Ken Wentworth

Creative influences

Candice Breitz

Shillinger, Jakob. 2011. "The prosumer version - Art from the masses".

This article starts with placing the reader in history, with the ‘pictures generation’ of Cindy Sherman, Richard Prince, Barbara Kruger etc, and discusses the relationship of these artists to the new ‘prosumer generation’ of artists, who have expanded on the foundation of these key artists in their comment on our relationship to the evolving nature of the image / digital / media landscape. The ‘prosumer’ artist’s discussed are: Aleksandra Domanovic, Candice Breitz, Oliver Laric etc. It analyses the shift with the prosumer artist’s to a new form of re-purposing of imagery or cultural elements, one that is endless and shifting, and involves the viewer as an active participant in this re-purposing of meaning.

This article has inspired me to want to explore the concept of the ‘prosumer’, and to expand on the understanding of this in my artwork, to further explore my place in the history of appropriation, and to think of ways I can position myself and the viewer of my work as a contemporary participant in the ‘prosumer’ theoretical framework and its evolution.

Breitz, Candice. 2006 "Her"

This video work by Candice Breitz is part of a set of works, this work being “Her” and the matching work “Him”. In this work the actress Meryl Streep is shown as a form of composite digital conversation created by an interplay between characters that she has played. The characters depict archetypes of the female character from cinema, separated from the context of the film they were contained by black backgrounds behind each character. The characters are displayed in clusters on the screen, and linked via common conversational elements, and subject matter. The work cycles through various subject areas and emotive situations that makes the characters into a complex interplay that evolves over the work to have a distinct emotional arch, where she creates a real relationship between the characters and a psychological space the viewer inhabits.

The reason I have chosen this work is that with my current practice I am via groupings of characters from media imagery exploring archetypes and also nuanced relationships that can be displayed, and how the vulnerability of characters can be explored. I am reducing the image to its basic components by removing identifiable facial features and reducing pictorial elements to simple shapes, to me this is similar to the black background of this video work and how it reduces the characters to an isolated component to heighten the meaning of the work.

The works of Trecartin, Rosetzky and Breitz all in their own way contextualise elements of the new non physical digital landscape that we all now psychologically enhabit. To some extent, you could argue with our lives, and interface with the world becoming more digital and detached from the real, that they are all attempting to investigate, dissect and depict this new ephemeral space.

Other References
Breitz, Candice. 2016. "Love Story".
Breitz, Candice. 2006  "Mother, Conversation".
Breitz, Candice. 2006 "Him"
Jennifer, Allen. 2018. "Candice Breitz: From A to B and Beyond".
Breitz, Candice.
Cascone, Sarah. 2017 "Artist Candice Breitz Has Found a Creative Way to Protest a Museum’s Link to Refugee Prison Camps"
Watlington, Emily. 2018."Candice Breitz: Lovestory"
Prince, Mark. 2017 "Candice Breitz: Lovestory"
Breitz, Candice. 2013 "Treatment"
Breitz, Candice. 2019. "Love story"
Ferguson, Ben. 2017. "Review of: Lovestory" frieze
Breitz, Candice. 2019. "Foreign agents"
Breitz, Candice. 2008. Podcast.
Breitz, Candice. 2009. "Working class hero (Portrait of John Lennon)"
Author not specified. 2013. "#Number 48: Candice Breitz"
Rule, Dan. 2013. "The character: Candice Breitz at ACMI"
Author not specified. 2017. "Candice Breitz and Mohau Modisakeng at South Africa Pavilion, Venice Biennale"
Author not specified. 2002. "Artpace Artist-in-Residence Program - Candice Breitz"
Breitz, Candice. 2003. "Re-Animations Catalogue"
Enwezor, Okwul. 2010. "
Candice Breitz: The Scripted Life"
Fondet, Carlsberg. 2016. "Review of: Love story"
Lange, Christy. 2005. "Crazy for You: Candice Breitz on Pop Idols & Portraiture,- Modern Painters"
Breitz, Candice. 2017. "Love story - Images"

Doug Aitken 

Lund, Christian. 2016  "Doug Aitken interview: The conditions we live under".

