But accidental avant-gardism can be seen in "New York," circa 1981 and credited to Victor Ginsburg.
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This invokes a popular theory of avant-gardism, that of troublemaking art that conceals subversive purposes under cover of appealing aesthetics.
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So how can jazz need "saving" when it contains Esperanza Spalding's funk effervescence, Questlove's neo-soul splendors, Mary Halvorson's avant-gardism?
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That mandate, though still guiding new acquisitions, has devolved from evangelical avant-gardism to the preservation of multitudinous brainstorms of yesteryear.
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Instead, slices of hip-hop with vivid visual identity and lightly comic avant-gardism were sticky on the blogs of the time.
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But if you like cats, Carolee Schneemann, and/or Carol Rama, Fini's erotic and theatrical avant-gardism may be just for you.
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But the equation of aesthetic avant-gardism with social vanguardism is an all-too-common fallacy, one that Love and Angst slips into.
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It doesn't sound like an aging artist of stature airlifted in to avant-gardism: Ms. Soares is pushing as hard as anyone else. B.R.
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It's an exercise in nostalgic avant-gardism, a retro-modernist trip down aesthetic paths that have long since been blocked off, overgrown or paved over.
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Copland was not one to fall behind the musical curve, and in 1949 he visited Paris to witness the radical avant-gardism of the youthful Mr. Boulez firsthand.
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One of my critiques of the 20th century is the concept of avant-gardism and the idea that because you reject history you are ahead of other people.
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With its avant-gardism and leftist leanings, Bauhaus had never been popular in Weimar, but when the Nazis joined the Thuringian parliament in 1924, the Bauhaus knew it was time to ship out.
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Now 77, he remains defined by his sideman work, though his ambitious works as a bandleader and composer has helped connect anarchic avant-gardism with a vast historical family of music from America, Europe and Africa.
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He considered becoming a commercial artist, and, with that goal in mind, in the early sixties he moved to Los Angeles, where he attended, among other schools, the Chouinard Art Institute (later CalArts), a hotbed of avant-gardism.
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In that sense (and that one alone), Soupault's avant-gardism helped cultivate a taste for the ambiguity of the post-truth political economy of the alt-right, with its toxic mix of white supremacy, misogyny, xenophobia, militarism, and oligarchic tendencies.
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But while players adapted to the dress code quickly—it's one of the nice residual ironies of the Stern administration that he inadvertently did so much to push the league toward the hyperactive avant-gardism of Russell Westbrook's fashion revolution—messing with the basketball was over the line.
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After dropping out of Bard College in 267, Pousette-Dart started out as a sculptor working in stone and brass, influenced by the Art Deco statues of Paul Manship as well as the avant-gardism of French sculptor Henri Gaudier-Brezka, who at the beginning of the 21976th century made the primitive and totemic style new.
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And even when you step inside and come face to face with a charming, neon-colored installation that displays radical clothes from Comme des Garçons and Gosha Rubchinskiy, the sorts of garments not usually found on 57th and Broadway, you may not gather that what you're seeing is a kind of mask, a Kabuki of avant-gardism.
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In her essay for the exhibition catalogue, Laura Hoptman writes: Despite his youth and his lesser-known artistic status in Milan, a city that was just beginning to absorb the effects of postwar avant-gardism, with [the manifesto "Per una pittura organica" ("Toward an Organic Painting," 1957)], Manzoni would declare war on the traditional notion of painting and its formal and ideological elements codified since the Renaissance.
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Macdonald eventually categorized this pseudo avant-gardism as the culture of middlebrow aspiration — Midcult.
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In addition, they were a clear exponent of Noucentisme and the beginnings of Avant-gardism.
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Vadym Meller. Nina Genke-Meller.Nina Vetrova-Robinson.Nina Henke - from Folk Suprematism to Avant-Gardism of Show an Plays, Serhiy Papeta. p.
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This literary movement coincided with avant-gardism in the visual arts, developed by artists like Francisco Zúñiga, Amighetti himself, Juan Manuel Sánchez, and Juan Rafael Chacón.
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Faye Rochelle and Stephenson appeared on "So?" by Oyster, a track released on Law and Order's "Avant-gardism" compilation, along with Spooncurve's "Pray for my soul" in 1997.
