tag:blogger.com,1999:blog-56826148506769005222024-03-14T20:09:58.354+11:00Gordon Monro's blogAn occasional blog by Gordon Monro, Australian digital media artist, with a bias towards algorithmic and generative art.Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.comBlogger138125tag:blogger.com,1999:blog-5682614850676900522.post-82649913636198978342018-05-01T14:00:00.000+10:002019-01-07T14:23:10.146+11:00Mothballing this blogAfter more than 10 years I am mothballing this blog, as it has ceased to be useful.Thanks to all the people who have engaged with it from time to time.<br />
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I can be reached, and my activities viewed, via my website at <a href="http://gommog.com/">http://gommog.com/</a>.Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-85280397470338405192018-04-10T18:05:00.000+10:002018-04-10T18:05:27.761+10:00Abstraction 18<div class="_39k5 _5s6c">
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“Abstraction 18” is a massive group exhibition across several galleries, curated by Stephen Wickham and Wilma Tabacco. It is timed to coincide with the recreation of the exhibition “The Field” from 1968 in the National Gallery of Victoria. I have a work in this show in the Stephen McLaughlan Gallery - the image is part of my piece.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnvN5l5d5RxBw6Hp3hJVbbZ5g8kRXn5tMI2LP307maOr_R95NalkhjjuOsmdSj2uY0MjfyKOVOymHMr9rSHmKLzfeRns1pYQdRbvnGvdTyBUST8Eglka4bjdxQ-Aw_gcONxUY2mQWAoAo/s1600/Alogos_Hexagonal_A_detail.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="600" data-original-width="600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnvN5l5d5RxBw6Hp3hJVbbZ5g8kRXn5tMI2LP307maOr_R95NalkhjjuOsmdSj2uY0MjfyKOVOymHMr9rSHmKLzfeRns1pYQdRbvnGvdTyBUST8Eglka4bjdxQ-Aw_gcONxUY2mQWAoAo/s320/Alogos_Hexagonal_A_detail.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of <i>Alogos: Hexagonal</i></td></tr>
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<span class="_4yxo"><b>Where:</b> </span>Stephen McLaughlan Gallery, Level 8 Room 16 The Nicholas Building,
37 Swanston Street Melbourne (on the corner with Flinders Lane), <a data-lynx-mode="asynclazy" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.stephenmclaughlangallery.com.au%2F&h=ATOzfN5MawHkoyts6lFbL3vmvo7ms1n_P_meyhlXtRcq6kxyeK9-A4XDiA4T6Plf9xZReMSOgGIzL7-OQNFczP71mBYGrVubad0kHx4UglPmYbyobJaZk7xaULeAfZXu2AJ104MN" href="http://www.stephenmclaughlangallery.com.au/" rel="nofollow" target="_blank">http://www.stephenmclaughlangallery.com.au/</a></div>
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<b><span class="_4yxo">Opening event:</span></b> Saturday 28th April, 2 pm - 4 pm.</div>
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<span class="_4yxo"><b>Exhibition dates:</b> </span>April 25 - May 26, 2018.
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<b><span class="_4yxo">Gallery hours:</span></b> Wednesday to Friday 1 pm - 5 pm and Saturday 11 am - 5 pm.</div>
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There are also <span class="_4yxo">two other openings</span> that weekend for other parts of the exhibition: at <b><span class="_4yxo">Five Walls</span> </b>(Footscray) on Friday April 27, 6pm - 9pm, and <b><span class="_4yxo">Langford 120</span> </b>(North Melbourne) on Sunday 29th, 2pm - 4pm. See <a data-lynx-mode="asynclazy" data-lynx-uri="https://l.facebook.com/l.php?u=http%3A%2F%2Ffivewalls.com.au%2F&h=ATOH8AoXLs0mZ_NltIetFZukducuShGW0QgW6rDh9JC18MF9odxjn2k_1yZYlhDRRqijY-MCwllA_y84U1KktbXRaBEKiZcmmI4LsI9aG4CGUpMVpZhkIXTtPU55V7-ZNhYcnn-z" href="http://fivewalls.com.au/" rel="nofollow" target="_blank">http://fivewalls.com.au/</a> and <a data-lynx-mode="asynclazy" href="https://l.facebook.com/l.php?u=http%3A%2F%2Fwww.langford120.com.au%2F&h=ATMe9JEbzSWd2IRJKZ5RAADcGNYzJj2feaeqLV1DXBDpzf40jx6gSDWG5hSfDCpHMtEKGgNSl0zdQ9DHUd4LH6CTXFTcqyUZ1ZdFoW4fPEeIOeY9quGvk2jd1BeB2vz4E4GVfIz6" rel="nofollow" target="_blank">http://www.langford120.com.au/</a>.
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Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-87639085355037750242018-04-02T09:53:00.000+10:002018-04-02T14:08:28.255+10:00The Other Art Fair and Interior DecoratingI was an exhibitor at The Other Art Fair, Sydney, held on 22-25
March in the exhibition hall of the Advanced Technology Park near
Redfern station. The organiser is Saatchi Art, an organisation that
now has no connection with Charles Saatchi, though he was involved
early on; later he sued them to stop them using his name. The point
of difference of The Other Art Fair is that there are no gallerists
or dealers in the stands, only artists showing their own works.<br />
<br />
There was an application process for the fair; I could not get any
sense of how rigorous the selection was. I looked at a few CVs, and
from what I could see the artists selected were reasonably established in
terms of holding solo exhibitions and being finalists in prizes. The
publicity for the fair had a relentlessly young and funky vibe, and
many of the artists were youngish, but I certainly wasn't the only
one there with grey (or white) hair, so the selection wasn't too
dependent on age.<br />
<br />
The Fair brought home to me just how much the art world is part of
the interior decoration industry, both domestic and corporate. I thought about a spectrum of artists and artistic endeavour. At one
end are the artists who are exploring, extending their practice,
engaged in what I think of as a conversation with the history of art
and with a wide range of influences from within the artworld and
outside it. I call this the exploratory end of the spectrum. At the other extreme is
the purely commercial end, where the artist develops a formula that
isn't going to upset anyone (stylised landscapes, swoopy abstracts,
cute figures, soft-focus nudes), sticks to the formula and produces
in quantity. Some artists have
two practices at different places on the spectrum: for example, a ceramicist might produce a line of simple
pieces for sale as well as making more "difficult" experimental
works. <br />
<br />
The art fair made me realise that the artists I have met have
generally been near the exploratory end of the spectrum, which is
not surprising considering that I have been studying in a
postgraduate University environment. There was a range at the art
fair, including quite a lot of very formulaic work as well as some
that was more towards the exploratory end. <br />
<br />
There were many large works at the fair, which surprised me, as the visitors
were largely people looking to buy things for their houses. I was
naughtily reminded of the supposed art-school graffito: "If it isn't
working, make it BIG! If it still isn't working, make it RED!" But
quite a few big paintings sold, so maybe people have big walls.<br />
<br />
I wasn't the only person exhibiting computer-generated work: Grant
Stewart showed work made by a drawing machine he had constructed
