<?xml version="1.0" encoding="UTF-8"?>
<feed xmlns="http://www.w3.org/2005/Atom" xmlns:dc="http://purl.org/dc/elements/1.1/">
<title>Sydney College of the Arts</title>
<link href="https://hdl.handle.net/2123/1625" rel="alternate"/>
<subtitle/>
<id>https://hdl.handle.net/2123/1625</id>
<updated>2026-06-10T16:38:26Z</updated>
<dc:date>2026-06-10T16:38:26Z</dc:date>
<entry>
<title>Entangled Flashes / Verwickelte Blitze</title>
<link href="https://hdl.handle.net/2123/32966" rel="alternate"/>
<author>
<name>Murphy, Clare</name>
</author>
<author>
<name>Tröster Klemm, Sara</name>
</author>
<author>
<name>Kelly, Madeleine</name>
</author>
<id>https://hdl.handle.net/2123/32966</id>
<updated>2026-04-28T02:26:08Z</updated>
<published>2024-01-01T00:00:00Z</published>
<summary type="text">Entangled Flashes / Verwickelte Blitze
Murphy, Clare; Tröster Klemm, Sara; Kelly, Madeleine
O'Neil, Emma
Madeleine Kelly: Entangled Flashes / Verwickelte Blitze is the exhibition catalogue for a solo exhibition of artworks by Kelly held at Galerie Spinnerei Archiv Massiv, Leipzig, Germany 25 July – 31 August 2024. The project was funded by  CREATE NSW and The University of Sydney, Australia. This catalogue features texts by specially commissioned Australian author, Clare Murphy, and German art historian, Sara Tröster Klemm. Additional texts include a statement and poems by the artist. The catalogue includes texts in both English and German with colour illustrations of new works on show and another 16 historical works. This catalogue provides access to selected texts in both languages, English and German. Designed by Ricardo Felipe and Andrew Darragh at Small Tasks and printed by Peachy Print Australia.
</summary>
<dc:date>2024-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Septopia and the wastialized Other: Allegorizing neo-liberalism in the age of COVID-19</title>
<link href="https://hdl.handle.net/2123/28395" rel="alternate"/>
<author>
<name>Wansbrough, Aleks</name>
</author>
<id>https://hdl.handle.net/2123/28395</id>
<updated>2026-04-22T03:05:43Z</updated>
<published>2022-01-01T00:00:00Z</published>
<summary type="text">Septopia and the wastialized Other: Allegorizing neo-liberalism in the age of COVID-19
Wansbrough, Aleks
</summary>
<dc:date>2022-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Screens in Bed: Visual Art, Sleep and Handheld Screen Devices</title>
<link href="https://hdl.handle.net/2123/23263" rel="alternate"/>
<author>
<name>Burstow, Stephen</name>
</author>
<id>https://hdl.handle.net/2123/23263</id>
<updated>2026-04-28T02:26:05Z</updated>
<published>2019-01-01T00:00:00Z</published>
<summary type="text">Screens in Bed: Visual Art, Sleep and Handheld Screen Devices
Burstow, Stephen
This article seeks an understanding of sleeping and waking life in bed in relation to the use of handheld screen devices. The bedtime use of these devices has come to public attention through the involvement of this practice in the construction of two contemporary crises of sleep: Sleep science’s crisis of chronic sleep deprivation and the wider cultural crisis of the invasion of sleep by fast capitalism, as proposed by Jonathan Crary. Visual art is employed to gain insights into the two related understandings of sleep: one concerned with individual sleep self-regulation and the other with the corporeal commonality of sleep. The sociology of sleep, based on Michele Foucault’s concept of ‘biopower’, is augmented by philosophical insights from Jean-Luc Nancy and Gilles Deleuze to reconfigure the sleeping body beyond the bounds of disciplinary regimes and permit a reassessment of the affective potential of sleep. Works of digital media art, together with ethnographic and cultural studies on the use of mobile devices, are employed to tease out the entanglement of these screen devices with waking and sleeping bedroom life. An ontology of sleep as a pre-individual affective state is proposed as an alternative basis for resisting the appropriation of sleep by the always-waking world accessed through the use of smartphones and tablets.
