• Jo Dyer

Vivienne Binns


Vivienne Binns, Floating, 2000

lino, plywood, acrylic

93.8 x 89 cm

image source: https://www.monash.edu/muma/collection/100-works-of-the-monash-university-collection/100-works/vivienne-binns


In my last group crit Steven Rendell suggested I look up artist Vivienne Binns. This work in particular resonated with me, though perhaps only because the text accompanying the work tells me: 'How the artist relates to and uses materials connects her work directly to specific places, histories and contexts. Materials such as lino and board are imbedded in the artwork to embody certain relationships and meanings.' (Turnbull, n.d). The text goes on to give a more specific description of the origins and significance of the fragments embedded into the work, based on details which were inscribed by Binns on the inverse of the artwork itself.


More broadly Binns' practice is of interest to me because her approach has been multidisciplinary, including abandoning painting altogether for a large part of her career to focus on community art projects such as Mothers’ memories, others’ memories, where she collected histories of womens' 'means of expression in the domestic sphere' (Binns, c.1979)



Vivienne Binns, (title unknown), c.1979 Screenprint and photo-screenprint on paper

56.7 x 42.7cm

image source: https://collection.qagoma.qld.gov.au/objects/3402


https://knowmyname.nga.gov.au/artists/vivienne-binns/

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