This video is an interview with Doug Aitken explaining his interpretation of the current information landscape we inhabit and its relationship to his work. We now inhabit multiple environments, physical and digital. This creates an environment that is non-linear and is no longer singular but collective, where things can happen simultaneously on multiple planes of reference. This allows us to explore new narratives and ways of understanding.

I have chosen to critique this video and the content it discusses as it expresses very well the relationship to the world and new perspectives that I’m trying to navigate and understand via my artwork at the moment. I am also via my use of existing physical imagery attempting to comment on and place the viewer in this nonlinear cultural environment, to place them in a new place of contemplation, to consider their place in the multifaceted cultural and physical environment that we now inhabit.

Erickson, Steve. 2013.“Doug Aitken is Redefining How We Experience Art”.

This online article discusses the work of Doug Aitken, and has a focus on the work mirror which was installed on the corner of the Seattle Art Museum in 2013. Aitken refers to the piece as an urban earthwork. The piece makes use of sensors collecting data on a location at the centre of Seattle that are then via algorithms translated to update the pre-edited footage created by Aitken and his team. So, the work is constantly changing and is in flux mirroring the transient nature of the real world, nature and experience.

Doug Aitken "spins art into a continually unfolding experience...that incorporates our memories and sensibilities with life’s landscape...and which rejects... not just limits of form and function, time and space, but those conditions by which subjective dogmas, including Aitken’s, obligate our thinking".

The reason I have chosen this article, is I think in a way that I am also in a fashion trying to create artwork that floats in the ‘space between’ that Aitken manages to do so well with his work. Through my reworking of cultural artifacts, I also attempt to create a new world or space for the viewer to inhabit, a place of contemplation that allows for a revisioning of meaning expanded from the original source material. I also anticipate that I may replicate some of Aitken’s concepts as experiments to feed the development of my own practice.

Other References
Aitken, Doug, 2016 "Song 1 - Installation projection, Hirshhorn Museum"
Aitken, Doug. 2018  "Youtube playlist".
Aitken, Doug. 2009. "360 Degree Projection"
Van Houten Maldonado, Devon. 2016. "
Doug Aitken’s Masterful Videos and Boring Sculptures"

David Rosetzky

Rosetzky, David. 2012. "Portrait of Cate Blanchett, interview with David Rosetzky at ACCA 2012"

This video is an interview with the artist David Rosetzky detailing the creation of the video work ‘Portrait of Cate Blanchett’, a work commissioned from the National Portrait Gallery in Canberra. It is a video portrait that challenges the traditional unified notion of a portrait to be rather one that is multifaceted, revealing the self as part of component parts rather that a unified whole. It is an interesting analysis of how as an actor she is required to be both in her body, and also an observer of how she is perceived. The notion of the nature of the self or identity in flux is investigated, using the moving image as a medium to explore this. 

I find this video portrait relates to my work as I’m also interested in the concept of how figures negotiate the physical and psychological landscape of the world, and how by the use of imagery of the body in space in my paintings and my planned video / photographic performance works I am exploring similar notions of the depiction of identity as being multi-dimensional, expansive and representative of both the individual and the collective - and thus universally accessible.

Zagala, Anna. 2015. “Making gaps: David Rosetzky's collaborators in conversation
[online]” Artlink, Vol. 35, No. 3, 32-37.

This text is a breakdown of the video work Gaps by David Rosetzky, which was commissioned by the Australian Centre for the Moving Image in Melbourne and Carriageworks in Sydney. It is broken down into elements, detailing involvement, contribution, and understanding of the project by the accounts of the individuals involved. Gaps embodies Rosetzky’s ongoing exploration of personal identity and the relationship – or ‘gaps’ – between self and other through speech, movement. With Gaps Rosetzky draws from different video genres, to destabilise character conventions used to establish participant identities. The project also investigates issues of racial difference, and racism underlying in Australian Culture.

The reason why I have chosen this text, is to further investigate and understand the meaning behind the work of David Rosetzky. The area of investigation in this work also relates to my current creative project, as I am also attempting via the use of media imagery and exploration of space, micro / micro, and the digital meta space to explore the gaps we all attempt to negotiate via our relationship to the world and our interpersonal relationships to others.