that is controlled by a small computer (an Arduino), and he had the
machine there and in action as well.<br />
<br />
I have never participated in an art fair before, and I didn't know
what to expect. For me it wasn't a success: it cost me quite a lot
in time, money and effort, and I sold very little. Apparently some
gallerists and curators visited the fair, but none made themselves
known to me. However, some of the other artists at the fair sold
well, and I don't blame Saatchi Art for my lack of success. But I
don't expect to do it again.<br />
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<br />Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-90646932671947681632018-03-21T22:14:00.001+11:002018-03-21T22:14:59.721+11:00Wyndham Art Prize<div class="gm_wdisclosable_info">
I have a work in this year's
<a href="https://www.wyndham.vic.gov.au/whats-on/wyndham-art-prize-2018-launch">
Wyndham Art Prize</a>.<br />
<br />
<b>Opening:</b> The opening is on the 29th March from 6.30 to 8.30pm. All welcome!<br />
<br />
<b>Where:</b> The Wyndham Art Gallery, 177 Watton Street Werribee. (In the Wyndham
Cultural Centre building.)<br />
<br />
<b>Exhibition dates and hours:</b> 29th March to 11th June. Gallery hours Mon - Fri 9 - 5,
weekends and public holidays 11 - 4.</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-29117683506589979462018-03-21T21:49:00.000+11:002018-03-21T21:49:00.416+11:00White Night BallaratOn Saturday (18th March) I went to see White Night Ballarat. This is the second time it has come to my home town; the first time was last year. Before then Victorian white nights were only in Melbourne. <br />
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This year was a success by all accounts, with an estimate of 60,000 visitors, impressive for a city of only 100,000 people, and more than came last year. Some of the works were imported from the Melbourne White Night a few weeks ago, but by no means all (and I didn't see the Melbourne White night this year, so I'm not making comparisons; I also saw only about half of the Ballarat event). It was a very windy night in Ballarat, and this caused a couple of things to be cancelled, including the chandeliers by Debra Goldsmith, but otherwise things seemed go very smoothly. There was a good atmosphere, with people of all ages simply having a good time. Central Ballarat suits White Night well, with plenty of historic façades for projections and several suitable venues for indoor events, all compactly located in two or three blocks.<br />
<br />
What sort of work succeeds at a White Night? The audience consists of all ages, including young children, and there are large crowds moving through the streets and the venues. So, colour and movement is a big plus, "adult" themes are problematic, and a duration of five minutes or less is good. And a surprise twist of some kind is an asset.<br />
<br />
I felt that certain things have become close to routine at these events, and I have seen a number of White-Night-like events in several cities in the last few years. Firstly, projections onto historic buildings. The technology has matured: in Ballarat the images were bright and clear, and the
precision with which windows, columns and other architectural features
were outlined and made use of was remarkable. Unfortunately, I have tended not to pay much attention to the content. The only projection that has really stuck in my mind was from a Melbourne White Night a few years ago, in the State Library: it showed various viruses, including the HIV virus, at enormous scale.<br />
<br />
Secondly, illuminated sculptures, which move or are interactive. Not so evident in Ballarat this time, though the work <i>Metamorphosis</i>, by Indirect Object and A Blanck Canvas, provided an example. This is a group of interconnected cocoon-like shapes, which respond with sound and colour when touched (or thumped by small children). A work I found more appealing was <i>Enlightened Disciples</i> by Skunk Control, a large collection of flower-like objects (with several prominent thistles), illuminated with changing colours.<br />
<br />
Thirdly, works that move through the streets, including performers on stilts and mobile sculptures. The White Night Messenger was in Ballarat this year, an engaging work, part of whose appeal is that the puppeteers who control the work are out in the open. I am sorry that I missed Utility Kinetic Insect.<br />
<br />
And fourthly, music and dance stages, providing a festival within a festival.<br />
<br />
There are certainly many events outside these four categories. As some examples, in Ballarat the Art Gallery of Ballarat, the Post Office Gallery (Federation University) and the Lost Ones Gallery showed the various exhibitions they currently have on display. There were events related to the Eureka Stockade rebellion, a defining moment in Ballarat history. And among the many events I missed was the blitz chess tournament (very fast play) at the Ballaarat Mechanics Institute. ("Ballaarat" is an older spelling of the city's name.)<br />
<br />
I'll close by mentioning two works that have strong Ballarat connections, one out in the streets, one inside (in a small theatre space). The first was <i>Bunjil</i>, consisting of 48 sculptures of a flying eagle. These lit up in quick succession, providing a kind of stop-motion animation. The reference is to the creator spirit Bunjil who is prominent in the Indigenous culture of central and Western Victoria; the Indigenous artist consultants for the work were the prominent Ballarat artists Marlene Gilson and Deanne Gilson. This work was in Sturt Street in the centre of Ballarat and was impressive, simple and effective; good White Night material.<br />
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The second work was <i>Random Number Generator</i> by Christine Tammer and Erin McCuskey, two active local creators. This is a three channel video, which I thought was the most interesting thing I saw on the night, but was not good White Night material. It was too long, too complex, and it needed a hint: this is the world as seen through the eyes of a poker machine. Fortunately I knew the hint (from the White Night website), and I found the work engrossing, but most of the audience evidently found the work mystifying and boring.<br />
<br />
So Ballarat's White Night was a great success and a good event all round, but not surprisingly there \are definite limits to the sort of work that will go well in a White Night environment,<br />
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<br />Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-41823681391791574672018-03-07T08:48:00.001+11:002018-03-07T09:00:44.888+11:00The Other Art Fair, Sydney<div class="gm_wdisclosable_info">
I have taken a stand in <a href="http://sydney.theotherartfair.com/">The Other Art Fair, Sydney</a>. This is billed as being a "different" art fair, as there are no dealers; the only people selling work are the artists themselves.<br />
