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Ken and Julia Yonetani / Janet Tavener
Still Life: The Food Bowl: Ken and Julia Yonetani Artereal Gallery, Sydney, June 2011 Mildura Palimpsest #8, 9-11 Sept 2011 GV Art, London, October 2011 Melting moments: Janet Tavener Incinerator Art Space, Willoughby 2 -27 March 2011
Networks (cells & silos)
Monash University Museum of Art
1 February – 16 April 2011
Curator: Geraldine Barlow
1 February – 16 April 2011
Curator: Geraldine Barlow
Dis-covery
Long Gallery, Salamanca Arts Centre, Hobart 25 March - 1 May 2011 Curator: Colin Langridge
Ulli Beier
Ulli Beier (1922-2011) I remember a Yoruba saying that Ulli often quoted: “If an old man dies, you shall not weep but congratulate his family for that his life has come full circle.”
John Barbour
John Barbour (1954-2011), a complex, intelligent and much loved South Australian artist and academic, was in the prime of his life and at the height of his career when he died on Sunday 17 April 2011.
Victorian Indigenous Art Awards 2011
Article on VIAA, Indigenous arts in Victoria – from the VIAA Curator.
A rusty sign at the end of a bloody empire
At Magnet Gallery in Quezon City Filipino artist Norberto Roldans exhibition Oil goes beyond the local situation and deals with the theme of peak oil as the root of all geopolitical evil, with the United States of America as the primary agent of ill intent. Lourd de Vera vividly describes it as a deliberate exercise in propaganda and sloganeering. Roldan takes a broad historical view and reflects on US policy in the Philippines over time while the rusting Caltex sign embedded in the exhibition asserts a warning: no empire lasts forever.
Conducting Mobility
Artists thinking and making work about fuel span the globe and delve into a wide range of ramifications. UK-based PLATFORM have done a multi-pronged report called Unraveling the Carbon Web on four oil-producing hot spots, Iraq, Nigeria, Russia and the Caucasus. Chicago-based Laurie Palmers Notions of Expenditure solicits renderings of exercise equipment and gyms redesigned for the production of electricity. Brian Collier wanders the edges of Illinois highways to locate thriving non-human life forms. kanarinka documented her running of the official evacuation route out of Boston while collaborators Kim Stringfellow, Amy Balkin, Tim Halbur, Pond and Greenaction made an audio guide for a Californian highway drawing its military, residential and agricultural stories together.
Watching as the enchanted land meets its end: Qiu Anxiong
With traditional Chinese brush painting skills Qiu Anxiong's three screen video animation New Book of Mountains and Seas, Part 1 shows the history of the world from its genesis as a vast sea to cities on the edge of destruction. It shows cycles of animal, bird and human life, oil drums and pipes, trees, mountains, the last ten yeas in China and the Great Wall of China. A modern version of the Shanhai Jing (The Classic of Mountains and Sea) the two thousand year old Chinese fanciful geography, Qiu Anxiong's animations brilliantly use scale to combine drawing with political comments.
Hyperlexic, desalinated but not scary
Separate performance works by The Collective (Alana Hunt, Sylvia Schwenk, Ingrid Dernee, Megan Brewster, Susie Fraser, Anna Williams), Tony Schwensen and Zina Kaye confront the complexity of the interlinked flashpoints of oil, energy, human rights, global warming, rampant flows of predatory capital and the war on terror with notions of resistance and how individuals can act. Schwensen was at Artspace, The Collective in Trajectories of Dissent at Little Fish Gallery and Mori Gallery while Zina Kaye in a Terminus Project at Westfield Bondi Junction broadcast her own comments on the massive LED signs hanging in the atrium of the mall.
Obscure dimensions of conflict
Lyndell Brown and Charles Green travelled in early 2007 for five weeks to the Middle East, Afghanistan and the Persian Gulf as the Australian War Memorials official war artists. The artists will make a series of oil paintings for the War Memorial from some of the many photos they took as well as developing a series of photos outside the official commission. The photos show an abstracted ruined world, shadows, machinery, stockpiles of weapons behind barbed wire, aircraft, campsites and deserts. The Ziggurat of Ur is evident in two photographs of Iraq and eloquently symbolises the rise and fall of cultures and armies across the land.
