Join the talk by Dr Barbara Bolt as she references Hockney’s drawings of the 60s, his photomontages of the 70s, photographic collages of the 80s and his recent photographic drawings to investigate how Hockney used the vexed relationship between painting and photography to enact his critique of one-point perspective.
Dr Bolt is a practising artist and art theorist as well as professor of Contemporary Arts and Culture at the Victorian College of Arts, University of Melbourne.
Her publications include two monographs, Art Beyond Representation: The Performative Power of the Image (2004) and Heidegger Reframed: Interpreting Key Thinkers for the Arts (2011).
She also co-edited four publications, Material Inventions: Applying Creative Arts Research (2014), Carnal Knowledge: Towards a “New Materialism” through the Arts (2013), Practice as Research: Approaches to Creative Arts Enquiry (2007) and Sensorium: Aesthetics, Art, Life (2007).
Her research establishes a strong dialogue between practice and theory. Publications that have emerged for this dialogue include: Elegy to an Oz Republic: First Steps in a Ceremony of Invocation towards Reconciliation (2015), After Motherwell, after Manet and after Goya: the performative power of imaging and the intensely present (2015), Whose Joy?: Giotto, Yves Klein and neon blue (2011), Unimaginable happenings: material movements in the plane of composition (2010), Rhythm and the performative power of the index: lessons from Kathleen Petyarre’s paintings (2006), Shedding light for the matter (2000) and Im/pulsive practices: painting and the logic of sensation (1997).
RSVP is required.