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      <image:title>SNO Exhibitions ( 100 - 199) - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>3 Suprematist Squares 1965, dimensions variable As temperatures approach absolute zero, particles begin to behave in paradoxical ways. One does not encounter nothing, so much as anomaly and apparently unlawful absurdity. The moment that saw the Suprematist black square and other discourses of abstraction as the cultural cognates of social revolution is now commemorated as a badge on the lapel of a spectre. The viewer is now invited to witness the sight of an artist crushed by history. His gesture in wearing the badge is also risky, liable itself to be punished by the very forces that destroyed what it commemorates. The angel of history eventually loses her power over the narrative, of course: Stalinism declined, the capitalism of the West made its triumphal entry into the city of culture, and black squares are counted among the glories of twentieth-century modernity. The ghost with the badge has had the last laugh. The other narrative that the spectre relates is one that involves greater cruelty and subtlety on the part of the angel of history. And it seems that a chaotic and ultimately annihilating power - perhaps not an angel - may, in due course, have the last laugh. This other story is the narrative of one-idea art, of bureaucratisation and institutionalisation. Reference text from: Guerra, Carles. Art &amp; Language Uncompleted: The Philippe Méaille Collection. Barcelona: Museu d’Art Contemporani de Barcelona, 2014.</image:caption>
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      <image:caption>100% Abstract 1968, 43 x 35.4 cm Mel Ramsden, one year before the creation of Art &amp; Language, quips on dear abstract painting to Clement Greenberg. This cycle of abstract painting (Abstract Painting), uses the bivalence of the word "abstract" in English. By painting on the monochrome canvas, the same components of paint, it returns the painting to his material status, but it also makes an "abstract"; in the sense that it can take in works of philosophy or literature reviews and could result in "extract" or "Summary". Reference Text from: Château de Montsoreau Museum of Contemporary Art, ART &amp; LANGUAGE, 100% ABSTRACT, 1967.</image:caption>
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      <image:title>SNO Exhibitions ( 100 - 199) - Make it stand out</image:title>
      <image:caption>Poster for the Air-Conditioning Show 1971-1972, 47.6 x 42cm Air-Conditioning Show began as a text and a drawing circulated in 1966-67. Among those to whom the text was circulated was Robert Smithson who offered it for inclusion in Arts Magazine. It was published in that journal in November 1967. The work was first realised as an exhibition arranged by Joseph Kosuth at the School of Visual Arts Gallery in New York in 1972. Temperature Show and Air Show were produced in the same year. Frameworks, a text that draws these works together, asks ‘Is it necessary actually to install Air-Conditioning as described in the text or will the text do just as well? (Is the text to be identified as the art- the meaning- we make, and is any concrete realisation of it merely a conservative- contemplative- distraction?) The ‘non-exhibition’ [...] points to something that became distinctive of Art &amp; Language practice later in the sixties. It goes to a development in our sense of the cultural and methodological implications of ‘appropriation’, the Conceptual Art practice of designating this or that item - ‘air’, ‘temperature’, etc. - as an object of artistic attention, and in doing so, neither laying hands upon it nor otherwise making it literally present. Air-Conditioning Show was not quite an appropriative work simpliciter, as the artist was required to have agency in setting up a physical system to which the name refers - to install a technical device. Indeed, the work was conceived at a time- certainly in Europe and even in the small quasi-domestic circumstances of the small avant-garde gallery in the USA- when air-conditioning was by no means commonplace; a certain gleam of technological modernity issued from it. Reference text from: Guerra, Carles. Art &amp; Language Uncompleted: The Philippe Méaille Collection. Barcelona: Museu d’Art Contemporani de Barcelona, 2014.</image:caption>
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      <image:caption>Paintings 1 (No. 7) 1971-1972, 77 x 150 cm The texts that cover the surfaces of these works are pages, fragments and paragraphs cut out of the processes of conversation and learning. While what we see, prima facie, are texts intended to be read, the works are called ‘paintings’ and paintings are to be looked at. The viewer, who will almost certainly be a reader, may imagine herself to be no reader at all. As a non-reader she would still recover detail of sorts from the ‘painting’ and may ask how this ‘detail’ compares to - or indeed connects with - the ‘detail’ recovered by a reader. Reference text from: Guerra, Carles. Art &amp; Language Uncompleted: The Philippe Méaille Collection. Barcelona: Museu d’Art Contemporani de Barcelona, 2014.</image:caption>