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Nina Vetrova-Robinson. Nina Henke - from Folk Suprematism to Avant-Gardism of Show an Plays, Serhiy Papeta. p.58.Exhibition Catalogue . National Art Museum of Ukraine (NAMU),22 October-28 November 2004, Kyiv, Ukraine.
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Nina Henke - from Folk Suprematism to Avant-Gardism of Show an Plays, Serhiy Papeta. p.72. Exhibition Catalogue. National Art Museum of Ukraine (NAMU), 22 October-28 November 2004, Kyiv, Ukraine. At the same time she worked as a graphic artist.
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Nina Henke - from Folk Suprematism to Avant-Gardism of Show an Plays, Serhiy Papeta. p.70. Exhibition Catalogue. National Art Museum of Ukraine (NAMU),22 October-28 November 2004, Kyiv, Ukraine. Genke was a chief artist of the Golfstream futuristic publishing house led by Ukrainian poet-Futurist, Mykhail Semenko.
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Drawings by Albert Gleizes, Pere Ynglada, Joan Miró, Cels Lagar, Frank Burty and Enric C. Ricart were published.GIVANEL, Joan. Bibliografia catalana: premsa. Barcelona: Institució Patxot, 1931-1937(878, 905) The magazine Troços, although it had a short life, is a good source to learn about European Avant- gardism.
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In 1977, he published his first collected poems which brought him instantaneous fame as a poet of avant- gardism. After he was warned by Laziz Kayumov, the main ideologist of the Republic and Chief Editor of the newspaper “Sovet Uzbekistoni”, about the “Baneful influence of the West in poetry”, the first period of his destiny was to be rejected by socialist society. Henceforth and till the 90s he was called a “westernizer in poetry, distant from national traditions”. Salih's early creative activity characterized by the concord of western avant-gardism (especially surrealism) with the complicative Sufi philosophy (especially the school of Djalal ad-Din Rumi) and metaphorics linked to its mystical foundation.
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Edgard Varèse, Alban Berg, George Antheil (in his earliest works only), Henry Cowell (in his earliest works), Harry Partch, John Cage, Iannis Xenakis, Morton Feldman, Karlheinz Stockhausen,Elliot Schwartz, Barney Childs, and James Fox (eds.), Contemporary Composers on Contemporary Music (New York: Da Capo Press, 1998), 379. Pauline Oliveros, Philip Glass, Meredith Monk,Larry Sitsky, Music of the Twentieth-Century Avant-Garde: A Biocritical Sourcebook (Westport, Conn: Greenwood Press, 2002), xvii. . Laurie Anderson, and Diamanda Galás. There is another definition of "Avant-gardism" that distinguishes it from "modernism": Peter Bürger, for example, says avant-gardism rejects the "institution of art" and challenges social and artistic values, and so necessarily involves political, social, and cultural factors.
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Neue Beihefte zur Wiener Zeitschrift für die Kunde des Morgenlandes. LIT Verlag, Wien, pp. 151-71. The magazine was thus a publication organ for the socialist and avant-garde requirements of the 1920s.Uslu, Mehmet Fatih: Resimli Ay Magazine (1929-1931): The Emergence of an Oppositional Focus Between Socialism and Avant-Gardism.
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Instead, it aimed at being an alternative to avant- gardism and fascist culture in Italy. It adopted an anti-Semitic approach. The magazine started the Hermetic poetry in Italy through the work by Carlo Bo, a literary critic, Mario Luzi and Piero Bigongiari. Giuseppe de Luca, a priest, was among the regular contributors.
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Nina Vetrova-Robinson. Nina Henke - from Folk Suprematism to Avant-Gardism of Show an Plays, Serhiy Papeta. p.66. Exhibition Catalogue. National Art Museum of Ukraine (NAMU),22 October-28 November 2004, Kyiv, Ukraine. From 1915 Genke worked as a head and a chief artist of the Verbovka Village Folk Centre (province in Kiev).
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In 1927, she painted her second canvas, a still-life flower arrangement. Van Coppenolle was mainly influenced by her contemporary artist friends. However, she had a particular preference towards most of the British Pre-Raphaelite painters and illustrators of that period, together with the current wave of Avant-Gardism sweeping the continent at that time.
