Papers by Ruth Fazakerley
In recent decades, counter-monuments have emerged as a new, critical mode of commemorative practi... more In recent decades, counter-monuments have emerged as a new, critical mode of commemorative practice. Even as such practice defines itself by its opposition to traditional monumentality, it has helped to reinvigorate public and professional interest in commemorative activities and landscapes and has developed its own, new conventions. Terminology and analysis in scholarship on counter-monuments have remained relatively imprecise with writers in English and German employing the term ‘counter-monument’ or Gegendenkmal in different and sometimes confusing ways. In this paper we draw together literature published in English and German to clarify and to map various conceptions and categorisations. To do so we distinguish between two kinds of projects that have been called counter-monuments: those that adopt anti-monumental strategies, counter to traditional monument principles, and those that are designed to counter a specific existing monument and the values it represents.
Urban Transformations: Booms, Busts and other Catastrophes. Proceedings of the 11th Australasian Urban History/Planning History Conference, 2012
The design of the Adelaide Festival Centre Southern Plaza (1973-1977) was conceived as an ‘envir... more The design of the Adelaide Festival Centre Southern Plaza (1973-1977) was conceived as an ‘environment’, neither sculpture nor architecture but the integration of art, architecture, and surroundings. This example offers some insights into shifting and situated understandings of the term environment, and its impact on relationships between art and urban design in the creation of Australian urban spaces. Throughout the ‘environmental revolution’ of the 1960s and 70s, a conjunction of concepts and technologies around the term environment can be seen across diverse fields – associated in the visual and new media arts with the emergence of practices of environmental, integrated and site specific art. The example of the Plaza draws attention to the altered relations these new practices proposed between art, the city and its inhabitants, and in particular their claims for the centrality of active experience. Environmental artwork claimed to create opportunities for people to become conscious of and to interact with each other and their surroundings and, unlike the autonomous sculptural object, to blur the boundaries between authorship and reception (of art and urban space), as well as between art and everyday objects, bodies, and spaces.
Citation: R Fazakerley, 'Art and the urban plaza: from landscape to environment', in Andrea Gaynor, Elizabeth Gralton, Jenny Gregory & Sarah McQuade (eds) Urban Transformations: Booms, Busts and other Catastrophes. Proceedings of the 11th Australasian Urban History/Planning History Conference (Crawley: The University of Western Australia, 2012), 97-113
Planning Perspectives, Oct 1, 2012
Fazakerley, 2008, ‘Notes for a History of Public Art…’, 716 Craft Design Issue 35, October 2008, ... more Fazakerley, 2008, ‘Notes for a History of Public Art…’, 716 Craft Design Issue 35, October 2008, Craft Australia < http://www.craftaustralia.org.au/library/review.php?id=notes_for_a_history >
Arts@ work
Fazakerley, 2005, ‘The uses of public art research’, Claiming Ground Public Art Conference 2005, ... more Fazakerley, 2005, ‘The uses of public art research’, Claiming Ground Public Art Conference 2005, Hobart, 29-30 August, online proceedings, www.artsatwork.com.au
How do we assess 'public art' within the cultural landscape? Existing models for evaluating publi... more How do we assess 'public art' within the cultural landscape? Existing models for evaluating public art are not well established but often consist in a discussion of discrete structures, objects or elements with an identified author and date of production, contextualised within an art historical tradition that focuses on authorial intent, aesthetic lineage and so on. Such approaches typically fail to consider public art's participation in the reproduction of broader cultural practices. This shortcoming seems significant given debates in the production of public art concerning the inclusion of collaborative and participatory ventures, which frequently disrupt notions of authorship and the distinction between art and everyday objects. The Gateway to Adelaide project is one such example of contemporary public art that blurs both the notion of authorship and the status of the object, as well as participating in the everyday production of a transport space. This paper uses the Gateway to Adelaide project to explore issues of evalating public art, and asks how such art contrubutes to the cultural legacy of the everyday.
kunstdtadtstadtkunst, 2001
R Fazakerley, 2001, ‘Public Art in Australia’, kunstdtadtstadtkunst (48):26, Summer 2001, Newslet... more R Fazakerley, 2001, ‘Public Art in Australia’, kunstdtadtstadtkunst (48):26, Summer 2001, Newsletter of the Berufseverband Bildender Kunstler Berlin.
