http://www.peterhjohnson.com/blog daily 0.75 2026-06-27 http://www.peterhjohnson.com/blog/2026/6/28/art-gallery-of-nsw monthly 0.5 2026-06-27 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1782602527293-2EM8R048SPLSTG3BRAD5/PXL_20260626_045800735.jpg Blog - Art Gallery of NSW - Install shot, Avatar: Forms of Vishnu Angkor period sandstone sculpture of Vishnu (early 800s) in front and two paintings by Desmond Lazaro behind. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1782602528576-X575PTCJGN25SMOD3U9M/PXL_20260626_045944286.jpg Blog - Art Gallery of NSW - Desmond Lazaro Samudra Manthana, Churning of the Ocean of Milk 2026 natural pigments and gold on birch board “Made especially for this exhibition, Desmond Lazaro's paintings reinterpret the legend of the Churning of the Ocean of Milk in which Vishnu takes several forms at once. After a curse weakens the gods and causes the celestial treasures to sink into the ocean, Vishnu instructs them to work with the demons to retrieve the treasures, especially the amrita, the elixir of immortality.” - exhibition wall label https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1782602529229-BVHJ99NPIOE2NZPLWKEM/PXL_20260626_050525997.jpg Blog - Art Gallery of NSW - Sumakshi Singh Threshold 2026 cotton and silk “Like delicate veils drawn through space, Sumakshi Singh's lace installations create illusory environments exploring memory, displacement, absence and presence. Threshold was made to frame a 13th-century sculpture from Odisha depicting Vishnu's man-lion avatar Narasimha, who sits peacefully with his consort Lakshmi after vanquishing the demon Hiranyakashipu. Singh was inspired by the architecture of the 13th-century Sun Temple at Konark in Odisha, as well as the legend of Narasimha, a liminal being who appears from a pillar that fractures as he emerges.” - exhibition wall label https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1782602531406-9A0ZD9Z7KETXPYHK3J7A/PXL_20260626_054513151.jpg Blog - Art Gallery of NSW - Adrián Villar Rojas The End of Imagination IV 2022 layered composites of organic, inorganic, human and machine-made matter including metal, concrete, soil, plaster, wood, sand, marble dust, glass, salt, wax, resin, pigment, water, tree bark, adhesive, spray paint, salvaged auto parts, recycled plastic “Adrián Villar Rojas creates collaboratively produced, site-specific works that speak to the unfolding of time and the futures of humanity. The End of Imagination IV is drawn from the artist's inaugural exhibition in this building's Nelson Meers Foundation Tank in 2022, in which he modelled sculptures and the worlds that created them. To create this work, Villar Rojas used an amalgamation of software systems to generate a series of digital worlds in which he placed virtual sculptures. These various worlds considered major environmental and sociopolitical events over timespans ranging from hours to millennia. Over time, the virtual sculptures were scorched by fire, distorted by gravity, toppled by unrest, wounded by wars and overcome by extraterrestrial forces. These virtual sculptures were then pulled from time and space and reconstituted physically.” - exhibition wall label https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1782602536983-6IF0J0F37VKGW6IFIHHX/PXL_20260626_060751107.jpg Blog - Art Gallery of NSW - Agnes Goodsir Type of the Latin Quarter c. 1926 oil on canvas “Trained in Bendigo, Victoria, Agnes Goodsir based herself in Europe from 1900. By the early 1920s she was settled in Paris, where she exhibited in the salons and moved in bohemian circles centred around the city's Latin Quarter. In this portrait, the sitter's eyes are shadowed by a fedora, typically worn by men in the 1920s. It contrasts with the large pink bow around her neck, as if in challenge to fashion's gender codes. Although the title describes her as a 'type of the Latin Quarter', the sitter has been identified as Rachel (Cherry) Dunn, Goodsir's lifelong partner.” - wall label https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1782602526519-2A19E7DVZLB0YYVLM6VP/francis+bacon+study+for+2+portraits.png Blog - Art Gallery of NSW - Francis Bacon Study for portrait of Reinhard Hassert; Study for portrait