Deep Pockets

Titmarsh, M

Deep Pockets

Titmarsh, M

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Publisher:: Mark Titmarsh and Billy Gruner
Publication Type:: Creative Work (written)
Citation:: 2024, 1, pp. 2-4
Issue Date:: 2024-01-05

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Field	Value	Language
dc.contributor.author	Titmarsh, M https://orcid.org/0000-0002-1033-3867
dc.date.accessioned	2024-11-18T05:05:21Z
dc.date.available	2024-11-18T05:05:21Z
dc.date.issued	2024-01-05
dc.identifier.citation	2024, 1, pp. 2-4
dc.identifier.isbn	978-0-6480719-1-4
dc.identifier.uri	http://hdl.handle.net/10453/181951
dc.description.abstract	This is a catalogue essay I wrote for the Third Australian Biennale of Reductive Art subtitled Reflex in which I discuss the history of the biennales and the issues of post conceptual art in the context of Contemporary Art. There was a particular focus on the historical work of Australian conceptual artist Ian Burn and his influence on abstraction, landscape and concerns for Australian issues around indigenous relations to place.
dc.format	Exhibition Catalogue Essay
dc.format.extent	1
dc.language	en
dc.publisher	Mark Titmarsh and Billy Gruner
dc.rights	info:eu-repo/semantics/openAccess
dc.title	Deep Pockets
dc.type	Creative Work (Written)
utslib.citation.edition	1
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	open_access	*
pubs.consider-herdc	false
dc.date.updated	2024-11-18T05:05:20Z
pubs.commissioning-body	The Australian Biennale of Reductive Art
pubs.edition	1
pubs.place-of-publication	Sydney
dc.location	Sydney

Abstract:

This is a catalogue essay I wrote for the Third Australian Biennale of Reductive Art subtitled Reflex in which I discuss the history of the biennales and the issues of post conceptual art in the context of Contemporary Art. There was a particular focus on the historical work of Australian conceptual artist Ian Burn and his influence on abstraction, landscape and concerns for Australian issues around indigenous relations to place.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/181951