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Exponential Losses, Collective Guilt: The Work of Jeannie Baker
Change, and how it effects the evironment and the quality of life, is a recurring theme and metaphor in the work of artist Jeannie Baker. While celebrating the beauty and fragility of the environment she delivers a provocative and powerful message about our responsibilities towards the natural world.
Art, Architecture & the Environment
Getting our Shit Together
There is a video which shows the noted Viennese artist Hundertwasser sitting on a bucket in his public home unit in Vienna City, uttering this exhortation. He then takes the bucket upstairs to a roof garden of sorts and dumps the contents into a compost bin.
Art, Architecture & the Environment
Red Gum, Red Light
David Cranswick's work in Perspecta 1991 entitled Constructing Nature was one of the most successful and moving of the Western Sites Component.
Art, Architecture & the Environment
The Re-humanising of Water
Ecologically sustainable development is a stated aim of our national and state governments. Unless we can stimulate a higher and more sustained level of discussion on what this means, our progressis likely to remain fitful and unfocussed. Hopefully this article will stimulate the debate!
Art, Architecture & the Environment
Frogs and Serpents: Re-colonising the Suburbs
That the Aboriginal Peoples of Australia are part of the world thought is evidenced by Wonambi, the Rainbow Serpent....
Art, Architecture & the Environment
Memories of Water
The Sandgate Environmental Sculpture has involved the local community in both designing and creating the sculpture.
Art, Architecture & the Environment
Reading the Land
The idea for a 7 day 'Reading the Land' Festival came to Wimmera River Catchment Group Chairperson, farmer, artist and environmentalist Barry Clugston during a series of salinity flights.
Art, Architecture & the Environment
Science, Art and Mangroves
The Mangroves Discovery Cycle was a Community Arts Project which gave a group of school children an opportunity to explore the environment. Located in Cairns, far North Queensland.
Art, Architecture & the Environment
Meadows Under the Sea
The Seagrass Project has been cited as a model community arts project. Located in Hastings Victoria, the project has been documented on video and shown on television in Austria and Canada and could potentially achieve wide international exposure.
Art, Architecture & the Environment
Mudflats: A Fertile Breeding Ground for Artists
Mudflat arts believes that the landscape is not there to be painted so much as to be protected. The role has changed from one of passive painter to active member of the community.
Art, Architecture & the Environment
Memories of Power
Placemaking in Newport, Geelong and North Carlton.
Art, Architecture & the Environment
Gilding the Lillipilli
Tree decorating was revived in Melbourne as part of the larger Treeproject. Looks at some of the issues faced with mounting such an event.
Art, Architecture & the Environment
New Life for Gordonvale
Written with June Fermo. Looks at the issues in a townscape project, faced by the community of Gordonvale 21 km south of Cairns in northern Queensland.
Art, Architecture & the Environment
Gateways Project
..the response to a site was very much tied up with the way humans had mediated the experience. Yes trees and forests were sacred but that didn't mean that you couldn't touch them. Our mediation of course must be sensitive - be fearless yet thoughtful... Series of black and white photographs accompany the article.
Art, Architecture & the Environment
Arts to Ashes
In Tasmania particularly it can be difficult to be vocal about political issues. Here is a chance to be uncompromising, a chance to take risks, a chance to raise community cultural awarenes. And who says art needs to be permanent? Heres a chance to make something and then release it, to allow visual art to metamorphose into performance art. Intrigued? then follow up the article!
Art, Architecture & the Environment
The Art of Living Sustainably
Written with Andrew Bryan The increasing urgency for us to achieve a harmonious relationship with the environment is stimulating artists in many media and designers in a range of disciplines to work in new ways with one another and community groups who share this concern.
Art, Architecture & the Environment
Further Reading and Glossary
Selected book list with notes. Includes a glossary of terms including acronyms.
Art, Architecture & the Environment
Possessed
Exhibition review Possessed: Virginia Barratt, Simryn Gill, Richard Grayson, Michele Luke, Julienne Pierce, Steve Wigg
Bullring Jam Factory
South Australia
6 October - 3 November 1991
Art, Architecture & the Environment
Asunder, and Lindy Lee Painting
Exhibition review Time Warps Sound Installation by Ros Bandt Composing Women's Festival
Union Gallery
Adelaide South Australia
September 1991
Art, Architecture & the Environment
First Australian Jewellery Biennial
Exhibition review Manifest Destiny: Ian North
Vast: David Stephenson
Contemporary Art Centre
South Australia
14 September - 6 October 1991
Art, Architecture & the Environment
Maleness
Exhibition review Asunder: Works by Rick Martin and David Kerr Artspace Festival Centre
Adelaide South Australia
September - October 1991
Art, Architecture & the Environment
Lindy Lee Paintings
Exhibition review Lindy Lee - paintings
Contemporary Art Centre
Adelaide South Australia
October 1991
Art, Architecture & the Environment
First Australian Jewellery Biennial
Exhibition review First Australian Jewellery Biennial
Jam Factory Craft and Design Centre
Adelaide South Australia
October 1991
Art, Architecture & the Environment
Juan Davila
Exhibition review Juan Davila
Contemporary Art Centre
Adelaide South Australia
9 August - 8 September 1991
Art, Architecture & the Environment
Gareth Sansom
Exhibition review Gareth Sansom
1991 Indian Seventh Trienniale exhibition
University of South Australia Art Museum
12 September - 19 October 1991
Art, Architecture & the Environment
Backward Glance and A Sideways Glance
Exhibition review Backward Glance: Perth Institute of Contemporary Art Western Australia
6 - 30 September 1991
A Sideways Glance: Galerie Dusseldorf
Western Australia
13 September - 6 October 1991
Art, Architecture & the Environment
Wildflowers in Art
Exhibition review Wildflowers in Art
Art Gallery of Western Australia
October 1991
Art, Architecture & the Environment
Review of the Year
Exhibition review Reflections on a year of contemporary art in Tasmania.
