Terror Australis: Fear and Loathing in Open Spaces

When European explorers first discovered Australia, it was generally referred to as Terra Australia Incognita literally translated as Unknown Southern Land. Marshall looks at the physical terrain of this equally beautiful and dramatic region of the world via a selection of prolific Australian films which give shocking portrayals of our lifestyle here in the lucky country. Terror based films such as Dead Calm, Razorback, The Cars that ate Paris and Kiss or Kill.

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Tjukurpa Wangapai - Story-Telling Place

In 1998 Margaret Worth was invited by a small group of Pitjantjatjara women to visit the Tjilbruke Gateway installation at Warriparinga on the banks of the Sturt River in Adelaide. Months later Worth visited the women to talk about making a place like the Tjilbruke Gateway. This article looks at Worth's role in helping to develop a built site which would signify as much as its natural environment did. In the process she learnt what was important to know about the land and developed her own understanding of place.

Margaret Worth

Place Works: Bronwyn Wright

Bronwyn Wright's work has closer links to the stealth associated with graffiti artists and the flamboyant play of the theatre than to large scale earthworks. It is based on intimacy with the site, daily visits, observations of seasonal variations and an anonymous interaction of dialogue with a young sub-culture. The ruined cars which adorn the site of 'The Swamp' where Wright works are symbolic mediators between earth and technological man. The car bodies wear away, crumple and disintegrate as the land itself is torn and worn and as our own bodies tire and retire.

Bronwyn Wright

Notes from 2045: Meredith Rowe

Westspace Melbourne 14 - 31 March 2002

Juliette Peers

Float or Sink: A New Direction for Art in Regional Australia

When it comes to the interpretation of place, whether it be through the language of art, economy or social relations, we are always doing so through a culturally constructed lens and at a culturally constructed moment in time. The way we represent the land affects how we use the land and our land use in terms affects the way we represent it. Wilson looks at art that is made outside the context of the art gallery or computer screen and the ongoing categorisation and separation of institutionalised art from public art. The Artists Working in Nature movement and The Floating Land project are here used in reference.

Kevin Wilson

Spirit Country: Contemporary Australian Aboriginal Art from the Gantner Myer Collection

19 April - 16 June 2002 Brisbane City Gallery

Timothy Morrell

ConVerge: Where Art Meets Science

2002 Adelaide Biennial of Australian Art Art Gallery of South Australia 1 March - 28 April 2002

Belinda Hoare

Traces of a Shared Memory

Julie Blyfield's recent work explores her family history and her own sense of place and identity through the objects that have been handed down to her from her grandparents. Her grandmothers embroidery was a specific reference point for this work, as she metaphorically 'unpicked' her designs and reinvented them through her own medium.

Julie Blyfield

Your city is so ugly: Adelaide and the truth

'Your City is Ugly' was a 2002 Adelaide Fringe production devised by John Adley, Chris Barker, Julianne Pierce, Katrina Sedgwick and Daryl Watson. Page layout by Daryl Watson with text by Julianne Pierce. Architectural photographs by Daryl Watson assisted by Tim Fenton. Photographs of Madame Ivana, Vladimir and Sergei by Annette Tripodi.

Julianne Pierce and Daryl Watson

Places Not Forgotten: In Rural South Australia

The Flinders Ranges in South Australia where Malcolm McKinnon lives is a place of diminishing population, sparse landscapes and resilient social memory. It's a place that reveals itself only over time, as the stories, names and explanations for particular places and people become gradually apparent. It's a place where most of the people of the land carry memories and maps of special places around in their heads. McKinnon's aim in writing this article is to use these places and the claims attached to them by many non-indigenous people to show that they are just as legitimate as those of indigenous people.

Malcolm McKinnon

Material Difference

Chandler looks at the practice of Paul Johnson and Elizabeth Frith Poole, two artists who both live in the same regional area, but convey contrasting views concerning the significance of place. For Frith Poole, time spent investigating her immediate environment has led to a more profound understanding of it, while Johnson utilises materials that are claimed as belonging to specific sites or cultures to confront assumptions concerning landscape and identity.

Lisa Chandler

Vis.Arts.Online

Various Online Exhibitions

Megan Jones

Perth International Arts Festival 2002

Various venues February 2002

Dorothy Erickson

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