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      <image:caption>Portrait of V.I. Lenin in the Style of Jackson Pollock I 1979, (Assembled) 36 pages 30 x 21cm The proposal for a Portrait of V.I. Lenin in the Style of Jackson Pollock was first discussed in a spirit of irony as a possible topic for a (written) essay. A sense of the practical unpracticality of the proposal gave rise to a practical essay. The essay developed into an exhibition of colour xeroxes at the Van Abbemuseum in Eindhoven. At the time of production the conventionally aesthetic properties of the ‘original’ paintings were seen as the accidental and possibly avoidable residue of the project. In the event, the display of xeroxed images at Eindhoven was evidence of a paradox: the suppression of the aesthetic, and indeed any act of suppression, could itself be aestheticised insofar as it entered the circle of the Institutional Theory. The critique of the painted fetish was in fact to be driven more efficiently if the viewer could be lured into an experience of the paintings that would be a real match for the experience to be had before a (real) Pollock. In discovering a portrait of Lenin, the aesthetic ‘loss’ would be all the greater. Reference text from: Guerra, Carles. Art &amp; Language Uncompleted: The Philippe Méaille Collection. Barcelona: Museu d’Art Contemporani de Barcelona, 2014.</image:caption>
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      <image:caption>Study for Mother, Father, Monday: Map of the World 2000, 88 x 137 cm The form of this map owes much both to the Mercator projection and to the ‘wealth and power’ cartograms of Kidron and Segal’s atlas of 1981. Of course, at first sight, Study for Mother, Father, Monday does not intentionally show the distribution of wealth and power- or of anything else. It merely simplifies the Mercator projection into a large number of rectangular canvases that range in size from medium-sized painting to cigarette-packet small. Each of these is big enough to bear an inscription that is a fragment cut from the tape of Art &amp; Language’s written and unwritten conversation. The text that appears on a given panel serves to identify it. It is also identified more or less easily by its literal or its ‘geographical’ position. Is there here an allegory (or something) of the literal in the form of an index of conversational fragments on a representation of the world, a world that has become the undifferentiated resource of literal objects which are the harbingers of artistic meaning? Reference text from: Guerra, Carles. Art &amp; Language Uncompleted: The Philippe Méaille Collection. Barcelona: Museu d’Art Contemporani de Barcelona, 2014.</image:caption>
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      <image:caption>Ten Posters, Illustrations for Art-Language 1977, 108 x 84.2 cm Some, if not all, of these posters have the aspect of vulgar agit-prop. They are political images apparently devoid of semiological or aesthetic sophistication. In respect of both modernist theory and that later theory which is submissive (or wise) to the semiotic and technical imperatives of the age, they are naïve and unenlightened. They are ironical figures - the dumb others - of that excrescence of Conceptual Art which sought to achieve its social effects directly by borrowing the techniques of advertising. Much of this political Conceptual Art was characterised by its untransformed journalism- going straight and sentimentally to an issue - sure of its own virtue and impertinently pessimistic as to the reflective powers of those whose interests it loftily purported to serve. Had it lacked direct political pretension and merely shadowed (and displaced) the semiotics of advertising, a distance would have been retained and, with that, political virtue. Reference text from: Guerra, Carles. Art &amp; Language Uncompleted: The Philippe Méaille Collection. Barcelona: Museu d’Art Contemporani de Barcelona, 2014.</image:caption>
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      <image:caption>Opera Victorine 1984 Art &amp; Language: Interview with Victorine Meurend is a fictional conversation between Victorine Meurend, the model who posed most frequently for the painter Édouard Manet and the Art &amp; Language collective. This four-act detective opera was composed by British conceptual artists Art &amp; Language. It was created in English in the summer of 1983 and published in the collective's journal, Art-Language, volume 5, n°2 of March 1984. The French translation of the opera was first published in 1993 by the Galerie nationale du Jeu de Paume on the occasion of the Art &amp; Language exhibition. Reference Text from: Château de Montsoreau Musée d’art Contemporain, Victorine (Opera).</image:caption>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Sandy Lister</image:caption>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Jay Balbi, Studio Floor, 2005 Photo/collage 53 x 43 cm</image:caption>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Andrew Huston, Australian Factor 3 - Inverse Blue, 2005 Acrylic and Mirror 80cm diameter</image:caption>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Sophie Coombs, Rouge Gypsy, 2006 oil on plywood 60.0 cm x 120.0 cm</image:caption>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Sarah Keighery, Polenta Line. 2007. 8 x 46cm radius.  Aluminium, PVC, Yellow Polenta.</image:caption>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Christoph Dahlhausen, Silver &amp; Blue, Parts 1 &amp; 2, 2007.</image:caption>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Julian Daspher</image:caption>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Gottfried Jaeger</image:caption>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Andrew Lesley, Untitled, 2010. Acrylic on hardwood, 27 x 32cm (Total area)</image:caption>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>       </image:caption>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>Conjunctive Relations, 2013      </image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/1425439550919-GS19CLICA2021KPT7VI9/BGSK1.jpg</image:loc>
