The Bachelor's Pads & Other Rooms PORTFOLIO
- Publisher:
- QUT Art Museum
- Publication Type:
- Exhibition
- Citation:
- Quaternary; Patternation; An Imprecise Science
Closed Access
| Filename | Description | Size | |||
|---|---|---|---|---|---|
| 1238850_HUGHES_Bachelorspads_PF_FINAL.pdf | Published Version | 4.57 MB | Adobe PDF |
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Full metadata record
| Field | Value | Language |
|---|---|---|
| dc.contributor.author |
Hughes, NA
https://orcid.org/0000-0002-9007-3486
|
en_US |
| dc.contributor.editor | Pedersen, C | en_US |
| dc.contributor.editor | Kibbler, C | en_US |
| dc.date | 2014 | en_US |
| dc.identifier.citation | Quaternary; Patternation; An Imprecise Science | en_US |
| dc.identifier.isbn | 978-0-85856-000-0 | en_US |
| dc.identifier.uri | http://hdl.handle.net/10453/122424 | |
| dc.format | Installation | en_US |
| dc.publisher | QUT Art Museum | en_US |
| dc.relation.ispartof | Quaternary; Patternation; An Imprecise Science | en_US |
| dc.title | The Bachelor's Pads & Other Rooms PORTFOLIO | en_US |
| dc.type | Exhibition | |
| utslib.location | QUT Art Museum; Hazlehurst Regional Gallery; Artspace Sydney | en_US |
| utslib.for | 1905 Visual Arts and Crafts | en_US |
| utslib.for | 1203 Design Practice and Management | en_US |
| pubs.embargo.period | Not known | en_US |
| pubs.organisational-group | /University of Technology Sydney | |
| pubs.organisational-group | /University of Technology Sydney/Faculty of Design, Architecture and Building | |
| pubs.organisational-group | /University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design | |
| utslib.copyright.status | closed_access | |
| pubs.consider-herdc | true | en_US |
| pubs.finish-date | 2016 | en_US |
| pubs.place-of-publication | QUT Art Museum; Hazlehurst Regional Gallery; Artspace Sydney | en_US |
| pubs.start-date | 2014 | en_US |
| pubs.rights-statement | This body of work arises from the expanded field of visual representation, specifically in response to examinations of the place of women's practice. In their 1978 essay 'Art Hysterical Notions of Progress and Culture' (associated with the inception of the Pattern and Decoration Movement) artists Valerie Jaudon and Joyce Kozloff argue that "one method 'modernism' has used to discredit its opponents has been to associate their work with carpets and wallpaper…" This research investigates the binary between modernism and the domesticised and feminised decorative, staging installations that re-imagine and realign these seemingly disparate positions. Bachelor's Pads features paintings and prints made according to the formal logic of modernist geometric abstraction alongside custom furnishings. It sought to combine formalism and ornamentation with concepts conventionally thought to be incongruent with these traditions: the body, femininity, and anxiety. The attention to anxiety was developed further in Panic Room. Loosely based on the placating décor deployed in conventional corporate or medical waiting rooms, Panic Room instead presents an engagement with the hyper-detailed and over-stimulated. Sited in the amenities of a public building, An Imprecise Science Commission further challenges the notion that decoration is peripheral making explicit connections between décor and the (feminine) body. Bachelor Pads was exhibited developed initially at Alaska Projects, Sydney and was subsequently included in the exhibition Quaternary at the QUT Art Museum (curator Courtney Pedersen). Panic Room was commissioned by curator Carrie Kibbler for the exhibition Patternation at Hazlehurst Regional Gallery. An Imprecise Science was commissioned by Artspace, Sydney. | en_US |
| pubs.rights-statement | This body of work arises from the expanded field of visual representation, specifically in response to examinations of the place of women's practice. In their 1978 essay 'Art Hysterical Notions of Progress and Culture' (associated with the inception of the Pattern and Decoration Movement) artists Valerie Jaudon and Joyce Kozloff argue that "one method 'modernism' has used to discredit its opponents has been to associate their work with carpets and wallpaper…" This research investigates the binary between modernism and the domesticised and feminised decorative, staging installations that re-imagine and realign these seemingly disparate positions. Bachelor's Pads features paintings and prints made according to the formal logic of modernist geometric abstraction alongside custom furnishings. It sought to combine formalism and ornamentation