</summary>
<dc:date>2019-01-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Nature Natus</title>
<link href="https://hdl.handle.net/2123/20851" rel="alternate"/>
<author>
<name>Kelly, Madeleine</name>
</author>
<id>https://hdl.handle.net/2123/20851</id>
<updated>2026-04-28T02:26:05Z</updated>
<published>2019-07-13T00:00:00Z</published>
<summary type="text">Nature Natus
Kelly, Madeleine
Representation of painting Nature Natus. Oil on polyester 137 x 101 cm. Painting was exhibited in: "What the Centre Cannot Hold", Ipswich Art Gallery 13th July- Oct 7th 2019
</summary>
<dc:date>2019-07-13T00:00:00Z</dc:date>
</entry>
<entry>
<title>MIRAGE: A SELF PORTRAIT</title>
<link href="https://hdl.handle.net/2123/20170" rel="alternate"/>
<author>
<name>Baldissera, Julien</name>
</author>
<id>https://hdl.handle.net/2123/20170</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2019-03-18T00:00:00Z</published>
<summary type="text">MIRAGE: A SELF PORTRAIT
Baldissera, Julien
</summary>
<dc:date>2019-03-18T00:00:00Z</dc:date>
</entry>
<entry>
<title>Evening Flash in the Dusking of the Sun</title>
<link href="https://hdl.handle.net/2123/20117" rel="alternate"/>
<author>
<name>LE, BA AN</name>
</author>
<id>https://hdl.handle.net/2123/20117</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">Evening Flash in the Dusking of the Sun
LE, BA AN
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>The Discarded Image</title>
<link href="https://hdl.handle.net/2123/20118" rel="alternate"/>
<author>
<name>KAYROOZ, GILLIAN</name>
</author>
<id>https://hdl.handle.net/2123/20118</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">The Discarded Image
KAYROOZ, GILLIAN
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>There Was an Old Lady Who Swallowed a Bird</title>
<link href="https://hdl.handle.net/2123/20108" rel="alternate"/>
<author>
<name>COOPER, PAUL</name>
</author>
<id>https://hdl.handle.net/2123/20108</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">There Was an Old Lady Who Swallowed a Bird
COOPER, PAUL
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>Wild Country: Australian masculinity from the frontier to the social front</title>
<link href="https://hdl.handle.net/2123/20105" rel="alternate"/>
<author>
<name>HIRSH, JACOB</name>
</author>
<id>https://hdl.handle.net/2123/20105</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">Wild Country: Australian masculinity from the frontier to the social front
HIRSH, JACOB
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>I HUNG OUT HIS WASHING AND IT MADE ME FEEL GUILTY: CONTEMPORARY FEMINISM, EMPOWERMENT AND CONFUSION</title>
<link href="https://hdl.handle.net/2123/20111" rel="alternate"/>
<author>
<name>BOOTH, MELANIE</name>
</author>
<id>https://hdl.handle.net/2123/20111</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">I HUNG OUT HIS WASHING AND IT MADE ME FEEL GUILTY: CONTEMPORARY FEMINISM, EMPOWERMENT AND CONFUSION
BOOTH, MELANIE
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>The Perspective of the Monstrous Other</title>
<link href="https://hdl.handle.net/2123/20114" rel="alternate"/>
<author>
<name>MEHIGAN, KATERINA</name>
</author>
<id>https://hdl.handle.net/2123/20114</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">The Perspective of the Monstrous Other
MEHIGAN, KATERINA
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>take one, please leave a comment: an exploration of participatory aesthetics</title>
<link href="https://hdl.handle.net/2123/20113" rel="alternate"/>
<author>
<name>TALLIS, TAYLA</name>
</author>
<id>https://hdl.handle.net/2123/20113</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">take one, please leave a comment: an exploration of participatory aesthetics
TALLIS, TAYLA
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>Distort</title>
<link href="https://hdl.handle.net/2123/20110" rel="alternate"/>
<author>
<name>BENTON, KAREN</name>
</author>
<id>https://hdl.handle.net/2123/20110</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">Distort
BENTON, KAREN
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>Nietzsche's Dog and Other Happy Accidents</title>
<link href="https://hdl.handle.net/2123/20112" rel="alternate"/>
<author>
<name>BRENNAN, LUKE</name>
</author>
<id>https://hdl.handle.net/2123/20112</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">Nietzsche's Dog and Other Happy Accidents
BRENNAN, LUKE
