos Gallery,

COFA Sydney [photograph Lord] 295

Plate 8.18 Ice sculptures, Harbourside Ice and J.A.T. transport

[photographs Lord 2007] 297

Plate 8.19 Gabrielle Hegyes 2007, Strand Ephemera

Townsville [photograph Lord] 301

Plate 8.20 Anne Lord 2007, Winged Ice Buddha: Australian mythological figure,

[photograph Lord] 302

Plate 8.21 Lord 2007 Winged Gecko – six stages 305

Plate 8.22 Lord 1995-6, ROT, recycled paper, 400 x 200 x 200 cm.

site in The Valley, Brisbane [photographs Thierry Auriac] 306

Plate 8.23 Lord 2005-8, Impossible bucket, humus,

and cellulose glue 30 x 25 x 25 cm installed, Perc Tucker Regional Gallery 307

xxviii

Plate 8.24 Lord 2005 and 2008, Impossible bucket,

humus and cellulose glue 30 x 25 x 25 cm, studio garden 307

Plate 8.25 Gabrielle Hegyes and Jo Anglesey 2007,

Overlayunderlayoverlay, 700 x 700 cm. at In Site Out 309

Plate 8.26 Lord 2007, Ephemeral Characters (detail praying kangaroo),

approximately 80 x 50 x 50 cm. In Site Out, Orange New South Wales 310

Plate 8.27 Stephanie Radok and India Flint 2003, Immigrant Garden I,

chalk drawings Adelaide Festival Centre,

[right] Stephanie Radok and India Flint 2002,

chalk drawings Immigrant Garden II Art Gallery SA Courtyard 311

Plate 8.28 Lord 2007, melting Winged gecko,

Strand Ephemera, [photograph Lord] 312

Plate 9.1 Lord 2003, Water Willow, from the Survivor Series

lithograph 56 x 76 cm 320

Plate 9.2 Lord 2005, Eroded Survey Pegs,

Graphite on paper [photograph Lord] 321

Plate 9.3 Lord (2007) Hammerhead in display case,

Tools of Change exhibition at Umbrella Studio Contemporary Arts 322

Plate 9.4 Lord 2007, left spike, right bolt each 150 x 180 cm. plan copies and

carborundum on paper, Tools of Change installation, Umbrella Studio 322

Plate 9.5 Hans Haacke 1993, Germania,

Venice Biennale German Pavilion

[http://media.newtimes.com/1929884.64.jpg] accessed 7 July 2008 327

Plate 9.6 Avital Geva (1993) 1993, Greenhouse, installation,

Venice Biennale 1993, pp. 134 + 135 328

Plate 9.7 Petre Nikoloski 1989-99, Spaces XXXIV Magic Forest,

installed 1993 (Venice Biennale, pp. 164 + 165) 329

Plate 9.8 Rosemarie Trockel 2007, Model for

Less Sauvage than Others, (Muenster 07, pp. 244- 247) 330

Plate 9.9 Rosemarie Trockel 2007, Less Sauvage than Others,

Lake Aa (Muenster 07, 244- 247) 330

xxix

Plate 9.10 Rosemarie Trockel 2007, Less Sauvage than Others,

[photograph Sculpture Projects Muenster 07, 244- 247] 331

Plate 9.11 Lord 2004, [detail] Absence installation ‘permanent’ markers,

on plastic 900 x 1100 cm below eroded Buddha images,

Yungang Caves near Datong, and earth on plastic 332

Plate 9.12 Madonna Staunton 2008, Philosopher’s Corner studio garden

[photograph Lord] 334

Plate 9. 13 Barbara Kruger, 1990, I shop therefore I am,

Photolithograph on paper (31.5 x 25 cm);

