Tina Gonsalves: Unleashing emotion

Tina Gonsalves is currently honorary artist in residence at the Wellcome Department of Imaging Neuroscience and visiting artist at the MIT Media Lab in the US. Her recent work is interested in adaptive, rather than expressive approaches to mental and emotional states. Gonsalves situates emotional states as rhizomorphic and emergent. In her new works, she has given the media art world a new concept, the emotional algorithm. Feel: Chameleon (2007/2008) introduces multiple subjects, both projected images and people, into a panoramic installation. It is a complex exploration of ideas drawn from the emerging discipline of social neuroscience which is interested in the ways in which people connect with the emotional state of others.

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Karl Wiebke

Karl Wiebke has been making art for thirty years. Margaret Moore selectively reviews his oeuvre and concludes that though 'Beauty as an ideal is not a platform for his practice it is a consequence. His works are profoundly and atmospherically evocative of mood, weather, or nature like a bed of lichen or a sense of saturation. He has adopted a programmatic approach to his practice, setting schema and working toward attainment. That schema might incorporate an obligation of time, of mark-making, of palette or the allowance for interventions other than by his hand.

Margaret Moore

Liminal

Curator: Colin Langridge Thomas Bachler, Andrew Dewhurst, Richard Giblett, David Martin, Todd McMillan, Ali Sanderson, Richard Wastell Carnegie Gallery, Hobart March 6 April 13 2008

Yvette Watt

Insights and a conversation

A brief but notable account of the 2008 CIHA from the perspective of Anne Kirker describing the key speakers and their topical lectures in relation to art history. Kirker further elaborates on her experiences at the CIHA and what she deemed intellectually stimulating and intriguing. Kirker also summarises the general relevance and opportunities the CIHA provides.

Anne Kirker

A new global art history: CIHA 2008 (Congress of the International Committee of the History of Art)

Caroline Turner

One night only project

Curators: Kate Kelly and Pip Stafford Artists: Lindsay Arnold, Braddock, Lisa Campbell-Smith, Lachlan Conn, Moira Corby, Scot Cotterell, Lindsay Cox, Empire, Ghostpatrol, Andrew Harper, Jamin, Kate Kelly, Kirsty Madden, Noble, Michael Prior, Pip Stafford, Andy Vagg. Sound Artists: Chrysalis, Cycle, Global Ethnic, Matt Neidra. 29 March 2008

Bec Tudor

The romantic spirit

In 2007 Jennifer A. McMahon, senior lecturer in philosophy at the University of Adelaide, published a book called Aesthetics and material beauty: aesthetics naturalized. (See book review by Michael Newall, this issue of Artlink.) In the late 1970s McMahon was an art student looking for truth. Her move to philosophy to find truth makes use of Kant's doctrine of aesthetic ideas and argues that our perceptual and cognitive orientation to the world is reaffirmed through finding forms that seem to draw us to them for their own sake. When this occurs it unleashes ideas like immortality, infinity and freedom for which there are no perceptual counterparts. She argues that Beauty may be in the eye of the beholder but what constitutes the eye of the beholder is determined by culture.

Jennifer A. McMahon

Letting Go: Lee Salomone

Prospect Gallery 2 - 23 March 2008

Lauren Sutter

Now that I am a man I can go to war: Angela Lynkushka

Monash Gallery of Art 29 February - 27 April 2008

Ulanda Blair

The realities of power

This is the third chapter of an unpublished autobiography by art theorist and national treasure Donald Brook. Previous chapters were published in 2005 in Artlink Vol 25#3 and in 2006 in Vol 26#4. In The Realities of Power Brook recapitulates what happened in terms of teaching and policy at the Power Institute, University of Sydney, in the late sixties when he first arrived in Australia from the UK. His long and detailed account explores why, in his opinion, the early Power Institute had so little impact on Australian visual culture. The rest of Brooks autobiography waits in the wings.

Donald Brook

Australian Beauty

Beauty is problematic for contemporary art theory at least in part because it affords a pleasurable, life-affirming, yet ineffable experience. Yet Margot Osborne finds many examples to show that it has never really gone away. As Peter Schjeldahl observed in 1996: Beauty will be what it has always been and, despite everything, is now in furtive and inarticulate ways: an irrepressible, anarchic, healing human response without which life is a mistake.' Osborne writes: Embodiment, the synthesis of sensibility, skill and material form, is at the heart of beauty...The perception of beauty is an integrative sensual and cerebral experience, dissolving dualities of mind/body and repudiating outmoded art form hierarchies.

Margot Osborne

In response to conversations with a therapist as a narrative device: Martin Smith

Ryan Renshaw Gallery April 22 - May 10, 2008

Ben Eltham

Artrave

Artlink

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