1,721,023 research outputs found
Silent menagerie : Leah Williams
No full textCatalogue of an exhibition held at Blindside Artist Run Space.Includes bibliographical references
Unkept appointments : Stephen Hennessy
No full textCatalogue of an exhibition held at Blindside Artist Run Space, Melbourne, Victoria, 16 August - 1 September 2007
Feel the confidence
No full textPublished to accompany the exhibition held at Blindside Gallery, Gallery One, Melbourne, 27 February-16 March 2013
The big smoke
No full textCatalogue of an exhibition held at Blindside Artist Run Space, 3 - 19 July 2008.Artists: Noah Grosz, Kathryn McCool, Jacques Soddell, Tara Gilbee & Andrew Goodman, Greg Pritchar
Unkept appointments : Stephen Hennessy
No full textCatalogue of an exhibition held at Blindside, Melbourne, Victoria, 16 August - 1 September 2007
Hurt couture
No full textCatalogue of an exhibition held at the Blindside Gallery, 3 - 19 March 2005.Part of the 2005 L'Ore?al Melbourne Fashion Festival
CURTAIN CALL: 1000 2000s SOAP
No full textCURTAIN CALL: 1000 2000s SOAP brings together works by artists who have previously exhibited at BLINDSIDE.
1000 2000s SOAP uses the curatorial position to examine the role of the artist in relation to the gallery and the channels of exchange between artist and institution.
Using a ‘call and response’ method of curation, SOAP contacted all artists who exhibited at BLINDSIDE in the years 2004-2009, inviting them to participate in CURTAIN CALL. Being the first 5 years of operation for BLINDSIDE this period was selected by SOAP out of a curiosity to consider the shifts brought about with the new millennium, in relation to the politics of artistic production and participation.
The ‘call and response’ method addresses the challenges of working artists in Australia: the networks formed inside and outside the internet, the scarcity of cheap gallery space and the sparse public and private funds to remunerate artists.
SOAP’s curatorial premise brings this exhibition as a form of a democratic collective action. Artists’ diverse but complementary responses range from concepts commenting on art and language, economy of space and time, to visibility, identity politics, individualism and isolation in the digital age.No Full Tex
Metrical Transition and Resolution in the Music of Blindside
Full text linkMeter in rock cannot always be determined by the backbeat. I have adapted metrical analysis models developed by Harald Krebs and others to the music of the rock band Blindside to address the issue of identifying logical metrical schemes in a particular repertoire of rock music. Blindside\u27s use of metrical dissonance necessitates expansion of the existing analytical models in that the meter in some of their songs is ambiguous at times, allowing for a period of transition from one metrical scheme to another. The ambiguity of the meter in songs such as The Endings, combined with the message of the lyrics, creates a need for resolution, which resolution can be found with an examination of the song\u27s form
The blindside flick : race and rugby league
No full textThe issue of race was virtually beyond the touchline in Australian rugby league before the 1960s. It was a white man's game. Institutionalised racism meant that few Aboriginal men played rugby league at the highest professional level. It is now presumed that race and racism have no place in a game where these questions have been historically 'out of bounds'. The dearth of critical writing in rugby league history indicates that racism in the sport has been subject to a form of social blindness and deemed unworthy of study. Rugby league's white exclusionist past and the denial of racism in the present era indicate habits of mind that may be described in league argot as the 'blindside flick'
The Blindside Flick: Race and Rugby League
Full text linkThe issue of race was virtually beyond the touchline in Australian rugby league before the 1960s. It was a white man’s game. Institutionalised racism meant that few Aboriginal men played rugby league at the highest professional level. It is now presumed that race and racism has no place in a game where these questions have been historically ‘out of bounds’. The dearth of critical writing in rugby league history indicates that racism in the sport has been subject to a form of social blindness and deemed unworthy of study. Rugby league’s white exclusionist past and the denial of racism in the present era indicate habits of mind which may be described in league argot as the ‘blindside flick’
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