Barbara Bolt

University of Melbourne, The Victorian College of the Arts and MCM, Faculty Member

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Barbara Bolt is a practising artist and art theorist who lectures at the Victorian College of Arts and Melbourne Conservatorium of Music at the University of Melbourne. Her practice investigates the material possibilities of painting in a digital age and the relationship between painting and light. Her publications include two monographs Art Beyond Representation: The Performative Power of the Image (2004) and Heidegger Reframed: Interpreting Key Thinkers for the Arts (2011) and three co-edited publications, Practice as Research: Approaches to Creative Arts Enquiry (2007) with Estelle Barrett and Sensorium: Aesthetics, Art, Life (2007) with Felicity Coleman, Graham Jones and Ashley Woodward and the forthcoming edited anthology of writings Carnal Knowledges: Towards a “New Materialism” through the Arts (co-edited with Estelle Barrett, I.B.Tauris). She maintains a strong dialogue between practice and theory. Publications such as ‘Whose Joy?: Giotto, Yves Klein and neon blue’ (2011), ‘Unimaginable happenings: material movements in the plane of composition’ (2010), ‘Rhythm and the performative power of the index: lessons from Kathleen Petyarre’s paintings’ (2006), ‘Shedding light for the matter’ (2000) and ‘Im/pulsive practices: painting and the logic of sensation’ (1997) have emerged from this dialogue. In 2008/9 she was part of a BBC World Service/Slade School of Art project A View from Here, which led to the production of the DVD production Neon Blue. She is currently on the executive of the international Society for Artistic Research (SAR), which produces the Journal of Artistic Research (JAR), is an inaugural board member of the Studio Research and is a member of the editorial board of Australian Art Education. She exhibits with Catherine Asquith Gallery in Melbourne. Website http://www.barbbolt.com/
Phone: +61403272064
Address: School of Art
VCA and MCM
The University of Melbourne
234 St Kilda Road
Southbank
Melbourne

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Materializing practices: The work of art as productive materiality

This thesis presents a critique of enlightenment notions of representation and rehearses an alter... more This thesis presents a critique of enlightenment notions of representation and rehearses an alternative model of visual practice, one grounded in the performative principle of methexis. Methexis is an act of concurrent actual production that allows for a veritable production, as opposed to representation. I argue that, in the material practice of art, the making is performative, the labour of making is productive and this productive materiality is the work of art. The impetus to postulate the operation of a non-representational principle, in the work of art, stems from a sustained critique of representation. What is at issue is not so much representation as representationalism. Representational ism is a mode of thought that prescribes all that is thought. Man’s ability to set the world before himself and in relation to himself, establishes the fundamental structure of representationalism. It is a relationship where, whatever is, is figured as an object or resource for use by man-as-subject (subiectum). Representationalism orders the world and frames what can be thought. It is this will to fixity and mastery by man-as-subject, that has become the central focus of the critique of representation in contemporary times. This will to fixity and mastery could be seen to characterize art practice. The assumption that art is a representational practice is rarely questioned. In this thesis, however, this is precisely the assumption that I set out to challenge. Working with Martin Heidegger's understanding of “handlability”, I propose that the “work of art” can be understood performatively, as one form of concemful dealings with things in the world. In this conception, the world is no longer set before and at the disposal of man for his use; but rather art emerges through our practical dealings with things. In arguing that art practice is an emergent practice rather than a representational one, I turn to an examination of the productions, manifestations and showings of Indigenous Australian culture. Paul Carter argues that these cultural productions operate according to a performative principle rather than a representational principle. He activates the term methexis to account for a performativity that involves acts of concurrent actual production. The performativity of methexis involves a productive materiality. Thus, I propose that the productive materiality of methexis. enables us to begin the task of developing a theory of practice, as opposed to representation. I demonstrate, via performativity and methexis, that what is unconcealed through the work of art, is that the productive materiality of the performative act produces ontological effects

Postdisaster Posttraumatic Growth: Positive Transformations Following the Black Saturday Bushfires