Power and art in East Timor
Recent art made by East Timorese artists is contrasted with work by Australian war artists Wendy Sharpe and Rick Amor. Artworks made by artists from the Arte Moris Free Art School in Dili are full of passion and deep knowledge of the incongruities of war and the poverty of their lives while the artworks made by Sharpe and Amor seem remote and generalised.
The winding way
Cairns-based artist Tijn Meulendijks considers the plant world as his medium. His exhibition, Natura est ars, held at Umbrella Studio in Townsville in 2007, was concentrated around a single plant community gathered while walking in a coastal Melaleuca swamp after fire had affected the environment.
The error of our ways: Madeleine Kelly
Brisbane-based artist Madeleine Kelly's oil paintings approach big issues through precise depictions of incongruous narratives which draw on both personal and mythological sources. Her comments on global issues like oil and pollution, human folly and its consequences, are framed like dream scenarios that touch us all. Kelly came to Australia from Germany when she was two and the celebrated 19th century German childrens story Struwwelpeter written and vividly illustrated by Heinrich Hoffmann echoes in her imaginative paintings of cautionary tales and surreal spaces.
The whistleblower of Discovery Bay
Carmel Wallace makes artworks with flotsam and jetsam. They comment on the immense amount of human debris she finds on the shoreline as well as on the scarred ecologies of the sea and the land. She also instigated the Great Southern West Walk project (a NETS Victoria exhibition touring throughout 2008) that brought a diverse range of artists to the chain of beaches, national parks and state forests located to the west of Portland near the Victoria-South Australian border. The project was driven by her need to develop her own knowledge and affinity for the land, to explore how art might contribute to environmental solutions and to explore walking as an all-encompassing method of experiencing the environment.
World tree: sounds of a bigger picture. Alison Clouston and Boyd
Alison Clouston and Boyd use sound and sculpture in layered and immersive installations that draw attention to delicate and complex systems in nature and what humans have made of them. 2007 is the first year they have made an artwork with a formal carbon audit and offset. Their recent art-making has caused them to become vegetarian. They believe that Today we humans need to relinquish this deeply embedded sense that we will be saved by some force beyond us, we alone have to sort out the mess we have made of this planet Earth, our only home.
Chance encounters: Pamela Kouwenhoven and Peter McKay
Two South Australian writers work with discarded materials to make strong commentaries on contemporary life. Pamela Kouwenhoven uses old empty plastic car battery cases to make Rosalie Gascoigne-like collages of faded colour and worn histories. Like her signature works using malthoid taken from beneath rainwater tanks, they have a strong environmental agenda, drawing attention to beauty as well as responsibility. Peter McKay makes playful works with serious messages. At night he makes patterns in oil stains on the road with glitter and photographs them. These works collapse the infinite into the accidental as galaxies appear on the ground.
Writing images with words: an inheritance of ambiguous faces
Beirut-based artist and writer Walid Salek's book of essays, called Jane-Loyse Tissier, deals with stereotyping in art. He is concerned with the way the Third World is often treated as a cliche of constant emergency and crisis and not as a subjective and historical space. His essays reinterpret some canonical works of Western art by artists like Titian, Courbet, Ensor, Giotto and David. His claim is that all pictures and all interpretations are contingent and thus in defending the Third World's right to its own interpretations based on its own values the entire world is being defended.
Rabih Mroué and Lina Saneh interview
Rabih Mrou and Lina Saneh are Lebanese performance artists. In their work called Whos Afraid of Representation?, currently touring Europe, they describe the work of over fifteen well-known performance artists from Chris Burden and Marina Abramovic to Stelarc and Rudolf Scwharzkogler whose violence occurs within the safe and sanctioned space of the art world. They contrast this symbolic violence with descriptions of violent murders in Beirut. The work draws attention to the way violent deaths in Beirut are as ephemeral as the newspapers they are reported in while the violence practiced by the performance artists becomes history and the artists gain authority.
The revolution will not be televised: the changing landscape of film and video production in the Arab world
The situation of Arab cinema today, while it varies from Morocco to Abu Dhabi, is at an interesting turning point due to digital technology and political and economic events. In spite of censorship there are increasingly more film festivals and a burgeoning audience of cinephiles. The 2007 Cinema East Film Festival in New York celebrated independent film production: At a moment when mainstream news seems helplessly captive to global conflicts, the war on terror and the clash of fundamentalisms, independent cinema has come to be regarded as a substitute for representing people, places and their stories. Filmmakers from the region are the most enchanting human rights activists, the most playful analysts, the most imaginative historians but first and foremost, the most generous and emboldening artists.