The works of Trecartin, Rosetzky and Breitz all in their own way contextualise elements of the new non physical digital landscape that we all now psychologically enhabit. To some extent, you could argue with our lives, and interface with the world becoming more digital and detached from the real, that they are all attempting to investigate, dissect and depict this new ephemeral space.

Other References
Rosetzky, David. 2008. "Collage 08".
Rosetzky, David. 2014.
Rosetzky, David. 2014.
Rosetzky, David. "Artist Profile"
Rosetzky, David. 2013. "True self: David Rosetzky Selected works"
Rosetzky, David. 2013. "True self:  Education resource"
Frost, Andrew. "Artist overview"
Author not specified. 2013. "True Self: David Rosetzky Selected Works"
Author not specified. 2016. "Light moves: Contemporary Australian Video Art"
Hjorth, Larissa. 2000. "David Rosetzky: Custom made review"

Marina Abramovic

Akers, Matthew. 2011. "Marina Abramovic: The Artist Is Present".

This documentary details the exhibition / performance at MOMA by Marina Abramovic titled the artist is present. It gives an overview of early works included in the show along with the lead up to the show and also the formation of the title artwork.

The reason I have chosen this precedent is that Marina Abramovic uses the human figure by placing herself as the central element of her performance art works, I have also become interested in looking into the frameworks of meaning and underlying inspirations behind her artworks and her art practice. I plan to start to make use of human participants in my artwork to also create a dynamic between the observer and the human figure observed. I have become interested with how this can make both the observed and observer vulnerable and uneasy, and can also communicate complex notions of what it means to be human in a very simple and yet concise way.

Marina's works are beautiful and yet complex in their simplicity, and have the potential to be profound and confronting to the observer. I plan to continue to refer to Marina and her work as an inspiration and basis for my own creative project, and aspire to elevate my own performance works to similar levels of complexity via simplicity in execution, while making use of the human figure as a catalyst to convey meaning. 

Abramovic’s use of the single human participant, and engagement with the viewer is something I also aim to replicate.

Other References
Abramovic, Marina. 2014. "Press Release. Marina Abramović: 512 Hours".
Abramovic, Marina. 2012."Marina Abramovic: The Abramovic Method, my body, my performance, my testament | Exclusive interview"
Abramovic, Marina. 2015. "Episode 1 – Marina Abramović In Residence"
Abramovic, Marina. 2015. "An Art Made of Trust, Vulnerability and Connection | TED talk"
Abramovic, Marina. 2017. "Artist body, public body"
Abramovic, Marina. 2017. "The Cleaner"
Abramovic, Marina. 2018. "Behind the scenes of Marina Abramović's new virtual reality artwork"
Abramovic, Marina. "Artist Interview"
Anderson, Laurie. 2003.  "Marina Abramovic by Laurie Anderson"

Vanessa Beecroft

I have become interested in the work Vanessa Beecroft as my work has began to incorporate use of human figures as part of my creative project. Researching the work of artists that use the human figure as a key component of their art practice has become an area of interest, to expand my understanding of how other artists make use of figures to convey the concepts and frameworks of their art practice. 

Beecroft and her use of human figures in space as agents of meaning is something that I envisage I will replicate and use as inspiration for my own practice in the near future.

The following precedents have been collected as the initial exploration of the strategies and methodologies of Beechcroft's practice and how it relates to my own.

Other references
Beecroft, Vanessa. 2008 "Trailer MK2 Grand Palace / VB 62 / SPASIMO PALERMO - Vanessa Beecroft - 2008"

Art Gallery of NSW. 2009. "40 years Kaldor public art projects 1999 VANESSA BEECROFT".
Bryson, Norman. 1999. "US NAVY SEALS"
Hickey, Dave. 2000. "VB 08-36: Vanessa Beecroft Performances". 
Koppelman, Charles. 2008. "A Work In Progress". 
Burton, Laine Michelle. 2005. "The blonde paradox. Power and agency through feminine masquerade and carnival"
Beecroft, Vanessa. 2008 "Trailer MK2 Grand Palace / VB 62 / SPASIMO PALERMO - Vanessa Beecroft - 2008"
Delvaux, Martine. 2016. "Serial Girls: From Barbie to Pussy Riot"
Roll, Renee M. 2014. "Performing the image: The tableau of Venessa Beecroft"
Julia Steinmetz. 2006. "Behind Enemy Lines: Toxic Titties Infiltrate Vanessa Beecroft"