shopping bag, (43.9 x 27.3 x 10.7 cm) http://www.MoMA.org/collection 335

Plate 9.14 Margaret Lyne cut lace and worn threads [photograph Lord] 337

Plate 9.15 Margaret Lyne re-applied fabric 1930s [photograph Lord] 337

Plate 9.16 Lord 2005, Peg on a rotting log digital 339

Plate 9.17 Lord 2005, No peg on rotting log digital 339

Plate 9.18 Lord 2005, Peg on a rotting log graphite on paper 340

Plate 9.19 Lord 2005, Peg on a rotting log lithograph on paper 340

Plate 9.20 Eugene Carchesio 2000, From Nothing series 1

(six details approx. 29 x 21cm.) Watercolour on paper,

[photograph UQ Eugene Carchesio 2002, 5] 341

Plate 9.21 Lord 2004-5, Eroding Buddha series

digital 160 x 126 cm. installed in Umbrella Studio 342

Plate 9.22 Lord 2004-5, Eroding Buddha series

digital 160 x 126 cm. installed in Umbrella 343

Plate 9.23 left Bodhisattvas in the Hua Yan Monastery in Datong,

[scanned from post card]

right Lord 2003, Bodhisattva and Kangaroo V, brush and ink 344

Plate 9.24 Lord 2004-8, Impossible bucket 30 x 25 x 25 cm.

humus and glue disappearing 345

Plate 9.25 Lord 2004, (left) Ice Buddha opening night,

Absence installation Umbrella Studio Contemporary Art

(right) remains Sunday morning 349

xxx

Plate 9.26 Lord 2007, Ephemeral being, praying kangaroo with wings

80 x 50 x 60 cm. ice 352

Plate 9.27 Lord (2006) Ephemeral Milestone 2006-2009 estimated time,

side and top [photographs Lord] 355

Plate 9.28 Pingyao lady, ceramic (detail) Chinese [photograph Lord 2003] 359

Plate 9.29 Tang lady, Shanghai Museum, [photograph Lord] 361

Plate 10.1 Rirkrit Tiravanija 2005, Untitled [Guggenheim Museum web site] 375

Plate 10.2 RAQS Media Collective (2001-2002) 28f28" N / 77f15" E ::

Documenta 11, Kassel, Germany (http://universes-in-

universe.de/car/documenta/11/halle/e-raqs-zoom4.htm 382

Plate 10.3 RAQS Media Collective 2001-2002, 28f28" N / 77f15" E ::

Work in Documenta 11, Kassel, Germany http://universes-in-

universe.de/car/documenta/11/halle/e-raqs-zoom4.htm 383

(detail: projection on the floor of the exhibition space, Documenta-Hall)

Plate 11.1 Lord 1997, coke bottle and hose (detail in Fold exhibition)

paraffin wax and caustic soda on drawing on frizzled paper 400

Plate 11.2 Lord Heel-less stiletto (1997 - ongoing) disintegrating object,

from flotsam and jetsam photographs 401

Plate 11.3 Lord 1997, Fold (detail) floor installation,

Umbrella Contemporary Arts, glass bricks with images,

water, oil and caustic soda 402

Plate 11.4 Lord 2001, Urban flags - Burnt split, photo-screen print,

organza layers, aluminium fastened at top [photograph Rob Parsons] 406

Plate 11.5 Lord 1999, ongoing, Flotsam and Jetsam,

public art (detail 20 x 20 cm) white bird strangled with a white shopping bag,

UV cured images on metal in glass bricks 407

Plate 11.6 Lord 1999, flotsam and jetsam [details],

red pants, strangled white bird 408

Plate 11.7 Lord 2005, Horizontal peg on disused step,

Wallaman Falls National Park 415

Appendix Plate 1 Lord 2003, Mimosa - Survivor Trees calligraphy 551

xxxi

Appendix Plate 2 Lord 2004, Absence installation eroding Buddha images,

remains of the Ice Buddha 513

Appendix Plate 3 Lord 2004, Ephemeral Beings Digital prints, plastic,

permanent markers, white plaster figurines, earth 516

Appendix Plate 4 Lord 2007, Hammerhead in display case for Tools of Change,

Umbrella Studio Contemporary Arts 518

Appendix Plate 5 Lord 2005, No peg chalk remains 523

Appendix Plate 6 Lord 2005, tree fungi as readymade ephemera conducers 523

Appendix Plate 7 Wet Tropics Great Walk, June 2005, [Queensland Government,

Environmental Protection Agency, Queensland Parks and Wildlife Service] 527

Appendix Plate 8 Lord 2005, Decaying log [photograph Lord] 527