<br />
The fair is located at the old railway workshops near Redfern station. The address is Exhibition Hall - Bay 8 - Locomotive Workshops -<br />
2 Locomotive Street, Eveleigh NSW 2015.<br />
<br />
The opening event is on Thursday 22nd March, and the art fair
continues on the Friday, Saturday and Sunday. The hours vary from day to
day: see <a href="http://sydney.theotherartfair.com/visiting/fair-programme">
http://sydney.theotherartfair.com/visiting/fair-programme</a>.</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-40911145771665345742018-03-03T22:25:00.000+11:002018-03-04T09:06:53.712+11:00"Imagine" at the Gippsland Art GalleryRecently I went to the Gippsland Art Gallery at Sale, to see the
first exhibition in the new Gallery. The exhibition was curated by
Simon Gregg, the acting Director, and is quite remarkable. It
occupies the whole of the Gallery, which consists of a lofty central
gallery (where one enters) surrounded on three sides by lower
galleries. About half the works in the exhibition came from the
Gallery's own collection.<br />
<br />
The title "Imagine" indicates the intent of the exhibition: to show
works that engage with the imagination. The works covered a wide
range, but they had in common elements of the fantastic, the
mysterious, the uncanny. There were bizarre and non-functional
machines by Tricky Walsh and Adam Laerkesen, soft sculptures
inspired by astronomical objects by Claire Pendrigh, the enigmatic
figures "Hattah Man" and "Hattah Woman" in a photograph by Polixeni
Papapetrou, an unnatural cloudscape by Lesley Duxbury (it was created by
the cooling towers of the Loy Yang power station in the
Latrobe Valley), the pulsating video "Singularity" by Solveig
Settemsdal and Kathy Hinde, and much more.<br />
<br />
Here are two photos (by me). An inexpensive catalogue, with good pictures of all the
works, is available at the Gallery.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl_w8YoGUbHOzhngheQtzS4aeEXXFMKecDHkRWGBiZACwxADYuXqw2YBLTmWSTks5u0R0_-Vh-wy9xyTPqVFAruoo6MtJU71d-7v0_SOuPEDnQhLxg5fFtIirGGIVJraDAkxQkj4XvSEM/s1600/IMG_0112ed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl_w8YoGUbHOzhngheQtzS4aeEXXFMKecDHkRWGBiZACwxADYuXqw2YBLTmWSTks5u0R0_-Vh-wy9xyTPqVFAruoo6MtJU71d-7v0_SOuPEDnQhLxg5fFtIirGGIVJraDAkxQkj4XvSEM/s400/IMG_0112ed.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Juz Kitson, <i>Preserved in the the ball of an eye that once could see</i> [detail]</td></tr>
</tbody></table>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS-vm2dObd2rRIbaJlfusnaVRzbj8ijQNt8yqATYZBfr1TOyNpDAu75Ga8mXRw6_BHhWyRwIa-KniDxEmjt8DUmNOl70dhzPUvzwACaZRFKZpFX1O7_w0EHq6uSGCq-WTAJ8ZiyqKeO3Q/s1600/IMG_0159_ed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS-vm2dObd2rRIbaJlfusnaVRzbj8ijQNt8yqATYZBfr1TOyNpDAu75Ga8mXRw6_BHhWyRwIa-KniDxEmjt8DUmNOl70dhzPUvzwACaZRFKZpFX1O7_w0EHq6uSGCq-WTAJ8ZiyqKeO3Q/s400/IMG_0159_ed.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daniel Agdag, <i>The Bird House</i> [detail]</td></tr>
</tbody></table>
<br />
I found the exhibition more coherent (despite its wide range) and
more engaging than the National Gallery of Victoria's
Triennial, which I saw recently. The Gippsland exhibition is on
until 18th March. See <a href="http://www.gippslandartgallery.com/">http://www.gippslandartgallery.com/</a>. Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-84134128419957939032018-02-28T16:37:00.000+11:002018-02-28T16:37:12.582+11:00Work in the Art Gallery of Ballarat <div class="gm_wdisclosable_info">
My work <cite>Nascent</cite> (part of the <i>Nanocosm</i> series) is currently on display in the <a href="https://artgalleryofballarat.com.au/">Art Gallery of Ballarat</a>.<br />
<br />
More about the work at <a href="http://gommog.com/prints/nanocosm_prints/nascent_sequence.html">
http://gommog.com/prints/nanocosm_prints/nascent_sequence.html/</a><br />
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-91879089930107904532018-02-21T22:22:00.000+11:002018-02-21T22:22:18.957+11:00Incoherently Massiver(More incoherently massive, incoherently more massive?) A few days
ago I returned to the Triennial at the National Gallery of Victoria.
This time I saw the larger-scale works on the ground floor, "larger-scale" being the distinguishing feature. The largest of all is the enormous
reclining Buddha by Xu Zhen that dominates the forecourt, but there were a considerable number of other
works that each took up a sizeable room. Perhaps the most impressive
for me was the sinister mass of the work by Shilpa Gupta (not given
a title), which was a roughly spherical shape some four metres
across, the outside covered with microphones, placed in a dark room.
There were evidently speakers inside the mass, as there was sound, a
mixture of crowds talking, music, and other noises. The work was
conceived as a meditation on borders and flows of refugees,
referring in particular to the separation of Pakistan from Gupta's
native India in 1947.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-J3fpyspvTZuqnrw1aqIYDo6FFFMuw_lWvHF688xsCz-vR0lzOjPDMEtZIKoVtXyKpN9sSn2EETQoaLR3uIIEpLSI-w8l2TYDENuOY00cvvKa6JaIkji9-pajAWkZDpDLVJwThEG3xw/s1600/IMG_0049.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE-J3fpyspvTZuqnrw1aqIYDo6FFFMuw_lWvHF688xsCz-vR0lzOjPDMEtZIKoVtXyKpN9sSn2EETQoaLR3uIIEpLSI-w8l2TYDENuOY00cvvKa6JaIkji9-pajAWkZDpDLVJwThEG3xw/s400/IMG_0049.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of Shilpa Gupta's work</td></tr>
</tbody></table>
Another work that appealed to me was the large grouping of extraordinary
masks under the title "Vespers" by Neri Oxman, who directs the
Mediated Matter group in the Media Lab at the Massachusetts
Institute of Technology. The works were made using newly
developed 3D printing techniques. They were also very effectively
lit, each plinth having small lights pointing upwards; there were
also narrow-beam spotlights in the ceiling.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhohHgrzZzI20W6P44W7IcyM05z5fVMLHBY_erqymapoOXzxt67R0AwUgB8X-W_OqRjkUEqfMUr-9BvF9_BWII0w2Xvh16WECacawd01yPJvkvtte4hnu-X_6e0MspKI3M1uu1Xz67u2aM/s1600/IMG_0129.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhohHgrzZzI20W6P44W7IcyM05z5fVMLHBY_erqymapoOXzxt67R0AwUgB8X-W_OqRjkUEqfMUr-9BvF9_BWII0w2Xvh16WECacawd01yPJvkvtte4hnu-X_6e0MspKI3M1uu1Xz67u2aM/s400/IMG_0129.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">From the "Vespers" series by Neri Oxman</td></tr>
</tbody></table>
<br />
Cross-cultural exuberance was provided by the Javanese artist Uji
(Hahan) Handoko Eko Saputro, whose work combines traditional
Javanese images with pop-culture styles. Another exuberant work was
by the American artist Pae White, who strung a room with brightly
coloured threads as well as decorating the walls in bold patterns;
and a third was the "Flower Obsession" room by well-known Japanese
artist Yayoi Kusama. On entry to this we were given a paper flower
with an adhesive base, and asked to add it somewhere in the room. A
