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Wunderkammer: the artificial kingdom [group exhibition]

Kidd, N (2005) Wunderkammer: the artificial kingdom [group exhibition]. Usher Art Gallery, Lincoln, UK, 1 October 2005 - 8 January 2006. ISBN 0953923843 [Exhibition]

Item Type: Exhibition
Creators: Kidd, N
Abstract: Exhibition focusing on art and archaeology in Lincolnshire.
Date: 1 October 2005
Event Location: Usher Art Gallery, Lincoln, UK
Number of Pieces: 1
ISBN: 0953923843
Additional Information:

In his essay Dream Machines Edward Allington charts the history of machines that make art. In the article, which includes 2 images of Painting Machine II (New Contemporaries 1999) he states that "Natasha Kidd's work is a continually investigation of the painting machine ………….these machines seem to threaten the meditative silence of the act of painting" (Frieze issue 66, April 2002).
Developed over a period of 5 years, the painting machines of which there are 5, repeatedly dip a canvas into a vat of paint. Operate on a timer, each motor-driven dip produces a new layer of paint on the canvas surface. Over time, the machines have become more sophisticated. Machine V, the last in the series, is constructed from Perspex revealing its inner workings to the audience in an attempt to further demystifying the process. Although machine made, the canvases are never the same. They are a record of their own production and in their ability to be unique works, question notions of authenticity and authorship. In August 05 Allington curated Wunderkammer: the Artificial Kingdom the inaugural exhibition in the new Curtois Gallery within The Collection: Art and Archaeology in Lincolnshire. In this exhibition, that also included artists such as Hannah Collins, Dan Graham, Arman, Marc Quinn, Marcel Duchamp, Painting Machine IV was installed and left running for the 3-month exhibition period. The painting produced by the machine was acquired by the museum for its collection. In the catalogue (ISBN 0-9539238-4-3) for the show Ed Allington notes that the machines are a form of robotic art, questioning the accepted role of the artist and he contextualizes the work in relation to Jean Tinguely's Metamatics and Rebecca Horn's splashing machines.

Subjects: N Fine Arts > N Visual arts (General) For photography, see TR
Divisions: Bath School of Art and Design
Date Deposited: 18 Nov 2012 04:45
Last Modified: 01 Sep 2016 10:50
URI: http://researchspace.bathspa.ac.uk/id/eprint/182
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