Handling the Adelaide Biennial
Stephanie Britton interviewed Felicity Fenner, curator of the 2008 Adelaide Biennial of Australian Art, to find out what Handle with Care really means in the twenty-first century.
Biennale of Sydney 2008: Carolyn Christov-Bakargiev
Tracey Clement interviews Carolyn Christov-Bakargiev, curator of the 2008 Biennale of Sydney, and finds out what she thinks about the Stendhal Syndrome, Biennale Syndrome and the politics of language.
Fierce or Friendly: Humans in the Animal World
Curators: Craig Judd, Kathryn Medlock, Peter J. Hughes, Vicky Farmery Tasmanian Museum and Art Gallery (TMAG) 14 December 20076 April 2008
Migratory Projects: The Drive Out Cinema
Andrew Sunley Smith Perth Institute of Contemporary Arts (PICA) 6 December 2007 - 27 January 2008
Economy
Anthony Kelly, Pilar Mata Dupont & Tarryn Gill, Bennett Miller, Tom Muller, Anna Nazzari, Mark Parfitt, Ric Spencer, Brendan van Hek (WA) Curator: Consuelo Cavaniglia PICA 1 - 25th November 2007
[the space in between] Book project
Curated by Tara Gilbee VCA Margaret Lawrence Gallery, Melbourne 13 July -4 August 2007 Sidney Myer Work on Paper Gallery, Bendigo Art Gallery 15 March - 13 April 2008 Umbrella Studio Contemporary Arts 8 August - 14 September 2008
Our Lucky Country - (Still Different)
Nuha Saad, Soda_Jerk, Ron Adams, Mimi Tong, Nana Ohnesorge, Liam Benson, George Tillianakis, Huseyin Sami, Adam Norton, Ruark Lewis, Maria Cruz, Elizabeth Day, Michelle Hanlin, Sarah Goffman, Anna Peters Hazelhurst Regional Gallery 8 December 2007 - 3 February 2008
Making it Modern The Watercolours of Kenneth McQueen
Curator: Samantha Littley Queensland Art Gallery 10 November 2007 5 May 2008
from time to time one talks to the moon: Aldo Iacobelli
Curator: Linda Marie Walker Experimental Art Foundation, Adelaide 15 November - 15 December 2007
Robert MacPherson, Vernon Ah Kee and Jeremy Hynes
Institute of Modern Art, Brisbane 8 December 2007 - 2 February 2008
Replay: Christian Marclay
Australian Centre for the Moving Image (ACMI) Melbourrne 19 November 2007 - 2 February 2008
Eldertorial
Dr Pat Hoffie worked with Stephanie Britton to realise this themed issue. They networked across the nation to collect together a set of fascinating interviews and tributes to a dynamic and charismatic group of elders who helped create the identity of Australian art today. They wish to thank all the talented and dedicated interviewers some of whom travelled great distances to do face to face interviews with artists, curators and gallerists.
Rewards, Awards and Living Treasures
Thelma John provides an insight towards the National Trust Living Treasures Program, which recognises outstanding Australians that have contributed to our society with invaluable knowledge and experience within different disciplines such as visual art, acting and sport. John goes on the say that the program was initially for the elderly but has recently included more youthful luminaries. Although in retaliation to this John continues to elaborate on Australia's consistent movement towards a suitable Living Treasures program that includes awards that recognise such achievements within the Australian community.
The Bentinck Painters: Stories to Tell
The Aged Persons' Hostel on Mornington Island is home to 1000 residents. Amongst them are three women from nearby Bentinck Island whose culture is a very separate one to that of Mornington and whose experience of exile sets them quite apart. This article looks at the creative practice of Bentinck elder Sally Gabori, her first solo show and the success of the Woolloongabba Art Gallerys Bentinck Project. According to Robert Mercer, one of the co-directors of the WAG: "&the energy of the Bentinck painters comes from an impulse to tell stories about a life lived. To relate people and places and dreams and hopes in ways that make sense of the passage of time".
Daniel Thomas: Empathy and Understanding
Steven Miller talked to Daniel Thomas AM, much-loved curator and Emeritus Director of the Art Gallery of South Australia, at his house overlooking the wild north coast of Tasmania about what he has discovered about art and artists during his long career across three major Australian art museums.