of Eddy Batache 1979 oil on canvas, 2 panels “The art historians Reinhard Hassert and Eddy Batache were Francis Bacon's close companions from the 1970s until his death. The pair, originally from Germany and Lebanon respectively, became prominent in the Sydney art world while Batache was a lecturer at the University of Sydney between 1965 to 1973. They befriended Bacon on their return to Paris, where the artist had an apartment.” - wall label https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1782602540352-JS9GHAL3XXLDRMPV0NS1/PXL_20260626_063309835.jpg Blog - Art Gallery of NSW - Michelle Bounpraseuth ຂໍໃຫ້ເງິນຄຳໄຫລມາເທມາບໍ່ໃຫ້ຂາດ Kho hai ngeun kham lai ma the ma bo hai khat (Please, may money and gold flow and pour eternally without end) 2026 glazed earthenware “To grieve is to love. Altars are spaces that honour grief with care and intention, holding gestures of gratitude and remembrance that sustain the memory of those who are gone yet remain with us. Each element reflects the ties between past and future. Fruit, like gold, embodies nourishment and abundance, a tangible offering carrying care, sustenance and hope across generations. The blessing Kho hai ngeun kham lai ma the ma bo hai khat shares this purpose. It is a wish for money and gold to flow without end and a hope for safety, ease and care to extend through the years. In Lao culture, gold is more then wealth. It represents protection, aspiration and the possibility of dreams, especially for lives shaped by displacement, uncertainty and the labour of migration. When spoken by elders to younger kin, the blessing conveys love and the wish that the next generation may face fewer hardships than those that came before. Grief and memory fold into the blessing, carrying care and hope into the heart. To be remembered is to be loved.” - Michelle Bounprasauth (wall label) http://www.peterhjohnson.com/blog/2026/6/8/ngv-australia monthly 0.5 2026-06-08 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780910621667-49EG86VLN36ML8Q87GGV/PXL_20260608_014101332%7E2.jpg Blog - NGV Australia - Warraba Weatherall InstitutionaLies 2017/2025 steel, aluminium, string From the wall label: ‘InstitutionaLies was originally made to commemorate the Royal Commission into Aboriginal Deaths in Custody (1987- 90). The work features a central globe encircled by a craniometer, a device used by eugenicists and anthropologists in the nineteenth and twentieth centuries to measure and study First Peoples with the intent to confirm racially motivated hypotheses related to the theory of evolution. Both the globe and craniometer are surrounded by a series of spears pointing inwards. Together these elements foreground historical and ongoing systemic and institutional racism, and, according to the artist, intend to 'place Western gaze under scrutiny by First Peoples'. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780910621134-J3KQ3ZSUP1CR43541U6B/PXL_20260608_013812235%7E2.jpg Blog - NGV Australia - Joel Bray Giraru galing ganhagirri (The wind will bring rain) 2022 seven-channel video installation, sound From the wall label: ‘Giraru galing ganhagirri explores Joel Bray's connection with his ancestral Wiradjuri Country. Throughout the video, Bray conveys the body as both porous and resilient, liminal and grounded. Covered with layered imagery of Country, Bray's body seemingly merges with its surroundings. According to the artist, Giraru galing ganhagirri speaks to 'the implacable force of Country, the meeting of the elements of air and water and of the assurance that, in nature, one thing follows another. Always have and always will. In these times, we find solace in the "ancientness" and endurance of Country. Whatever happens, the wind will always bring the rain.