olga bennett 







P34_BRANCUSI_IN_GUGGENHEIM_CLONESTAMP…JPG (VARIANT)

Since March 2016, I have thought about Brancusi constantly. But, looking back now, I realise I allowed very little space for Constantin Brancusi himself in those thoughts. Instead, I spent a lot of time looking at page 34 from Art of this Century, which included an image of one of Brancusi’s Maiastra sculptures.

Metaphorically peeling the image off the book page with a scanner, I have completed the process that another photographer started elsewhere, probably in Venice, nearly four decades ago. Together, we have turned Maiastra into code, trading relatively stable bronze for malleable text – very easy to edit or duplicate, harder to keep intact. Brancusi frequently photographed his own works in the studio, but did accelerated digital aging and the slippery patina of pixels ever enter his imagination?

— exhibited at C3 Contemporary, Melbourne in 2018

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P34_Brancusi_in_Guggenheim_clonestamp…jpg (variant)
c-type photograms, laser cut bookbinding board,  2017



















P34_Brancusi_in_Guggenheim_clonestamp…jpg (i)
silver gelatin photogram, 2017 










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                                  download PDF of the text work










P34_Brancusi_in_Guggenheim_replicatorplus.print
3D prints, 2017












All images of P34_Brancusi_in_Guggenheim_clonestamp...jpg (variant) at C3 Contemporaryare by Aaron Christopher Rees












P34_Brancusi_in_Guggenheim_clonestamp…jpg (i)
silver gelatin photogram, 2017


P34_Brancusi_in_Guggenheim_replicatorplus.print (variant)
bronze cast from a 3D print, 2017









P34_Brancusi_in_Guggenheim_clonestamp…jpg (ii)
silver gelatin photogram, 2017






























































































P34_Brancusi_in_Guggenheim_replicatorplus.print

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bronze cast from a 3D print, 2017




















Un_titled

c-type photograms, acrylic, support frame, 2017



























HONOURS RESEARCH PAPER 2017
(link to download)



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P34_Brancusi_in_Guggenheim_clonestamp...jpg //
Olga Bennett








































retouching is always a form of erasure

Clone Stamp
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Clone Stamp



5TH BUS PROJECTS EDITION

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P13_Arp_human_lunar_spectral_clonestamp_clonestamp_clonestamp…jpg

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archival pigment prints, 2017






— exhibited at BUS Projects, Melbourne in 2017








In ‘Atlantis’ Hannah Black recounts her visit to an underwater museum and ancient rock carvings that she saw:

The carvings showed, or seemed to show, given empathy’s limitations, that in the minds or lives of the ancient people – not ancient to themselves but as new as we are now – there existed some kind of extraordinary wild cow. But the technologies that could receive and make use of this incredible cow, the right eyes, the right practices, are lost.

How can we recoup this loss, and what of technologies acquired in the meantime? Can they be of any use?

‘The Right Eyes‘ tests the possibility of practicing photography in a speculative mode, in order to redeem the loss of its documentary function.


— exhibited at BUS Projects, Melbourne in 2017

















c-type photograms, support frame, silver gelatin print, 2017


















Un Magazine review





silver gelatin photograms, bronze pins, 2017












































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Exhibited at The Substation Gallery as a part of CAVES OFF-SITE exhibition.

Artists include Olga Bennett, Lily Benson (USA), Fernando do Campo (USA/AUS), William Daniels (UK), Naomi Eller, Andrea Jewell, Annika Koops, Alex Pittendrigh, Daniel Sinsel (UK), Ross Taylor (UK), Michelle Ussher (UK/AUS), Anna Varendorff, Rudi Williams, Zilverster (Goodwin & Hanenbergh).

Installation photographs by Taryn Ellis.