Ryan Trecartin

Katamura, Katie. Kunzro, Hari. Oct 2011. "Ryan Trecartin: In conversation"

This online article is an interview with Contemporary Artist Ryan Trecartin. Via questions directed at the artist the writer further investigates and elaborates on the underlying meanings in Trecartin’s work. Trecartin explains that his projects usually start with words, written or audio. Visual components are also linked to linguistic components: logos, products, graphic design, interfaces etc. The script is then expanded from these basic elements, and spatially different characters, signifiers, mentalities and accents form. What is actually filmed then stems from the script in a synergy between script, situation and performers. The performers are given free agency to create something new, to create additional meaning/s that were not originally intended. 

I am in the early stages of experimenting with preformative artworks, that much like Trecartin's, use human actors as forms or entities to act out situations. That are inspired by or infer how collective and individual identities are formed via their relationship to the multifaceted digital and physical worlds that we all now inhabit.

The reason I have chosen this article, is that much like myself Trecartin is also re-purposing cultural elements into a new form. My own creative project is also making use of existing cultural signifiers and re-purposing them, to place the viewer in a similar non-linear cultural and psychological landscape.  I plan to further expand my performance based works, and use Trecartin as an inspirational influence to challenge what I am conveying and exploring with my art practice. 

Trecartin, Ryan. 2017. "OMG! WTF! (overcommunication) - The Thing About...Art & Artists"

This video commences with the artist Ryan Trecartin explaining his artwork and creative practice. He explains that he is trying to comment on how people are sculpting out a space with conversation, but without it being clear what they are saying, and how via non verbal communication somehow the meaning in these interactions is still conveyed. He creates works inspired by these kind of interactions and how to him they collectively create a thematic or singular didactic meaning. He then acts this out, and via multiple bodies communicates a singular concept. He then elaborates on the concept, in relation to his video artwork ‘The centre of Jenny’, he references social media, and how the interface dictates your engagement with others in a way, and raises the question ‘do you want to be in a hub, or do you want to be in an environment that has tools that you can use freely’, and expands that this is about free will. Characters are like reflected, fragmented versions of stereotypes.

The reason I have chosen to look further into this video, is Trecartin is also extracting elements of culture and re-purposing them to analyse and critique the world we live in. I believe that I am also doing this via my collage works, that make use of an initial cultural reference image to scaffold meaning upon to.  My performance works are in very early rudimentary stages, however I can see  as mentioned previously that I anticipate that Trecartin's work will inspire me to challenge how these works convey meaning and extend myself and the viewer to see the world from different perspectives.  His works are quite condensed in the meaning they convey, which is unsettling and destabilising. They make use of a free form of elements to suggest surreal psychological and physical landscapes, inferring rather than directly inscribing meaning, to question the viewers perception of what is played out in each artwork.  I would also like to aspire to create artworks that also challenge viewer perceptions like Trecartin's work, and I will keep him as an ongoing reference to feed and inspire complex meanings in my work.

The works of Trecartin, Rosetzky and Breitz all in their own way contextualise elements of the new non physical digital landscape that we all now psychologically enhabit. To some extent, you could argue with our lives, and interface with the world becoming more digital and detached from the real, that they are all attempting to investigate, dissect and depict this new ephemeral space.

