Search
You searched for articles tagged with Environment ...
Avoiding myth and message: Australian artists and the literary world
avoiding myth and message: Australia artist and the literary world, Museum of Contemporary Art, Sydney 7 April 12 July 2009, curator: Glenn Barkley.
Contemporary Australia: Optimism
Contemporary Australia: Optimism Curatorial Manager: Julie Ewington Gallery of Modern Art (GOMA), Brisbane 15 November 2008 22 February 2009
Open Air: Portraits in the landscape
Open Air: Portraits in the landscape Curators: Wally Caruana, Michael Desmond, Andrew Sayers National Portrait Gallery (NPG) 4 December 2008 1 March 2009
Rosalie Gascoigne
Rosalie Gascoigne The Ian Potter Centre: NGV Australia 19 December 2008 15 March 2009 Curator: Kelly Gelatly
Patricia Piccinini: Related Individuals
Patricia Piccinini: Related Individuals Roslyn Oxley9 Gallery, Sydney 12 November 6 December 2008
Discord: Art from MONA
Discord: Art from MONA Curator: Nicole Durling 9 January 1 February 2009 Salamanca Arts Centre and various locations
Silver Artrage 25
Silver Artrage 25 Curators: Andrew Gaynor, Marcus Canning Perth Institute of Contemporary Arts (PICA) 18 October 21 November 2008
Gooch's Utopia: collected works from the Central Desert
Goochs Utopia: collected works from the Central Desert Curator: Fiona Salmon Flinders University Art Museum 3 October 23 November 2008 Riddoch Art Gallery 5 December 2008 8 February 2009
Lockhart River 'Old Girls'
Lockhart River Old Girls Andrew Baker Art Dealer, Brisbane 26 November 20 December 2008
Girls, Girls, Girls
Girls, Girls, Girls Carlton Hotel, Melbourne Curators: Lyndal Walker, Nat Thomas 23 October 8 November 2008
Better Places
Better Places Curator: Melissa Keys Perth Institute of Contemporary Arts (PICA) 4 December 2008 1 February 2009
The Christmas Tree Bucket: Trent Parke's Family Album
The Christmas Tree Bucket: Trent Parkes Family Album Australian Centre for Photography 21 November 2008 24 January 2009
Brook's way with kinds, categories and memes
The Awful Truth About What Art Is by Donald Brook, published by Artlink 2008 RRP $38.50 Reviewed by Lucas Ihlein The Awful Truth About What Art Is can be ordered online at www.artlink.com.au
Keeping the Wanjinas Fresh
Keeping the Wanjinas Fresh by Valda Blundell and Danny Woolagoodja Fremantle Arts Centre Press 2005, RRP $35
Picturing Climate Change
CSIRO science writer Simon Torok summarises the facts about how global warming is affecting every one of us in Australia. The marks of climate change, so far, are less tangible and Torok proposes that it is the challenge for art and science to help people see it. Torok initiated a project during his time in England which aimed at bringing art and climate science together through the use of objects and images to visualise our future climate and in turn provoke a strong emotional response amongst audiences.
Overtaken by Glaciers: The State of Eco-Architecture
Downton and Prelgauskas are advocates for ecological architecture and urbanism and through this article explore a little of what is happening in Australian architecture and compare overseas experiences. Australian progress in the art of ecological living has been fairly slow and although it hasnt matured yet, this article is optimistic in its exploration of some of the encouraging signs. What is missing they say is sufficient enlightened clients and a culture that is ecologically attuned to the artful songs of the biosphere.
Chris Mulhearn: Stand of Trees
Chris Mulhearn is an Adelaide-based artist who breathes the world around him. Where some artists make work in the bush, others like Mulhearn bring elements of those places into the heart of the world of constructed reality, the art gallery, and successfully. His work is recycling to die for.
Black Death: Species Extinction in WA
After 25 years of living in Victoria, Gregory Pryors rediscovery of and new found appreciation for the Australian landscape came about due to his relocating to Perth. Subsequent to this profound experience whereby he felt he was viewing the Australian landscape for both the first and last time, Pryor set out to create a body of work which entailed around 200 detailed drawings made from the Western Australian Museums archives. Through detailed examinations of individual flowers and specimens, Pryor was able to metaphorically travel across a huge amount of Australia and locate specific relationships between these flowers and the lands ancient human inhabitants.