with concepts conventionally thought to be incongruent with these traditions: the body, femininity, and anxiety. The attention to anxiety was developed further in Panic Room. Loosely based on the placating décor deployed in conventional corporate or medical waiting rooms, Panic Room instead presents an engagement with the hyper-detailed and over-stimulated. Sited in the amenities of a public building, An Imprecise Science Commission further challenges the notion that decoration is peripheral making explicit connections between décor and the (feminine) body. Bachelor Pads was developed initially at Alaska Projects, Sydney and was subsequently included in the exhibition Quaternary at the QUT Art Museum (curator Courtney Pedersen). Panic Room was commissioned by curator Carrie Kibbler for the exhibition Patternation at Hazlehurst Regional Gallery. An Imprecise Science was commissioned by Artspace, Sydney. | en_US |
| pubs.rights-statement | This body of work arises from the expanded field of visual representation, specifically in response to examinations of the place of women's practice. In their 1978 essay 'Art Hysterical Notions of Progress and Culture' (associated with the inception of the Pattern and Decoration Movement) artists Valerie Jaudon and Joyce Kozloff argue that "one method 'modernism' has used to discredit its opponents has been to associate their work with carpets and wallpaper…" This research investigates the binary between modernism and the domesticised and feminised decorative, staging installations that re-imagine and realign these seemingly disparate positions. Bachelor's Pads features paintings and prints made according to the formal logic of modernist geometric abstraction alongside custom furnishings. It sought to combine formalism and ornamentation with concepts conventionally thought to be incongruent with these traditions: the body, femininity, and anxiety. The attention to anxiety was developed further in Panic Room. Loosely based on the placating décor deployed in conventional corporate or medical waiting rooms, Panic Room instead presents an engagement with the hyper-detailed and over-stimulated. Sited in the amenities of a public building, An Imprecise Science Commission further challenges the notion that decoration is peripheral making explicit connections between décor and the (feminine) body. Bachelor Pads was developed initially at Alaska Projects, Sydney and was subsequently included in the exhibition Quaternary at the QUT Art Museum by curator Courtney Pedersen. Panic Room was commissioned by curator Carrie Kibbler for the exhibition Patternation at Hazlehurst Regional Gallery. An Imprecise Science was commissioned by Artspace, Sydney. | en_US |
| pubs.rights-statement | This body of work arises from the expanded field of visual representation, specifically in response to examinations of the place of women's practice. In their 1978 essay 'Art Hysterical Notions of Progress and Culture' (associated with the inception of the Pattern and Decoration Movement) artists Valerie Jaudon and Joyce Kozloff argue that "one method 'modernism' has used to discredit its opponents has been to associate their work with carpets and wallpaper…" This research investigates the binary between modernism and the domesticised and feminised decorative, staging installations that re-imagine and realign these seemingly disparate positions. Bachelor's Pads features paintings and prints made according to the formal logic of modernist geometric abstraction alongside custom furnishings. It sought to combine formalism and ornamentation with concepts conventionally thought to be incongruent with these traditions: the body, femininity, and anxiety. The attention to anxiety was developed further in Panic Room. Loosely based on the placating décor deployed in conventional corporate or medical waiting rooms, Panic Room instead presents an engagement with the hyper-detailed and over-stimulated. Sited in the amenities of a public building, An Imprecise Science further challenges the notion that decoration is peripheral making explicit connections between décor and the (feminine) body. Bachelor Pads was developed initially at Alaska Projects, Sydney and was subsequently included in the exhibition Quaternary at the QUT Art Museum by curator Courtney Pedersen. Panic Room was commissioned by curator Carrie Kibbler for the exhibition Patternation at Hazlehurst Regional Gallery. An Imprecise Science was commissioned by Artspace, Sydney. | en_US |
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