Archives After the Seventies and After

Brown and Green are well known for their meticulously produced paintings, often involving the layering and juxtaposition of competing forms and histories. They continue to paint though photography has now assumed a major position in their practice. These photographs function as archives without narrative: scrambled mythology.

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Artists and Collections: a working partnership

The notion of the artist working with the museum collection is not new. Historically, artists have drawn inspiration from museums and their diverse collections - archaeological, ethnographic, medical, botanical and zoological- as a basis for academic studies and finished works.

Rachel Kent

Elizabeth Gertsakis: Tampering with the Archive

Elizabeth Gertsakis has excavated her family histories and Greek/Slavic heritage as part of understanding difference as a critical space of knowing. It is not an attempt to 'position' or 'locate' herself in Anglo Australian culture or in the art world, but to understand the mechanisms that produce dominant cultural histories and resultant exclusions.

Brett Jones

Recollections of Memory: Akio Makigawa

Jewellery by Carlier Makigawa Galerie Dusseldorf October 1998

David Bromfield

Vault: A Collaborative Installation Cluster

Ian North and Helen Fuller 12 November - 6 December 1998 Experimental Art Foundation

Lisa Harms

Going Over Old Ground

The artist discusses the research for her exhibition entitled 'The Private Eye- a foreigner's power of observation'. Held in regional Victoria 1998.

Vicki McConville

Juliet Stone Paintings and Pastels

Juliet Stone paintings and pastels Gomboc Gallery Perth 1-22 November 1998

Philippa O'Brien

The TMAG Commissions 1998

Here at the end of the twentieth century, the world is having to come to terms with the socio-political, economic and environmental legacies of nineteenth century imperialism. Contemporary art participates in this post colonial discourse: issues of ancestry and inheritance, relations between indigenous and settler peoples, national and imperial mythology, mapping and borders, migration and language, ecology and exploitation - these are increasingly familiar themes.

David Hansen

History and Memory

History and meaning are very much at the centre of an important exhibition in WA of Aboriginal art. Many of the artists draw on personal or family memory, while others use documentary evidence of the past. Parallel to these individual histories is the history of government policy and its impact on groups and individuals.

Philippa O'Brien

Parallax Error

Working within the context of the Percy Grainger (1882-1961) collection, artists Louise Weaver and Carolyn Eskdale created an installationwithin the architecture and material culture of the building. In 1998 composer and sound artist Ros Bandt created an installation for the Museum's courtyard.

Naomi Cass

Market Mark-Art: Forgotten Fruit

In the final stages of the demolition of the old Adelaide fruit and vegetable markets, Margaret Dodd and Jennifer Hughes collaborate to produce an installation which caught the echoes of the history displayed in situ at the markets.

Noel Purdon

Time Traveller: An Interview with Kim Donaldson

Explores three exhibitions by Kim Donaldson. 'From the Lecture: A reminder of life', 'From the Museum: Supplementary files' and 'It's about time'. These exhibitions reflect the artist's continuing obsession with time, absence and mortality.

Susie Shears

Psychology of Retrieval: Personal and Fictional Archives

How can (traumatic) memories be excavated? Many visual artists use records and material objects as documentation with which to resurrect their past experience and those of their families. Often using literary means, visual artists who archive their past employ text as well as images in poetic and haunting ways. Quotation and citation form the kernel of this pychology of retrieval and act of preservation.

Natalie King

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