      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
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    <image:image>
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      <image:title>SNO Exhibitions ( 1 - 99 )</image:title>
      <image:caption>       </image:caption>
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      <image:title>External Projects</image:title>
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      <image:title>External Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/1392594814042-3KIPJJ13RRA8FLS73IVU/MEK_SCA_1.jpg</image:loc>
      <image:title>External Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/1392595501216-8V255AZRV6L0JOLIE6MF/SNO_Austral_06.jpg</image:loc>
      <image:title>External Projects</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/1392250137945-78B3SBO69VJXPP7QWDQ0/Screen-Shot-2014-02-12-at-10.52.42-AM.jpg</image:loc>
      <image:title>External Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/1392595075018-JRLEKENMKWKEJQ3L8LZ4/upsidedown-1.jpg</image:loc>
      <image:title>External Projects</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/1393805746249-SFY9A5W0IXVRAICZOGF9/unnamed-1.jpg</image:loc>
      <image:title>External Projects</image:title>
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      <image:title>External Projects - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/1b4b1d5d-18e9-4ea0-9bd8-975a71537756/2022-10-11+-+YWOA_Noise.jpg</image:loc>
      <image:title>External Projects - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/42ecc6c3-b872-49a9-b2e8-581488f1646e/nido.jpg</image:loc>
      <image:title>External Projects - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
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    <loc>http://www.sno.org.au/sno-review</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-10-31</lastmod>
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    <lastmod>2025-05-16</lastmod>
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      <image:caption>Rainer Linz, Scherzo, 2023</image:caption>
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    <loc>http://www.sno.org.au/sno-review/2025/1/3/mark-galea-testing-grounds</loc>
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    <priority>0.5</priority>
    <lastmod>2025-01-03</lastmod>
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      <image:caption>Mark Galea, Necessary Administration, 2024</image:caption>
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  <url>
    <loc>http://www.sno.org.au/sno-review/2024/12/28/suzie-idiens-the-warriors-and-the-missing</loc>
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    <priority>0.5</priority>
    <lastmod>2025-02-03</lastmod>
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      <image:caption>Untitled #4, 2024, Untitled #1, 2024. Photo: Andrew Curtis</image:caption>
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    <loc>http://www.sno.org.au/sno-review/2024/12/28/john-aslanidis-euphoria</loc>
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    <priority>0.5</priority>
    <lastmod>2025-01-03</lastmod>
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      <image:title>SNO Review - John Aslanidis: Euphoria - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>http://www.sno.org.au/sno-review/2024/11/18/peter-brook-kaleidoscape</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-03</lastmod>
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      <image:title>SNO Review - Peter Brook: Kaleidoscape - Make it stand out</image:title>
      <image:caption>Photo: John Aslanidis</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://www.sno.org.au/sno-review/2024/9/23/anni-and-josef-albers</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-03</lastmod>
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      <image:title>SNO Review - Anni and Josef Albers - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
    </image:image>
  </url>
  <url>
    <loc>http://www.sno.org.au/sno-review/2024/9/23/in-the-flat-field</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-03</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5226b113e4b0defa8ef0b0ad/200b9e31-106a-48d7-abcb-f38ae4b326ef/in+the+flat+field-49.jpg</image:loc>
      <image:title>SNO Review - Tom Isaacs &amp;amp; Nuno Rodrigues de Sousa: In the Flat Field - Make it stand out</image:title>
      <image:caption>Homage to the Pentagon, 2024 Tom Isaacs &amp; Nuno Rodrigues de Sousa Acrylic on shaped canvas 126 x 133 x 3 cm Photo: Alex Wisser</image:caption>
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  </url>
  <url>
    <loc>http://www.sno.org.au/sno-review/2015/8/27/materialising-sound-sno-114</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-03</lastmod>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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  <url>
    <loc>http://www.sno.org.au/sno-review/2014/11/2/vegas-can-be-jonny-niesche</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2025-01-03</lastmod>
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      <image:title>SNO Review - Jonny Niesche - Vegas Can Be</image:title>
      <image:caption>Jonny Niesche, installation view</image:caption>
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