Journal & Book Publications

Citation:
Lay, Ronald P.M.H., et al. ''Conference Review: British Association of Art Therapists (BAAT) and American Art Therapy Association (AATA) Art Therapy Practice and Research Conference, London, UK, 2019.'' CAET: Creative Arts in Education and Therapy: Eastern and Western Perspectives, vol. 5, no. 2, 2019, pp. 117-128, doi: https://doi.org/10.15212/CAET/2019/5/27.

As a teacher of the Martha Graham technique for over 30 years, I question its relevance daily, especially working now in Asia, noticing the dancers needs within the landscape of the art field. This chapter will not only question the relevance of the Graham technique but also emphasise the methodologies and strategies I have developed to teach the principles inherent within it, focusing on my current pedagogic practice with dance students, ages 16 to early 20s. Moreover, I will interrogate how, through a combination of varied somatic practices and creative improvisational play, I can encourage students not only to embody this particular technique with greater efficiency but also stretch their confidence of agency and curiosity, working towards an individual artistic voice.

Citation:
Sentler, Susan. ''Softening the Borders of Codification.'' Dancing Across Borders : Perspectives on Dance, Young People and Change, edited by Charlotte Svendler Nielsen, and Stephanie Burridge, London, Routledge, 2019, pp. 31-41, doi: https://doi.org/10.4324/9781003008569.

Unfolding, on the other hand, opens to the world. Unfolding is readiness, structural stability and creative mobility. It’s movement beyond the self. In this interview, Susan Sentler, dancer, choreographer and multidisciplinary artist, discusses folding as a cellular, bodily and geological practice as well as a form of somatic intelligibility.

Citation:
Sentler, Susan. ''The Liquid Architecture of Bodily Folding." Symbolism 2019: Special Focus: Beyond Mind, edited by Natasha Lushetich, et al., Berlin/Boston, DeGruyter, 2019, pp. 137-148, doi: https://doi.org/10.1515/9783110634952.

As the Museum of Emotion demonstrated, in Attia’s works these histories are not confined to the past. Instead, they continue to resonate through scars and wounds that in their visibility come to denote the simultaneous absence and presence of the violence of their origination. By focusing on one room within this exhibition, this paper draws analogies between the paradoxical status of the scar in Attia’s work and Jacques Derrida’s notion of writing “under erasure.” In doing so, I outline Attia’s exploration of the potentials and limitations of ‘representation’ and its fraught relationship with lived experience. As I argue, by placing his images “under erasure”, Attia performs a double gesture in recognising the inadequacy of representation for those still living with the legacies of colonialism, whilst still maintaining its fundamental promise to offer what Judith Butler calls the possibility of a “livable life”.

Citation: 
Veal, Clare. “Under erasure: Kader Attia's museum of emotion Hayward Gallery, London, 2019.” Issue 08: Erase, Lasalle College of the Arts, 2019, pp. 59-67.

This is followed by the comparison and analyses of a range of interdisciplinary art works by Idris Khan, Alvin Lucier, Brice Marden, Cy Twombly, Wim Wenders, Yayoi Kusama and Qiu Zhijie, revealing how they manipulate source materials, through acts of removal and corrections, or by methods of intense layering to convey disruptions. The paper proposes erasure as an impossible act of forgetting, but rather one that conceals and reveals directionally complex visual and sonic information within a range of material constructs.

Citation: 
Woo, Ian. “Erasure and Abstraction - An Artistic Process.” Issue 08: Erase, Lasalle College of the Arts, 2019, pp. 35-45.

The concept of ‘erase’ has informed much of 20th-century art, philosophy and cultures through either a palimpsestic re-writing/re-reading of issues, confrontation through the ideology of war or through forgetting. These practices speak directly to identity formation, cultural/self-representation and the manner in which the future is factualized. These perspectives form the basis of the current ISSUE. Looking through the prism of art, politics, power, philosophy, and reality-visual culture and ideas, these curated essays, interview and exhibition, consider the manner in which the notion to easily erase or delete can be seen to relativise our understanding of contemporary society. Moreover, they provide an avenue to the reader to consider the emergence of new cultural myths and forms and how these may manifest in contemporary art and visual culture.

Citation: 
Purushothaman, Venka, Author & Editor. Issue 08: Erase, Lasalle College of the Arts, 2019.

Although most scholarly and curatorial attention has focused on Araya’s moving image works, particularly those that involve corp hope of developing a chronological account of Araya’s artistic development, but is instead an attempt to read her early three-dimensional works through insights gleaned from her later artistic and literary practice. Specifically, in examining Araya’s work from an inter-medial persp between moving and static bodies. As I argue, when understood in conjunction with the ways in which Araya’s oeuvre simultaneously invites and refuses feminist readings, these works provoke a reconsideration of questions of agency and impotence, and their assumed correspondence between action and inaction.

Citation: 
Veal, Clare. “Water is Never Still: Araya Rasdjarmrearnsook’s Sculptural and Installation Practice.” Afterall 47, 2019, pp. 88-103.

While we were inspired by the symposium in Sydney, this issue is emphatically not a conventional conference proceeding discussed there. Rather, as editors we have taken the Sydney event as one among several points of departure. A number of contributors to this special issue were presenters in Sydney and have substantially reworked their research for publication here. Several other contributors challenge or even productively contradict and undermine the conversations that took place during the event.     

Citation: 
Low, Yvonne, Roger Nelson and Clare Veal. "Editorial Introduction: Gender in Southeast Asian Art Histories." Southeast of Now: Directions in Contemporary and Modern Art in Asia, Vol. 3 no. 1, 2019, pp. 1-11. Project MUSE, doi: 10.1353/sen.2019.0000