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Sue Kneebone is a multidisciplinary visual artist with a career spanning more than twenty years. Informed by deep research, Kneebone fearlessly tackles disquieting subject matters, asking viewers to confront the troubling aspects of Australia's colonial history that still haunt us.
Characterised by a distinctively Australian Gothic aesthetic, her often-wry work emerges from a creative practice that encompasses assemblage and montage. This monograph is the first publication dedicated to tracing the breadth and diversity of Kneebone's research and practice. Through their respective lenses, curators Elle Freak and Andrew Purvis, and artists James Tylor and Nicole Clift, deftly explore different aspects of her artistic approach. Elle Freak examines notions of the homely and unhomely in Kneebone's oeuvre, while James Tylor focuses on the photomontages in which the artist acknowledges her family's - and her own - complicity in settler colonisation and its consequences. Andrew Purvis considers the ocean worlds present in Kneebone's more recent work - an expansion of her colonial critique that interrogates empire - while Nicole Clift's QandA and timeline illuminate the different stages and influences in the artist's practice.
The essays are accompanied by stunning reproductions, highlighting the essential aspects and combined potency of Sue Kneebone's prolific artworks.
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Sue Kneebone is a multidisciplinary visual artist with a career spanning more than twenty years. Informed by deep research, Kneebone fearlessly tackles disquieting subject matters, asking viewers to confront the troubling aspects of Australia's colonial history that still haunt us.
Characterised by a distinctively Australian Gothic aesthetic, her often-wry work emerges from a creative practice that encompasses assemblage and montage. This monograph is the first publication dedicated to tracing the breadth and diversity of Kneebone's research and practice. Through their respective lenses, curators Elle Freak and Andrew Purvis, and artists James Tylor and Nicole Clift, deftly explore different aspects of her artistic approach. Elle Freak examines notions of the homely and unhomely in Kneebone's oeuvre, while James Tylor focuses on the photomontages in which the artist acknowledges her family's - and her own - complicity in settler colonisation and its consequences. Andrew Purvis considers the ocean worlds present in Kneebone's more recent work - an expansion of her colonial critique that interrogates empire - while Nicole Clift's QandA and timeline illuminate the different stages and influences in the artist's practice.
The essays are accompanied by stunning reproductions, highlighting the essential aspects and combined potency of Sue Kneebone's prolific artworks.