Wetland (as in Disneyland)
In his 2004 gallery installation Wetland, Michael Harkin used the familiar imagery of rainwater tanks and the gentle notes and timbres of water whooshing and gurgling to highlight to audiences the consequences of turning on the tap or flushing a toilet within the area covered by the local water authority. Harkin has based this project on some of the important issues surrounding water commoditifaction and consumtion as well as being developed within a framework based on the ideas of theorist Jean Baudrillard.
Sweet Revenge: An Interview with Ken Yonetani
Ken Yonetani is an artist born and raised in Japan, and now practising in Sydney. Much of his recent work explores the intersections between consumption, desire, and human impact on our environs. He talks here with Julia Yonetani, who, apart from being Kens partner, is a lecturer, translator and writer on art, history, and things Japanese. This interview was conducted in Japanese and translated into English by Julia.
Stepping Lightly: The Art of Melissa Hirch
Byron Bay-based fibre artist Melissa Hirsch is the first artist to achieve climate neutrality through her involvement with Climate Friendly, a goverment-accredited Australian company which allows businesses and individuals to calculate the climate impact of their energy use. As a result she plans to promote her climate neutral art to corporate clients seeking a more eco-friendly image. Environmental sustainability was the impetus in Hirschs choice of career and has been the guiding force in the trajectory of her development as an artist; to produce art in nature, with nature, about nature.
Artists' Footprints (Sustain ability labelling and artworks! What's that?)
Smith offers some suggestions for those interested in the ecological (and social) sustainability of an art work and introduces the notion of EarthLabel as a way of making artworks ecologically and socially accountable - and maybe even more marketable. For more information visit: www.myfootprint.org
Framing The Colour of Infestation: the work of Liz Woods
Liz Wood is a landscape installation artist whose work over the years has included covering rocks with wallpaper and embellishing tree trunks with roses. In July 2005 Woods was selected to be a part of Farming with Mary, a collaborative project which took place along the Mary River in four agricultural communities near Gympie in Queensland. In the case of Woods large-scale works in the landscape, their ephemeral existence has the advantage of avoiding a harmful environmental impact, whilst the visual impact is clearly assertive.
Bowerbirds and the Art of Ian Hamilton
Ian Hamilton has approached some of the ideas surrounding sexual and asexual reproduction amongst organisms from a different perspective to those of biologists in his ongoing artistic studies. Hamilton began his work on bowerbirds when he was an Artist-in-Residence at Griffith University in 1976 during a visit to OReillys national park south of Brisbane where he filmed and videotaped Satin Bowerbirds as they worked upon their bowers. He has drawn many parallels between the creative processes of Bowerbirds and artists and over the years the ongoing extinction of these birds has come to be a symbolic representation and reminder of the harsh ramifications of human activity on the natural world. Hamilton is based in Adelaide in South Australia.
Remediation as art with Gavin Malone
For a decade the art practice of Gavin Malone has been concerned with ecological rehabilitation and cultural interpretation. A former grazing property and thus a degraded ecosystem, the 185 ha property belonging to fellow artist Greg Johns overlooking the plains of the River Murray, has been transformed into what Malone suggests is not just a sculpture park with a Landcare project but actually reconceptualises art as ecology.
From the River to the Source: Lloyd Godman's Ecological Explorations
Lloyd Goldman's twin careers of serious and successful organic gardener and practising artist of great creative energy converge in new and constantly surprising ways to make art about the ecological concerns that underly his gardening. Over almost three decades his art has widened out from relatively traditional landscape photography to include elements of performance, audience participation art and multimedia installation to explore the tensions between electronic consumer society and the ecosystem.
A Torn Parchment: The Murray Darling Palimpsest
Since European settlement the Murray Darling district has been a major site for irrigation and has been established as an important agricultural centre. In 1956 a valuable collection of late nineteenth and early twentieth century art was bequeathed to the city and a new gallery was built to display it. Over the years the Mildura Sculpture Prize has progressed to become a non-competitive event and in 1973 for the first time, environment was the theme. With the launch of Mildura Palimpsest, Mildura once again emerged as a central location for experimental art that tackled ecological issues.
