tianajefferiesart

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https://www.calvertjournal.com/features/show/13223/behind-the-yugoslav-art-movement-that-predicted-the-birth-of-digital-art

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https://amp-theguardian-com.cdn.ampproject.org/v/s/amp.theguardian.com/books/2021/sep/24/a-hunter-gatherers-guide-to-the-21st-century-review-sciencey-self-help?amp_gsa=1&amp_js_v=a6&usqp=mq331AQIKAGwASCAAgM%3D#amp_tf=From%20%251%24s&aoh=16326580074762&csi=0&referrer=https%3A%2F%2Fwww.google.com&ampshare=https%3A%2F%2Fwww.theguardian.com%2Fbooks%2F2021%2Fsep%2F24%2Fa-hunter-gatherers-guide-to-the-21st-century-review-sciencey-self-help

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https://artreview.com/cuts-splinters-and-frames-wood-takes-centre-stage-artists/

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https://orionmagazine.org/article/how-to-queer-ecology-once-goose-at-a-time/

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https://www.simonleegallery.com/artists/192-donna-huanca/

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https://www.frieze.com/article/sculptures-franco-mazzuchelli

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https://busprojects.org.au/program/queer-y-ing-creative-practice

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This essay—a development to a previously published article titled “Curating for the Age of Blackness” published in Mousse 66, Winter 2018-2019—departs from personal encounters with works by Carolyn Lazard, Ima-Abasi Okon, Cameron Rowland, and Abbas Zahedi. It attempts to draw relationships (from echoes to tensions) between the practices of these four artists. The resulting observations will enable to sketch out the contours of an updated conceptualism: one that is intimately linked to social justice but doesn’t try to “do justice;” one that embraces blackness without labelling it. That renewed conceptualism is concerned with the obsolescence of the concept medium, finds its value in transactionality, and is busy practicing unworlding.

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WEB, 2018, single channel video, 2min 2s

This project started with a desire to engage with curbside collection items.

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Curb, 2018, Paper collage of photos taken at Brisbane City Council Curbside Collection

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detail from Urban Landscape #3, 2017, dimensions various, installed at Queensland College of Art Graduate Exhibition. Photography by Michelle Vine.