Jess Johnson is a New Zealand artist currently based in New York after ten years of living and working in Melbourne. Her drawing and installation practice is influenced by the speculative intersections between language, science fiction, culture and technology. Her recent video collaborations with Simon Ward have involved translating her drawings into animated video and virtual reality. Jess’s work has been exhibited throughout Australia, New Zealand and internationally, including Jack Hanley Gallery, New York; Art Basel, Hong Kong; Talbot Rice Gallery, Edinburgh; National Gallery of Victoria, Australia; Museum of Contemporary Art, Australia; and Christchurch Art Gallery, New Zealand. Jess is represented by Jack Hanley Gallery, New York; Darren Knight Gallery, Sydney, Australia; and Ivan Anthony, Auckland, New Zealand. You can see more of her work at: www.jessjohnson.org

In his ambition to understand the relationship between art and works of art Donald Brook moved from sculptural practice to art theory. He was active in establishing the Tin Sheds workshop, vainly hoping at that time to sneak an art school into the Power Institute of Fine Arts. Later, as Professor of Visual Arts in the Flinders University in Adelaide, he established the Experimental Art Foundation with a similar impulse to reconcile current art world practices with the conceptual analysis of Anglo-American philosophy. Tim Burns was one of those artists who convinced him that, against the incoming tide of 'French' theory, it couldn't be done. Yet.

Lucy Bleach’s practice led research focuses on humans’ varied relationships to tenuous, contingent and at times volatile environments, seeking engagement with communities that authentically experience such relationships. She has produced solo commissioned works, collaborative projects and exhibited in group exhibitions, nationally and internationally, and has undertaken research projects in seismic and volcanic regions in Italy, Japan, Hawaii and Vanuatu. Lucy is Lecturer and Coordinator of the Sculpture Studio at the Tasmanian College of the Arts, University of Tasmania.

Justin Clemens is the author of books on art, psychoanalysis and culture, including Lacan Deleuze Badiou (Edinburgh UP 2014), co-written with Jon Roffe and A.J. Bartlett, Psychoanalysis is an Antiphilosophy (Edinburgh UP 2013) and Minimal Domination (Surpllus 2011). His poetry books include Villain (Hunter 2009) and The Mundiad (Hunter 2014). He is currently an ARC Future Fellow, working on Australian Poetry Today, and Associate Professor in the School of Culture & Communication at the University of Melbourne.

Helen Hughes is Research Curator at Monash University Museum of Art, and Assistant Lecturer, Art History and Curatorial Practice, Monash Art Design & Architecture (MADA). She is also co-founder and co-editor of Discipline journal, an editor of the peer-reviewed, online art history journal EMAJ, and an editorial board member of Broadsheet Journal (Contemporary Art Centre of South Australia). Helen received her PhD in Art History from the University of Melbourne in 2016. 

Edward Colless is a Senior Lecturer of Critical and Theoretical Studies at the Victorian College of the Arts, University of Melbourne. Aside from education, he has in the past also worked in theatre, film, broadcasting and architecture, been a curator, occasionally worked as a travel writer, and dabbled in fiction—but mainly he writes art criticism. In this field he has been an arts reviewer for The Age and The Australian, and associate editor and features writer for Art Collector. He is currently editor of the journal Art+Australia, with its associated publishing program. He also shamelessly uses any opportunity to write on arcane topics, the more obscure the better: heretical theology, art historical marginalia, crypto-zoology, dark tourism….

About A+a Online

Art + Australia has established A+a Online, an exciting online platform designed to allow for current and quick responses to contemporary art issues. In contrast to the thematic focus and in-depth scholarship of its print counterpart, A+a Online provides opportunities for emerging and established writers to develop reactive, creative, critical and reflective considerations of artistic content.

Tessa Laird is a writer and artist lecturing in Critical and Theoretical Studies at VCA School of Art. In the late 1990s she co-founded and edited two important New Zealand art magazines: Monica Reviews Art and LOG Illustrated. Since then she has been a critic for various publications including the New Zealand Listener, Art New Zealand, and Art and Australia. She has written countless catalogue essays and chapters in artists’ monographs. Her speculative enquiry into colour A Rainbow Reader was published by Clouds in 2013. She is currently working on a book about bats for Reaktion’s Animal series. Tessa is editor of A + A Online.

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