et al.
Biography
et al., salt, 2021, acrylic paint, pencil, oil stick, blind, luiquitex, adhesive, 260 x 1160mm, Verso: Estate of L Budd
UIC 50511.312-28, date not known
et al., boundary lines, 2018, installation view, Griffith University Art Museum, Brisbane, 2018
Samuel Holloway et al. upright piano, 2013, installation view, Auckland Art Gallery Toi o Tamaki, 2017
et al., the common good_Camp of faith, 2015, hand annotated custom framed black and white photograph, 490 x 670 mm
et al., many to many, Installation view,Auckland Art Gallery Toi o Tamaki, 2013, roller chairs, signage, metal tubing, sandbags, helium balloons, Swiss balls, particle board
et al., de_cryption, Installation view, Auckland Art Gallery Toi o Tamaki, 2013
et al., de_cryption, Installation view, Auckland Art Gallery Toi o Tamaki, 2013
et al., trans_cryption, Installation view, Michael Lett, 2011
et al., trans_cryption, Installation view, Michael Lett, 2011
et al., the fundamental practice – regroup, reorder, restore!, Installation view, Artspace, Auckland, 2007
et al., the fundamental practice – regroup, reorder, restore!, Installation view, Artspace, Auckland, 2007
et al., the fundamental practice, Installation view, 51st Venice Biennale, 2005
et al., the fundamental practice, Installation view, 51st Venice Biennale, 2005
et al., boundary lines, 2018, installation view, Griffith University Art Museum, Brisbane, 2018
et al., the common good_Camp of faith, 2015, hand annotated custom framed black and white photograph, 490 x 670 mm
et al., de_cryption, Installation view, Auckland Art Gallery Toi o Tamaki, 2013
et al., trans_cryption, Installation view, Michael Lett, 2011
et al., the fundamental practice – regroup, reorder, restore!, Installation view, Artspace, Auckland, 2007
et al., the fundamental practice, Installation view, 51st Venice Biennale, 2005
et al.
In 2001 the artist working under the pseudonym L. Budd resigned, re-signing thereafter simply as “et al.” meaning “and others”. While L. Budd had been an inclusive signature throughout the late 1990s often signing as “L. Budd et al.”, hinting at the collaborative of unnamed parties, this was nonetheless a new beginning, a birth with an implicit end. Not the death of the author but the death of the individual signatory, and the emergence of a new collective framework, also anonymous.
– Natasha Conland
Close
et al., salt, 2021, acrylic paint, pencil, oil stick, blind, luiquitex, adhesive, 260 x 1160mm, Verso: Estate of L Budd UIC 50511.312-28, date not known
et al., boundary lines, 2018, installation view, Griffith University Art Museum, Brisbane, 2018
Samuel Holloway et al. upright piano, 2013, installation view, Auckland Art Gallery Toi o Tamaki, 2017
et al., the common good_Camp of faith, 2015, hand annotated custom framed black and white photograph, 490 x 670 mm
et al., many to many, Installation view,Auckland Art Gallery Toi o Tamaki, 2013, roller chairs, signage, metal tubing, sandbags, helium balloons, Swiss balls, particle board
et al., de_cryption, Installation view, Auckland Art Gallery Toi o Tamaki, 2013
et al., de_cryption, Installation view, Auckland Art Gallery Toi o Tamaki, 2013
et al., trans_cryption, Installation view, Michael Lett, 2011
et al., trans_cryption, Installation view, Michael Lett, 2011
et al., the fundamental practice – regroup, reorder, restore!, Installation view, Artspace, Auckland, 2007
et al., the fundamental practice – regroup, reorder, restore!, Installation view, Artspace, Auckland, 2007
et al., the fundamental practice, Installation view, 51st Venice Biennale, 2005
et al., the fundamental practice, Installation view, 51st Venice Biennale, 2005