TeATR'ePROUVeTe: Social Ecology in French Villages
Jean Bojko is the founder of TeATRePROUVeTe, a project created in response to a desire for a socially inclusive cultural event to be held in the Shire of Nievre in regional France in 2000. Bojko came up with the idea of marrying the 32 smallest villages of the shire with thirty-two artists. The aim was to get the villagers to see their own potential and to build a network with others. The event involved mock burials which took place in the local cemeteries as well as numerous events focused on environmental viability and sustainability as a way to symbolically reinforce the transition of these individuals from craftsmen to members of common life.
EcoTV: A South Australian Experiment
As part of the 2005 Adelaide Film Festival, the inaugural EcoTVC competition for a 30-second television commercial was held to create greater public awareness of key environmental issues. The winner was Peter Miller, a 22-year-old superannuation administrator and writer whose entry showed people hopping around dressed ridiculously as endangered native animals. The commercial ended with the slogan Youll appreciate the real thing...once theyre gone , together with a final shot of a Yellow-footed Rock Wallaby as an example of the real thing that could become extinct.
Drawing on the Earth: Bronwyn Wright's 'Running Dog'
Photographer Bronwyn Wright has been visiting the local swamp lands northeast of Darwin with her dogs for about fifteen years. Her latest artwork at The Swamp draws on her knowledge of this piece of land and on her Spatial Sciences (GIS and Remote Sensing) studies at Charles Darwin University. It is a geoglyph, an earth drawing of a dog that is ecological because it treads lightly on the earth by using only human footprints to make marks that are visible from space.
Drought and Art: 10% and Falling
On 2 July 2005 Goulburn Regional Art Gallery held a community forum to discuss the water crisis in the region. The all-important forum only happened because of art, or more specifically because Goulburn Regional Art Gallery had organised the exhibition Water Works of 16 regional artists works about water sustainability and survival. Gallery director Jennifer Lamb tells the hair-raising story of a town learning to do without water and the role of artists in coming to terms with this.
John Dahlsen: Plastic Arts
John Dalsens work, utilising found plastic beach rubbish, is seen as environmental art. Art debates aside, he has collected mountains of rubbish and transformed it into artworks that really do captivate people. Recognition of his collecting has been made by the Clean Up Australia and Clean Up the World campaigns by naming Dahlsen as their official artist. Through the material he finds Dahlsen depicts various landscapes and the multitude of objects create a dialogue about our use, and abuse, of the environment.
Performance art and Plastic Bags in the Pacific
The scourge of non-recyclable waste devastating the precious land of the Pacific Islands has become a new subject matter for some of the local performers. A play put on in front of the newly built Parliament House on the tiny Pacific island of Tuvalu marked the islands transition to becoming the worlds first plastic shopping bag free country. Campbell looks at some of the ecological and economic crisis in the South Pacific Islands in the year that was declared The Year of Action Against Waste and the methods which are employed to assist with the educating of such issues.
The Waterhouse Natural History Art Prize Under Scrutiny
Osborne examines and questions the validity of the South Australian Museums Waterhouse Natural History Art Prize in terms of its proposed intentions which lie in the educating of issues concerning Australias natural heritage and ecology. With a prize pool of $85,000 in total the event certainly offers incentive to artists and attracts many of the countries most prolific artists but in turn fails to provide any intrinsic value in terms of art or natural history. As Osborne concludes neither sales, nor attendance figures are sufficient to justify the museum devoting its space, resources and prestige to this ill-conceived event.
Ecology Network
Free soil http://www.free-soil.org is an international collaboration of artists, activist, researchers and gardeners who take a participatory role in the transformation of our environment. Founded in 2005 by Amy Franceschini (USA) Stijn Schiffeleers (Belgium), Nis Romer (Denmark) and Joni Taylor (Australia), it aims to foster discourse, develop projects and give support for art practices that reflect and often change the urban and natural landscape by working on issues such as sustainability, environmental art and greening cities.