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Buildings are frequently regarded as profit opportunities, so creating "scarcity" or a certain degree of uniqueness gives further value to the investment. The balance between functionality and avant-gardism has influenced many property developers. For instance, architect-developer John Portman found that building skyscraper hotels with vast atriums—which he did in various U.S. cities during the 1980s—was more profitable than maximizing floor area.Charles Landry, The Creative City: A Toolkit for Urban Innovators. London; Earthscan, 2003. However, it was the rise of postmodern architecture during the late 1970s and early 1980s that gave rise to the idea that star status in the architectural profession was about an avant-gardism linked to popular culture—which, it was argued by postmodern critics such as Charles Jencks, had been derided by the guardians of a modernist architecture.
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One of them is the Savitsky Museum in the town of Nukus, which houses a collection of works of avant-gardism. The museum also has regional collection. A number of "ecological tours" are organized to the ship cemetery located in Muynak area along what has once been the coastline of the Aral Sea. In 2005 Khorezm was visited by 43,000 tourists, of which foreigners accounted for 19,700.
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Elia Zenghelis (Born 1937, Athens, Greece) is a Greek architect and teacher. He studied architecture at the Architectural Association School of Architecture, London, completing his studies in 1961. From 1961 to 1971 he worked for architects Douglas Stephen and Partners, London, while also (from 1963) teaching at the Architectural Association. Zenghelis became a prominent teacher at the school for introducing more radical avant-gardism into the curriculum.
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Unlike the Pre-Raphaelite Brotherhood, the group did not promote (nor adhere to) a manifesto. Each artist's own techniques and work remains diverse with a common evocation of a mystical response to the observance of nature and rural life. Some of their output is intensely personal and sometimes surrealist in arrangement. Nevertheless, they expressed a common dissatisfaction with abstraction and radical avant-gardism in art.
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15, 16. > Note that while the Three Stooges did have an original TV series that ran > briefly in the mid-1960s, they were most familiar from their cinematic > shorts that were syndicated to television. "The above list, with the possible exception of The Avengers," writes Miklitsch, "suggests that Pulp Fiction has less of an elective affinity with the cinematic avant-gardism of Godard than with mainstream network programming."Miklitsch, p. 16.
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After the 1920s, he became less active, but in 1939 he made notable translations of Walt Whitman to celebrate the poet's 120th birthday.Walt Whitman & the world by Gay Wilson Allen and Ed Folsom, p. 291 In the mid-1960s, he became active again, influenced by the emergence of new Slovene avant-gardism (especially the OHO group, and the poetry of Tomaž Šalamun). However, his intention of republishing the Man with Bombs was never realized.
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His cousin was Swedish architect, Frans Gustaf Abraham Dahl (1835-1927). Dahl studied at the Royal College of Music 1915-1919 in Stockholm and thereafter in Copenhagen and Berlin. During a stay in Paris 1920, he wrote the dance drama Maison de Fous for Ballets Suédois. He developed his own avant-gardism during his studies in Stockholm, and in Paris he met the radical French composers of the time, among them Darius Milhaud and Maurice Ravel.
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His best-known works are busts of I. G. Kovačić and S. S. Kranjčević, Bjelovarac, Taurus, Light Forms, and WWII monuments at Petrova Gora, Kamenska, Kragujevac and Dotršćina. Bakić succeeded in realizing the avant-gardism of abstraction with the monumentality and immediacy that were traditionally features of classical figurative sculpture. During his lifetime, Bakić exhibited in over 200 group exhibitions in Yugoslavia, of which 75 were organized abroad. Uninterested in his own promotion, deeply immersed in creation, he had only a handful of solo exhibitions.
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Clair's reputation as a film-maker underwent a considerable reevaluation during the course of his own lifetime: in the 1930s he was widely seen as one of France's greatest directors, alongside Renoir and Carné, but thereafter his work's artifice and detachment from the realities of life fell increasingly from favour.David Thomson, A New Biographical Dictionary of Film. (London: Little, Brown, 2002). p.160. The avant-gardism of his first films, and especially Entr'acte, had given him a temporary notoriety, and a grounding in surrealism continued to underlie much of his comedy work.
