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This is the third chapter of an unpublished autobiography by art theorist and national treasure Donald Brook.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.

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Papunya Painting: out of the desert

Curator: Vivien Johnson National Museum of Australia 28 November 2007 3 February 2008

Stephanie Radok

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

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.

Darren Tofts

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

Aesthetics and material beauty: aesthetics naturalized, Jennifer A. McMahon

New York and London, Routledge 2007, RRP US$135

Michael Newall

Cobi Cockburn

Cobi Cockburn is a glass artist whose work reflects her journey through the world, first in response to the country around Canberra and more recently the Shoalhaven district. It is her personal response to the landscape in which she lives (as opposed to a larger environmental message) which drives her to continue to push herself with a medium not typically used for landscape. Cockburns working methods of fusing, slumping, rolling, hot forming and cold working glass demonstrate clear connections from one piece of work to the next. Central to her motivation is the desire to create works of subtlety and grace. Cockburns working methods demonstrate clear connections from one piece to the next, yet each piece is a self-contained process in itself. A self-confessed addict of her book (her journal), Cockburn says that when she reviews her collection of journals, she can trace progress and a sense of continuous narrative. But she feels, on the whole, that her work is evolving more as a natural process as she herself develops both as an artist and a person. Each piece has its own essence, or presence, and comes together with others as collections which reflect part of the greater experience. Central to her motivation is the desire to create works of subtlety and grace, pieces that will stand for themselves but not shout at the viewer.

Karen Finch

On sunsets

A voyage across sunsets in recent Australian art from Jim Thalassoudis to Anne Zahalka, Tim Storrier to Philip Hanson. While at the outset Ted Snell quotes with approval Oscar Wilde's statement that 'nobody of any real culture ever talks nowadays about the beauty of sunsets' he goes on to show the enduring and meaningful presence of the sunset in both paintings and photography. Thus he demonstrates that art involving repossession and reinvention can, in spite of having to deal with accusations of kitsch, parochialism and provincialism, turn old themes into pure gold, both actual and emotional.

Ted Snell

Gatecrashing the sublime

In his youth as a regional gallery director Peter Timms imagined an exhibition called Flat Earth that would show all country artists that where they actually lived was, like anywhere else, able to be transformed into art. This article looks at the different approaches to landscape taken by the work of Tasmanian artists David Keeling, David Stephenson, Philip Wolfhagen and Richard Wastell, and how they transcend social, moral or political point-scoring to achieve their own kind of beauty, a clear-eyed, unsentimental appreciation of the environment as it really is, which frankly acknowledges the harm, both physical and conceptual, that has been inflicted upon it.

Peter Timms

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

Contemporary beauty

Pictorial section.

Margot Osborne

Robin Best

Robin Bests ceramics reflect her attention to the importance of location. Her forms are classical, meditative and reflective, and has ranged from marine forms to works decorated by Ernabella artist Nyukuna Baker. Her most recent body of work undertaken during and after a number of residencies in China reflects the complexity of the cultural, commercial and political history of China. Her snuff bottles are a picture gallery of images related to trade, culture and commerce, while others contain designs taken from each of the countries that blue and white porcelain passed through on its way from China to Europe via India and the Middle East.

Stephen Bowers

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