Culture/Agriculture

Agriculture and culture go back a long way. The fact that they actually meet and marry in the word 'cultivation' makes this clear....when it comes to direct experience, city and country are more distinct in Australia than in many countries.

More from this Issue

Robyn Daw on Elsje King

Exhibition review Elsje King: Textiles University Gallery University of Tasmania, Launceston 9 September - 7 October 1994

Robyn Daw

Husbandry and the Coporate Collection

Making taste? Making money? Melbourne historian Juliet Peers scrutinises a group of books and catalogues on corporate art collections to see whether boardroom fancies and their lavish publications reflect a wider role in shaping popular visions of Australian painting.

Juliette Peers

Portrait of the Farmer as a Mature Potato

"As with everything else, the country that I have been talking about is frequently regarded as a commodity, be it in relation to yields of primary produce or to spectacles and hypothetical experiences marketed for tourist consumption. Here's the main thing to understand: this commodification is entirely at odds with the appreciation of landscape that I've been trying to tell you about."

Malcolm McKinnon

Cultivated anatomy: Fiona Hall's Garden of Earthly Delights

Dorothy Erickson

Wolseley and Majzner Read the Land

Looks at the recent work of John Wolseley and Victor Majzner.

Lee Ferguson

The use of Aesthetics: Food for Thought

Aesthetic value is determined by commonly held notions of taste, beauty and attractiveness and differs from culture to culture. How does this influence us in our choice of nourishment - our daily bread, fruit or snack food? Why does food today look like it does?

Anna Jean Bonshek

Plant a Yam, Paint a Yam

Explores the relationship between food and its representation in the northeast of Arnhem Land in the Northern Territory. Remember, dangerous themes make dangerous art.

Michael Christie

Paul Hay Diary

Exhibition review Four Point Bearing: Simon Barley, Paul Hay, Ian Parry and James Smeaton Tasmanian Museum and Art Gallery 26 December 1994 - 25 February 1995 Artist's journal by Paul Hay

Paul Hay

Living with the Land

If there is a contemporary issue for landscape artist to engage with, it must be the process of developing a relationship with the landscape, even if it is at the level of s sustain[able] failure, a low level antagonism or an uneasy peace. It is as difficult and as complex as any other issue, and it ultimately speaks of the human condition.

Geoff Levitus

A Piece of EcoCity

The Halifax EcoCity Project is not just the seed for a future ecological Adelaide; it is the embodiment of a new paradigm that is sweeping the planet.

David Munn

Art about farming, farming as an art

The daily experience of tending a tract of land in the south-east of South Australia is the raw material of artist–farmer James Darling. The land which comprises Duck Island is watercourse country where sand, water, salt and native vegetation are the elements from which, over decades of passionate attention, he and his partner Lesley Forwood have developed a farm which includes a special salt-tolerant grass for their cattle. His exhibition, Define the Country, at Riddoch Art Gallery in Mount Gambier is a response to this farmed landscape.

James Darling

Kay Aldenhoven on Annie Taylor

Exhibition review Doggone: Goddog: godingo: dingod Works by Annie Taylor 24 Hour Art Darwin, Northern Territory 21 October - 5 November 1994

Kay Aldenhoven

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