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Storm Corrosion's sound can best be described as ambient, epic, enchanting, and orchestral. In the press release for the self-titled first album, Åkerfeldt described the music as "a bit frightening, exhausting, profound and rather intense". In an interview with Face Culture, Wilson described the album as "mellow, strange, and disturbing". Critics have described the album's sound as having "an eerie gloom about the music that harks back to the drug-fuelled experimental avant-gardism of the 70s", "unhinged" and "experimental", and with a "flowing and expansive folk-touched sound".
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In 1961, Szabó became member of a quintet that was led by Chico Hamilton and included Charles Lloyd, playing what has been described as chamber jazz, with "a moderate avant-gardism." Szabó was influenced by the rock music of the 1960s, particularly the use of feedback. In 1965 he was in a jazz pop group led by Gary McFarland, then worked again with Lloyd in an energetic quartet with Ron Carter and Tony Williams. The song "Gypsy Queen" from Szabó's debut solo album Spellbinder became a hit for rock guitarist Carlos Santana.
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Xavier Abraham is a Catalan poet, cultural activist and bookseller born in Palma de Mallorca, Spain in 1945. He is the author of three collections: Iceberg (1986), Les mosques, la por (The Flies, the Fear 1991) and Sagitari (Sagittarius,1998). His poetry includes elements of realism, delicate lyricism and avant-gardism. Abraham has been the promoter of cultural activities such as the poetry-lecture series Poemes a l’Havanna (1990–93, published as an anthology in 1996), the Traficants de Poesia convention (1996) and the exhibition Art i poesia (Art and poetry, 1996).
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" Mike Marqusee describes how the basement recordings represented a radical change of direction for Dylan, who turned his back on his reputation for importing avant-garde ideas into popular culture: "At the very moment when avant-gardism was sweeping through new cultural corridors, Dylan decided to dismount. The dandified, aggressively modern surface was replaced by a self-consciously unassuming and traditional garb. The giddiness embodied, celebrated, dissected in the songs of the mid-sixties had left him exhausted. He sought safety in a retreat to the countryside that was also a retreat in time, or more precisely, a search for timelessness.
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After being dumped by a boyfriend oikish enough to own golf clubs, a well-dressed lawyer (Renée Weldon) takes up with an enigmatic barman played by Aidan Gillen. Connolly, whose 2000 movie Flick demonstrated considerable flair, creates an impressively dreamy atmosphere."Clarke, Donald (22 February 2005) The Irish Times Another reviewer said "The film vacillates between modes of melodrama and avant-gardism, unsure what kind of film it is." Yvonne Hogan in Irish Independent stated "There is a palpable chemistry between the two leads that make the viewer care about whether or not they get together.
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In his review for AllMusic, Scott Yanow says about the trio that "is a throwback in ways to the intense projects recorded by the ESP label in the 1960s, but it is also more modern, looking toward Cecil Taylor." The Penguin Guide to Jazz states "Brown first record looked back to the frantic avant-gardism of the '60s and forward to a new, third way approach which combine that freedom and radicalism of purpose with a more melodic and expressive idiom." The Cadence Magazine review by Carl Baugher says about the album that "It makes a strong case for Brown's place amongst today's better alto improvisers and is another unqualified winner for Silkheart".
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Russian literary critic and researcher Anna Pogadaeva comments on the style of Ahmad Kamal's writing, stating that: > "His poems are musical, full of inner rhythm, he perfectly uses all the > possibilities of the Malay language, extracting from it sometimes tender and > sincere, sometimes ecstatic and explosive sounds, filling each line with > movement and turning each verse into a living organism. The combination of > feelings and visions permeated with a passionate love for God is the > inexhaustible source of the poet's creative inspiration: it is a fusion of > sounding image and music, avant-gardism and traditional Sufi motifs, as well > as a rhythmic series of folklore forms." "The poet in constant surprise > before the mysteries of life." - Kemala. Poems.
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During the late 1970s and 1980s it was the bastion of Postmodernism, with frequent articles and special editions guest-edited by Charles Jencks, the theoretical father of postmodern architecture. At that time the journal was the mouthpiece of the publishers Academy Editions (marketed in the USA under St. Martins Press), based in Leinster Gardens, London (they also had their own bookstore), and they published very many well-known titles concerned with postmodernism. The long-standing Editor-in-Chief, until the mid-1980s, was Andreas Papadakis. The content of the journal is seen during the latter half of its history as running parallel with the cutting edge of avant-gardism, promoting innovation as well as celebrity status – 'stararchitects'.