Other references 
Kosestenbaum, Wayne. 2009. "Situation Hacker"
Kholeif, Omar. 2014. "You are here - After the internet"
Zawadzky, Constanze "New Ways of Communicating and Constructing Identities. Speech and Identity in Ryan Trecartin’s Movies"
Author not specified. "Hito Steyerl and Ryan Trecartin: Video Art, Noise in the Signal"
Zulueta, Ricardo. 2014. "Queer Art Camp Superstar: Decoding the Video Cyberworld of Ryan Trecartin"
Katamura, Katie. 2011. "Ryan Trecartin - In Conversation"
Cwelich, Lorraine. 2010. "Ryan Trecartin: Art for the Age of YouTube"
Kennedy, Randy. 2009. "Where virtual equals being real"
Karafin, Amy 2009. "Ryan Trecartin's 'Ever After'"
Doran, Kerry. 2012. "Performative identity in networked spaces: Resisting the logic of late capitalism in the digital age"

Richard Prince

The work of Richard Prince is relevant to my own practice as he also appropriates and re-contextualises cultural elements to expose and question the framework that produces them as I also do with my own practice. I think as my practice evolves to become more performative in nature that Prince may become less relevant, however, even with my current performance based artworks they are inspired by cultural elements, and are intended to challenge the viewer to question the cultural framework that spawned the initial image or reference that the performance is inspired by.

I will continue to refer to Prince as an ongoing inspiration at this stage, as I think he is very important figure that challenges the notion of originality, and evolves his practice as an ongoing comment on the shifting cultural landscape.  

Prince, Richard. 2014. "New Portraits".
Prince, Richard. 2014. "New Portraits".
Plaugic,  Lizzie. 2015. " The story of Richard Prince and his $100,000 Instagram art"
Author not specified. "RICHARD PRINCE I CHANGED MY NAME, 1988"
Tempesta, Erica. 2015. "Artist uses other people's Instagram photos in an exhibition without their permission - then sells prints for $100,000 EACH"
Deitcher, David. 1991. "The birth of the viewer"
Newhoff, David. 2015."Richard Prince Instagram series reflects digital-age values"
Yablonski, Linda. 2017. "Photo Play: The Story of the Pictures Generation"
Cronin, Sarah L. 2014. "The art of appropriation"

Sue Dodd

Dodd, Sue Ellen. 2013. "Gossip Pop: A Performative Investigation Of The Role Of Pop In Contemporary Art Practice". Vuir.Vu.Edu.Au.

This text forms part of a thesis submission by Melbourne artist Sue Dodd, Submitted in fulfillment of the requirements of the degree of Doctor of Philosophy. It details her creative project Gossip Pop, in its methodology and also theoretical framework. The Gossip Pop project came to prominence in the Melbourne art scene around the same time that I also commenced my investigative project in 2005. Due to our use of similar subject matter I have thus referred to this thesis as a way of understanding how Dodd as an artist extracts and implants meaning onto similar source material to myself. It also aided me to understand essential components of her creative project, to give an understanding of its frameworks, and to enable me to undertake further detailed investigation of project elements and influences. 

The reason I have included this reference is that the work of Sue Dodd was very contemporary and influential at the point that I commenced my creative investigation of gossip imagery from celebrity magazines in 2005. She is a key figure in this area of recent times in the Australian Contemporary Art scene, and thus a key figure in placing myself amongst my contemporaries and within a historical context in my area of creative investigation. Aside from Dodd being a prominent and key artist of the time, the element that resonates with me, is a playful engagement with the creative process via the use of celebrity magazine images. She had  fun in a tongue and cheek manner with her practice, and actively encouraged the audience to be knowing and engaged observers in the wit and irony of the content of her performative artworks, she made art fun, which is something I aspire to replicate. 

Dodd, Sue Ellen. 2005. "Gossip Pop - Fears for Spears".
Dodd, Sue Ellen. 2005. "Gossip Pop - Starf**ker".

These video artworks form part of the Gossip Pop project by Melbourne based artist Sue Dodd. The video work "Fears for Spears" uses the text from a celebrity gossip magazine article about Britney Spears as the starting point for the creation of the video artwork. Dodd takes key text elements from the body of the article to form a type of makeshift pop song, and then contrasts the words from the body of the article with the “chorus” taken from the source article headline ‘Fears for Spears’. It re-purposes the original text taken from the article to make a new work. The video work "Starf**ker" in this case repurposes the story or cultural archetype of the "starf**ker", who gains validation by association with celebrities. Both works in a tongue in cheek manner comments on the nature of the media landscape that we all now inhabit, and makes the audience/viewer an active and knowing participant in the ironic meaning engendered.