contrast was the too-cool-for-school array of chairs by the Japanese
designer Aki Sato, from Nendo Design. It is claimed that the chairs
were inspired by the visual gestures found in manga comics.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtkdkbqDHV9HLVgjyvaaCQjEoGrYWpZ8lgvJ-tIt4E5MgEV09m3BDhCbHIILp8AJTpMU-DNVe0phmuSVbsgHu6kqwg2dpx1PzpuRwGnn2Xj7J0LiQlBfGTtJW-TxuY557pv1hzYM3oao/s1600/IMG_0037.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="750" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQtkdkbqDHV9HLVgjyvaaCQjEoGrYWpZ8lgvJ-tIt4E5MgEV09m3BDhCbHIILp8AJTpMU-DNVe0phmuSVbsgHu6kqwg2dpx1PzpuRwGnn2Xj7J0LiQlBfGTtJW-TxuY557pv1hzYM3oao/s400/IMG_0037.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of the works inn the installation by Uji
(Hahan) Handoko Eko Saputro</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwtb48f8XVKxmOk-9VJQJ6UiIHqwWFCodzUOtodaAO2KdEF7KHg_7ItR7ZqskweZCm7gXaowl1ugAUq48LiVepYyYHxVNMsR1IdYxREYjgHRlDGKBPZO4fhd402dGBpKV1z9vT-FzdzT8/s1600/IMG_0045.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwtb48f8XVKxmOk-9VJQJ6UiIHqwWFCodzUOtodaAO2KdEF7KHg_7ItR7ZqskweZCm7gXaowl1ugAUq48LiVepYyYHxVNMsR1IdYxREYjgHRlDGKBPZO4fhd402dGBpKV1z9vT-FzdzT8/s400/IMG_0045.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Part of Pae White's room</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwVUEhmWLsjONc8_8Zg1fpKG2aJBdFZDmRj94TejD8Cny4P2CgWyD9BooRtvF-hQ1rnTl0HDyLT8k7BCZkUlkWfsOrljPoeKDD_spBfy9y1uOKMjTYp-FSm9l2I-ailDVHs3LzVmyZmEo/s1600/IMG_0002-2b.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwVUEhmWLsjONc8_8Zg1fpKG2aJBdFZDmRj94TejD8Cny4P2CgWyD9BooRtvF-hQ1rnTl0HDyLT8k7BCZkUlkWfsOrljPoeKDD_spBfy9y1uOKMjTYp-FSm9l2I-ailDVHs3LzVmyZmEo/s400/IMG_0002-2b.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yayoi Kusama's "Flower Obsession" (part)</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-SXYxC7NKozQRKfpnjI9RBJ-ysNHvW65FEVZSbnQtNwzjoV045_VYhSXs6oyQPtExevdRGcvR7ZpB4Aiic_TnztSt7Ak6A1v1ZECpJdtP-_ckikrfBeKAXSvjGY3TZ015INIjQ2umKsw/s1600/IMG_0025.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-SXYxC7NKozQRKfpnjI9RBJ-ysNHvW65FEVZSbnQtNwzjoV045_VYhSXs6oyQPtExevdRGcvR7ZpB4Aiic_TnztSt7Ak6A1v1ZECpJdtP-_ckikrfBeKAXSvjGY3TZ015INIjQ2umKsw/s400/IMG_0025.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of Aki Sato's chairs</td></tr>
</tbody></table>
<br />
Another Japanese work was "Moving Creates Vortices and Vortices
Create Movement" by teamLab from Tokyo. This was a swirling
vortex-like projection on the floor of a room with mirrored walls; the centre area of the projection was responsive to the movements of
people nearby. Then there was the selfie heaven of "Santa Cruz River" by Alexandra Kehayoglu (Argentina); an unfair description, as the work has a serious purpose, being based on a threatened ecosystem.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvF2K4E1gVZrovZp-WDVK2RFHdGGjTZwQyJv9Ko9I7C7Fm76JoKKreH3NjiqSsQAuFOVJQ0Ka4vOjBM8HiFXOGz0cK4lIx6sQGODw0sLc4Lx-dVg3VUUaMPAV3p4ixHNYl-V2YDuSnnY/s1600/IMG_0080.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpvF2K4E1gVZrovZp-WDVK2RFHdGGjTZwQyJv9Ko9I7C7Fm76JoKKreH3NjiqSsQAuFOVJQ0Ka4vOjBM8HiFXOGz0cK4lIx6sQGODw0sLc4Lx-dVg3VUUaMPAV3p4ixHNYl-V2YDuSnnY/s400/IMG_0080.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"> teamLab's swirling floor</td></tr>
</tbody></table>
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6s8iSAtE6BW3YGKG0aula_02E3pbiR9SOuzmPPUI7kxQeCAXBxeSzTUIiA4v3i2Fm3vJBEAP9y5nArfCbbYvxIqOAa6E7Ml1PBe4CZJZmZxKBpk7erpVQmM4hzC73Tud5e83Q3scgFKE/s1600/IMG_0073.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6s8iSAtE6BW3YGKG0aula_02E3pbiR9SOuzmPPUI7kxQeCAXBxeSzTUIiA4v3i2Fm3vJBEAP9y5nArfCbbYvxIqOAa6E7Ml1PBe4CZJZmZxKBpk7erpVQmM4hzC73Tud5e83Q3scgFKE/s400/IMG_0073.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alexandra Kehayoglu's "Santa Cruz River"</td></tr>
</tbody></table>
<br />
The last of the room-sized installations I'll
mention is "Noss Noss", the treatment of the downstairs café in the
NGV by Moroccan artist Hassan Hajjaj. The main element is repeated
red octagons containing an Arabic word. On this visit I found out
what the word means: it is "stop" in Arabic; the octagons are Arabic
stop signs.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOHat0Tu-IkI-Pnm7aHNLdreQumHv3yYZnJafz-e8jVy1S9d4PUPgyUfBtGOXzp5DUQm5QrYSkBsxXXgG0znlJwU3i3lTpDRRPVUaRXE5GQYku2Iin-0GsB50BXm_VDb1TqG3mDIQQFo/s1600/IMG_0124.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtOHat0Tu-IkI-Pnm7aHNLdreQumHv3yYZnJafz-e8jVy1S9d4PUPgyUfBtGOXzp5DUQm5QrYSkBsxXXgG0znlJwU3i3lTpDRRPVUaRXE5GQYku2Iin-0GsB50BXm_VDb1TqG3mDIQQFo/s400/IMG_0124.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The floor of the café (Hassan Hajjaj)</td></tr>
</tbody></table>
I'll close by mentioning a work that does not take up a whole room
by itself, though it does occupy three large panels: "Sump System"
by Hong Kong/Australian artist Richard Giblett. This is a detailed
drawing of a semi-abstracted industrial landscape, the whole
appearing to be reflected in some black liquid like sump oil, the
"sump" of the title; it refers to the invisible dark underside of
our society of profligate consumption. I assume this work was inspired in part by British artist Richard Wilson's work
"20:50", which consisted of an actual lake of sump oil in a room; I
saw it in London some years ago and the oil did act as a very
effective (and spooky) black mirror.<br />
<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WcE0zrp8QekzG02EJ5kxMhlfoeXSJgGN8tlntRaYM1Fk-pofKWaKhOhugRbykMo-VpnVwe1-UUb6g6hjD1Rouv2mHUQr_AmYCK2Hv2D6NnZTu_ZBo4Qv21nSOoqcpao4D98nqKdF1Eg/s1600/IMG_0094.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5WcE0zrp8QekzG02EJ5kxMhlfoeXSJgGN8tlntRaYM1Fk-pofKWaKhOhugRbykMo-VpnVwe1-UUb6g6hjD1Rouv2mHUQr_AmYCK2Hv2D6NnZTu_ZBo4Qv21nSOoqcpao4D98nqKdF1Eg/s400/IMG_0094.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail of Richard Giblett's "Sump System"</td></tr>
</tbody></table>
<br />
My tentative opinion of the Triennial from my last visit has been
confirmed: there is a lot of interesting and varied work,
but there seemed to be no particular reason for bringing together
these works at this time, except maybe Instagrammability.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYPxYitd0t1V1PHhW5-jQpZmYAseZrLaOWZJvp9179h6nfwKghbF3Kc3SpA0X9xLe6tZlvkdREUQ9k8NzlonSxLVIU0y-yyqJs_o91uRv-rFSMOyEylp-Bwo8IRZxJD_ATEV1M-q2DEto/s1600/IMG_0152.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYPxYitd0t1V1PHhW5-jQpZmYAseZrLaOWZJvp9179h6nfwKghbF3Kc3SpA0X9xLe6tZlvkdREUQ9k8NzlonSxLVIU0y-yyqJs_o91uRv-rFSMOyEylp-Bwo8IRZxJD_ATEV1M-q2DEto/s400/IMG_0152.jpg" width="400" /></a></div>
<br />
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<br />
<br />Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-70688176787442079122018-02-05T17:55:00.000+11:002018-02-05T17:55:25.276+11:00To Edition or Not to Edition?When I started making digital prints I hesitated for some time about
whether the prints should be in limited editions. I found that