Bert Flugelman: Still Flying
Bert Flugelman is a sculptor and painter. His influence on generations of students is legendary, in major art schools in Sydney, Adelaide and Wollongong whose sculpture departments suddenly spring into life when he arrives. He has an Honorary Doctorate from the University of Wollongong, whose Friends association raised the money to pay for his gigantic winged sculpture on Mount Ousley overlooking the city an Icarus in the ascendant. At 82, he is still hard at work making large-scale works in his studio and workshop in Bowral, NSW, where Tamara Winikoff interviewed him on 23 June 2006.
Carol Rudyard: Storyboards and Solitude
English-born Carol Rudyard arrived in Perth, Western Australia, in 1950. Her initial studies at the Western Australian Institute of Technology focused on textile design and colour field and op art inspired paintings. In 1977 she began a progressive shift into slide-based installation then installation with video. Recently she has shown digital prints. Carol's reputation derives from early engagement with audiovisual technologies and her social analysis of the complicity of consumerism and the gaze at the time when theorywas often held responsible for a dissipation of critique. This article includes an edited transcript of a conversation held between Carol Rudyard and Jasmin Stephens in August 2006.
Inge King: Playing Seriously
Zara Stanhope talked to Inge King on 28 August 2006 shortly after the dedication of her latest piece of public art Rings of Saturn at Heide Museum of Modern Art. The interview took place at the Robin Boyd designed house where King (b. 1918) and her aristist partner Grahame King have lived for half a century. The both have small studio spaces in the buildings, which are set on several acres in Warrandyte in outer Melbourne.
Ray Crooke: The Stillness and the Colour
Though born and educated in Melbourne, Ray Crooke spent most of his career in the tropics away from the metropolis, risking anonymity, at a time when equity funding and regional issues were unheard of. Despite these odds he is recognised as one of Australias visionary artists, his tropical and outback paintings suffused with a contemplative stillness. What are some of the pivotal points that shaped his independent career? What is he involved in at present? These were some of the questions put to him in Cairns where he and his wife June, now in their early eighties, live. Some of Crooke's artistic influences and contemporaries here discussed are Arthur Boyd, Charles Blackman, Russell Drysdale and Sidney Nolan.
Udo Sellbach: Harsh Truths and Strong Feelings
Artist, educator and arts administrator Udo Sellbach (1927 2006) has made, and up until his death in September 2006, continued to make a profound contribution to the fine arts in this country. Born in Cologne in 1927, Udo emigrated to Australia in 1955. His experience as a founding member of the Kolner Presse and printmaker at the Kolner Werkschulen (1947-53) equipped him with the expertise to promote the development of printmaking as a studio practice within Australian art schools, particularly in the areas of etching and lithography. Sarah Scott conducted this interview with Udo in his studio in Taroona, Tasmania shortly after his seventy-ninth birthday in July 2006.
Butcher Cherel Janangoo: Imanara
Butcher Cherel Janangoos birth took place around eighty-five years ago. His mother was a Gooniyandi and Kija woman and he cites this as his heritage. He is first and foremost a markmaker. The lexicon of dots, dashes, strokes, washes, lines and imprints of brush, carving tool and sponge that Butcher employs are played out on canvas and paper as well as on etching and lithography plates and lino blocks. He is happy to work in any of these media yet regardless of the form or content of Butchers works, the subjects are all spectres of the same country, his riwi or home country that he calls Imanara.
Milton Moon: Approaching the Intangible
In his 80th year the eminent potter Milton Moon, AM, continues to make pots, working in a studio at his home in Adelaide. He exhibits with Aptos Cruz Galleries at Stirling in the Adelaide Hills. Over a long career Moon has received many awards and honours, including a Churchill Fellowship (1965) and is represented in many major public collections, including all the State galleries and The National Gallery of Australia. On a mild morning in early spring 2006 Margot Osborne sat with Moon to discuss his career as outlined in this article.
Arthur Pambegan Jr: Not to Die Away
Arthur Pambegan Jr was born in 1936 and lives at Aurukun on Cape York Peninsula. He is one of the senior members of the Wik-Mungkan language group and an elder of the Winchanam people. His main traditional lands lie between the Small Archer River and the Watson River. The sacred totemic sites of his people are told through two main stories Walkaln-aw (Bonefish Story Place) and Kalben (Flying Fox Story Place) which are the subjects of ceremonial carved sculptures. Peter Denham spoke to him in June 2002 at Aurukun.