Australian Social Work, Aug 27, 2018

Posttraumatic growth (PTG) is emerging in the published literature as an important aspect of post... more Posttraumatic growth (PTG) is emerging in the published literature as an important aspect of postdisaster recovery. Despite these research insights into the positive transformations that people experience, PTG has not been formally operationalised in postdisaster psychosocial recovery efforts. This paper presents findings from a mixed methods study of people affected by the 2009 Victorian "Black Saturday" bushfires. Data from in-depth interviews and the PTG Inventory-Short Form (PTGI-SF) with 20 participants gathered five years after the fires were used to gain new insights into perceptions of postdisaster growth. Higher levels of growth were reported by those who were personally involved. Thematic findings were consistent with most of the PTGI-SF factors. Additionally, growth through connections, the acquisition of new skills, and creative engagement were identified as core growth processes. These processes support conceptualising postdisaster PTG in broader relational terms, rather than more typically psychological ones, which may then inform effective interventions. IMPLICATIONS. Many people report posttraumatic growth as part of their disaster recovery experiences. Growth experiences are diverse, and include the acquisition of new skills and connections as well as intrapsychic changes.. Social workers can support growth by understanding the complex interaction with trauma experiences.. Growth experiences may vary depending upon people's personal and professional disaster involvements.

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The unremarked representationalist pre-conceptions of western art education in Australia [A version of this paper was presented at the conference Disrupting Preconceptions: Postcolonialism in Education, University of Queensland (2001: St Lucia).]

Australian Art Education, 2001

Material Inventions: Applying Creative Arts Research

If you are searching for Material Inventions Applying Creative Arts Research, then you definitely... more If you are searching for Material Inventions Applying Creative Arts Research, then you definitely have been in the right place and here you are able to acquire it. The book you search in hd can be obtained here Material Inventions Applying Creative Arts Research, only a step to download. Countless free publications for you on our internet site, with the name Material Inventions Applying Creative Arts Research Download PDF among them. Are you experiencing an interest in Material Inventions Applying Creative Arts Research, have a look at our library of free digitized books. If you are trying to find Material Inventions Applying Creative Arts Research Download PDF or classics, do check that one site. All possible types of eBook may be easily entirely on our web site like Material Inventions Applying Creative Arts Research Download PDF for free download. You can easily search Material Inventions Applying Creative Arts Research Download PDF by the title, author, and subject. Do visit this page for Material Inventions Applying Creative Arts Research Download PDF! Hope I really could be of support to you! The exact same PDF edition of any record is obtainable from your computer or cellular devices that have a web connection to acquire Material Inventions Applying Creative Arts Research Download PDF for free. Our site presents tips centered in your interests and new searches of Material Inventions Applying Creative Arts Research Download PDF. We also submit great new serials and small experiences built to be read this way Material Inventions Applying Creative Arts Research Download PDF. If you need wherever to read Material Inventions Applying Creative Arts Research Download PDF on line in public areas domain that then this free ebook obtain pdf internet site features a big library hosting around a million free eBooks in pdf. This website is one of many sites for getting free Material Inventions Applying Creative Arts Research Download PDF. Click on the buttons below to get Material Inventions Applying Creative Arts Research Download PDF. We let you that proper as well as easy pretentiousness to get these all. We provide Material Inventions Applying Creative Arts Research Download PDF and numerous guide choices from fictions to scientific research in any way. followed by them is that Material Inventions Applying Creative Arts Research that can be your partner. It won't think long even as we tell before. You are able to reach it even though put-on something else in the home and even yet in your workplace. correctly easy! Therefore, are you currently issue? Only exercise exactly what we come up with the money for below as well as evaluation Material Inventions Applying Creative Arts Research Download PDF that which you passed to read!

First Steps in a Ceremony of Invocation towards Reconciliation

In this essay I focus on three paintings from Robert Motherwell's series 'Elegy to the

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Artistic Research: A Performative Paradigm

Hope Art Design Ecology

Postdisaster Posttraumatic Growth: Positive Transformations Following the Black Saturday Bushfires

Australian Social Work, 2018

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Sensorium: Aesthetics, Art, Life

When Is a Red Shoe not a Red Shoe?