Art, Architecture & the Environment
Subject/ Object
Exhibition review Subject/Object Arthouse
Tasmania
October 1991
Art, Architecture & the Environment
The Tate goes modern
The Tate Modern opened in May 2000 to great fanfare and applause. The refurbished power station on the Thames now houses the international post-1900 art of the Tate collection. The public has rushed to visit with huge crowds enjoying the experience, but putting pressure on the facility. Critics have questioned the way the work has been arranged by theme rather than by school, chronology or geography.
Australia and Asia: Friends and Family
The past 10 years have seen the building of ties between Australians and Asians through the interactions occasioned by the three Asia-Pacific Triennial exhibitions in Brisbane. There are now many personal and binding friendships across the region which did not exist before. This changes our concept of 'region' significantly.
Geography, Indigeneity and Dissonance
Some of the many complex questions raised by the Asia-Pacific Triennials relate to where artists originate from, how they relate to indigenous issues of their country, and the possibility of dissonant voices being heard through the exhibition which would not be tolerated in their country of origin. This is increasingly important in an Australian political climate which has downplayed our relations with the Asian region.
Myths and Histories: A Vietnamese Story
The inside story of the first selection of a Vietnamese artist for the Asia-Pacific Triennial. Vietnamese artists in the early 1990s were free to make art of their choice, as the grip of state-run culture began to relax. The significance of the resulting elegiac romantic paintings was lost on some critics of the Triennial who did not appreciate this history. The curatorial structuring of the Triennial helped to go beyond the official line of ministries of culture.
Asian Engagements: Tubes of Bamboo
In this brief article Turner focuses on the Queensland Art Gallerys Asia-Pacific Triennial. From the beginning, the Asia-Pacific Triennial was conceived as more than an art exhibition. It was equally about creating a network of contacts with artists and art institutions, a research base and permanent collection of contemporary Asian art and a forum for discussion of the art of the region. Artists discussed include Geeta Kapur, Marian Pastor Roces, Xu Bing, Santiago Bose, John Frank Sabado and Dadang Christanto.
XSProject: From the (Dirty) River
Artist Ann Wizer has been on a mission to protect the environment and reduce poverty in South-East Asia for many years. She has battled against indifference of the most callous variety. Undaunted she continues to find creative solutions to make a difference. Here she shares the trials and tribulations of working long-term and hands-on with consumer waste in Jakarta - complete with the stench of landfill.
Dragon seeds and flea circuses: some moments and movements in contemporary Chinese art
Post-revolutionary China was a time of testing boundaries of official tolerance and experimentation with the newly accessible Western art ideas. The first art exhibitions were held and groups formed, as artists started to realise they were not, as Mao said, just the hair on the skin of socialism. Resistance to the old political order and a deliberate courting of Western buyers with post-Mao imagery has to give way to finding an original voice.