galleries are only interested in limited editions, so from a
practical standpoint that answered the question, full stop.<br /> <br />
From one point of view the idea of a limited edition digital print
is silly. With a traditional technique such as engraving on copper,
the plate is relatively soft and prints gradually decrease in
quality as the plate becomes worn. Thus in the traditional practice
different prints from the same plate vary in quality, and there is a
natural limit to the number of prints produced. If prints beyond
this number are wanted, it is necessary for someone (likely not the
original artist) to rework the plate, going over it with an
engraving tool to sharpen up the lines. This may be seen as
lessening the contribution of the original artist, so prints from
the reworked plate probably don't have the same authority or value
as those from its original state.<br />
<br />
With digital prints there is no plate to wear out, the source being
a computer file in a format like TIFF. Prints from the same file can
still vary, according to the choice of paper and inks, the quality of the
printing equipment and the ability of the person doing the printing
to get the best out of the machinery. But this has nothing to do
with edition numbers. <br />
<br />
So, why limit edition numbers? The artist Marius Watz, well-known
for working with computer code, has said in part:<br />
<br />
"The simple answer is because there is no market for unlimited copies
… the argument that limited copies imbue the object with perceived
value might be uncomfortable to accept, but it's hard to refute. To
sell to collectors … it is necessary to build a personal connection
between the collector, artist and artwork. Scarcity is simply a
shortcut to achieving this goal, however illusory."<br />
<br />
(From <a href="https://www.quora.com/Why-should-an-artist-make-limited-edition-prints-of-a-painting-as-opposed-to-selling-an-unlimited-amount-of-prints">https://www.quora.com/Why-should-an-artist-make-limited-edition-prints-of-a-painting-as-opposed-to-selling-an-unlimited-amount-of-prints</a>)<br />
<br />
So, that gives two reasons for making limited editions: they use
scarcity to impart perceived value, and they give the chance of a
personal connection, especially with smaller edition numbers. I
accept these reasons, but there is something else as well. For me,
having a limited edition gives a sense of boundary or closure to a
project, and I want that. I'm not sure what I'm feeling here. It has something to do with the physical presence of the print once it has been made, an artefact that can be quite imposing and requires respectful handling. No doubt this is linked to the "aura" of the unique work of art, but that is a topic for another time.<br />
<br />
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-5035852845889666762018-01-22T22:42:00.000+11:002018-02-05T17:57:40.681+11:00C, Programming Language of the YearFive or so years ago I was renovating my programming practice, and I
looked at the popularity of programming languages at that time
(<a href="http://gommog-blog.blogspot.com.au/2012/06/popularity-of-programming-languages.html">http://gommog-blog.blogspot.com.au/2012/06/popularity-of-programming-languages.html</a>).<br />
<br />
Now I am doing a minor overhaul of my programming practice. I don't
intend to change my main programming language (which remains C++), but I
thought I would see what changes there have been over five years.<br />
<br />
I am not interested in determining "the best" programming language.
Obviously there is no single "best" language: what is "best" depends on
the job to be done, the skills of the programmer(s), and things like the
availability of suitable program libraries; C++ fits my situation. But a
popular language will have an active user community and a lot of online
resources, so popularity does have benefits.<br />
<br />
Last time I looked at two indices of popularity, the TIOBE index
(<a href="http://www.tiobe.com/tiobe-index//">http://www.tiobe.com/tiobe-index//</a>) and another called the Transparent
Language Popularity Index. That is now defunct, so this time I looked at
the IEEE's index
(<a href="http://spectrum.ieee.org/static/interactive-the-top-programming-languages-2017">http://spectrum.ieee.org/static/interactive-the-top-programming-languages-2017</a>).
IEEE stands for "Institute of Electrical and Electronics Engineers",
but the Institute has broadened its scope beyond engineering to computer
science and other areas.<br />
<br />
Last time I looked at 11 languages. This time the TIOBE index and the
IEEE index have the same top five languages: Java, C, Python, C++ and
C#, though the ordering differs between the two indices. All of these
except Python were designed as general-purpose programming languages,
and were certainly very popular five years ago. Python started off as a
scripting language, but soon joined the general-purpose club and
increased in popularity.<br />
<br />
The surprise is the continuing longevity of the C language. The TIOBE
index awarded it "language of the year" for 2017, as it increased its
usage the most during the year (according to TIOBE's calculation). Of
all the the languages mentioned in the this post, C is the
oldest by some way (dating from 1973) and it is the only one in the top five that is not
object-oriented. TIOBE speculates that C's ongoing popularity is due to
being taken up by the manufacturing industry. It is suited to so-called
embedded systems, computers that are built into other products; since
all computers that were around in 1973 were small by today's standards,
it isn't surprising that C is suitable for the new wave of small
computers.<br />
<br />
If I take a sort of average of the two indices, the next six languages
after the five above are JavaScript, PHP, Ruby, R, Swift and Visual
Basic, making up 11 languages altogether. The first three are associated
with Web development, and R is designed for data handling and
statistics. Swift is Apple's new general-purpose language, intended to
replace Objective-C, and Visual Basic is a general-purpose Microsoft
language with quite a long history in different versions.<br />
<br />
Compared to five years ago, the newcomers are Swift and R. Swift has
displaced Apple's previously favoured language of Objective-C, and R has
more or less come from nowhere, presumably due at least in part to the
rise of Big Data. The scripting language Perl has dropped out of my top
11, but would be number 12 by my rough ordering.<br />
<br />
So the most popular languages are quite stable over five years, and I am pleased to see that C++ is still very much alive and kicking.<br />
<br />
<br />
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-44891402014294383112018-01-07T20:10:00.000+11:002018-01-07T20:10:04.224+11:00Incoherently Massive<div class="separator" style="clear: both; text-align: center;">
</div>
Earlier this week I visited the National Gallery of Victoria's