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>Disabled: Media, Fashion and Identity</title>
<link href="https://hdl.handle.net/2123/20106" rel="alternate"/>
<author>
<name>LIU, MINGYUAN</name>
</author>
<id>https://hdl.handle.net/2123/20106</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">Disabled: Media, Fashion and Identity
LIU, MINGYUAN
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>I'm a Pervert and I like My Eggs Sunny Side Up</title>
<link href="https://hdl.handle.net/2123/20109" rel="alternate"/>
<author>
<name>SON, EUN JUNG (EJ)</name>
</author>
<id>https://hdl.handle.net/2123/20109</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2019-03-06T00:00:00Z</published>
<summary type="text">I'm a Pervert and I like My Eggs Sunny Side Up
SON, EUN JUNG (EJ)
</summary>
<dc:date>2019-03-06T00:00:00Z</dc:date>
</entry>
<entry>
<title>ART AS AN AGENT OF RESISTANCE AGAINST CONSUMERISM AND MASS-PRODUCTION</title>
<link href="https://hdl.handle.net/2123/20094" rel="alternate"/>
<author>
<name>Biondi, Patrizia</name>
</author>
<id>https://hdl.handle.net/2123/20094</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2019-03-05T00:00:00Z</published>
<summary type="text">ART AS AN AGENT OF RESISTANCE AGAINST CONSUMERISM AND MASS-PRODUCTION
Biondi, Patrizia
</summary>
<dc:date>2019-03-05T00:00:00Z</dc:date>
</entry>
<entry>
<title>Navigating the Void: Field observations from the space between</title>
<link href="https://hdl.handle.net/2123/18674" rel="alternate"/>
<author>
<name>DE BIASI, GEORGIA ALEXIS</name>
</author>
<id>https://hdl.handle.net/2123/18674</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2016-10-01T00:00:00Z</published>
<summary type="text">Navigating the Void: Field observations from the space between
DE BIASI, GEORGIA ALEXIS
</summary>
<dc:date>2016-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Laying Out Space</title>
<link href="https://hdl.handle.net/2123/18675" rel="alternate"/>
<author>
<name>Stanczew, Justyna</name>
</author>
<id>https://hdl.handle.net/2123/18675</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2016-10-01T00:00:00Z</published>
<summary type="text">Laying Out Space
Stanczew, Justyna
</summary>
<dc:date>2016-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>No Tricks: A Reflexive Ruse</title>
<link href="https://hdl.handle.net/2123/18676" rel="alternate"/>
<author>
<name>Wotton, Jack T</name>
</author>
<id>https://hdl.handle.net/2123/18676</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">No Tricks: A Reflexive Ruse
Wotton, Jack T
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>SITE, SPACE AND PLACE: THINKING ABOUT THE INSTALLATION</title>
<link href="https://hdl.handle.net/2123/18679" rel="alternate"/>
<author>
<name>SAMMAN, OLIVIA</name>
</author>
<id>https://hdl.handle.net/2123/18679</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">SITE, SPACE AND PLACE: THINKING ABOUT THE INSTALLATION
SAMMAN, OLIVIA
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Conversation With a Strange Stranger</title>
<link href="https://hdl.handle.net/2123/18678" rel="alternate"/>
<author>
<name>ZHUCHENKO, MARIA</name>
</author>
<id>https://hdl.handle.net/2123/18678</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">Conversation With a Strange Stranger
ZHUCHENKO, MARIA
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>THE FOURTH STATE</title>
<link href="https://hdl.handle.net/2123/18680" rel="alternate"/>
<author>
<name>HARDCASTLE, SOPHIE</name>
</author>
<id>https://hdl.handle.net/2123/18680</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">THE FOURTH STATE
HARDCASTLE, SOPHIE
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>THE DE-LEGITIMISATION OF CONTEMPORARY INDIGENOUS EXPRESSIONS AND INTERSECTIONAL FEMINIST REPRESENTATION</title>
<link href="https://hdl.handle.net/2123/18681" rel="alternate"/>
<author>
<name>JOHNSON, EMILY</name>
</author>
<id>https://hdl.handle.net/2123/18681</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2016-10-01T00:00:00Z</published>
<summary type="text">THE DE-LEGITIMISATION OF CONTEMPORARY INDIGENOUS EXPRESSIONS AND INTERSECTIONAL FEMINIST REPRESENTATION
JOHNSON, EMILY
</summary>
<dc:date>2016-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Beauty?</title>
<link href="https://hdl.handle.net/2123/18677" rel="alternate"/>
<author>
<name>NOLAN, LAURA PATIENCE</name>
</author>
<id>https://hdl.handle.net/2123/18677</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">Beauty?