Finsbury Green Printing - The Story of the First Carbon Neutral Printer in Australia
Finsbury is the only printing company in Australia to successfully establish an environmental printing brand, and over the years their environmental credentials have become so strong that they can legitimately call everything they do green. They are also the only commercial printing company in Australia to volunteer for the Federal Goverments Greenhouse Challenge Plus to reduce greenhouse gas emissions. This article looks at some of the developing methods and strategies Finsbury Green Printing are dedicated to year after year in an attempt to become as environmentally sustainable as possible.
Red Shoe Delivery Service
Melbourne International Arts Festival George Adams Gallery, the Arts Centre and various locations around Melbourne 7 - 22 October 2005
White Noise
Australian Centre for the Moving Image (ACMI), Melbourne 17 August - 23 October 2005 Curated by Mike Stubbs
Space Between Words: A Collection of Subjective Narratives
Queensland Centre for Photography 17 September 16 October 2005
South Australian School of Art International Drawing Conference: Drawing is Everything
South Australian School of Art International Drawing Conference Drawing is Everything Adelaide 4 September - 9 October 2005 Ruth Hadlow: Patternbook South Australian School of Art Gallery Dialecticaline Prospect Gallery Drawing is a Verb Adelaide Central Gallery2
Trudi Brinckman: White Plastic Cup
Trudi Brinckman: White Plastic Cup Kelly's Garden Salamanca Arts Centre, Hobart 24 - August - 30 September 2005
Adam Cullen: Maintaining the Rage
Adam Cullen: Maintaining the Rage Kaliman Gallery, Sydney 1 - 24 September 2005
Flux2: New Art from Western Australia
Flux2: New Art from Western Australia Brendan Van Hek, Ben Sullivan, Bennett Miller, Helen Smith, Pilar Mata Dupont and Tarryn Gill Lawrence Wilson Art Gallery, Perth 18 September - November 2005
National Sculpture Prize and Exhibition 2005
National Gallery of Australia, Canberra 15 July - 9 October 2005
Brook Andrew: Hope & Peace
Stills Gallery, Sydney, 3 August - 3 September 2005 Gallery Gabrielle Pizzi, Melbourne, 5 July - 7 August 2005 Greenaway Art Gallery, Adelaide, 23 November - 18 December 2005
The Larrakia Legacy of Billiamook
Larrakia people bore the brunt of colonial expansion in the Northern Territory when Darwin was settled by beraguds (white people) in 1869. Gary Lee writes of Billiamook, one of the first Larrakia to interact with the settlers and the first Aboriginal artist to have his work exhibited and recognised as art.
Under the Skin
The Aboriginal community of Balgo, situated on the cusp of the Tanami and Great Sandy Desert is a melting pot for contemporary Aboriginal art and culture. This article examines a group of white women artists and their various bodies of work which grew from their time spent at Balgo.
Just Really Out There
Steve Fox's job involves regular 1400km round trips from Uluru to some of the most remote communities in Australia. He reports on a typical four-day excursion in the Maruku troopcarrier.
Looking Forward Looking Back: in the East Kimberly
Marrying visual art, dance and inspirational rhetoric has been one of the hallmarks of the Jirrawun Artists Co-operation operating out of Kununarra. These traditional people have been at the forefront of contemporary political debates and Indigenous art practice. Cath Bowdler follows the story of Jirrawun Artists Co-operation from its inception in 1998 to the present day. A non-government funded body, Pro bono partnerships with the corporate and private sector.
Kuninjku Modernism
Kuninjku Modernism pays respect to the wellspring of the Indigenous art movement and the many artists of Western Arnhem Land, furthermore exploring the several countries or nations of this large civic nation.
Looking Elsewhere: Asia at the Top End
The top end has a distinctly Asian flavour not only because of its cultural heritage prior to 1880s but also because of the significant East Timorese connection. This article looks at the Northern Territorys strong and visionary commitment to cultural exchange with Indonesia and the increasing Asian character of Darwin's rapidly changing population.
Sitting Down with Indigenous Artists
Erica Izett explores the cultural convergence between Australias indigenous and non-indigenous people over the past few decades and the rewarding implications it is having on Australias artistic and cultural practice and awareness.
