The Terratransformers of Planet Three

Re-creation of a living landscape has to happen in farmyards, back-yards, and city squares, it has to be understood and practised at the small scale as well as the large. The remake the landscape for an ecological future we must make it fit for all living beings.

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Wolseley and Majzner Read the Land

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

Lee Ferguson

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.

Stephanie Britton

Asian Tucker in the NT - new trend, old ecology

An installation work 'Guarding Civilization's Rim' a collaborative effort by 'The Personal Museum' comprising three Queensland artists opened in Townsville in September 1994. The project has been specifically created for and about northern Australia - the last frontier.

Christine Burry

Cate Jones on Photography

Exhibition review Lifeworks: Aboriginal women photographed in action and at work by Aboriginal women photographers Tandanya National Aboriginal Cultural Institute Adelaide South Australia 7 October - 4 December 1994

Cate Jones

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

The Struggle for LESS Interesting Pictures

Beth Field is a farmer and a photographer in the WA wheatbelt facing a curious loss, one she is happy to accept - the dramatic colours of sunsets reflected in the salt lakes which she used to photograph may soon be hard to find as revegetation reclaims the soil. She recounts the changes she has seen in the last decade.

Beth Field

David Bromfield on Sculpture

Exhibition review The Games Room Stuart Elliott at Lawrence Wilson Art Galley University of Western Australia 21 October - 4 December 1994 Death of a Myth Michelle H Elliot at Gomboc Galleries and Sculpture Park 6 - 27 November 1994

David Bromfield

The food chain starts here: Larrtha’puy, from the mangroves

Djon Mundine

Mark Stephens on 600,000 Hours

Exhibition review 600,000 Hours (mortality) exhibitions Experimental Art Foundation Adelaide South Australia 15 September - 4 December 1994

Mark Stephens

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

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

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

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