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The Ashcan School of American realism included anarchist artists, as well as artists such as Rockwell Kent (1882–1971) and George Bellows (1882-1925) who were influenced by anarchist ideas. Abstract expressionism also included anarchist artists such as Mark Rothko and painters such as Jackson Pollock, who had adopted radical ideas during his experience as a muralist for the Works Progress Administration. Pollock's father had also been a Wobbly. David Weir has argued in Anarchy and Culture that anarchism only had some success in the sphere of cultural avant-gardism because of its failure as a political movement; cognizant of anarchism's claims to overcome the barrier between art and political activism, he nevertheless suggests that this is not achieved in reality.
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However, these traits are considered fundamental to post-modern art, as opposed to merely present in one degree or another. One of the most important points of difference, however, between post-modernism, and modernism, as movements in art, is modernism's ultimately progressive stance that new works be more "forward looking" and advanced, whereas post-modern movements generally reject the notion that there can be advancement or progress in art per se, and thus one of the projects of art must be the overturning of the "myth of the avant-garde". This relates to the negation of what post-structuralist philosophers call "metanarratives". Rosalind Krauss was one of the important annunciators of the view that avant-gardism was over, and that the new artistic era existed in a post-liberal and post-progress normalcy.
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The writer of a satirical manifesto, possibly Francis Picabia, in a publication entitled Evolution de l'art: Vers l'amorphisme, in Les Hommes du Jour (3 May 1913), may have had Metzinger's vision in mind when the author justified amorphism's blank canvases by saying 'light is enough for us'. With perspective, writes art historian Jeffery S. Weiss, "Vers Amorphisme may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity".Jeffrey S. Weiss, The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-gardism, Yale University Press, 1994, Monochrome painting was initiated at the first Incoherent arts' exhibition in 1882 in Paris, with a black painting by poet Paul Bilhaud entitled Combat de Nègres dans un tunnel (Negroes fight in a tunnel).
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Girondo was contemporary to Jorge Luis Borges, Raúl González Tuñón and Macedonio Fernández and Norah Lange (whom he married in 1943) whom he met at a lunch banquet in 1926 held in honor of Ricardo Güiraldes. Of these authors, all also involved in the vanguardia (avant gardism) of Argentina, most identified with the Florida group in the somewhat farcical literary hostility between that group and another called Grupo Boedo. Girondo was one of the most enthusiastic animators of the ultraist movement, exerting influence over many poets of the next generation, among them Enrique Molina with whom he translated the work of Arthur Rimbaud “Una temporada en el infierno.” Other notable peers include Pablo Neruda and Federico García Lorca with whom he began lasting friendships in 1934, era when both were to be found in Buenos Aires, capital city of Argentina.
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Sweden: Ragnar Östberg, Gunnar Asplund, Carl Westman, Sigurd Lewerentz, Carl Bergsten, Sigfrid Ericson, Torben Grut, Ragnar Hjorth, Cyrillus Johansson, Erik Lallerstedt, Gunnar Leche, Sven Markelius, Gunnar Morssing, George Nilsson, Ture Ryberg, Albin Stark, Eskil Sundahl, Lars Israel Wahlman, Sven Wallander, Hakon Ahlberg and Ivar Tengbom. Though these architects are listed by country, during this period there was an intense cultural exchange among the Nordic countries (many architects worked in more than one), but also considerable development in the architect's sphere of activity, from consultant to the bourgeoisie to town planner concerned with infrastructure, dwelling and public services. As Swedish historian Henrik O. Anderson has put it, this was an architecture of democracy, not radical avant-gardism. Furthermore, with the exception of Finland, the other Nordic countries had avoided getting involved in the First World War, allowing for continued cultural development.
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Górecki himself recalled that, at the premiere, he sat next to a "prominent French musician" (Górecki did not name names, though it was probably Pierre Boulez), who, after hearing the twenty-one repetitions of an A-major chord at the end of the symphony, loudly exclaimed "Merde!" The symphony was first recorded in Poland in 1978 by the soprano Stefania Woytowicz. It was deemed a masterpiece by Polish critics, although, during the late 1970s and early 1980s, recordings and performances of the work were widely criticised by the press outside Poland. The symphony drew hostility from critics who felt that Górecki had moved too far away from the established avant-garde style and was, according to Dietmar Polaczek (writing for Österreichische Musikzeitschrift), "simply adding to the decadent trash that encircled the true pinnacles of avant-gardism".
