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...most merciless of picture editors. Such is the abundance of arresting images these days that the trick is knowing when to stop. And strikingly absent from the latest survey of contemporary Australian photography, at the National Gallery of Victoria until February 18, are the loudest, most conspicuous names: Tracey Moffatt, Bill Henson and Rosemary Laing. The image fatigue some critics have complained about in recent times has been as much to do with the overexposure of some of these aptly acclaimed artists' work as with the explosive growth of the medium. So to enter "Light Sensitive: Contemporary Australian Photography from...

Author: /time Magazine | Title: Dark Reflections | 1/11/2007 | See Source »

...Children of the postmodernist late '80s, when large-scale color photography stepped boldly onto the world stage, Moffatt's minx, Henson's nymphs and Laing's flying bride have been among the most reproduced images in Australian art. Crombie helped define the moment, co-curating 1990's "Twenty Contemporary Australian Photographers: From the Hallmark Cards Australian Photographic Collection," and 17 years later the medium she returns to is quieter and less declarative. Walking through "Light Sensitive" at the Ian Potter Centre, one could be forgiven for thinking that the era of the defining image has passed. Pictures prefer to slink...

Author: /time Magazine | Title: Dark Reflections | 1/11/2007 | See Source »

...poetic symbols of Aboriginal dispossession: European farm animals and vestiges of Christianity; even the boomerang returns to him as a weapon of racial stereotyping, beautiful but deadly. Riley was a child of the '80s urban-based Aboriginal movement, when art school-educated indigenous Australians like Tracey Moffatt and Gordon Bennett began using the tricks of Postmodernism to critique Australia's colonial past...

Author: /time Magazine | Title: A Parisian Romance | 5/15/2006 | See Source »

...head of prints, drawings and photographs, curated her first survey show back in 1990, it was a more straightforward affair. Then, pictures simply stared back at audiences - looming larger, perhaps, because of the bold new type-C prints being adopted by rising stars like Bill Henson and Tracey Moffatt, but mute and mysterious all the same. Fourteen years on, Henson and Moffatt have been joined by a more raucous mob of artists, whose pictures answer back - or, to cite one of Moffatt's videos, give Lip. "The momentum's been building," Robinson says of the rise of Australian photo media...

Author: /time Magazine | Title: Not Dying, Changing | 3/17/2004 | See Source »

...some of that in the Polaroid self-portraits Lucas Samaras made in the 1970s, when he used to develop the picture, then scribble over it until his face and form became tangled in a vortex of melting candy colors. You find it again in the flagrant comedies of Tracey Moffatt's Something More series, scenes staged for the camera, where bored babes get very fed up with Nowheresville, Australia. At the High's satellite galleries at the Georgia-Pacific Center, where there's a separate show devoted to Elton's celebrity portraits, you see it once more in the shot...

Author: /time Magazine | Title: Photography: Pictures From An Exhibitionist | 11/13/2000 | See Source »

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