The Schatzkammer: A Treasury of Evidence

Baines, R 2006, The Schatzkammer: A Treasury of Evidence, (Creative Work : Visual art).


Document type: Creative Work
Collection: Creative Works

Attached Files
Name Description MIMEType Size
Click to show the corresponding preview Bracelet_java_la_grande.jpg Creative Work image/jpeg 929.26KB
Click to show the corresponding preview Buzz_aldrin.jpg Creative Work image/jpeg 509.45KB
Click to show the corresponding preview Courtly_love.jpg Creative Work image/jpeg 520.16KB
Click to show the corresponding preview Courtney_love.jpg Creative Work image/jpeg 376.12KB
Click to show the corresponding preview Gold_hoard.jpg Creative Work image/jpeg 917.86KB
Click to show the corresponding preview Marilyn.jpg Creative Work image/jpeg 224.15KB
Click to show the corresponding preview Paris.jpg Creative Work image/jpeg 1.04MB
Click to show the corresponding preview Phantom.jpg Creative Work image/jpeg 635.66KB
Click to show the corresponding preview Saaremaa.jpg Creative Work image/jpeg 1013.21KB
Click to show the corresponding preview Taliban_gift.jpg Creative Work image/jpeg 835.40KB
Title The Schatzkammer: A Treasury of Evidence
Author(s) Baines, R
Year 2006
Type of work Visual art
Outlet Clemenger Art Award, National Gallery of Victoria,Melbourne, Australia
Dates 24/08/2006 to 22/10/2006
Medium Gold and silver alloys, collected objects
Summary A triennial exhibition and award celebrating ongoing achievement of some of Australia's most distinguished contemporary artists in 2006: Janangoo Butcher Cherel, Anne Ferran, Ivan Namirrkki, Bronwyn Oliver, Jacky Redgate, Ken Thaiday, Imants Tillers, Hossein Valamanesh, Toni Warburton, Judy Watson, Judith Wright and Baines. It is as unusual for a goldsmith to be invited into a national visual arts survey/prize as it is for contemporary art jewellery to provide commentary on political and popular culture. From the vantage point of goldsmith, Baines considers how formulated heritage is available for reference, questioning and modification. The option to copy, to replicate, or to modify the historic document jewellery, is a possibility. New input can verify authenticity or engender falsehood through the artistic reinterpretation. Inclusion of the bogus into that which is accepted as the standard or primary reference becomes subversion. Making fiction based on historical correctness addresses the question: Is it important to have an authentic material cultural history? There is a strong artistic concept here that challenges understandings of history, knowledge of technology and popular culture and is a unique statement adding to contemporary arts practice. Housing material evidence of historical events authentically based on other actual jewellery, a rhapsody of jewellery occasions of beautiful caprice. A meeting of the far left and right of the political and social jewellery spectrum. This is not an extensive statement of 'gotcher'!! Reviews: Penny Webb, The Age, 28/09/06; Dovey Dee & Libby Sullivan, Arts Hub Australia Oct. 16, 2006; Sue Green, Craft Victoria. http:/www.craftculture.org/Review/green9.htm
Subject Fine Arts (incl. Sculpture and Painting)
Versions
Version Filter Type
Access Statistics: 608 Abstract Views, 1816 File Downloads  -  Detailed Statistics
Created: Tue, 19 Apr 2011, 16:50:24 EST
© 2014 RMIT Research Repository • Powered by Fez SoftwareContact us