Artlink, 2000
R Fazakerley, 2000, ‘Gateway to Adelaide’, Artlink 20(4): 48 - 50, December 2000
Artlink, 2000
R Fazakerley, 2000 Vis.arts.online: Public Art', Artlink 20(4): 89, December 2000
Broadsheet, 1999
Discusses Irmina van Niele's artwork Dwelling in Hutt Street, for the exhibition Public Exposure,... more Discusses Irmina van Niele's artwork Dwelling in Hutt Street, for the exhibition Public Exposure, curators: Marianne Norman & Ruth Fazakerley, 31 July - 22 August 1999, Nexus Multicultural Arts Centre/City of Adelaide, 1999.
In Proceedings of the …, Jan 1, 1990
A distributed architecture for the support of programs written in the persistent programming lang... more A distributed architecture for the support of programs written in the persistent programming language Napier is described. The architecture consists of a central server containing the stable persistent store and a collection of clients, each executing Napier processes. Since each client has ...
Artist Monograph by Ruth Fazakerley
Reviews by Ruth Fazakerley
Guildhouse, Oct 17, 2012
exhibition review, published online (Adelaide: Craftsouth) (now Guildhouse)
Organization: Craft... more exhibition review, published online (Adelaide: Craftsouth) (now Guildhouse)
Organization: Craftsouth
Publication Date: Oct 17, 2012
Craftsouth Bulletin, 2010
R Fazakerley, 2010, 'City Laneways', exhibition review . (By George! Temporary public art, Sydney... more R Fazakerley, 2010, 'City Laneways', exhibition review . (By George! Temporary public art, Sydney), Craftsouth Bulletin, (Adelaide), April 2010, pp 10-11.
Craftsouth Bulletin, 2008
R Fazakerley, 2008, ‘Back to the City’, exhibition review (Back to the City, temporary public art... more R Fazakerley, 2008, ‘Back to the City’, exhibition review (Back to the City, temporary public art, Newcastle NSW, 2008), Craftsouth Bulletin (Adelaide), June-July, pp 20-22
Broadsheet, Mar 1, 2003
R Fazakerley, ‘Hossein Valamanesh’, exhibition review, Broadsheet 32(1):28, March 2003
Artlink, 2001
Exhibition review, Nicholas Folland, Greenaway Art Gallery 39 Rundle Street, Adelaide 1- 26 Augus... more Exhibition review, Nicholas Folland, Greenaway Art Gallery 39 Rundle Street, Adelaide 1- 26 August 2001
Broadsheet, 2001
R Fazakerley, 2001 ‘Temping’, exhibition review, Broadsheet 30(4):17, December 2001
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Papers by Ruth Fazakerley
Citation: R Fazakerley, 'Art and the urban plaza: from landscape to environment', in Andrea Gaynor, Elizabeth Gralton, Jenny Gregory & Sarah McQuade (eds) Urban Transformations: Booms, Busts and other Catastrophes. Proceedings of the 11th Australasian Urban History/Planning History Conference (Crawley: The University of Western Australia, 2012), 97-113
Artist Monograph by Ruth Fazakerley
Reviews by Ruth Fazakerley
Organization: Craftsouth
Publication Date: Oct 17, 2012
Citation: R Fazakerley, 'Art and the urban plaza: from landscape to environment', in Andrea Gaynor, Elizabeth Gralton, Jenny Gregory & Sarah McQuade (eds) Urban Transformations: Booms, Busts and other Catastrophes. Proceedings of the 11th Australasian Urban History/Planning History Conference (Crawley: The University of Western Australia, 2012), 97-113
Organization: Craftsouth
Publication Date: Oct 17, 2012
R Fazakerley, 1999, 'Writing The Next Act', exhibition review, Broadsheet, Vol. 28 No.3: 16-17.
ISBN 0 957756208
Catalogue published October 1997 by the Contemporary Art Centre of South Australia Inc. ISBN 1 875751 33 5
© Ruth Fazakerley and the Contemporary Art Centre of South Australia Inc. 14 Porter Street Parkside South Australia 5063
© Experimental Art Foundation and Contributors, 1998.
Catalogue published July 1997 by the Contemporary Art Centre of South Australia Inc.
Catalogue © Ruth Fazakerley, Katie Moore, Michael Newall and the Contemporary Art Centre of South Australia Inc., 14 Porter Street Parkside South Australia 5063
Through these examples the thesis documents key debates in the history of Australian discourses concerning public art. In addition, this study brings attention to the relations between artwork and a proliferation of individuals, agencies, and other interests, highlighting the competitions over space, authority and expertise, and the often unexamined role that public art plays in maintaining or unsettling socio-spatial relations. Knowledge about public art, it is argued, is produced, transformed and deployed across a range of discursive sites (contemporary art, urban design, planning, transport and others) and becomes tied to specific problems of governing"