Edie Duffy’s Singularity
Edie Duffy’s photorealism doesn’t just document—it distorts. Mining eBay’s throwaway images, she renders objects with a fixation that turns the banal into the surreal, collapsing nostalgia, obsolescence, and digital-age vertigo into a vision both unsettling and precise.
Edie Duffy is the surest example of the product not matching the description. In a short period, the Naarm-based artist has cemented her position as a photo-realist painter, revered in circles of cool post-graduate art students that would usually sneer at this style of painting. Duffy acknowledges that photo-realism is “daggy.” It conjures up cringe images of Michael Zavros flanked by luxury cars and taxidermy. A prominent artist recently exclaimed that they hate photorealism — but like Duffy’s work. And that’s the gist of it.
Related
From borrowing Tarkovsky at the UQ library to representing Australia at the Venice Biennale, Archie Moore’s art interrogates memory, history, and place. But what role does cinema play in his practice?
Narrowing the collective to its relation with art institutions and “artworld systems” posits the latter as ultimate signifiers.
KIRAC’s gonzo filmmaking shatters art world niceties, but their entanglement with Michel Houellebecq—novelist, provocateur, reluctant porn star—turns chaotic. As lawsuits fly and reputations fray, the real spectacle isn’t the film itself but the battle over who gets to tell the story.