Richard Larter: The Seasons of Art
For Richard Larter the material act of making paintings is an essential part of his daily life. He has written that my first mature paintings were pointillist abstracts done in house paints and enamels on lilac coloured masonite (Larter, 1998). Larter is an artist well aware of the visceral qualities of paint. Larters syringe paintings, made by forcing paint in raised lines onto hardboard, became the signature works for his initial Australian success. His role as assistant to the ceramicist Zora Merabek who was restoring the Marabout Tombs in Algiers led to a continuing interest in the visual forms of Islamic culture and a love of strong pure light. This article follows Larters prominent career and a lifetime of travel throughout Australia, New Zealand and abroad.
Hector Jandany 1927-2006: Teacher of Culture
Hector Jandanys work was informed by the ever-present knowledge of his country, and the ngarranggarni or Dreamtime the time the world and the rules for life began. He was renowned as a teacher of Gija language and culture in Warmun since the 1980s and he helped spread knowledge of song and ngarranggarni throughout the East Kimberley. Jandany was part of an amazing cultural team including George Mung Mung, Jack Britten, Henry Wambiny, Queenie McKenzie and others supported at Texas Downs by the kindness of manager Jimmy Klein.
Arthur + Corinne Cantrill: The Film's the Thing
Arthur and Corinne Cantrill, arguably Australias most important experimental filmmakers, have been making films since 1959, when they worked on films on child art. They bought their Bolex camera in 1960, and their first experimental films followed in 1961-62. Films like Mud, Kinegraffiti, Galaxy and Nebulae, were more or less stylised or abstracts with sound-tracks inspired by musique concrete experiments. In the years that followed, they made a large number of films, published 100 issues of Cantrills Filmnotes and gave innumerable screenings of works by themselves and other experimental filmmakers. Included is an edited version of an interview conducted by Warren Burt via telephone on 2 September 2006.
Bernard Smith: Reluctant Icon
Generations of art students have been encouraged to read his books on the history of Australian art. He has been revered, rejected, loved and loathed by young and old. Julie Copeland of ABC Radio Nationals Sunday Morning Exhibit A has interviewed Bernard Smith many times over the years, about his books, his art criticism, his autobiography. In the lead up to his new books publication The Formalesque, and on the occasion of his 90th birthday in October 2006 she asked him to recap for Artlink readers, how the varied influences of his early life came together to produce Place, Taste and Tradition in 1945 when he was 29 years old.
Joan Brassil: Force and Tension
Joan Brassil was a rare spirit, a charismatic and immensely generous artist. She died at age 86 on 19 April 2005. Anne Sanders interviewed Brassil in July and August 2004 questioning her about her remarkable practice, her collaborations with scientists and her views on the cosmos. How did she conceive of the nature of art and what makes a person become an artist? Key figures here discussed include Malevich, Darwin, John Pollack and Brian Robinson.
Pioneering Gallerists: Bruce Pollard
The spirit of Pinacotheca burst forth in 1967 with Bruce Pollards opportunistic purchase of an elaborate seafront mansion at St Kilda, Melbourne. After three years Pollard was prompted and moved into a large raw, multi-level former factory in Richmond where Pinacothecas era erupted with an exhibition of large works by Peter Booth, Mike Brown, Peter Davidson, Bill Gregory, Dale Hickey, Robert Hunter, Kevin Mortensen, Ti Parks, Robert Rooney, Rollin Schlicht and Trevor Vickers. This article goes on to briefly explore the success of Pinacotheca and the many artists who emerged and blossomed here.
Donald Horne: The Power to Transform
While Donald Hornes contributions as a writer and public intellectual are widely known, his contribution to our understanding of the importance of culture in the lives of ordinary people is less so. He was someone who was moved by symbolism and ideas. He publicly championed the importance of cultural life something no other chairman of the Australia Council, with the possible exception of Nugget Combes, has attempted. Artlink asked Deborah Mills to unpack the ways in which Horne operated in this arena.
Art and literature: A chapter in the autobiography of Donald Brook
Growing up in a diffe,ent wo,ld: this chapte, in octogenarian art theorist and philosopher, Donald Brook's autobiographical writings sheds light on the early adulthood of this super-gifted individual. It follows an earlier chapter on his childhood and adolescence. Depravity in Wharfedale published in Artlinlc Vol 25#3 (2005).
