After the Missionaries: art in a bilateral world

After the Missionaries: art in a bilateral world

vol 29 no 2, 2009


After the Missionaries, guest edited by Kevin Murray, explores how new art today reflects the critically important process of the Kyoto Protocol. As a conversation between North and South, the Protocol acknowledges that the rich countries have responsibility for the current excess of carbon in the atmosphere, and any solution will depend on consensus with poor countries aspiring to catch up. In stories that go beyond the established post-colonial paradigm, this issue presents new forms of negotiation between rich and poor, Anglo and Asian. Artists and writers including Paul Carter, Gregory Pryor, David Griggs, Janet de Boos, Ruark Lewis, Sharmila Samant, Jonathan Kimberley, Jim Everett and Ruth Hadlow discuss the extraordinary new work they have done collaboratively with others in China, East Timor, Taiwan, the Philippines, Brazil and India as well as Australian investigations of missionary mindsets and histories. Also explored are bilum crafts of Papua New Guinea, the museum settings of Cook Islands carvings, work by Pakistani-born Joyce Saloum and Khadim Ali and photographs in and of North Korea by Armin Linke and Lyndal Jones. Also a profile of Mark Siebert's new work plus national exhibition reviews.


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NAVA - National Association for the Visual Arts



You are here » Artlink » vol 29 no 2, 2009 » Island improvisations: Nathan Gray

Island improvisations: Nathan Gray

Kelly Fliedner, feature

In 2008 Nathan Gray spent two months on Itaparica, a Brazilian island in the Bahia region, as part of an exchange initiated by The South Project Inc. At the end of the year the exhibition Tudo Que Acho was held to show the work created and produced as a result of the residency. The title in English means 'everything I think'. In Portuguese the phrase also denotes discovery, as ‘to think’ and ‘to find’ signify the same act.
Tudo Que Acho: Nathan Gray was shown 4 - 20 December 2008 at The Narrows, Melbourne.



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