Bush Techies and Secret Data Business
Caroline Farmers position at 24HR Art, the Northern Territorys Centre for Contemporary Art required an involvement with projects specifically aimed to help indigenous artists acquire new media skills. What she found in the Territory however required her to think in an entirely new way. Farmer discusses some of her experiences with her new found traditionally and technologically aligned environment.
Art at the Frontier: Franck Gohier
Frank Gohier has distinguished himself as a resident Darwin artist whose work as a painter, sculptor, printmaker and teacher reflects a different perspective of the far northern - one based on lived experience. Addresses the impact of the indigenous community on his Anglo perspective art.
From Fregon to Srinigar and Back
Kaltjiti Arts is a community owned arts centre in Fregon. A cross-cultural project between two groups of community artists based in South Australia's remote and traditional Anangu Pitjantjatjara Yankunytjatjara Lands and in Srinigar, the turbulent capital of Kashmir is based on the combining of these two isolated and very different cultures via their arts and traditions.
Neverland vs. Reality: How to Sustain an Art Practice in the Territory
Historically, people in the Territory have viewed southeners with suspicion, often characterising them as missionaries or carpetbaggers. Some emerging artists here are beginning to question these attitudes and are starting to take advantage of the financial and critical lifelines that the south has to offer. Bronwyn Wright and Tobias Richardson are two who have engaged energetically with southerners and achieved high levels of recognition.
Making the Gospel Their Own
Eastern Arrernte Catholics at Ltentye Apurte, the former Santa Teresa Catholic mission east of Alice Springs, are making the local church and liturgy a ground for telling their recent history and reflecting their ancient yet evolving traditions. A mural project was initiated by a local non-aboriginal woman Cait Wait in 2002 with the help of eight neophyte artists.
Women's Business by Remote
In the past two decades the face of Australian art practice has been changed immeasurably by a renewed focus on the culture of Indigenous people and the efflorence of Aboriginal art. This article looks at the work of three non-Indigenous artists who worked in places regarded as remote and developed art practices through engagement with Aboriginal people.
The Art of Fiona Hall
Queensland Art Gallery, Brisbane 19 March - 5 June 2005 Julie Ewington, Fiona Hall, Piper Press, 2005, RRP $88.
The 14th Annual Linden Postcard Show
Linden St Kilda Centre for Contempory Arts 5 February - 19 March 2005
Seeking Transcendence
Curator: John Stringer 10 February - 5 May 2005 Perth International Arts Festival
Proof: The Act Of Seeing With One's Own Eyes
Curator: Mike Stubbs Australian Centre for the Moving Image, Melbourne 9 December 2004 - 13 February 2005
Giant Steps and Transcriptions
Experimental Art Foundation 25 February - 2 April 2005 Greenaway Art Gallery 22 February - 1 March 2005 Adelaide Film Festival
Not Far From Here
Davenport Regional Gallery 28 January - 6 Marcg 2005 Bett Gallery, Hobart 9 March - 23 March 2005
3 Into 1: Hermie Cornelisse, Amanda Davies and Mish Meijers
CAST Gallery, Hobart 5 February - 6 March 2005
Ecology: Everyone's Business
What does the onset of climate change mean to an artist today? We have known about species extinction for decades, and the death of ecosystems; artists whose work evolved around these issues first emerged during the sixties.
Michael Jagamara Nelson Gives It A Go
Michael Jagamara Nelson is an artist who love - maybe even needs - a challenge. As Johnson examines, he has had his fair share. With his first painting, a piece he did for his uncle Jack Wayuta (a senior custodian for the Flying Ant Dreaming for Yuwinji) going unrecognised as one of his own for fifteen years, Michael Nelson made his mark in the indigenous art scene after his big break from Daphne Williams of Papunya Tula Arts.
The Sea Is In Them: Narelle Autio and Trent Parke
Narelle Autio and her partner in life and work, Trent Parke, completed a 16-month journey around Australias coastline in 2004. The two set out to document the culture of Australian coastal dwellers with an exhibition lined up at the Australian Centre for Photography the following year. Baxter speaks of her first encounter with the works of these remarkable photographers and goes on to offer some insight into the profundity encapsulated by these images.