<b>NGV Triennial</b> exhibition. This is free to enter and is a very large
show, claiming over 100 artists from 32 countries. I only saw a
fraction of the works, so I will be back. But here are some first
impressions.<br />
<br />
Firstly, there were a <i>lot</i> of people here. Secondly, the
works that I saw are very diverse. The NGV has made a point of
including design, fashion and craft alongside art, and information
about the show states that there was initially no set theme, but
that five themes or "prevalent ideas" emerged: Movement, Time,
Change, Body and Virtual. It is hard to think of anything not
covered by at least one of these.<br />
<br />
And thirdly, the show is certainly tuned into modern media. Apart from
actual multimedia artworks there are screens around the place
showing words and images related to the five themes, and on the third
level there is a bar with tablets for people to use, linked to all sorts of vaguely connected discussions, and more screens
around the walls. And visitors are encouraged to get on social media
and say what they think.<br />
<br />
There were, as expected, a number of works dealing with refugees and
with climate change. Some of these turned out to be political in a
way that the NGV perhaps didn't expect, turning into protests
against the employment by the NGV of Wilson Security, who have been involved in
brutal treatment of detainees on Manus island. Two artists, Candice
Breitz and Rafael Lozano-Hemmer, retitled their works to include the
words "Wilson must go", and a third, Richard Mosse, edited his work
to include statements from Behrouz Bouchani, a refugee detained on
Manus Island who had been mistreated by Wilson Security. The changes
came too late to be included in the catalogue, but they are included
in the NGV's online material.<br />
<br />
On this visit I saw two of the works just mentioned. Richard Mosse's <i>Incoming</i> is a large installation showing videos and still images of refugee
camps and the like, obtained by using a military-grade infrared
telephoto camera. The images are crisp, black and white, and with an
eerie quality that reminds us that this camera does not see the same
way that we do. Candice Breitz's <i>Wilson Must Go</i> consisted of
six in-depth interviews with people driven out of their countries,
and also a news-bite version consisting of brief extracts from the
interviews read by two Hollywood actors, Alec Baldwin and Julianne
Moore. There was a point here about the way that celebrities acting
a part are more real to us than the actual people who have lived
through the events.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXHj8ys0GWql0SwEwsn_-FZba0bpNGa_pWtEdpM61A2BpCJwsk92-2OGdGDhE7tdRqBzR79R5M46aDBz4JeKet_K5PNl30bG054E30d4lO2KWYDv-SWnLX6MJ0soJuA6-LTlCv76ep2UU/s1600/IMG_4157ed.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXHj8ys0GWql0SwEwsn_-FZba0bpNGa_pWtEdpM61A2BpCJwsk92-2OGdGDhE7tdRqBzR79R5M46aDBz4JeKet_K5PNl30bG054E30d4lO2KWYDv-SWnLX6MJ0soJuA6-LTlCv76ep2UU/s400/IMG_4157ed.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A detail from Richard Mosse's <i>Incoming</i></td></tr>
</tbody></table>
<br />
A number of the works in the Triennial were placed in among the
NGV's permanent collection. This applied in particular to Ron
Mueck's <i>Mass</i>, a massive collection of oversize skulls, in
with 18th-century European paintings. The wall text referred to the
tradition of <i>vanitas</i> painting, but the surrounding paintings
didn't reflect this. For more, and more varied, skulls, come to
Ballarat and see the exhibition <i>Romancing the Skull</i>, on
until 28th January
(<a href="http://artgalleryofballarat.com.au/gallery_exhibitions/romancing-the-skull/">http://artgalleryofballarat.com.au/gallery_exhibitions/romancing-the-skull/</a>).<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKA6tZNwpG1ZJQbKcYm3orATVyIoxYwMtLOZ-uayy1nhGmJ7RRyWosp52YH8LaG5pJc8GWEPks1F1_yj7TbahFl0lhqr2NIZwUBZhEuo-bwP12O-aCczeqjfBrC-9J9U3597_dyvB9Wc/s1600/IMG_4042.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHKA6tZNwpG1ZJQbKcYm3orATVyIoxYwMtLOZ-uayy1nhGmJ7RRyWosp52YH8LaG5pJc8GWEPks1F1_yj7TbahFl0lhqr2NIZwUBZhEuo-bwP12O-aCczeqjfBrC-9J9U3597_dyvB9Wc/s400/IMG_4042.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ron Mueck's <i>Mass</i> in among the 17th-18th century European painting</td></tr>
</tbody></table>
<br />
Another work from the Triennial placed in among the permanent
collection is <i>Ore Streams</i>, from the Dutch Formafantasia
design studio. This complex installation is about mining of metals;
the group consider that by about 2080 most of the available ores
will have been mined, so the source of metals will have to be
recycling: "the era of above-ground mining is upon us". <i>Ore
Streams</i> was placed among the 19th-century paintings, and there
was no discernible connection. But the placing did lead to some of
the 19th-century works getting more attention than usual, even if of
the selfie-taking kind.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG3JD4uxdg_JV_qGCPEemfmftS3JEYTQHtZnFsW9f4BLWVuMPyGZN7E3euymP93GIJGHsJIuIgTXMU84see9Bgu9DuUuzb1lQqlBgsModjK_OFvHgHFZmqHZAV-yZGa49akaZE0QE-X0Q/s1600/IMG_4209.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG3JD4uxdg_JV_qGCPEemfmftS3JEYTQHtZnFsW9f4BLWVuMPyGZN7E3euymP93GIJGHsJIuIgTXMU84see9Bgu9DuUuzb1lQqlBgsModjK_OFvHgHFZmqHZAV-yZGa49akaZE0QE-X0Q/s400/IMG_4209.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Ore Streams,</i> installation view (one side)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhixwlbzhrVWVbDcP-zXTLYSt1ovdlyJcrhDJPw3bevr6y4-RsTSZA_o2zcm-AcRmLU9w3cZgvtEWHf2ZA6HpanUY71heRhWbkuetk-Tcv8xLfWkCx66UlEFD5yurb4Dmr67RBDcnn-Aqg/s1600/IMG_4206.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhixwlbzhrVWVbDcP-zXTLYSt1ovdlyJcrhDJPw3bevr6y4-RsTSZA_o2zcm-AcRmLU9w3cZgvtEWHf2ZA6HpanUY71heRhWbkuetk-Tcv8xLfWkCx66UlEFD5yurb4Dmr67RBDcnn-Aqg/s400/IMG_4206.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In front of John Rogers Herbert, <i>Moses Bringing down the Tables of the Law</i> (1870s)</td></tr>
</tbody></table>
<br />
Some other works I saw, across art, design and fashion: Sean
O'Connell made images made by placing jewellery (rings made out of
different materials) in the path of electric discharges that then
struck photographic plates. The design studio Joris Laarman Lab had
a large table in the form of a bridge, made by advanced
manufacturing techniques. Timo Nasseri had a modern take on <i>muqarnas</i>,
a technique used in Islamic architecture of covering the inside of a
dome or vault with repeating three-dimensional shapes. Nasseri made
a small version covered in mirrors and placed in a wall; it showed
kaleidoscopic fragmentary reflections of the people passing by. Iris
van Herpen had a remarkable
dress cut somehow out of leather.<br />