NOLAN, LAURA PATIENCE
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>‘NO SCIENTIFIC ACCOUNT ESCAPES BEING STORY-LADEN’: TECHNOLOGY, CULTURE, AND EXPERIENCE IN THE POSTINTERNET</title>
<link href="https://hdl.handle.net/2123/18663" rel="alternate"/>
<author>
<name>Cotterill, Bethan</name>
</author>
<id>https://hdl.handle.net/2123/18663</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">‘NO SCIENTIFIC ACCOUNT ESCAPES BEING STORY-LADEN’: TECHNOLOGY, CULTURE, AND EXPERIENCE IN THE POSTINTERNET
Cotterill, Bethan
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Australian ‘Un-identity’ and the Significance of Professional Sport on Local Community</title>
<link href="https://hdl.handle.net/2123/18669" rel="alternate"/>
<author>
<name>CLARKE, EDWARD JAMES LUTHER</name>
</author>
<id>https://hdl.handle.net/2123/18669</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">Australian ‘Un-identity’ and the Significance of Professional Sport on Local Community
CLARKE, EDWARD JAMES LUTHER
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>MASSIVELY MULTIPLAYER ONLINE ROLE PLAYING GAMES AND THE DOCUMENTARY GENRE: SIMULATIONS OF REALITY?</title>
<link href="https://hdl.handle.net/2123/18668" rel="alternate"/>
<author>
<name>LAYFIELD, CHARLOTTE</name>
</author>
<id>https://hdl.handle.net/2123/18668</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">MASSIVELY MULTIPLAYER ONLINE ROLE PLAYING GAMES AND THE DOCUMENTARY GENRE: SIMULATIONS OF REALITY?
LAYFIELD, CHARLOTTE
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Reconsidering Contemporary Masculinity</title>
<link href="https://hdl.handle.net/2123/18670" rel="alternate"/>
<author>
<name>JACKSON, FARLEY</name>
</author>
<id>https://hdl.handle.net/2123/18670</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">Reconsidering Contemporary Masculinity
JACKSON, FARLEY
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>ELEMENTAL ENTANGLEMENTS IN THE MEDIUM OF CERAMICS</title>
<link href="https://hdl.handle.net/2123/18666" rel="alternate"/>
<author>
<name>BATTERSBY, ANNA</name>
</author>
<id>https://hdl.handle.net/2123/18666</id>
<updated>2026-04-22T05:23:23Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">ELEMENTAL ENTANGLEMENTS IN THE MEDIUM OF CERAMICS
BATTERSBY, ANNA
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>BECOMING MOTHER: PHYSIOLOGICAL MOTHERING PRACTICES AS ART AND FEMINIST ACTIVISM</title>
<link href="https://hdl.handle.net/2123/18665" rel="alternate"/>
<author>
<name>HOLMES, ALLEGRA</name>
</author>
<id>https://hdl.handle.net/2123/18665</id>
<updated>2026-04-22T05:23:24Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">BECOMING MOTHER: PHYSIOLOGICAL MOTHERING PRACTICES AS ART AND FEMINIST ACTIVISM
HOLMES, ALLEGRA
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>INTO THE KNOWN: The Spaces of Stories and Stories of Space</title>
<link href="https://hdl.handle.net/2123/18667" rel="alternate"/>
<author>
<name>DAVIS, ASHLEIGH</name>
</author>
<id>https://hdl.handle.net/2123/18667</id>
<updated>2026-04-22T05:23:25Z</updated>
<published>2017-10-01T00:00:00Z</published>
<summary type="text">INTO THE KNOWN: The Spaces of Stories and Stories of Space
DAVIS, ASHLEIGH
</summary>
<dc:date>2017-10-01T00:00:00Z</dc:date>
</entry>
<entry>
<title>Fondue</title>
<link href="https://hdl.handle.net/2123/1799" rel="alternate"/>
<author>
<name>Smith, Oliver</name>
</author>
<id>https://hdl.handle.net/2123/1799</id>
<updated>2026-04-22T03:05:38Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Fondue
Smith, Oliver
.950 silver, .925 silver, monel, stainless steel, teflon, silicon fibre. 20 cm. 2002.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Is our life a square circle  or triangle? - transformation : [detail]</title>
