#03 IN ISO | Elizabeth Pulie

Elizabeth Pulie’s thematically resonant and site-similar work, #110 (Crisis of the Contemporary) (2020) centres on a written disposition musing the end of art via a conference paper and audio recording prepared with artist Tina Havelock Stevens.

Pulie’s practice, which extends back to 1989, both materially and academically responds to her research into contemporary art’s ontology, post-conceptualism and ‘the end of art’. Her material practice moves between media and form, from painting to craft and decorative techniques using textiles like jute, hessian, cotton or linen to represent her personal history with 1970s craft applications and centering the feminine as a potentially critical concern. Her use of utilitarian fabrics like hessian sit in an ambiguous state between function and art, challenging the aesthetic value of commodity objects.

In-conversation with Elizabeth Pulie available via Apple Podcasts here or Vimeo below.

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EXHIBITION INFO

ELIZABETH PULIE
#110 (Crisis of the Contemporary)
2020
sound, conference paper
audio track: Tina Havelock Stevens

The ‘crisis of the contemporary’ refers to the challenge of conducting a critical practice as an artist in the current moment, as well as the difficulties encountered in defining or theorising that which is known as ‘contemporary art’. This work, #110 (Crisis of the Contemporary) (2020), contemplates this crisis and represents an attempt to embody the art of the current moment. This action is taken in spite of my belief that a defining characteristic of artworks in the post-conceptual era is that they cannot, in fact, embody their definition. - Elizabeth Pulie

@elizabethpulie

ABOUT THE ARTIST

Pulie lives and works in Sydney. Recent group exhibitions include Dialogue 2: On Hessian, Sarah Cottier Gallery, Sydney (2020); Bauhaus Now!, Buxton Contemporary, Melbourne (2019); Redlands Konica Minolta Prize, National Art School, Sydney (2018); The National 2017: New Australian Art, Museum of Contemporary Art, Sydney (2017); Unfinished Business: Perspectives on Art and Feminism, Australian Centre for Contemporary Art, Melbourne (2017); Fabrik, Ian Potter Gallery, Melbourne (2016); Painting. More Painting, Australian Centre for Contemporary Art, Melbourne (2016). Solo exhibitions include #80 Knulp, Sydney (2018) and The Conspiracy of Art by Jean Baudrillard, Sarah Cottier Gallery, Sydney (2018). Between 2000 and 2005, Pulie co-directed Front Room gallery and edited and published Lives of the Artists magazine.

Elizabeth is represented by Sarah Cottier Gallery, Sydney.