Benjamin CROWLEY, Eternal death and doubt (video still) 2014, digital video with sound, 5:47, infinite loop, courtesy of the artist.
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Benjamin Crowley is a Brisbane-based artist working primarily across object based media and performance; often his work explores the construction and projection of identity and the value of real experience in contemporary art. While his earlier works dealt almost exclusively with the construction of contemporary Australian masculine identity, his more recent work has explored popular existential ideas and is influenced by the writings of Sartre, Camus and Kierkegaard.
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Simone HINE, 11:35am (video still) 2010, digital video, 2:04, looped, courtesy of the artist.
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Simone Hine is an artist, writer, curator and gallery director based in Melbourne, Australia. Her practice utilises the pictorial tradition of art (focusing on stillness) to create new narratives out of familiar cinematic tropes. Using the pensive gaze associated with still images, the works re-examine the moving image outside of the linear flow of narrative drive which has largely defined cinema throughout its history. Hine’s focus is not an overt critique of cinema, rather she hopes to take what is familiar and generate new meanings and narratives that are not predefined.
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Anita HOLTSCLAW, The waves (video still) 2013, digital video, 15:03, courtesy of the artist.
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Working primarily with screen-based media installations, Anita Holtsclaw explores how vision and representation are constructed culturally by cinema and can be reimagined in a contemporary feminist art practice. By recreating romantic imagery from cinema and Australian art, her works examine how the implicit narratives contained in the cinematic and art-historical landscape mediate our phenomenological experience of place.
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Daniel McKEWEN, Untitled (after Steven and John) (video still) 2012, single-channel HD video with stereo sound, infinite loop, courtesy of the artist.
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Daniel McKewen is a Brisbane-based visual artist whose practice investigates the intersections of contemporary art, popular culture, and the entertainment and financial industries. He appropriates elements from screen culture in order to examine and critique how these institutional structures operate culturally, socially, and politically. Working across a broad range of media, his artworks also examine and reconfigure the affective experience of engaging with screen culture. Adopting the figure of the Artist-Fan, his works explore how our subjective and inter-subjective interactions with mass media can allow us to ‘make sense’ of our own social experiences.
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Llewellyn MILLHOUSE, Neo shoots (video still) 2012, digital video with sound, 3:04, infinite loop, courtesy of the artist.
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Working across sculpture, painting and video, Llewellyn Millhouse is interested in the relationship between entertainment, pleasure and ideology, using art practice to consider how images and narratives reflect and inform the values of his community. By breaking down advertising and popular culture narratives into sets of values and laws that generate pleasure, and playing out the pleasure of these fantasies through everyday materials and personal experiences, Millhouse attempts to problematise his culture’s relationship to products, images and narratives.
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Grant STEVENS, Sky (installation view) 2016, HD digital video with sound, photo: Nicholas Aloisio-Shearer & Finn Marchant, courtesy of the artist.
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Grant Stevens is an Australian artist currently based in Sydney. Working predominantly with video, as well as photography, sculpture and installation, his art practice explores how the verbal and non-verbal languages of popular screen culture interface with contemporary subjectivity.
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