<link href="https://hdl.handle.net/2123/1816" rel="alternate"/>
<author>
<name>Shoji, Mitsuo</name>
</author>
<id>https://hdl.handle.net/2123/1816</id>
<updated>2026-04-22T03:05:38Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Is our life a square circle  or triangle? - transformation : [detail]
Shoji, Mitsuo
colour  stain and clear glaze on stoneware and porcelain. approx. 4 m x 5 m. 2006 Location: National  Gallery of Wroclaw, Poland.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Is our life a square circle or triangle?- universal thought : [detail]</title>
<link href="https://hdl.handle.net/2123/1815" rel="alternate"/>
<author>
<name>Shoji, Mitsuo</name>
</author>
<id>https://hdl.handle.net/2123/1815</id>
<updated>2026-04-22T03:05:42Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Is our life a square circle or triangle?- universal thought : [detail]
Shoji, Mitsuo
coloured oxide stain on porcelain. approx. 4 m x 10 m. 2005. Location: National  Gallery of Wroclaw, Poland
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Bouba</title>
<link href="https://hdl.handle.net/2123/1804" rel="alternate"/>
<author>
<name>Lavery, Andrew</name>
</author>
<id>https://hdl.handle.net/2123/1804</id>
<updated>2026-04-22T03:05:42Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Bouba
Lavery, Andrew
freeblown glass. 39 x 29 x 23 cm. 2004.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Petal spoons</title>
<link href="https://hdl.handle.net/2123/1795" rel="alternate"/>
<author>
<name>Smith, Oliver</name>
</author>
<id>https://hdl.handle.net/2123/1795</id>
<updated>2026-04-22T03:05:45Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Petal spoons
Smith, Oliver
original prototypes: .925 silver; production pieces: 316 stainless steel. 14cm, 2006.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Untitled</title>
<link href="https://hdl.handle.net/2123/1817" rel="alternate"/>
<author>
<name>Conboy, Janette</name>
</author>
<id>https://hdl.handle.net/2123/1817</id>
<updated>2026-04-22T03:05:39Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Untitled
Conboy, Janette
digital print on paper. 70 x 120 cm. 2007.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Is our life a square circle or triangle?- universal thought</title>
<link href="https://hdl.handle.net/2123/1814" rel="alternate"/>
<author>
<name>Shoji, Mitsuo</name>
</author>
<id>https://hdl.handle.net/2123/1814</id>
<updated>2026-04-22T03:05:41Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Is our life a square circle or triangle?- universal thought
Shoji, Mitsuo
coloured oxide stain on porcelain. - approx. 4 m x 10 m. 2005. Location: National  Gallery of Wroclaw, Poland.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>The Governor General’s table bells</title>
<link href="https://hdl.handle.net/2123/1797" rel="alternate"/>
<author>
<name>Smith, Oliver</name>
</author>
<id>https://hdl.handle.net/2123/1797</id>
<updated>2026-04-22T03:05:41Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">The Governor General’s table bells
Smith, Oliver
.925 silver, .900 silver, stainless steel, monel, delrin. 19 cm h. 2006.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Ductus</title>
<link href="https://hdl.handle.net/2123/1802" rel="alternate"/>
<author>
<name>Findeis, Karin</name>
</author>
<id>https://hdl.handle.net/2123/1802</id>
<updated>2026-04-22T03:05:43Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Ductus
Findeis, Karin
brooch. 925 silver, wool felt, silk. Photography by B. Langrishe.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Scarlet skyline</title>
<link href="https://hdl.handle.net/2123/1806" rel="alternate"/>