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3 With perspective, writes art historian Jeffery S. Weiss, "Vers Amorphisme may be gibberish, but it was also enough of a foundational language to anticipate the extreme reductivist implications of non-objectivity".Jeffrey S. Weiss, The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-gardism, Yale University Press, 1994, In a broad and general sense, one finds European roots of minimalism in the geometric abstractions of painters associated with the Bauhaus, in the works of Kazimir Malevich, Piet Mondrian and other artists associated with the De Stijl movement, and the Russian Constructivist movement, and in the work of the Romanian sculptor Constantin Brâncuși.Maureen Mullarkey, Art Critical, Giorgio MorandiDaniel Marzona, Uta Grosenick; Minimal art, p.12 Minimal art is also inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi, and others.
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The Members of the Société Libre des Beaux-Arts by Edmond Lambrichs : from left to right, sitting are Huberti, Boudin, Degroux, Van Camp, Bouré, Verwée, C. Meunier, Dubois (holding copies of L'Art libre and L'Art Universel); standing, Lambrichs, Artan, Rops, Raeymaeckers, J.B. Meunier, Smits, Baron, De la Charlerie The Société Libre des Beaux-Arts ("Free Society of Fine Arts") was an organization formed in 1868 by Belgian artists to react against academicism and to advance Realist painting and artistic freedom. Based in Brussels, the society was active until 1876, by which time the aesthetic values it espoused had infiltrated the official Salon.Arto: Aperçus historiques It played a formative role in establishing avant-gardism in Belgium.Julius Kaplan, entry on "Société Libre des Beaux-Arts," in The Grove Dictionary of Art. From Renaissance to Impressionism: Styles and Movements in Western Art, 1400–1900 (St. Martin's Press, 2000), p. 343.
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As a result, from the 1940s to the 1960s critical emphasis moved away from positioning the Wake as a "revolution of the word" and towards readings that stressed its "internal logical coherence", as "the avant-gardism of Finnegans Wake was put on hold [and] deferred while the text was rerouted through the formalistic requirements of an American criticism inspired by New Critical dicta that demanded a poetic intelligibility, a formal logic, of texts." Slowly the book's critical capital began to rise to the point that, in 1957, Northrop Frye described Finnegans Wake as the "chief ironic epic of our time"Frye, Anatomy of Criticism, p.323 and Anthony Burgess lauded the book as "a great comic vision, one of the few books of the world that can make us laugh aloud on nearly every page." Concerning the importance of such laughter, Darragh Greene has argued that the Wake through its series of puns, neologisms, compounds, and riddles shows the play of Wittgensteinian language-games, and by laughing at them, the reader learns how language makes the world and is freed from its snares and bewitchment.
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Derek Kreckler is an Australian visual artist, born in Sydney in 1952. He has worked in a variety of media creating performance, video, sound and photographic art works. His work is concerned with an ongoing examination of the transformation of modes of historical avant-gardism into the present. His "clean, crisp Cibachromes" of refrigerators were exhibited at the 14th Sydney Biennale in 2004.Art in America, December 2004. He has exhibited internationally, extensively throughout Australia including: 2020 '100 Ways to live a minute', The Pushkin Museum, Moscow; Accident & Process (photographs only) 2018 European Month of Photography, Berlin; Accident & Process: 2017 Jarvis Dooney gallery Berlin, Accident & Process: 2015-2018 regional solo touring exhibition of eight Australian galleries; 'Littoral' LandSeaSky: 2014-15 One and J. Gallery Seoul, OCAT Shanghai, Guangzhou and the National Art School Sydney; 'Many a Slip' 2013 The William and Winifred Bowness Photographic Awards, Monash Gallery of Art, Melbourne; 'White Goods' On Reason and Emotion: 2004 Biennale of Sydney, The Museum of Contemporary Art, Sydney; 'Holey' #1 The 2004 Adelaide Biennale of Australian Art at the Art Gallery of South Australia, and the 2003 Clemenger Contemporary Art Award at the National Gallery of Victoria in Melbourne; 'White Pointer' 1992 Encounters with Diversity, PS1.
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