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780910624966-L9N9KEIKGEZXXFIM38RR/PXL_20260608_014359949%7E2.jpg Blog - NGV Australia - Alice Guiness Burndud ground 2025 synthetic polymer paint on plywood, neon, electrical components From the wall label: ‘The Burndud circle is an important site and story for the Yindjibarndi people of the north-west Pilbara. A sacred law ceremony to initiate young boys, it was taught by the Marrga (ancestral creation spirits who shaped and named their Country) in the times of Ngurra Nyujunggamu (when the world was soft, the learning times). Elder and senior artist Alice Guiness holds a deep connection with the Burndud. In these works. Guiness mirrors the ceremony she dances each year in a continuous, circular motion until the young boys have returned. Her use of bold colour and vibrating pattern embody the movement of the women dancing and the men singing, while her use of neon propels Yindjibarndi creative and cultural practice into the future.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780910625701-53M1MZTWYE4VH4VXNOBE/PXL_20260608_021742093%7E2.jpg Blog - NGV Australia - Heather B. Swann Ouroboros 2023 wood, paper, binder, marble dust, stain wax From the wall label: ‘Heather B. Swann's figurative sculptures often resemble human or animal bodies that are slightly altered, with a tendency towards surrealism and abstraction. This coiled black figure is known as an ouroboros, an arcane symbol associated with various ancient cultures, including Celtic, Egyptian and Greek. Depicted consuming its own tail, the ouroboros often represents self-reflexivity, the cyclical nature of existence, and the eternal cycle of life and death. Swann's rendition captures not only the mysticism and eternal continuity inherent to this ancient emblem, but also the darker undertones of self-destruction and regeneration.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780910630819-VPEVSA00ION098GT882D/PXL_20260608_022011682.jpg Blog - NGV Australia - David McDiarmid Body language (from the Kiss of Light series) 1990 self-adhesive plastic collage and enamel paint on plywood David McDiarmid's 1991 Kiss of Light exhibition directly addressed gay sexuality, fighting against the media's conflation of sex with death in the HIV/AIDS era. This collaged mosaic both celebrates queer dance culture and memorialises McDiarmid's friends who passed away from AIDS-related complications. If this 'body' bespeaks the euphoria of dance, the 'language' tattooed upon it points to the dark swathe that cut through the disco crowds of McDiarmid's world. In 1984 Herb Gower became the first of McDiarmid's friends to die from AlDS-related complications. His name is inscribed on Body language, along with the names of other friends McDiarmid lost to the disease. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780910634362-SYXLIZSG6VT50E7FD65Q/PXL_20260608_022737106%7E2.jpg Blog - NGV Australia - Nunami Sculthorpe-Green takila milaythina-ti 2025 native harvested clay, stone, pigment, and ash on stoneware ceramics Mentor: Aunty Lola Greeno, Trawlwoolway Acknowledgment: Isabelle Moustra, Too Friendly Ceramics and Ben Richardson, Ridgeline Pottery From the wall label: ‘Nunami Sculthorpe-Green is a Palawa and Warlpiri woman born and raised in Nipaluna/Hobart. She is a storyteller working across writing, visual art and performance, and grounds her work in ideas of seasonality and the recentring of often overlooked histories and stories connected to place. takila milaythina-ti is a sprawling bed of 200 slip-cast marina shells, enlarged in scale and hand-painted with a unique glaze hand-made from natural materials sourced from Nunami's ancestral Country in northwest Lutruwita. The shells are arranged as a collective and in a formation reflective of the undulating lines formed by clusters of marina shells that once covered Lutruwita's coastlines. With these shells now endangered, takila milaythina-ti tenderly conveys the profound cultural significance marina shells play in stringing past, present and future while also bringing the ongoing impacts of climate change and industry on Country, community and culture into sharper focus.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780910636519-XDSIVE4G9ZPWND2GK3RE/PXL_20260608_024201717%7E2.jpg Blog - NGV Australia - Hannah Brontë EYE HEAR U MAGIK 2020 colour digital video, sound From wall label: ‘EYE HEAR U MAGIK explores the mother. the doula, the sister, the twins, the oracle, the orator and the new born. Understanding that, yes, we inherit grief and sadness through our familial lines but we also inherit joy, skill, Magik, cheekiness, psychic abilities and physical strength.’ - Hannah Brontë, 2025 http://www.peterhjohnson.com/blog/2026/6/7/ngv-international monthly 0.5 2026-06-08 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780819826442-LQ7DRN839ILDR5LQVFSL/260607+NGV+Japanese+fashion.jpg Blog - NGV International - Radical aesthetics: Japanese fashion from the NGV Collection From wall text: ‘Since the late 1970s Japanese designers have had a significant impact on global fashion practice. Individually and collectively, their work has redefined fashion conventions through groundbreaking approaches to reinterpreting tradition, materials, construction and the relationship between body and dress. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780819831024-BYL5ZDSNU0U5WD2XTHKZ/260607+NGV+AR+Penck.jpg Blog - NGV International - A. R. Penck Wechseinm verwechseln [To change, to confound] 1983 synthetic polymer paint on canvas From wall label: ‘Ralf Winkler's adoption of the name A. R. Penck on the occasion of his first exhibition in West Germany in 1969 signalled his deliberate attempt to work against an aesthetic identifiable by either name or style. Penck lived under the East German Communist system until 1980, unable to visit the exhibitions of his work occurring in the West or to display his art in the country of his birth. To change, to confound, reflects the psychological effects of postwar German society, exploiting the graphic potential of black and white and the raw strength of the artist's totemic figures to investigate unequal power structures and highlight the possible aggression that can exist between people.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780819832982-VOATH8UDKRLTEAXPVT6B/260607+NGV+Chin-San+Long.jpg Blog - NGV International - Chin-San Long Relaxation Amidst the clouds c. 1940s gelatin silver photograph From wall label: ‘Chin-San Long was a pioneering photographer, recognised as one of China's first photojournalists and for his innovative artistic photography, such as his unique 'composite photography' that combined multiple photographs to create landscapes reminiscent of traditional brush-and-ink paintings. Long worked in Shanghai during the 1920s and 1930s before relocating to Sichuan province during the Pacific War. He moved to Taiwan in 1949 to escape the communist takeover of mainland China. He died on 13 April 1995 in Taipei at the age of 102.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780819834731-5R4OH30QQ65V1PM0XXN2/260607+NGV+Lee+Ufan.jpg Blog - NGV International - Lee Ufan Dialogue 2017 oil on canvas From wall label: 'Born in Kyongsan-namdo, Korea, Lee Ufan emerged in the late 1960s as a major proponent of the avant-garde Mono-ha (Object School) group, Japan's first contemporary art movement to gain international recognition. He follows the Zen Buddhist practice of painting brushstrokes in a form of meditation representing energy and realisation. Produced by inhaling and painting a single brushstroke with each breath, the single stroke and its power to represent everything, and yet nothing, has been central theme in Lee's career since his first solo exhibition in Tokyo in 1967. Lee's Dialogue series consists of what appears to be a huge single brushstroke. However, when viewed up close, it becomes evident it is not one single stroke but many thin brushstrokes, each painted numerous times against each other. Like Zen philosophy, this process embodies the universe and the void - a representation.’ http://www.peterhjohnson.com/blog/2026/6/6/hna079r2f9wmsfkpaj6nrspxejwsmw monthly 0.5 2026-06-08 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780822200925-37G1VY68RBA2TBJQOD7U/260605+ADL+Biennial+Nathan+Beard.jpg Blog - Adelaide Biennial 2026: Yield Strength - Nathan Beard Cicerone 2025 single-channel video, silicone, oil, pigment, polyactic acid, steel, foam, resin, found objects From the wall label: ‘The word 'cicerone' refers to a guide who facilitates interpretive experiences for sightseers and gallery visitors. Nathan Beard uses the expression to suggest the subjective lens through which culture is understood, and, more pointedly, to invoke guides who do not belong to the cultures they are interpreting. Cicerone includes a single-channel video, collated from feature films, documentaries and television series, and references the circulation and consumption of Thai culture. Into this mix Beard has spliced Super 8 film from his mother's archive. The intimate familial footage interrupts the commercial gaze. The 3D-printed Buddha sculptures in Cicerone, copies of sixteenth-century bronzes in the Art Gallery of South Australia collection, are cradled by rubbery forms cast from the artist's hands to propose a digitally facilitated symbolic restitution.