<author>
<name>Lavery, Andrew</name>
</author>
<id>https://hdl.handle.net/2123/1806</id>
<updated>2026-04-22T03:05:39Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Scarlet skyline
Lavery, Andrew
freeblown glass. 64 x 35 x 35 cm. 2001.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Tillers</title>
<link href="https://hdl.handle.net/2123/1798" rel="alternate"/>
<author>
<name>Smith, Oliver</name>
</author>
<id>https://hdl.handle.net/2123/1798</id>
<updated>2026-04-22T03:05:40Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Tillers
Smith, Oliver
serving utensils. .900 silver. 33 cm. 2005.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Venae</title>
<link href="https://hdl.handle.net/2123/1800" rel="alternate"/>
<author>
<name>Findeis, Karin</name>
</author>
<id>https://hdl.handle.net/2123/1800</id>
<updated>2026-04-22T03:05:42Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Venae
Findeis, Karin
brooch. 925 silver, enamel paint, wool felt, dyed shell. 2005. Photography by B. Langrishe.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Cut vessel</title>
<link href="https://hdl.handle.net/2123/1808" rel="alternate"/>
<author>
<name>Lavery, Andrew</name>
</author>
<id>https://hdl.handle.net/2123/1808</id>
<updated>2026-04-22T03:05:43Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Cut vessel
Lavery, Andrew
freeblown glass. 15 x 11x 9 cm. 1997.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Welcome to Merrylands 2 : Installation view of Wooden ball trap</title>
<link href="https://hdl.handle.net/2123/1818" rel="alternate"/>
<author>
<name>Dawson, Marley</name>
</author>
<id>https://hdl.handle.net/2123/1818</id>
<updated>2026-04-22T03:05:46Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Welcome to Merrylands 2 : Installation view of Wooden ball trap
Dawson, Marley
wood. 2006.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Arc cheese knives</title>
<link href="https://hdl.handle.net/2123/1796" rel="alternate"/>
<author>
<name>Smith, Oliver</name>
</author>
<id>https://hdl.handle.net/2123/1796</id>
<updated>2026-04-22T03:05:46Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Arc cheese knives
Smith, Oliver
Dorsal serving blades. 316 stainless steel. 23 cm. 2006.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Is our life a square circle  or triangle? - transformation</title>
<link href="https://hdl.handle.net/2123/1812" rel="alternate"/>
<author>
<name>Shoji, Mitsuo</name>
</author>
<id>https://hdl.handle.net/2123/1812</id>
<updated>2026-04-22T03:05:42Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Is our life a square circle  or triangle? - transformation
Shoji, Mitsuo
colour  stain and clear glaze on stoneware and porcelain. - approx. 4 m x 5 m. 2006 Location: National  Gallery of Wroclaw, Poland.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Pinstripe</title>
<link href="https://hdl.handle.net/2123/1807" rel="alternate"/>
<author>
<name>Lavery, Andrew</name>
</author>
<id>https://hdl.handle.net/2123/1807</id>
<updated>2026-04-22T03:05:40Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Pinstripe
Lavery, Andrew
One of a series. freeblown glass. tallest: 12 x 12 x 50 cm. 1996.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
<entry>
<title>Clavicle</title>
<link href="https://hdl.handle.net/2123/1801" rel="alternate"/>
<author>
<name>Findeis, Karin</name>
</author>
<id>https://hdl.handle.net/2123/1801</id>
<updated>2026-04-22T03:05:41Z</updated>
<published>2007-06-26T00:00:00Z</published>
<summary type="text">Clavicle
Findeis, Karin
necklace. wool felt, 925 silver, shell, rose quartz. Photography by B. Langrishe.
</summary>
<dc:date>2007-06-26T00:00:00Z</dc:date>
</entry>
</feed>