These works relate back to my work as I also use source material from celebrity gossip magazines, and repurpose it to make artworks that endeavor to extract additional and complex meanings. I am currently experimenting with the use of gossip magazine images, and also performative works that attempt to reenact archetypal scenes from these images. I anticipate that the project may progress to video-based artworks, but regardless will refer back to the artworks of Sue Dodd as an ongoing influence and inspiration for my future work.

Other References
Colless, Edward. 2004. "Hot Gossip [Melbourne Performance Artist Sue Dodd]." Australian Art Collector, no. 30: 104.

John Baldessari 

The work of John Baldessari relates to my earlier creative project that involved the use and adaption of found images from popular culture and trash magazines. Over the duration of the MFA my use and relationship to images has shifted, and the work of Baldessari is now more of a foundation and history to this process. 

The common element to the artist precedents in my dossier is authenticity and unwavering commitment to their own individual creative process. 

For this reason, even though I feel as though conceptually my creative project has changed in its focus and trajectory,  Baldessari is still an important influence to refer to inspire and guide my creative journey and process.

Other references
Baldessari, John. 2018. "Youtube playlist".
Salle, David. 2017. "Interview October".'13%20Interview_October(Baldessari).pdf
The Art Story Foundation. 2015. "John Balbessari".

Elizabeth Peyton

Much like with the influence of John Baldessari, the work of Elizabeth Peyton played in influence early on in my current creative project. She also uses images from celebrity gossip media streams as a foundation for her paintings. I find it refreshing that Peyton does not overly intellectualise what her paintings are about and revert to speaking in "art speak". Early in the MFA, when I was only doing my painted works I found the work of Peyton related to my artwork quite strongly, however, as I have now started to focus on using media image stream images to inspire more performative artworks this is now less applicable.

As I find Peyton as an important influence in the foundation of my creative project, I will refer to her as an ongoing reference to place my creative project in a cultural and creative framework that relates to the genesis of my ongoing art practice. 
Other references
Peyton, Elizabeth. 2018. "Youtube playlist".
Shapton, Leanne. 2013. "Elizabeth Peyton: Describing is no end or beginning - Interview, The Believer".
Peyton, Elizabeth. 2018. "Selected works".

Image based reference materials

I have included in my dossier links to both creative influences along with image reference collected, to enable links between the dossier and my creative project to be seen. I'm finding both these online albums are now an integral part of my art practice, and envisage that these will continue to be an ongoing creative resource into the future. 

Examining images/pictures and what they mean culturally.

The theorist / academic WJT Mitchell was an influence and interest since I studied my Undergraduate Degree in the 90's, I have recently started looking into his writings again, as the notion of investigating what pictures mean culturally is of interest to me as it still relates to my artistic practice. I will continue to read his writings along with other academic writings that also investigate this area.  

Mitchell, WJT. 1996. "What Do Pictures Really Want?"
Mitchell, WJT. 2005. "What is image?"
Mitchell, WJT. 2017. "Image theory - living pictures"
McNamara, Andrew. 1996. "Words and Pictures in the Age of the Image: An Interview with W. J. T. Mitchell"
Woodrow, Ross. 2009. "Reading Pictures: the Impossible Dream?"
Mitchell, WJT. 2009. "Showing seeing: a critique of visual culture"

Celebrity & Pop

I have collated reference material that relates to celebrity and pop, as this is an area that pertains to my art practice. I am now moving towards artworks that are performance based, however, as there is still an ongoing link to imagery that originates from popular culture / celebrity steams with my performance work I will continue with this as an ongoing area of investigation to inspire and feed into my creative practice.

Schultz, Julianne. 2005. "Addicted to celebrity".
De Botton, Alain. 2016. "Pop and philosophy"
Andy Warhol:
Dicochea, Claudio. 2013. "CASTA 2.0".
Chang, Christina. 2003. "Beyond Pop’s Image: The Immateriality of Everyday Life".;idno=0054307.0015.101;format=pdf
Sylvester, Darren. "Exhibitions"

Datafication, the internet, media streams, and public versus private space.