The Poetics of Agoraphobia
Polish/Australian artist Gosia Wlodarczak draws obsessively, as a means of engaging with a biological cognitive bedrock. By drawing out the duration of her being she avoids the burden of memories and hope. This, she thinks, will lighten the weight of ideology that oppresses her with its exaggerated claims of authenticity...Ideology is already manifest in her sence of self, freedom and individual consciousness. It is even there in the languages she lives between; in her name, in her history, a graduate of the Poznan Academy of Fine Arts in Poland, now living in inner-city Perth.
Raw and Cooked Margins
A series of journeys and pilgrimages characterise Paul Hobans life, his account of which is spotted with significant exhibitions, readings, people, music and events. It wasnt until 1993, when he was 39, that Hoban first had a one man exhibition at Greenaway Art Gallery. Radok here paints a clear picture of his work - A sense of surfaces and layers; words - intelligible, unintelligible, back-to-front, upside-down; wrinkles and transparency; colour and pattern; modernism and archaism, and so on. A myriad of conceptual and stylistic devises that exist largely within the margins of art conventions.
What's Mine Is Yours: Touching the Surface of the Practice of Sue Ford
Melbourne artist Sue Fords 2003 photographic series Continuum is a suitable portal through which Stanhope looks at aspects of Fords work, a practice that has consistently evinced strength of vision and a humanistic philosophy, rich in connecting personal and local subjects to the field of national culture, social politics and the nature of individual existence. Continuum looks at the aftermath of bushfires and is aligned with her passionate reflection and documentation of the nature of our being in both time and place. If there is one medium that records time it is photographs - Sue Ford.
That was Then, This is Now: New Work by David Wadelton
David Wadeltons artistic career took a dramatic turn in the years 1997-98 after he purchase an iMac computer. Prior to this time he had been painting hybrid canvases and creating refined pencil and silverpoint drawings that displayed a unique quirckiness that was informed by the artists affection for the culture and language of Pop art. Gott explores the apparent shift in Wadeltons work, from the assemblages of the everyday objects that he first exhibited to his new works; mesmerising, hypnotic, dizzying.
MFC's and Gunter Christmann
Gunter Christmann was born in Berlin, Germany, in 1936. After two years in Canada, he arrived in Australia in 1959 and studied, somewhat casually, at the National Art School, Sydney, from 1962 to 1965. This article looks at the life and work of Christmann, that shambolic figure who, even as he is approaching his seventieth year, shows something of the perpetual youthful student. From his dress and demeanour to his his sloping walk and willingness to talk to the people he knows. A self taught artist, Christmann once saw his work as Geometric Abstraction and now states that the only major difference in style is the lack of intellectual order imposed on the work.
That Strange Quivering of Substance: The Recent Paintings of Catherine Woo
Many years ago the Chinese writer Lin Yutang expressed that, from an Oriental perspective, Western artists always seem to depict objects from the outside, whereas those from China and Japan express their experience of them from within. This Eastern approach is inherent in the culture, not a position able to be merely adopted, and springs in part from religious inheritance, but also from the pictorial nature of Asian written languages. This inherent approach can be found in the recent work of Catherine Woo, expressing some sort of biological affinity. If the paintings can be said to be about anything, it is a the fine balance between energy and rest rather than the apparent subject matter.
On Your (Motor)bike - REVIEW: Reason and Emotion, Biennale of Sydney, 2004, and 2004: Australian Culture Now, Melbourne
Sydney Biennale bad, 2004 in Melbourne good. The artworld's consensus locked in quick and hard. Fair? Of course not. Why compare the two, anyway? Because the National Gallery of Victoria (NGV) and the Australian Centre for the Moving Image (ACMI) seemed to set it up that way, by the timing of their show. They certainly took as 2004's model the nationally bound Whitney Biennial and, in particular, the Art Gallery of New South Wales's Perspecta exhibitions (last one 1999) - in turn established to counter the perceived internationalism of the Sydney Biennale.
21st Telstra National Aboriginal & Torres Strait Islander Art Award
Museum & Art Gallery of the Northen Territory 13 August 7 November 2004
Jacky Redgate: Survey 1980-2003 [Three Exhibitions]
III, V, VI of Contemporary Art Projects SA 2004 Contemporary Art Centre of South Australia Curator, Alan Cruickshank 23 April - 23 August 2004