Intellect Books, May 13, 2019

Transversal Practices: Matter, Ecology, Relationality

Studies in Material Thinking, 2017

Proceedings for the New Materialist Conference at the Victorian College of the Arts, The Universi... more

The Making of the Kremer Pigmente Series: Risk and the Paradox of Digital and Analogue Painting

MAI: Feminism and Visual Culture, 2019

Creative practice, research ethics and the doctoral thesis

In the 1990's, reforms in the Australian higher-education sector brought post-secondary train... more In the 1990's, reforms in the Australian higher-education sector brought post-secondary training in the creative arts into the context of university education (Baker & Buckley 2009). One consequence of this shift from training institution to research institution was the expectation that artists-as-academics produce research outputs and that the creative arts would develop a tradition of doctoral candidates and research . Reframing creative arts as research meant that art-as-research, like all research in the academy, became answerable to the university ethics processes and procedures. Without a history of their own to negotiate the ethics system, the creative arts, in particular the visual arts, looked to the extensive work on visual ethics in the fields of visual anthropology, geography and sociology.

Painting Is Not a Representational Practice

B1 - Research Book Chapter

Carnal Knowledge: Towards a 'New Materialism' Through the Arts

List of Illustrations Acknowledgements Foreword Notes on Contributors Introduction Towards a &quo... more List of Illustrations Acknowledgements Foreword Notes on Contributors Introduction Towards a "New Materialism" Through the Arts Barbara Bolt DISCOURSE, AFFECT AND MATERIAL INTERVENTIONS Chapter 1 From Double Navel to Particle-Sign: Towards the A-Signifying Work of Painting Katve-Kaisa Kontturi Chapter 2 Metaphors of the Mind: Art Forms as Modes of Thinking and Ways of Being Danielle Boutet Chapter 3 Effect: Initiating Heuristic life Jondi Keane Chapter 4 Materiality, Affect, and the Aesthetic Image Estelle Barrett THE MATTER OF FILM Chapter 5 The Matter of Film: Decasia and Lyrical Nitrate Nicholas Chare and Liz Watkins Chapter 6 Recovering the Hidden through Found-footage Films Dirk de Bruyn Chapter 7 Moments of Affection: Jayce Salloum's everything and nothing and the Thresholds of Testimonial Video Ilona Hongisto CARNAL INSISTENCE Chapter 8 In the Name of the Author: Towards a Materialist Understanding of Literary Authorship Kaisa Kurikka Chapter 9 The Sublime: Process and Mediation Liza McCosh Chapter 10 Fashion as an Embodied Artform Llewellyn Negrin MATERIALITY THE VIRTUAL AND THE REAL Chapter 11 Material-Character Animation: Experiments in Life-like Translucency Cathryn Vasseleu Chapter 12 Instrumental Vision Rose Woodcock Chapter 13 Real Immateriality in Australian Indigenous Art Brian Martin Chapter 14 The Primacy of Movement: Intermediality, Affect, and Biopolitics in Tero Saarinen's Hunt Jussi Parikka and Milla Tiainen Notes References Index

The 'legitimate' limits of creative practice

RealTime, 2011

Finalist and winner of the public vote awardSwan Hill Print and Drawing Acquisitive Award

Swan Hill Regional Gallery, May 14, 2016

Chapter 15 Unimaginable Happenings: Material Movements in the Plane of Composition

Deleuze and Contemporary Art, 2010

Heidegger Reframed

It is frequently commented that Heidegger writes impenetrable texts that are difficult to read an... more It is frequently commented that Heidegger writes impenetrable texts that are difficult to read and comprehend, but he also, as Barbara Bolt demonstrates in this clear, original guide to his oeuvre, provides an “artists’ guide to the world”. ‘Heidegger Reframed’ grounds Heidegger’s writings in the critical questions confronting contemporary visual artists and students of art. Barbara Bolt takes the most relevant of his texts, including his most famous work, ‘Being and Time’, and sets out ways of thinking about art in a post-medium, digital, technocratic and post-human age. She does so through the frame of works by international artists, including Sophie Calle, Anish Kapoor and Anselm Keifer. A glossary of terms completes this full and clear companion to Heidegger.

Elegy to an Oz Republic

Barbara Bolt

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