An area of interest that has intrigued me is how the digital landscape and personal privacy are now areas that are relevant to all of us in the modern world. We are all intertwined in a digital landscape that is unavoidable, and that compromises our individual privacy. In order to engage in the modern world we all now need to accept digital privacy policies that undermine our individual privacy and rights to protect that privacy. This area of interest will be an ongoing focus of investigation, as it is an inescapable element of the modern world that will be relevant to my ongoing creative project. 

Mittell, Jason. 2001. "A Cultural Approach to Television Genre Theory" Cinema Journal 40, No. 3.
Author not specified. 2001. "Television, Genre and Mittell".
Savelle, Erica. 2011. "Blog 6: Cultural Approach to Television Genre Theory".
Cracking the code:
Democracy, data and dirty tricks:
Nguyen, An. 2017. "News, Numbers and Public Opinion in a Data-Driven World".
Brinn, Jaqueline. 2015. "Are we killing time? Social Media and the Perception of Time during Leasure". (Full text here:
Wikibooks contributors, "Perspectives in Digital Culture/The Prosumer Society," Wikibooks, The Free Textbook Project, (accessed September 30, 2018).

Performance, digital pastiche, humour and the absurd.

Humour, absurdity and the preformative are areas of interest that relate to my practice, and that I will continue to have as an area of focus to inspire and build upon to influence my creative projects. 

Creed, Martin. 2017. " Work No. 2811 What The Fuck Am I Doing?".
Wearing, Gillian. 1997. "Dancing in Peckham".
McCarthy, Paul. 2018. "Youtube playlist". 
Coulter, Ross. 2013. "Oh the Humanity! Humour and Performance in Contemporary Art Practice"
Lindman, Pia. 2012. "NYTimes Performances".
Beecroft, Vanessa. "Bibliography" 2017.
Shadler, Renae. "Past Projects"
Price, Seth. 2018. "Dispersion".

Appropriation and collage.

Artists that use appropriated images from cultural media streams interest me in my creative project, as I am also using and re-contextualising imagery to enable the viewer to see elements of their world in a new perspective. I will continue to gather resources that further investigate these areas both in a general sense and also through individual artists that use appropriated imagery in their art practice. 

Evans, David, ed. 2009. "Appropriation". London : Whitechapel Gallery
Hick, Darren Hudson and Reinold Schmücker, ed. 2016.  "The aesthetics and ethics of copying". London : Bloomsbury Academic
Shore, Robert. 2017. "Beg, steal and borrow: Artists against originality". London : Laurence King.
King, Alex. DR.ME. 2016. "Breathtaking renaissance in contemporary collage art: Painting with scissors".
Exhibition curator: Kroksnes, Andrea. 2018. "Faithless pictures".
Marclay, Christian. "List of works"
Harding, Richard. 2014. "Juxtapose: An Exploration of Gay Masculine Identity and its Relationship to the Closet" (Chapter 3: The Invisible Man)

The Phenomenological, philosophy, the body and mortality

The body as a conceptual origin for investigation of individual and collective experience of the world is an ongoing area of interest and investigation for me. Also, underlying my investigation is human mortality, fragility and individual and collective vulnerability, and exploration of this via my creative project and exploration of the human figure as a philosophical marker of this. I will continue to expand on this area of investigation in conjunction with my creative project to further expand the breadth of the project.

Heinämaa, Sara. 2015. "The Many Senses of Death: Phenomenological Insights into Human Mortality".
King, Peter. 2011. "Body and soul"
Tuan, Yi-Fu. "Space and place: Humanistic Perspective".
Garret, Don. 2009. "Spinoza on the Essence of the Human Body and the Part of the Mind That Is Eternal" nyu.ed 
Barker, Timothy. 2009. "Process and (Mixed) Reality: A Process Philosophy for Interaction in Mixed Reality Environments"
Barnard, Helen. 2006 "NATURE, HUMAN NATURE AND VALUE A Study in Environmental Philosophy"
Baker, Lynne Rudder. 2015. "Human Persons as Social Entities"

Pending Categorisation
Some ancient history but nonetheless of interest:
David Joselit on some of the hidden histories & legacies of television and contemporary art:
The Ebook for NGV - Transmission: