Art and ephemera post-structuralist perspective: visual art, ephemera and environment

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(1)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.

(2) 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.

(3) 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 I understand that, as an unpublished work, a thesis is protected under the Copyright Act and I wish the following restriction to be placed on this work.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). ii.

(4) 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 Information derived from the published or unpublished work of others has been acknowledged in the text and list of references is given..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).

(5) 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). iv.

(6) 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 v.

(7) 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.. vi.

(8) 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. Poststructuralist 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.. vii.

(9) 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 ˚ repositioning 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.. viii.

(10) 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. ix.

(11) 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.. x.

(12) 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 xi.

(13) 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. xii.

(14) 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. xiii.

(15) 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 xiv.

(16) 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. xv.

(17) 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 xvi. 396.

(18) 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 xvii.

(19) 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. xviii.

(20) 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 rewriting 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. xix.

(21) 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. xx.

(22) 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. xxi.

(23) 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 xxii.

(24) 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 Plate 5.7 Margaret Lyne 1920s Lace – some unravelling threads xxiii. 148.

(25) [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 xxiv.

(26) 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 xxv.

(27) 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] Plate 8.7 Troy Whelan 2005, stories and temporary work, xxvi. 284.

(28) 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 xxvii. 307.

(29) 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 xxviii.

(30) 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 xxix.

(31) 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-inuniverse.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-inuniverse.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. xxx.

(32) 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. xxxi.

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