Reunion of Mildura Directors
A small performance piece was created for the recent 50th anniversary celebrations of the Mildura Arts Centre which brought together six of the seven directors who have overseen the development of this remarkable regional arts complex since 1956. The extraordinary historical line-up of directors was a highlight with each providing personal insights into the galleries collection and their time at the helm. The presenting directors were Rex Bramleigh, Eric Westbrook, Tom McCullough, Michel Sourgnes, Ian Hamilton and Julian Bowron.
Joan Kerr: Unfinished Business
Art historian critic, essayist, heritage consultant, the late Joan Kerr was writing of the Irish-Australian women who passed though the Hyde Park Barracks wondering whether their presence was effectively mediated into the Irish Famine sculpture. Furthermore she added we dont want to remember them solely in piety as what has melted away in dismemberment and loss. Ironically Joan could be prophetically setting out the appropriate moodscape for her own memorialising. In the words of her husband who has compiled a partisan and intimate memoir of this distinguished artworld figure, Joan had a natural capacity to prick pretension and kick against the pricks of perceived injustice
Minyma Tjukurrpa Canvas Project Kintore
Minyma Tjukurrpa is the Pintupi term for womens law or story. When the older women of Kintore saw members of their immediate family painting at the Ikuntji Womens Centre at Haasts Bluff they instigated a painting project which was to become known by that name. These same women went on to paint for Papunya Tula and are now represented in public galleries nationally and internationally. This article documents the history of the Ikuntji community, the links between the Pintupi from the Walungurru area and Haasts Bluff and the dancing and painting practices of these twenty-five senior women.
Ernest Orel: Master of the Press
The relationship of the artworld with the world of mass production printing has always been a very important one. Graphic designers and their clients have been blessed in Adelaide by the presence here of Ernest Orel whose commitment to quality, attention to detail and willingness to experiment has helped and inspired many people and set a very high benchmark for the whole of Australia. Here Irene Previn looks at the prominent career of Ernest Orel now aged 74 and the outstanding achievements of his printing company Finsbury in the production of environmentally friendly products and processes.
Gwen Leitch Harris 1931 - 2006
Gwen Leitch Harris, born 1931 in Burnie, Tasmania, was raised in a matriarchal household where her artistic gift was sensitively realised. She studied painting at Hobart Technical College under Jack Carrington Smith who recognised her talent. Gwen described herself being like Adelaide& a well-kept secret and in her gentle unassuming manner, revealed aspects of her remarkable life. Hellen Fuller here pays homage to the life and career of a remarkable woman and artist.
City of Perth PhotoMedia Award
City of Perth PhotoMedia Award Perth Institute of Contemporary Arts (PICA) 5 October - 5 November 2006
Eleanor Avery: Boomtown
Boomtown Eleanor Avery Blacklab, Fortitude Valley, Brisbane 26 August - 13 September 2006
Primavera 06
Primavera 06 Curated by Aaron Seeto Museum of Contemporary Art, Sydney 13 September - 19 November 2006
A Man's World
A Man's World John Beard, Gordon Bennett, Jon Campbell, Adam Cullen, Andrew Curtis, Dani Marti, Noel McKenna, Euan McLeod, James Mellon, Glenn Morgan, Ben Morieson, Charles Robb, Gareth Sansom, David Wadelton Curated by Frank McBride Museum of Brisbane 18 July - 19 November 2006
video/performance nights at Downtown
Local Video & Performance Nights McKay/Siebert & Viv Miller; Shimmeeshok; Emma Northey & Stephen Roedel 6, 20, 27 September 2006 Downtown Artspace, Adelaide
Irrunytju Arts
Irrunytju Arts: Senior Artists from Irrunytju 12 August - 9 September 2006 Raft Artspace, Parap, NT
Louise Weaver
Taking a Chance on Love: Selected Works 1990 - 2006 Louise Weaver 9 July - 27 August 2006 McClelland Gallery + Sculpture Park, Langwarrin, Victoria
Alicia King: i'm growing to love you
I'm growing to love you Linden, St Kilda Centre for Contemporary Arts Victoria, Melbourne 18 August - 24 September 2006
Life is Getting Longer
Life Is Getting Longer Michael Bullock (Aus), Eleanor Crook (UK), Nick Devlin (Aus/UK), Jon Jones (UK), Justine Khamara (Aus), Steven Rendall (Aus/UK) Curated by Steven Rendall VCA Gallery, Melbourne 1 - 24 June 2006
Clifford Frith: perpetuating the bloodlines
Pat Hoffie talked to Clifford Frith, about his life as an artist and a teacher, about where and how your essential focus is born and shaped and the possibility of passing some of this on to students and others. She has admired and watched his way of working and living for two decades and as Frith continues to outlive in energy and inventiveness so many younger than himself she probes into how this came to happen. He is a prolific artist, moving between painting, sculpture and drawing.
