An Imprecise science & Panic Room PORTFOLIO

Hughes, NA

An Imprecise science & Panic Room PORTFOLIO

Hughes, NA

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Publication Type:: Exhibition
Citation:: Bachelor's Pads; Panic Room

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Field	Value	Language
dc.contributor.author	Hughes, NA	en_US
dc.contributor.editor	Pedersen, C	en_US
dc.contributor.editor	Kibbler, C	en_US
dc.date	2014	en_US
dc.identifier.citation	Bachelor's Pads; Panic Room	en_US
dc.identifier.uri	http://hdl.handle.net/10453/122294
dc.format	Installation	en_US
dc.relation.ispartof	Bachelor's Pads; Panic Room	en_US
dc.title	An Imprecise science & Panic Room PORTFOLIO	en_US
dc.type	Exhibition
utslib.location	QUT Art Museum; Hazlehurst Regional Gallery	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	open_access
pubs.declined	2018-02-26T13:28:35.113+1100
pubs.consider-herdc	false	en_US
pubs.finish-date	2015	en_US
pubs.place-of-publication	QUT Art Museum; Hazlehurst Regional Gallery	en_US
pubs.start-date	2014	en_US
pubs.rights-statement	In their 1978 essay 'Art Hysterical Notions of Progress and Culture' (associated with the inception of the Pattern and Decoration Movement) artists Valerie Jaudon and Joyce Kozloff argue that "the antithesis of the violence and destruction idolized by Modern Art is the visual enhancement of the domestic environment. (If humanism is equated with dynamism, the decorative is seen to be synonymous with the static)." In supporting this, Jaudon and Kozloff note that "one method 'modernism' has used to discredit its opponents has been to associate their work with carpets and wallpaper…" The projects Bachelor's Pads and Panic Room investigate this binary between the exalted Modern and the domesticised and feminised decorative, staging installations that reimagine and realign these seemingly disparate positions. Both installations featured paintings and prints made according to the formal logic of high modernist geometric abstraction alongside custom furnishings such as wallpaper and mattress covers. Both sought to combine formalism and ornamentation with concepts conventionally thought to be incongruent with these traditions: the body, femininity, and anxiety. The attention to anxiety was developed further in Panic Room. Loosely based on the bland décor or placating aesthetics deployed in conventional corporate or medical waiting rooms, Panic Room instead presented an opposing engagement with the hyper-detailed and over-stimulated. Bachelor Pads was developed initially as a solo exhibition at Alaska Projects, Sydney and was subsequently included in the exhibition Quaternary at the QUT Art Museum (curator Courtney Pedersen). Panic Room was commissioned by curator Carrie Kibbler for the exhibition Patternation at Hazlehurst Regional Gallery.	en_US

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http://hdl.handle.net/10453/122294