Research Background
International curator, Isabel Carlos, commissioned “White Goods”, comprising 9 large-scale photographs, for the 2004 Biennale of Sydney: On Reason and Emotion.
Research Contribution
“White Goods” are choreographed tableaux vivants that evoke possible moments in Australian history since European contact. The images are poetic renderings of a culture both lost and found offering ‘a bleak portrait of a community between time zones.’1 These images are performative fabrications constructed to question the ways in which we render history. The work was initially created in response to the Biennale’s theme of Reason and Emotion; the emotive response being often regarded as defined by geographic locality – in this case the semi-rural and outer suburban areas of Perth.
Research Significance
The Biennale of Sydney is Australia’s largest and most prestigious national and international festival of visual arts and includes a major catalogue and education program incorporating education packages distributed to all NSW secondary schools. Reviews of the work were included in Art in America2 and Broadsheet.3 Two of the works are now in private collections. The work has since exhibited in Sub-terrain curated by Hannah Matthews at the Perth Institute of Contemporary Arts (PICA) for the 2006 Perth International Arts Festival; and was exhibited at the Museum of Contemporary Art (MCA), Sydney.
2. Lilly Wei (2004) “South by southeast: the 14th Sydney Biennale specially commissioned works”, Art in America.
3. Adam Geczy (2006) “Blind (Ned) Leading The Blind”, Broadsheet 35:1, South Australia, p 51.
Publication Details
Kreckler, D. J. (2004). White Goods. Museum Of Contemporary Art, Sydney, NSW, June 2004, Biennale Of Sydney.
Exhibition images here.
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RESEARCH IMPACT STATEMENT
Research Background
International curator, Isabel Carlos, commissioned “White Goods”, comprising 9 large-scale photographs, for the 2004 Biennale of Sydney: On Reason and Emotion.
Research Contribution
“White Goods” are choreographed tableaux vivants that evoke possible moments in Australian history since European contact. The images are poetic renderings of a culture both lost and found offering ‘a bleak portrait of a community between time zones.’1 These images are performative fabrications constructed to question the ways in which we render history. The work was initially created in response to the Biennale’s theme of Reason and Emotion; the emotive response being often regarded as defined by geographic locality – in this case the semi-rural and outer suburban areas of Perth.
1. Hannah Matthews 2006 Sub-terrain catalogue, PICA, 2006.
Research Significance
The Biennale of Sydney is Australia’s largest and most prestigious national and international festival of visual arts and includes a major catalogue and education program incorporating education packages distributed to all NSW secondary schools. Reviews of the work were included in Art in America2 and Broadsheet.3 Two of the works are now in private collections. The work has since exhibited in Sub-terrain curated by Hannah Matthews at the Perth Institute of Contemporary Arts (PICA) for the 2006 Perth International Arts Festival; and was exhibited at the Museum of Contemporary Art (MCA), Sydney.
2. Lilly Wei (2004) “South by southeast: the 14th Sydney Biennale specially commissioned works”, Art in America.
3. Adam Geczy (2006) “Blind (Ned) Leading The Blind”, Broadsheet 35:1, South Australia, p 51.