Susan Ballard
Datos Biográficos
| ID | 265492 |
|---|---|
| NOMBRE | Susan Ballard |
| NOMBRES | Susan |
| APELLIDO | Ballard |
| FIRMA | BALLARD S |
| AFILIACIONES | Victoria University of Wellington |
| ORCID | 0000-0002-3365-1825 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 8 |
| TOTAL DE CITAS | 10 |
| TOTAL COMO AUTOR | 8 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2015 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 2 |
Here and Now
This essay is an experimental and collaborative text that explores, challenges, and stretches the familiar categories of reader and writer, writer and collaborator, collaborator and individual self. Presented as a textual conversation between two authors, it suggests that multiple modes of address are necessary for contemporary art writing to belie the essentialism inherent in traditional modes of art criticism. Taking as its initial provocation …
Seismic media
In September 2010 the city of Ōtautahi Christchurch, New Zealand was rocked by the first of a sequence of 16,000 earthquakes. This essay considers art and creative practices that have responded to the experience of living in the earthquake-damaged city. In an environment transformed by seismicity, we argue that artists became co-creators with the planet, using its instability as a medium of art making, an active agent and long-term collaborator i…
Art Writing and Coastal Change
By connecting artworks with their historical and environmental contexts, writing about art introduces new ways to understand the ecological histories of this changing world. Art writing is more than art history; it uses narrative nonfiction to tell stories of individual encounter and collective imagination. Situated amidst concerns for the threat of global climate change and alongside research into blue economies in South-east New South Wales (NS…
Art Writing and Allegory in the Anthropocene
This essay traces the emergence of a rich and densely layered field of art writing within the Anthropocene. We ask: If the Anthropocene is all around us, where is it in art writing? We identify the emergence of Anthropocenic art writing: writing that is not art writing about the Anthropocene per se but rather art writing that takes its cue from the operations and outcomes of the Anthropocene itself, including its flagrant disregard for boundaries…
Spiral Jetty, geoaesthetics, and art
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the 'people disciplines' have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a 'geological agent' in 1972. We sugge…
Stretching Out
There is madness in species extinction.The horn has been removed from the last male northern white rhino on earth and he has two armed guards 24 hours a day.The huia in New Zealand were killed off by the desire for white-tipped tail feathers in Victorian hats.We fear the extinction of rhinos, we mourn the extinction of the huia, yet we might need reminding to also show concern for the extinction of the dung beetle.This paper looks at the ways tha…
New Ecological Sympathies
At the turn of the previous century Henri Bergson suggested that sympathy offered a way to understand interspecies relationships. Samuel Butler took Bergson's ideas to an absurd extent by mixing them with readings of Charles Darwin and claiming a vital impulse for machines. By interspersing a story of humans and machines with insect life, Butler pointed to a broad imaginative web of interspecies and machinic relationships. Contemporary artists Pi…
Feminism And Art
Susan Best, Visualizing Feeling: Affect and the Feminine Avant-garde. I. B. Tauris: London and New York, 2013.Katy Deepwell (ed.), Feminist Art Manifestos: An Anthology. KT Press: London, 2014.Elea
Spiral Jetty, geoaesthetics, and art
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the 'people disciplines' have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a 'geological agent' in 1972. We sugge…
New Ecological Sympathies
At the turn of the previous century Henri Bergson suggested that sympathy offered a way to understand interspecies relationships. Samuel Butler took Bergson's ideas to an absurd extent by mixing them with readings of Charles Darwin and claiming a vital impulse for machines. By interspersing a story of humans and machines with insect life, Butler pointed to a broad imaginative web of interspecies and machinic relationships. Contemporary artists Pi…
Seismic media
In September 2010 the city of Ōtautahi Christchurch, New Zealand was rocked by the first of a sequence of 16,000 earthquakes. This essay considers art and creative practices that have responded to the experience of living in the earthquake-damaged city. In an environment transformed by seismicity, we argue that artists became co-creators with the planet, using its instability as a medium of art making, an active agent and long-term collaborator i…
Art Writing and Coastal Change
By connecting artworks with their historical and environmental contexts, writing about art introduces new ways to understand the ecological histories of this changing world. Art writing is more than art history; it uses narrative nonfiction to tell stories of individual encounter and collective imagination. Situated amidst concerns for the threat of global climate change and alongside research into blue economies in South-east New South Wales (NS…
Feminism And Art
Susan Best, Visualizing Feeling: Affect and the Feminine Avant-garde. I. B. Tauris: London and New York, 2013.Katy Deepwell (ed.), Feminist Art Manifestos: An Anthology. KT Press: London, 2014.Elea
Stretching Out
There is madness in species extinction.The horn has been removed from the last male northern white rhino on earth and he has two armed guards 24 hours a day.The huia in New Zealand were killed off by the desire for white-tipped tail feathers in Victorian hats.We fear the extinction of rhinos, we mourn the extinction of the huia, yet we might need reminding to also show concern for the extinction of the dung beetle.This paper looks at the ways tha…
New Ecological Sympathies
At the turn of the previous century Henri Bergson suggested that sympathy offered a way to understand interspecies relationships. Samuel Butler took Bergson's ideas to an absurd extent by mixing them with readings of Charles Darwin and claiming a vital impulse for machines. By interspersing a story of humans and machines with insect life, Butler pointed to a broad imaginative web of interspecies and machinic relationships. Contemporary artists Pi…
Spiral Jetty, geoaesthetics, and art
Despite the call for artists and writers to respond to the global situation of the Anthropocene, the 'people disciplines' have been little published and heard in the major journals of global environmental change. This essay approaches the Anthropocene from a new perspective: that of art. We take as our case study the work of American land artist Robert Smithson who, as a writer and sculptor, declared himself a 'geological agent' in 1972. We sugge…
Art Writing and Allegory in the Anthropocene
This essay traces the emergence of a rich and densely layered field of art writing within the Anthropocene. We ask: If the Anthropocene is all around us, where is it in art writing? We identify the emergence of Anthropocenic art writing: writing that is not art writing about the Anthropocene per se but rather art writing that takes its cue from the operations and outcomes of the Anthropocene itself, including its flagrant disregard for boundaries…
Art Writing and Coastal Change
By connecting artworks with their historical and environmental contexts, writing about art introduces new ways to understand the ecological histories of this changing world. Art writing is more than art history; it uses narrative nonfiction to tell stories of individual encounter and collective imagination. Situated amidst concerns for the threat of global climate change and alongside research into blue economies in South-east New South Wales (NS…
Seismic media
In September 2010 the city of Ōtautahi Christchurch, New Zealand was rocked by the first of a sequence of 16,000 earthquakes. This essay considers art and creative practices that have responded to the experience of living in the earthquake-damaged city. In an environment transformed by seismicity, we argue that artists became co-creators with the planet, using its instability as a medium of art making, an active agent and long-term collaborator i…
Here and Now
This essay is an experimental and collaborative text that explores, challenges, and stretches the familiar categories of reader and writer, writer and collaborator, collaborator and individual self. Presented as a textual conversation between two authors, it suggests that multiple modes of address are necessary for contemporary art writing to belie the essentialism inherent in traditional modes of art criticism. Taking as its initial provocation …
Aesthetics (7 obras) · Art (7 obras) · History (4 obras) · Philosophy (4 obras) · Visual arts (4 obras) · Environmental ethics (3 obras) · Geographies of human-animal interactions (3 obras) · History (3 obras) · Literature (3 obras) · Sociology (3 obras)