New Archive of Digital Art [#geekgirl]
“The new ARCHIVE OF DIGITAL ART (former Database of Virtual Art) goes Web 2.0! Artists, scholars and scientists are invited to actively contribute to the archive and to work collaboratively on the documentation and analysis of digital art.
The ARCHIVE OF DIGITAL ART has recently undergone an extensive turn in terms of technology and usability: In the course of a relaunch, the already established database and its team aim at evaluating and implementing cutting-edge web tools to align with the expanding needs of artists and scholars. New functionalities will be tested and implemented and will incorporated the invaluable input of a growing number of interested individuals. In return, artists, scholars and the interested public will benefit not only from the extensive efforts in documentation, which are accomplished by the ADA since its beginnings, but also from an improved, collaborative tool that reflects on the multifarious aspects of Digital Art.”
Omote: Real-time Face Tracking and Projection Mapping [#geekgirl]
The Australia Council: New Funding Model
Australia Council goes “artist-centric” in new funding model. The biggest funding shake-up in 40 years: http://t.co/CxJUaomi22
— Daily Review (@dailyreviewAU) August 18, 2014
#PRISOM Makes the 2014 WA Premier’s Book Awards Shortlist [#w00T] [#geekgirl]
On the good news front for today: the Shortlist of the Western Australian Premier’s Book Awards has just been announced. Check out the “Digital Narrative” category – excited to see #PRISOM listed as a Finalist alongside some fabulous Aussie works: “State Library of Western Australia CEO and State Librarian, Margaret Allen today announced the shortlist for the 2014 Western Australian Premier’s Book Awards.
552 books were entered into the Awards over nine categories and it is the first year for the WA emerging writer’s category. The Awards had strong entries from WA publishing houses including Fremantle Press, Magabala Books and UWA Publishing and titles from notable authors Tim Winton and Shaun Tan.
“From emerging writer Sally-Ann Jones’s book Stella’s Sea set at Cottesloe beach, David Whish-Wilson’s book Perth describing life by the Swan River and Sarah Drummond’s Salt Story about life as a fisherwoman in Western Australia, the Western Australian Premier’s Book Awards continue to attract the finest literary works created in Australia today,” Margaret Allen said.
“The State Library of Western Australia is proud to provide a cultural environment that stimulates the human imagination. We are delighted to once again manage the prestigious Western Australian Premier’s Book Awards, which highlight the importance of literacy in Australia and showcase the abundance of talent in this country.”
The shortlist includes Amanda Curtin’s Elemental, which delves into the complexity of you don’t know who you are until you know where you come from, and Tim Winton’s latest novel, Eyrie, asks how, in an impossibly compromised world, we can ever hope to do the right thing.
Another contender is Kristina Olsson’s third title Boy, Lost: A family memoir which won the 2014 NSW Premier’s Literary Award and is shortlisted for the 2014 Kibble Literary Award. Three shortlisted titles Richard Flanagan’s The narrow road to the deep north, Tim Winton’s Eyrie and Evie Wyld’s All the birds, singing are also contenders for the 2014 Miles Franklin Award.”
Arts In Oz [#geekgirl]
The 101 Vagina Project is Looking For Artists [#geekgirl]
“The 101 Vagina project is looking for artists who would like to bring their art / music / performance / poetry / education to be included in the exhibition space.
Opening days/nights of the exhibition tour will play host to a mini Festival of the Vagina. The idea is to bring together local artists, educators, etc together in vaginal celebration.
The exhibition and event are free for all to attend, though a donation will be sought from attendees to help cover costs like gallery hire etc. 101 Vagina will be covering the cost of the exhibition space etc, so though you may have your work for sale, we ask that you understand that the main focus of the event/exhibition will be the 101 Vagina book and exhibition.
At the various venues I hope to have some spare wall space for art, floor space for sculpture and performance, etc. Some venues are smaller/larger than others, so I need to work with what’s available.
Past events have included:
- vagina crafternoon: make a vagina/vulva out of various crafty materials
- muff muffins: decorate muffins (cup cakes) with toppings
- musicians performing vagina songs
- spoken word and poetry around vaginas and body image in general
- vagina art and sculptures
- Vaginal Mary confessional: confess your sins directly to her living breathing vagina under her nun’s habit
- Speeches by sexuality educators, therapists, politician, plastic surgeon, etc”
The Girlie Werewolf Hall of Fame [#geekgirl]
Hirsute Girly Armpits Ahoy! [#geekgirl]
London-based photographer Ben Hopper recruited dozens of models and actresses to grow out their body hair for the Natural Beauty series, with the aim of proving that women don’t need to conform to society’s expectations in order to be attractive.
‘The whole point is contrast between fashionable female beauty and the raw unconventional look of female armpit hair,’ the Israeli-born photographer told the Huffington Post.”
“Australian arts community responds to George Brandis’s Biennale threat” [#geekgirl] [#BiennaleBullyBrandis]
[From an article at The Guardian] “Minister’s letter to the Australia Council suggesting that artists who reject corporate sponsorship on political grounds should be denied government funding draws a strong industry reaction…
‘George Brandis has made a dramatic intervention into the Sydney Biennale-Transfield controversy. In doing so, he has openly attacked the philosophy of arms-length funding that underpins the Australia Council.
The Australia Council Act of 2013 explicitly states that the minister of the day can’t issue a direction on funding decisions. “The Minister must not give a direction in relation to the making of a decision by the Council, in a particular case, relating to the provision of support (including by the provision of financial assistance or a guarantee),” it states.
Brandis, who is also the attorney general, seems to be arguing that he get around such niceties by telling the council to work up a broadbrush policy on the matter, striking out any cultural funding recipients who dare to deny the corporate coin. The act is “plainly wide enough to include matters of policy and funding criteria”, he wrote in a letter to the Australia Council.
That’s an ambit claim that is yet to be tested in court. But whatever the black letter details, Brandis’ intervention is an attack on the general philosophy of arms-length funding.
From a public policy perspective, that’s a real concern, because ministerial meddling is inimical to cultural innovation. When funding bodies have to look over their shoulders to consider what politicians and the media will say about the funding decisions they make, the interesting, the innovative and the risky are likely to be abandoned in favour of the safe and the staid.’ – Ben Eltham, industry columnist at ArtsHub.”
#Transfield Quits the @biennalesydney [#geekgirl]
[As reported by The Guardian in this article] ‘The chairman of the Sydney Biennale and of its major sponsor Transfield Holdings, Luca Belgiorno-Nettis, has resigned his position with the festival.
Organisers have announced that they will cut all ties with Transfield Holdings and with Transfield Services, a contractor for Australia’s network of immigration detention centres.
“We have listened to the artists who are the heart of the Biennale and have decided to end our partnership with Transfield effective immediately,” organisers said in a statement.
“With deep regret, the board reluctantly accepted the decision of the chair to resign. We gratefully acknowledge the personal contribution of Luca as chair over the past 14 years. We also acknowledge the enormous contribution of the Belgiorno-Nettis family over 41 years.”
Belgiorno-Nettis said in the statement: “I wear two hats: one as chair of the Biennale of Sydney and the other as a director of Transfield Holdings; both organisations conceived by my father and nurtured by my family over many decades. I am deeply thankful to the many friends of the Biennale, and my personal friends who have supported me and the teams throughout my tenure, especially in recent weeks.”’