Toronto-based painter David Morrow viewed Tracey Moffat’s Heaven for the first time at Roslyn Oxley9 Gallery in Sydney last winter. During that viewing – despite the tape’s seriously crafted construction and its dead-on address of many contemporary art issues – it was really Heaven’s surface charms that provided its immediate appeal, inspiring a fellow viewer to the pronouncement that provides the title below. But, as his reflections on Moffat’s most recent work make clear, art was never in question.
In Heaven, Tracey Moffat slyly shifts the line dividing polite voyeur and invasive provocateur. The videotape opens with the image of shimmering ocean surf off Sydney’s Manly and Bondi beaches. It then cuts to an interior view of a beachside cabin. The shot
Posted by Roger on December 30, 2015
The room was part of the college’s Center for Graphic Technology (CGT), “an interdisciplinary space where you can try new things and compare notes with the person next to you,” as Squier describes it. The existence of the CGT, and the room (recently abandoned for a larger space), is an example of the focus on applied technology that has characterized the school since its founding as an agricultural college in 1865. (In fact, UIUC has been the birthplace of two landmarks of computer technology. In the ’70s, HAL, the computer in 2001, was created here; in the ’90s, it was Mosaic, the graphical “browser” that started the explosion of the World Wide Web.) Though the curriculum at the art and design college …
Posted by Roger on December 4, 2015