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3JiY7sZ9N65NQQ40HmZwQarUXGfPp8LrvBtjFdLg99YF5pxttY5KiOH2_l_Fw_XUSzJ9woeLEI-Y95o4ovhegJi7qaP0RxHMUkOawmjDmotyHy3BXwurezvBIPmOdVrktoleq2mM58bE/s1600/IMG_4138.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3JiY7sZ9N65NQQ40HmZwQarUXGfPp8LrvBtjFdLg99YF5pxttY5KiOH2_l_Fw_XUSzJ9woeLEI-Y95o4ovhegJi7qaP0RxHMUkOawmjDmotyHy3BXwurezvBIPmOdVrktoleq2mM58bE/s320/IMG_4138.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">One of Sean O'Connell's <i>Spark Ring</i> works.</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhirO1J1L6qqGMnI1cZJrnKTY0nP2Ot1ZMaQpNmYhLI3iPUz_KVLWaG-4TAoTyD8aLKRkEYkpNEMHL7On8we1K9JQGaFXYnwDkhHutOYAdpCCFXTv53tciqGzs4pvNYU9FKiX4mJk2Ljsg/s400/IMG_4140.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Joris Laarman Lab, <i>Bridge Table</i> (prototype)</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><br />
<img border="0" data-original-height="750" data-original-width="1000" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9m4f-3rcXuyK4-iu4WFdHKK-sMKZQns-uY_z7PO8kjiORdNa-re7GvVD2SUklyyqRHIyjnm-t2V2ztr8hbawfjtiNCFAPNXX4n1MoRlA-E-Ih3mJwv_nPIylarDmOMVyRN7Lb_BUJpnY/s400/IMG_4118.jpg" style="margin-left: auto; margin-right: auto;" width="400" /></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Timo Nasseri, <i>Epistrophy</i></td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRJH1hzmj304cT5DOwmBXCPwygcecvOmmj0xeMoXwzxRIdqPcFaJ73BAn8sx0zrjfbvJ11SES3Skoj-NftunGm_gPH7E2dXejhyphenhyphenCWiXavxtcXB7Ykum55woD4omsgcP4CQT1aetoC0qqM/s1600/IMG_4175.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="750" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRJH1hzmj304cT5DOwmBXCPwygcecvOmmj0xeMoXwzxRIdqPcFaJ73BAn8sx0zrjfbvJ11SES3Skoj-NftunGm_gPH7E2dXejhyphenhyphenCWiXavxtcXB7Ykum55woD4omsgcP4CQT1aetoC0qqM/s320/IMG_4175.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Leather dress by Iris van Herpen</td></tr>
</tbody></table>
What I took away from this first visit was a feeling of
incoherence. There are a lot of interesting things here (and I know
I haven't seen some of the most interesting ones yet), but there
didn't seem to be any reason for selecting these particular works
and bringing them together. There wasn't even a
post-modern line like "the theme is that there is no theme". What I
saw reads as though the curators took a bunch of interesting works
and threw them at the wall to see what would stick, always with one
and a half eyes on mass audience appeal. The catalogue gives the
same impression of incoherence, being a heterogeneous collection of
essays, statements, interviews and images; the amount of space given
to individual artists represented in the Triennial varies wildly. <br />
<br />
After I had visited the Triennial I came across two contrasting reviews, an enthusiastic one by the <i>Guardian</i>
at
<a href="http://www.theguardian.com/australia-news/2017/dec/18/ngv-triennial-astounding-blockbuster-grips-the-heart-and-repels-the-nostrils">http://www.theguardian.com/australia-news/2017/dec/18/ngv-triennial-astounding-blockbuster-grips-the-heart-and-repels-the-nostrils</a>,
and a remarkably jaundiced one by Giles Fielke at
<a href="http://memoreview.net/blog/triennial-at-ngv-international-by-giles-fielke">http://memoreview.net/blog/triennial-at-ngv-international-by-giles-fielke</a>. I haven't made up my mind about the exhibition yet, and I need to see more of it. I will definitely be back.<br />
<br />
<br />
<br />
<br />Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-4740134761403166702018-01-03T10:42:00.001+11:002018-01-03T11:10:34.866+11:00What's in a name? (Again)<br />
Some years ago I had to choose a name for my art practice. Now I am
returning to this, as I am starting a Facebook artist's page
(<a href="http://facebook.com/GordonMonroArtist">facebook.com/GordonMonroArtist</a>) and an Instagram page
(<a href="http://instagram.com/gordonmonroartist">instagram.com/gordonmonroartist</a>). It is apparently necessary to have a
label that is at most three words long, in accordance with the idea of
an "elevator statement" (U.S. usage, but "lift statement" sounds odd):
you find yourself in a lift with an influential person: you want to tell
them what you do, but you only have the time it takes the lift to
travel a couple of floors.<br />
<br />
My practice is to write computer programs that generate all or most of
an artwork. There is an established name for the practice where artists
set up systems (computerised or not) that generate artworks, and that is
<i>generative art</i>. I would like to call myself a <i>generative artist</i>;
unfortunately the term isn't well known, so it needs explanation; no
good for elevator statements.<br />
<br />
"Process artist" also needs explanation, and an artist's "process" generally refers to the personal process an artist goes through when making or developing work, such as reflecting on events or personal experience, gathering material, and so on. This is quite different from setting up a system that then
makes the art.<br />
<br />
"Computer artist" brings to mind someone who uses tools like Adobe's Photoshop and Illustrator to make art, which is not what I do. <br />
<br />
I thought about "programmer/artist", since I write programs as part of
my practice. But I am not a professional programmer, and
"programmer/artist" (or "artist/programmer") emphasises the programming
side too much. For me programming is a means to artistic ends. Also I
don't want to use "software artist", as "software art" has had the
meaning of art, made in software certainly, that is about software (and
about the way governments and big corporations use it); my art is not
about software as such, nor about its political implications, except in a
very indirect fashion.<br />
<br />
I have a similar problem with "mathematician/artist". It is quite a
while since I have been active as a mathematician. I certainly use ideas
from mathematics as one of the major inspirations for my work, and I
use a certain amount of relatively low-level mathematics while writing
my programs, but "mathematician/artist" over-emphasises the mathematical
side (even if it might be good branding).<br />
<br />
So the best three-words-or-fewer approximation I can think of is still
"digital media artist". If I am allowed five words I could say
"generative artist (digital media artist)", but it would have to be a
long lift journey.<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-37665689322881577022017-12-05T18:37:00.000+11:002017-12-05T18:37:11.234+11:00Work in Gallery on Sturt, Ballarat <div class="gm_wdisclosable_info">
I have some work in Gallery on Sturt/Accent Framing, 421 Sturt St, Ballarat (next to L'Espresso Café).<br />
<br />
<b>Gallery on Sturt's website:</b> <a href="http://galleryonsturt.com.au/">http://galleryonsturt.com.au/</a><br />
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-59301564118264327092017-11-02T21:33:00.002+11:002017-11-02T21:33:45.801+11:00Hepburn Springs: Taster exhibition for the Biennale of Australian Art <div class="gm_wdisclosable_info">
The taster exhibition for the Biennale of Australian Art (BOAA) is
moving to Hepburn Springs.
