- Kit Messham-Muir, ‘Practices of the City and the Kickflipping Flâneur’, Kerb: Journal of Landscape Architecture, no. 9, 2001: 6–12.
- Iain Borden, ‘Everyday Otherworlds: Rhythm, Detail, Journeys’, in Shaun Gladwell: Videowork, ed. Blair French (Sydney: Artspace, 2007), 32–6.
- Rex Butler, MADDEST MAXIMVS: Sprezzatura (Sydney: Sherman Galleries, 2007).
- Sally Breen, Remixes for a New[ish] Millenium (Perth: Perth Institute of Contemporary Art, 2004), n.p.; Mark Pennings, ‘Out of Place, Out of Time, Out of Mind’, Eyeline 58, 2005: 17.
- Blair French, ‘Return to Earth’, in Shaun Gladwell: Videowork, 8–31; and Carolyn Christov-Bakargiev, ‘Means with No End’, in Shaun Gladwell: Videowork, 52–4.
- Ibid., 8.
- Ibid., 11–2.
- Ibid., 19–20.
- Ibid., 53.
- See Rex Butler, A Secret History of Australian Art (Sydney: Craftsman House, 2002).
- Charles Green, ‘Empire’, in Meridian: Focus on Contemporary Australian Art, ed. Rachel Kent, Russell Storer, and Vivienne Webb (Sydney: Museum of Contemporary Art, 2002), 13.
- This work was later added to and retitled Kickflipper: Fragments Edit (2000–3).
- This work was later retitled Double Linework (2000).
- Kit Messham-Muir, ‘Practices of the City and the Kickflipping Flâneur’, Marco Fusinato: Shaun Gladwell (Sydney: Artspace, 2000), n.p.
- Shaun Gladwell cited in Sabine Schaschl-Cooper, Ed., Space Invaders: A Discussion about Painting, Space and its Hybrids (Zurich: JRP Ringier, 2005).
- Francesca Morrison, Sydney: A Guide to Recent Architecture (London: Ellipsis, 1997), 6.
- Carolyn Christov-Bakargiev, ‘Means with No End’, 54.
- Kit Messham-Muir, ‘Practices of the City’, n.p.
- Gladwell has noted, ‘Usually skateboarding videos are blasting away MTV-style, with fast edits and hip-hop. I try to slow shit down so beautiful things come up.’ Lenny Ann Low, ‘Hot in the City, Skating Across Genres’, Sydney Morning Herald, 6 August 2003: 13.
- Michel de Certeau, The Practice of Everyday Life (London and Berkley: University of California Press, 1988), vxiii.
- Nikos Papastergiadis, ‘Everything that Surrounds: Art, Politics, and Theories of the Everyday’, in Everyday: 11th Biennale of Sydney, ed. Jonathan Watkins and Jo Spark (Sydney: Biennale of Sydney, 1998), 21–7.
- Butler republished this article with additional commentary in A Secret History of Contemporary Art.
- Rex Butler, A Secret History of Contemporary Art, 40.
- Kit Messham-Muir, ‘Practices of the City’, n.p.
- Rex Butler, A Secret History of Contemporary Art, 34–5.
- As Iain Borden notes, this is an oft-quoted skateboarding maxim. Skateboarding, Space and the City, 227.
- The work was commissioned by collector Peter Fay. Storm Sequence made national headlines in 2007 when, in August, a copy was sold at Sotheby's auction house in Melbourne for an impressive $84,000, becoming the first videowork to be auctioned in Australia.
- Noble is a member of the Australian mock-rock video-art collective, The Kingpins.
- The term ‘mediality’ is borrowed from Jill Bennett's ‘Aesthetics of Intermediality’, Art History 30. no. 3, 2007: 432–50.
- Giorgio Agamben, ‘Notes on Gesture’, in Means without End: Notes on Politics, ed. Vincenzo Binetti and Cesare Casarino (Minneapolis and London: University of Minnesota Press, 2000), 57.
- Ibid., 59.
- Ibid., 55.
- Agamben uses the example of Eadweard Muybridge's photography.
- Georgio Agamben, ‘Notes on Gesture’, 55.
- Jill Bennett, ‘Aesthetics of Intermediality’, 439 and 441.
- Ibid.
- Agamben notes, ‘what is issue is not so much a prelinguistic content as the other side of language, the muteness inherent in humankind's very capacity for language, its speechless dwelling in language’. Giorgio Agamben, ‘Kommerell, or On Gesture’, in Potentialities: Collected Essays in Philosophy, ed. Daniel Heller-Roazen (Stanford: Stanford University Press, 1999), 77.
- This aspect of Agamben's argument is extensively explored by Jill Bennett.
- Georgio Agamben, ‘Notes on Gesture’, 54.
- See Charles Green, ‘The Gallipoli Series’, in Sidney Nolan: The Gallipoli Series, ed. Laura Webster and Lola Wilkins (Canberra: Australian War Memorial, 2009), 23–30.
- See Charlotte Schoell-Glass, Aby Warburg and Anti-Semitism (Detroit: Wayne University Press, 2008), 152–60.
- Maddest Maximvs: Approach to Mundi Mundi (2007) is a dual-screen work showing two views of the rider's back as he drives down the middle of the road, arms raised horizontally at his sides. Maximus as Narcissus: Broken Field of Reflection (2007) shows the biker gazing into a pool of water before racing off into the bush. Lastly, Broken Hill Linework (2007) revisits Linework, this time using a motorbike that moves between the white lines of the road. This work refers to Gladwell's earlier work, inviting the viewer to trace the trajectory of his career.
- Georgio Agamben, ‘Notes on Gesture’, 60.
- Jacques Rancière, The Politics of Aesthetics (London: Continuum, 2008).
- Jacques Rancière cited in Fulvia Carnevale, John Kelsey and Jacques Rancière, ‘Art of the Possible’, Artforum 45, no. 7, 2005: 264.
- See Blair French, ‘Return to Earth’, 28–9.
- See Benjamin Buchloh, ‘Gerhard Richter's Atlas: The Anomic Archive’, October, no. 88, Spring 1999: 131.
- See Sigrid Schade, ‘Charcot and the Spectacle of the Hysterical Body: The “Pathos Formula” as Aesthetic Staging of Psychiatric Discourse—A Blind Spot in the Reception of Warburg’, Art History 18, no. 4, December 1995: 499–517. Schade claims that the term ‘pathos formula’ derives from Charcot, but admits that Warburg never directly referred to the French psychiatrist; it seems likely that Warburg's influences were in turn advocates of Charcot's theories. The Warburg Library does possess Charcot's books. See also Georges Didi-Huberman, Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière, trans. Alisa Hartz (Cambridge, MA: MIT Press, 2003).
- Stephen Eisenman, The Abu Ghraib Effect (London: Reaktion, 2007).
- The term is the subject of Mieke Bal, Quoting Caravaggio: Contemporary Art, Preposterous History (Chicago: University of Chicago Press, 1999).
- See Terry Smith, What Is Contemporary Art? (Chicago: University of Chicago Press, 2009), particularly chapter 13. Smith's bracketing and historicisation of the politics of critique in modern, postmodern, and contemporary art parallels this essay's intentions.
Australian and New Zealand Journal of Art
Volume 11, 2011 - Issue 1: Art and Entertainment