How the 'Art in Public Places' Debate Shackles Creative Genius
Buckle your seatbelts for a wild, multi-disciplinary ride to explore why all urban space is art... why every individual entering public space is an artist.... how the design of public space either feeds or inhibits this artist.... how professional artists involved in the production of 'public art' should therefore respond.
Public Art in Australia
The Public Interest: Is There Any?
"Living a few hundred metres away from a community arts project has clarified my doubts about the standard and the value of such projects and what they achieve for their supposed audience." Peers explores the current issues facing the production of community and public art looking at 'The Bridge, Construction in Process' an event and exhibition which took place in Melbourne over March- April 1998.
Public Art in Australia
What do THEY make of it?
Jenny Holzer shared some thoughts with Tamara Winikoff during Artist's Week in Adelaide in March 1998 about her relationship with the public, who over the years and in various countries, has been the audience for her artworks in the public arena.
Public Art in Australia
Shelf life, Use by Date and Other Related Issues
Isn't it about time we showed artists and our public artworks a little more respect? We coaxed artists out of their studios to put their creative souls on public display, and now many of those life enhancing objects are looking unloved, forlorn and neglected.
Public Art in Australia
Politics/Poetics: Reflections Documenta
'documenta X' curated by Catherine David from France, opened in Kassel Germany on 21 June 1997 and ran for 100 days. This colossal international event could not be simply understood as an art exhibition and it defied many of the expected ingredients of large scale block busters.
Public Art in Australia
City Provoked: These Questions and More....
RMIT project 'City Provoked' asked questions about the nature of public art emphasising 'new genre public art' - flexibility and responsiveness, specificity and topicality, innovation, challenge, engagement, unregulated encounter. collaboration, temporality and process rather than closure.
Public Art in Australia
The Enduring Moment
It is arguable that temporary public art is a more valid response to the transitory, dynamic and complex nature of the city and public life, more available to be critical and exploratory, than its permanent counterpart.
Public Art in Australia
Five Hundred Sculptors in Melbourne!
Whether Melbourne can support 500 or more sculptors is yet to be proven, but the talent is there and architects, developers and city councils seem to be much more receptive to the concept of public art.
Public Art in Australia
Putting Art in the Landscape
Looks at Herring Island Environmental Sculpture Park, Victoria and the issues which surround putting art into parks and public spaces. Unlike the specialised designs of the contemporary art gallery, the 'environment' is a bundle of concepts distributed across the city and suburbs.
Public Art in Australia
Not Fence Sitting: The Art on Line Project
The 'Art on Line' project initially conceived by Craig Walsh, involved the work of three Brisbane based artists - Wendy Mills, Keith Armstrong and Craig Walsh - who are perhaps better known as working along the experimental edge of fine art, rather than as 'community artists'.
Public Art in Australia
Getting up to Speed in Queensland: The Learning Curve Levels Off
The Queenslanders Art Alliance was established in 1986, maintaining an artist register as well as project management programs collaborating with the Queensland government in the 'Designing Environments' strategy which is intended to consolidate the quality of the collaborative process in public art projects. Looks at the Kangaroo Cliffs Boardwalk project.
Public Art in Australia
The SCIP Project: The Making of Memories in Amnesia Land
Looks at the Sandgate Town Centre Improvement Project (Suburban Centre Improvement Projects) in South East Queensland.
Public Art in Australia
Against the
There's something about public art projects that seems to either bring out the best or the worst in artists. Looks at the 'loo with a view' on the beach front at Mooloolaba on the Sunshine Coast in Queensland. The project has not been without its tensions......
Public Art in Australia
Public Art in Sydney - Olympian Heights or More of the Same?
The Olympic Co-ordination Authority and the Sydney City Council, the two commissioning bodies, have the power to transform the capital with their curated programs of site specific public art, some of which will have a limited life span. Ironically, in these environments where relationship to site is one of the criteria for inclusion, it is left to the artist to reconstruct the histories, to illuminate the voices demolished to make way for Olympic progress.
Public Art in Australia