This is a pop-up exhibition of small works intended to give an advance
taste of the Biennale of Australian Art (BOAA), scheduled for 2018 in
Ballarat. Artists participating in the Biennale (including me)
contributed small works representing their practice.<br />
<b>Where:</b> Hepburn Pavilion, Mineral Springs Reserve, Hepburn Springs (just north of Daylesford).<br />
<b>Dates:</b> 4 to 7 November 2017.<br />
<b>Hours:</b> 10am - 4pm each day.<br />
<b>BOAA's website:</b> <a href="http://www.boaa.net.au/">http://www.boaa.net.au/</a><br />
<br />
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-27808163518177108162017-10-09T17:34:00.001+11:002017-10-09T17:35:41.119+11:00Melbourne: Taster exhibition for the Biennale of Australian Art <div class="gm_wdisclosable_info">
There is an exhibition in Melbourne of small works intended to give
an advance taste of the Biennale of Australian Art (BOAA), scheduled
for 2018 in Ballarat. Artists participating in the Biennale (including
me)
contributed small works representing their practice.<br />
<br />
<b>Where:</b> Pop-up shop, corner of Rose Lane and Little Bourke
Street, Melbourne. This is very near Spencer St, on the North side of
Little Bourke Street.<br />
<br />
<b>BOAA's website:</b> <a href="http://www.boaa.net.au/">http://www.boaa.net.au/</a><br />
<br />
<b>Dates:</b> 6 to 29 October 2017.<br />
<br />
<b>Hours:</b> Wed to Sun, 12 - 5pm.</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-85369474633636517872017-09-15T14:54:00.001+10:002017-09-15T14:54:55.381+10:00Launch of Biennale of Australian Art, Ballarat<div class="gm_wdisclosable_info">
The new Biennale of Australian Art (BOAA), scheduled for 2018 in
Ballarat, will be launched on Thursday 28th September 2017, with a
display of small artworks by artists participating in the Biennale. (I
am one of the Biennale artists, and will have a small work at the Trades
Hall.)<br />
<br />
<b>Where:</b> Trades Hall Ballarat, 24 Camp St, Ballarat. This is near the Art Gallery of Ballarat.<br />
<br />
<b>BOAA's website:</b> <a href="http://www.boaa.net.au/">http://www.boaa.net.au/</a><br />
<br />
<b>Date and time:</b> Thursday 28 September 2017, 6.00pm.<br />
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-90607613066811456292017-08-27T10:13:00.001+10:002017-08-27T10:14:44.656+10:00Work in the Fremantle Print Award <div class="gm_wdisclosable_info">
I have a new abstract work in the Fremantle Print Award, held at the Fremantle Arts Centre.<br />
<br />
<b>Where:</b> Fremantle Arts Centre, 1 Finnerty Street, Fremantle, Western Australia .<br />
<br />
<b>Web:</b> <a href="http://www.fac.org.au/whats-on/post/fac-print-award-supported-little-creatures-brewing-2/">https://www.fac.org.au/whats-on/post/fac-print-award-supported-little-creatures-brewing-2/</a><br />
<br />
<b>Opening:</b> Thursday 21 September 2017, 6.30pm.<br />
<br />
<b>Dates of the show:</b> Friday 22 September 2017 to Saturday 11 November, 10am - 5pm. Free entry.</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-78012529054724259392017-08-12T18:13:00.000+10:002017-08-12T18:13:28.763+10:00Work in the Flanagan Art Prize, Ballarat<div class="gm_wdisclosable_info">
I have a new abstract work in the Flanagan Art Prize, St Patrick's College, Ballarat.<br />
<br />
<b>Where:</b> Old Collegians' Pavilion, at the rear of St Patrick's College, 1431 Sturt Street Ballarat, VIC 3350.<br />
<br />
<b>Web:</b> <a href="http://www.stpats.vic.edu.au/en/students-parents-staff/music-and-performing-arts/flanagan-art-exhibition/">http://www.stpats.vic.edu.au/en/students-parents-staff/music-and-performing-arts/flanagan-art-exhibition/</a><br />
<br />
<b>Opening:</b> Friday 25 August 2017, 7pm. Entry by ticket, available via the web page above.<br />
<br />
<b>Dates of the show:</b> 26, 27 August and 2, 3 September, 11am - 4pm. Free entry.<br />
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-288206129064752882017-07-27T14:36:00.000+10:002017-07-27T14:36:16.353+10:00Exhibition at the Art Gallery of Ballarat <div class="gm_wdisclosable_info">
I have an exhibition opening shortly at the Art Gallery of Ballarat. It consists largely of real-time projections of my work <cite>Nanocosm</cite>; the work will evolve over the course of the exhibition.<br />
<br />
<b>Where:</b> Art Gallery of Ballarat, 40 Lydiard St (North), Ballarat. The Gallery is very close to Ballarat Railway station.<br />
<br />
<b>Opening:</b> Saturday 5th August, 4pm. RSVP to the Art Gallery of Ballarat, artgal@vic.gov.au or 5320 5858.<br />
<br />
<b>Artist talk:</b> Also Saturday 5th August, 2pm (before the opening). No RSVP needed.<br />
<br />
<b>Dates of the show:</b> Saturday 29th July to Sunday 10th September. The Gallery is open seven days a week, 10am to 5pm. <a href="http://www.artgalleryofballarat.com.au/">Gallery website.</a><br />
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-15759781364396107452017-07-11T15:13:00.001+10:002017-07-11T15:13:46.015+10:00Sign of the (digital) timesYesterday I went to buy a new Ballarat street directory, as ours is well out of date. I was told they aren't being made any more: not enough people were buying them, thanks to Google and GPS-enabled devices. I still like to plan a trip to the other side of Ballarat the old-fashioned way, with an actual map. I certainly get a better overview of where I'm going than my phone can provide.<br />
<br />Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com2tag:blogger.com,1999:blog-5682614850676900522.post-26597879187508584442017-07-08T14:13:00.000+10:002017-07-08T14:13:26.835+10:00Two items on my art at www.generativeart.com <div class="gm_wdisclosable_info">
Two items by me have become available on websites run under the
auspices of Celestino Soddu from the Generative Design lab of
Politecnico di Milano University, Milan. These arose from my
participation in the 2016 Generative Art conference, held in Florence in
December 2016.
<br />
<ol>
<li>On my work <cite>Nanocosm:</cite> A short abstract followed by a fairly informal paper on the mathematics underlying cite>Nanocosm. To reach this, go to <a href="http://generativeart.com/">generativeart.com</a>, and in the column at left click on
"19 GA2016 papers". Then scroll down until you come to "Artworks"; my paper is the second entry.</li>
<li>A short video presentation (12 minutes) about evolutionary
generative art, under the title "Evolutionary art: DNA and selection",
at <a href="http://www.gasathj.com/tiki-read_article.php?articleId=63">www.gasathj.com/tiki-read_article.php?articleId=63</a>.</li>
</ol>
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-47277396533712465112017-06-20T21:33:00.000+10:002017-06-20T21:33:03.337+10:00Improvising to Nanocosm, June 28th <div class="gm_wdisclosable_info">
On Wednesday June 28th my real-time projection <cite>Nanocosm</cite>
will be part of the SeenSound audio-visual evening at Loop Bar. Brigid
Burke and other musicians will bravely attempt to improvise to the
visuals from <cite>Nanocosm</cite> as they are generated. This will be one of a mix of improvised and fixed-media works on the night.<br />
<br />
<b>When:</b> 8 pm, Wednesday June 28th.<br />
<br />
<b>Where:</b> Loop Bar back room, 23 Meyers Place, Melbourne (off Bourke St between Exhibition and Spring streets).<br />
<br />
<b>Cost:</b> $10/$5.<br />
<br />
<b>More information:</b> <a href="https://seensound.com/">https://seensound.com/</a>.
</div>
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-77429152323373000232017-06-20T21:30:00.000+10:002017-06-20T21:30:13.436+10:00Talk at Melbourne Media Lab, June 27th<div class="gm_wdisclosable_info">
On Tuesday June 27th I will be giving a talk about my art at
Melbourne Media Lab's OpenLAB session for June. The other speaker will
be another artist, Melanie Huang.<br />
<br />
<b>When:</b> 6 - 8 pm, Tuesday June 27th<br />
<br />
<b>Where:</b> ACMI-X, 2 Kavanagh Street #Level 4, Southbank,
Melbourne. There is an elevated walkway from behind the Arts Centre:
from St Kilda Rd, walk between the Arts Centre and the NGV building.<br />
<br />
This is a free event, but it is ticketed on EventBrite at
<a href="https://www.eventbrite.com/e/openlab-june-2017-tickets-34931422826">
https://www.eventbrite.com/e/openlab-june-2017-tickets-34931422826</a>.<br />
<br />
<b>More information:</b> The EventBrite page above, and Melbourne Media Lab have set up a <a href="https://www.facebook.com/events/760791737414423/">Facebook event</a>.
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Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0tag:blogger.com,1999:blog-5682614850676900522.post-68735839578509210462017-06-06T15:01:00.002+10:002017-06-06T15:01:49.255+10:00Some pictures from my exhibition at Stephen Mclaughlan GallerySome images of the show are on the gallery's <a href="https://www.facebook.com/StephenMcLaughlanGallery">Facebook page</a> (you don't have to be on Facebook to see them) - just click on "Not now" when the irritating notice about logging in to Facebook pops up, or scroll past it, and click on an image of the show.<br />
Gordon Monrohttp://www.blogger.com/profile/04481697196573109161noreply@blogger.com0