More from this Issue
Ingrid Day on Phil Mullaly
Exhibition review Other Refuge Have I None
Phil Mullaly
New Land Gallery
16 November - 30 December 1994
Rice on the Terrace
The artist grew up in Baguio, which looks to be quite close to Ifugao on the map, and although I was taught that the rice terraces of this region of the Philippines were the eighth wonder of the world it was many years before he was able to see them.
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."
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.
Culture/ Agriculture
Story 1: A story about land owners and nomads. Story 2: Never terra nullius. Story 3: Genetic imperialism. Story 4: The politicization of hunger. Story 5: Kunde and the perception of order.
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
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.
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.
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
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.