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780822212991-L8G3NPK7WR4GJGF4EZ0I/260606+ADL+Biennial+Erika+Scott.jpg Blog - Adelaide Biennial 2026: Yield Strength - Erika Scott Necrorealist Sunscreen 2026 mixed media From the wall label: ‘The term 'necrorealist' in Erika Scott's work of art title refers to both a 1980s Soviet film and art movement, in which dark humour and absurdity were used to examine grotesque aspects of life and death. Necrorealist Sunscreen makes is clear that, with the loss of crafted objects and the onslaught of mass-produced disposable items, the next generation will not inherit heirlooms; rather, they will be bequeathed plastic in varying states of decay. Nostalgic household items showing signs of wear and tear are swept up and tangled with centrifugal force. The combination of computer chairs and water tanks hints at the vast amount of natural resources consumed by machine learning and data storage systems, adding an overwhelming sense of environmental horror to the installation.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780822205691-Q45FNN59I2XK4JB85PFN/260605+ADL+Biennial+M+Dhamarrandji.jpg Blog - Adelaide Biennial 2026: Yield Strength - Milminyina Dhamarrandji Dhambadiny 2023-25 natural pigments on eucalyptus, video projection From the wall label: ‘The way the dhambadiny (death adder) camouflages itself in the sand and grass to evade detection is expertly conveyed in Milminyina Dhamarrandji's visually confounding works of art. At times it is difficult to discern with clarity the serpentine forms on the painted hollow-log sculptures and animated video due to the dazzling visual effect of the concentric diamond motif of the Djambarrpuynu miny'tji (sacred clan design), which takes its form from the snake's patterned skin. With each application of the paint brush, Dhamarrandii reiterates her commitment to her totem, ancestors and Country. ‘With paint, carving and animation, Dhamarrandji enlivens the ceremony for the dhambadiny, darrpa (king bronw snake), and wuwarku (taipan) which takes place on the Ruwak area of Dhambaliya (Bremmer Island). Following the ceremony, the bapi (snakes)move to Rirrawutha, on the edge of the island, to rinse their teeth in the ocean as part of their spiritual cleansing.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780822211821-E70IQSWTNDP8OTP7U1RY/260606+ADL+Biennial+Matthew+Harris.jpg Blog - Adelaide Biennial 2026: Yield Strength - Matthew Harris Baparra-banarrak 2022 meteorite, possum tail Big Time 2025 ochre and acrylic binder on canvas From the wall label: ‘When viewing Harris's works of art, audiences are confronted by the insignificance and the miraculousness of humanity, in the context of the scale and time of the universe. Distant future and deep time sit side by side in Matthew Harris's B/ Time and Baparra-banarrak. The painting depicting a constellation that will appear 65,000 years into the future hangs below a suspended meteorite aged around four-and- a-half billion years. Through his use of ochre for the sky and possum tail on the meteorite, Harris distinguishes his ever-present conception of time as specifically Aboriginal.’ https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1780822206025-GASVC9HW0WDO71F0OM9R/260606+ADL+Biennial+D+Harding.jpg Blog - Adelaide Biennial 2026: Yield Strength - D Harding breaking boundaries (fence) 2022 black pigmented industrial silicone rubber parts, galvanised agricultural fence fixings From the wall label: ‘The violence of enclosure is the subject of d harding's breaking boundaries (fence). To create the work, the artist cast an agricultural fence post that had previously been used to divide harding's Bidjara ancestral land. Breaking boundaries (fence) is an act of doubling, with harding appropriating the act of appropriation: the wooden fence post, originally made to assert a definitive boundary, becomes a limp marker when cast in silicone.’ http://www.peterhjohnson.com/the-futures-knot-2014 daily 0.75 2026-06-07 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049531270-GGWKOKFYZP2EHGVR89WT/FK_Install_GS_1.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049417062-MBUMBZ4RLN5EK93B2SEW/FK_Install_18.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049428037-Q49MEJHSQYZBNX6R1CA6/FK_Install_jonny.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049401150-YP9BZ1IQIIFWTDBR02NP/FK_Install_16.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049399539-L9FSYIJ97UP6KXX3NJU9/FK_Install_15.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049384303-APZ1WA78LT68CSXMSC1U/FK_Install_14.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049382586-PI66I2XPI18ZT6Z1TM8C/FK_Install_13.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049371784-RIZRDTBYJF6GV4OZS0GQ/FK_Install_12.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049371183-2PSB508PDMEZ3K4EDBOX/FK_Install_11.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049360210-9TCQLVRJUSZMM1L67YRL/FK_Install_10.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049347487-RUGL2ES0XY6ZEP6E9323/FK_Install_8.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049346947-FIQE57PSTR4JMEYZXMX5/FK_Install_7.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049335678-JGYTTVZXAIN8H2MUE6KP/FK_Install_6.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049323871-L9S8RSTYFRY86KFKMWNB/FK_Install_1.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458049324103-D4OYDW20JNNTY2EML6AJ/FK_Install_4.jpg The Future's Knot, 2014 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458042734234-5TDMXVK2I3ROW1D5CMUA/FK_Install_1.jpg http://www.peterhjohnson.com/process-emergent-2-2011 daily 0.75 2016-03-16 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458048541620-ELOJ95XD6SQWZIJS694I/STILL+2.jpg Process Emergent 2, 2012 - Akira Alvarez-Sharkey Lonesome Town (still), mixed media, 2011. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458048570818-BM4JNYQ5UYRRNP57DIBE/George+Shaw_Tomorrow+is+another+day_series_2011.jpg Process Emergent 2, 2012 - George Shaw Why do you always act like it will be this way?, 2011, SD video and Giclee prints. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458048603943-X4M2U8P86TTA0VUV5M1B/diffuse02+2.jpg Process Emergent 2, 2012 - Jesse Horner diffuse (detail), 2011, mixed media. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458048652159-85WZLH10GIVC9SL3S9NF/IMG_2709+2.JPG Process Emergent 2, 2012 - Lauren Ellenberger Portrait Suspended (series), 2011, pigment and mulberry paper. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458048686127-G95EV4GIEG4X3O5C9UGK/Still+Extract_How+To+Make+A+Photocopy+Transfer_Spoon+Rub+2.jpg Process Emergent 2, 2012 - Luke Turner How To Make a Photocopy Transfer (still), 2011, photocopy transfer, stop motion, projection. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458048718825-XLMP53BIRVM4RGZGJNH3/msp.aroundthecorner.IV+2.jpeg Process Emergent 2, 2012 - Mee-Sum Kim Park Around The Corner, 2011, porcelain, black stain, ceramic ink. http://www.peterhjohnson.com/what-we-watch-2012 daily 0.75 2016-03-16 https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458047709480-QQO1M2KP4P6QXM9BZ2CQ/ai+wei+wei.jpeg What We Watch, 2012 - Ai WeiWei WeiweiCam, 2012. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458047711668-UL8U3VC44VYQFVXUVJ5U/Giselle+stanborough-interknot-9-online-video-still-2009.jpeg What We Watch, 2012 - Giselle Stanborough Interknot 1-9, 2009. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458047712125-TYWPOUDXZ61SNNUVNP8W/tim+gregory.jpg What We Watch, 2012 - Tim Gregory I Love You, 2012. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458047717733-M70T299T3P4PFYHPQJA4/Andrew+normal+wilson.png What We Watch, 2012 - Andrew Norman Wilson Workers Leaving the Googleplex, 2011. https://images.squarespace-cdn.com/content/v1/56e7e059c2ea5108b73d4331/1458047717161-EYEAMN9A84LGXX33DZJ0/cyriak.png What We Watch, 2012 - 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