1,720,969 research outputs found
Soapbox #12
No full textThe research outcomes include the design and development of creative approaches suitable to engage persons living with Dementia, memory loss, and Alzheimer's Disease in contemporary art activities with the end goal being a major temporary public artwork. The project involved participants ranging in age from 45 to 65 years old, in the early onset stage of illness who had not previously produced artwork for public presentation. Dr Steven Carson facilitated the project to present the work of 12 artists on three billboards, as temporary public artworks during Dementia Awareness Month in 2016
Casting and Weeding Diptych and Tight Wound 1 and 2
No full textSteven Carson exhibited three new works in 'Perennials: Selected USQ Alumni - the first forty years', curated by Bianca Acimovic, at Toowoomba Regional Art Gallery. The exhibition surveyed the 40 year alumni of University of Southern Queensland (and formerly DDIAE) Visual Art program to select 15 artists who 'are maintaining a successful and current professional visual arts practice....and whose selected artworks have not previously been exhibited or viewed as a collective' (Baker, D 2013). The exhibition was accompanied by a printed catalogue of 45 pages
Flat Press
No full textThe CAT Courtyard initiative was created in 2013 to provide an additional presentation space for Tasmanian artists and to enliven the main gallery entrance. In December 2017 the CAT Program Committee awarded the annual commission to Steven Carson, a mid career artist and lecture at the Launceston and Hobart campuses of the School of Creative Arts, University of Tasmania. Carson developed Flat Press, a vibrant installation that consisted of printed metal panels and vinyl covered poles attached to the courtyard walls, wrapping the existing entrance bollards in colourful patterned vinyl, and florescent tape additions to the inside of the storm water drain. In this work the artist sought to explore pleasure and joy, and consider how these emotional resonances may be expressed through flat picture panels and other activations within the public space. Flat Press was in situ throughout 2018
That Feeling: three artworks
No full textAn exhibition exploring how the desire for mobility and speed—from transport to information exchange to body systems—has transformed our society and how we communicate with each other. Featuring artwork by Margaret Baguley, Kate Camm, Steve Carson, Jon Cattapan, Scott Cunningham, Penelope Davis, Michael Doolan, Josh Foley, Lola Greeno, Neil Haddon, Stephen Haley, Marian Hosking, Wayne Z Hudson, Liam James, David Keeling, Martin Kerby, Kim Lehman, Pete Mattila, Anne Morrison, Troy Ruffels, Paul Snell, Anna Van Stralen, Danielle Thompson, Megan Walch and Helen Wright. Curated by Dr Malcolm Bywaters</p
Noncommittal Series
No full textThe works were presented in 'Paint' 2018 curated by Paul Snell, an exhibition that featured contemporary artists who paint, or whose works can be understood to sit within a trajectory of contemporary painting. The works make a gesture to painterly abstraction however challenge the notion that abstraction is primarily concerned with formalist relationships between colour and shape. The aim of the works was to connect abstraction with strategies of conceptual art through the use of mundane materials including tape, office stationery and collage, and the extension of imagery from behind and onto the glass and surrounding edges of the manufactured picture frame. Through these strategies the work aimed to re-position abstract art spatially and conceptually within the same space of the viewer, as well as to demystify non-figurative imagery by connecting it to the everyday through the replacement of paint with familiar materials evocative of everyday, lived experience
Debris Improvisations
No full textDebris Improvisations is a suite of improvisational assemblages exploring ways of limiting waste, through perpetual reconfiguration of fragile and fugitive materials. Previous works were dismantled and the reclaimed materials reimagined/reconfigured through a process of improvisation. Conceptually the re-contextualisation of artwork deemed waste was explored in new works assembled from materials gathered from artworks at the point of their disposal. My work uses salvaged vinyl, plastic, paper, cardboard and found objects assembled temporarily with adhesive tape. The securing of elements with tape is an expressive aesthetic within my work referring to uncertainty, instability, and the capacity for things to shift rapidly. The works are often destroyed following exhibition, either at my own hand or simply through their own deterioration over time. This is partly the consequence of using materials that are themselves archivally unstable. The inherent paradox in working with salvaged waste is that as my reliance on reclaimed plastics, vinyl and tape has increased, I have become aware that I only temporarily halt the flow of these plastics into landfill. Through this experimentation I embedded processes of dismantling, sorting and reconfiguration into the perpetual creation of new works that can simultaneously emphasise the provisionality of unstable materials, minimise waste and redirect the deterioration and subsequent disposal of my work to landfill.</p
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