Tag : 2004

2006.074.001-100_022755

HU Yang | Shanghai living (series) 2004-05 | Type C photograph on paper | Purchased 2006. The Queensland Government's Gallery of Modern Art Acquisitions Fund

Hu Yang ‘Shanghai living project’ 2004-05

With the economic reforms of the 1990s, the Chinese city of Shanghai was transformed from a ‘socialist state-planned economy’ to a ‘socialist market economy’. Over 3000 skyscrapers were constructed as millions of square metres of old housing was dismantled and …

ANGELA DE LA CRUZ795

Angela de la Cruz | Clutter bag (Orange) II 2004 | Oil on canvas, wood | 180 x 75 x 60cm | Gift of The Michael and Janet Buxton Collection through the Queensland Art Gallery Foundation 2010. Donated through the Australian Government’s Cultural Gifts Program | Collection: Queensland Art Gallery

Angela de la Cruz ‘Clutter bag (Orange) II’ 2004

Angela de la Cruz’s iconoclastic art practice subjects paintings to violent and destructive processes. In an art-historical context, de la Cruz’s work might be understood in the tradition of monochrome painting which, at different times over the course of the …

TRECARTINryan_AFamilyFindsEntertainment_001781

Ryan Trecartin |  A Family Finds Entertainment 2004 | Digital video transferred to DVD: 41 minutes, colour, stereo | Courtesy: The artist and Elizabeth Dee Gallery, New York

Ryan Trecartin ‘A Family Finds Entertainment’ 2004

Ryan Trecartin belongs to a generation of artists whose practices are deeply affected by the immediate, circulatory and viral nature of participatory image-making online. Working in video, performance, sculpture, installation and photography, he creates scenarios that are elaborated on with …

765

Therein lies part of the power of Where We Come From: it frames the abstract political nightmare of the Israeli-Palestinian conflict in human perspective. There are no screaming headlines, no large-scale prints of bulldozed homes or weeping mourners. There are only innocuous pictures and words. Between those simple photographs and unremarkable written requests lies a profoundly affecting failure: the implicit inadequacy of Jacir’s gesture. No matter the generosity of her offer or the sincerity with which she fulfilled the requests, the success of her modest actions is pathetic in the face of security fences, visa denials, army incursions and suicide bombings.

Lori Waxman, ‘Picturing Failure’ in Parachute, no.115, 2004 pp.30-45.

KRIEMANNsusanne_SortingIV_163.2010_001756

Susanne Kriemann | The originality of the avant-garde and other modernist myths (former Central Post Office Rotterdam), Sorting IV 2004 | Inkjet print, ed. 2/3 (+ 2 AP) | 126 x 156.8cm | Purchased 2010 with a special allocation from the Queensland Art Gallery Foundation | Collection: Queensland Art Gallery

Susanne Kriemann ‘The originality of the avant-garde and other modernist myths (former Central Post Office Rotterdam), Sorting IV’ 2004

Susanne Kriemann investigates the uses of photography as a documentary and historiographic tool and has stated her interest in how ‘photographs evoke imagination and mystery about the past’. She collects not only images but historical documents, vintage photographs, books, old …