Clifford Possum Tjapaltjarri
Art Gallery of South Australia 31 October 2003 - 26 January 2004 Curated by Vivien Johnson
This was the Future, the McClelland Sculpture award and Sculpture at RMIT during the Jomantas Years 1961-1987
RMIT Gallery, Storey Hall, Melbourne 21 July - 13 September 2003 McClelland Art Gallery, Langwarrin 4 November 2003 - 8 March 2004 Heide Museum of Modern Art, Bulleen 4 October - 7 December 2003
Primavera 2003
Exhibition of Young Australian Artists Museum of Contemporary Art 17 September - 30 November 2003
Counterbalance
Graduating Fine Arts Student Exhibition Queensland College of Art Southbank Campus Studios Brisbane 19 - 22 November 2003
To Begin With: Five Tasmanian Artists
Bett Gallery, North Hobart 28 November - 24 December 2003 Curated by Richard Wasteil
The Queensgate Car Park
The Australian Centre for Concrete Art Henderson Street, Fremantle Launched on December 2003
Kurtal
Nyilpirr Spider Snell Raft, 3 - 20 December 2003 Fitzroy Fusion, Mangkaja artists Raft II, Darwin 6 - 20 December 2003
Australian Paper Art Awards 2001
Artspace, Adelaide Festival Centre, Adelaide December 2001 - February 9, 2002
ConVerge: Where Art Meets Science
2002 Adelaide Biennial of Australian Art Art Gallery of South Australia 1 March - 28 April 2002
Spirit Country: Contemporary Australian Aboriginal Art from the Gantner Myer Collection
19 April - 16 June 2002 Brisbane City Gallery
Woomera: Juan Davila
Kalli Rolfe Contemporary Art at Fortyfivedownstairs Gallery Melbourne March 26 - 10 April 2002
The First Decade: Mark Howlett Foundation
1 December 2001 - 17 March 2002 Art Gallery of Western Australia
Modern Australian Women: paintings & prints 1925-1945 and In Context: Australian Women Modernists
Curator: Jane Hylton Art Gallery of South Australia 24 November 2000 - 25 February 2001 Curator: Paula Furby Flinders University Art Museum 8 December 2000 - 17 February 2001
Bias
An exhibition of contemporary embroidery Moonah Arts Centre. Hobart 17 November - 22 November 2000
Looking at Yourself Looking at Yourself
Martin Smith, Sharon Green and Annie Hogan Stratton Gallery, Brisbane 15 - 23 December 2000
Time, Gentlemen, Please
Art Association of Australia and New Zealand Conference Queensland University of Technology, Brisbane 7-10 December 2000
Mining the Imagination
Old Mine Management Office Queenstown Martin Walch, Richard Bladel, Leisa Tyler, Poonkhin Khut 1 December 2000 - open-ended
World Without End: Photography and the 20th Century
Art Gallery of New South Wales 2 December 2000 - 25 February 2001
Another Look: Six Women Artists of the 1950s
Inge King, Erica McGilchrist, Helen Maudsley, Mirka Mora, Norma Redpath, Dawn Sime Heide Museum of Modern Art 18 November -7 January 2001
7th Havana Biennial Uno mas cerca al otro
La Cabaña and El Moro (the old fort) and multiple city venues 17 November 2000 - 1 January 2001
My Hands are tied
Performance/Installation by Brigita Ozolins Foyer Installation Space, Hobart 10 - 25 March 2000
Kimono as Canvas
Gallery East or 2000 Perth International Arts Festival 12 February - 5 March and touring for two years
25 Songs on 25 Lines or Words on Art Statement for Seven Voices and Dance...
Joe Felber, Elliot Gyger and Lucy Guerin University of South Australia Art Museum 6 April - 6 May 2000
Simulating the Flow
Alfred Deakin was not a man to muck about. As well as being a major player in the long campaign to establish an Australian Federation, he was an indefatigable crusader for irrigation, pushing hard to establish a pioneer industry. As President of a Royal Commission on Water Supply & Irrigation, Deakin visited and studied Californian irrigation schemes in 1885.
Interceptions: Art, Science and Land in Sunraysia
Editor Helen Vivian Mildura Arts Centre and Artmoves, 2000
Reading the Waters
Norman has based this article around Terry White's concept of 'land literacy', a notion he defines as 'the ability to read and appreciate the signs of health [and ill-health] in a landscape'. From a cultural perspective, the land literacy idea quickly compounds itself into a multi-dimensional concept and perhaps a new discipline 'Landliteracy' that calls into question interdisciplinary demarcations, understandings of home, perceptions of the land and how we might experience place. Furthermore, Norman has used this concept as a way of discussing artmaking operations in relation to the landscape and the idea of 'waterliteracy'. Britain's Common Ground Movement, the work of Craig Andrae and the art project website redreadwater.com are here referred to.
Wild Art at the World's End
During the 1970s and 1980s conservation battles were fought over the meaning of wild places such as Tasmania - previously regarded as Australia's deep south - a pioneering place where the normal rules hardly seemed to apply. Grant looks at some of conservation battles both lost and saved during this time, and at one of the key agents for change, a wilderness photographer, the late Peter Dombrovskis. As a result of Dombrovskis' important work, the Tasmanian arts community and two government bodies have come together to try and ensure that this arts/environment symbiosis continues. Some other key artists discussed in this article are Julie Gough, David Martin, Tim Pugh, Anthony Curtis and Kim Kerze.
Dinoflagellates and Art: Jane Quon's Marine Installations
Jane Quon has evolved from printmaker to multi-media installation artist - though she much prefers the descriptor 'ecological artist'. Her installations make strong use of 'ephemeral' media - light, sound - and her focus is the quality of the marine environment, within that the threat to vulnerable aquatic ecosystems posed by the dumping of ship ballast water. Quon has been involved in a number of ecological projects, including installations at the new headquarters of the Centre for Living Aquatic Resources Management in Penang, the International Maritime Organisation building on the Thames Embankment in London and was part of the CSIRO's Metis exhibition in Canberra. Hay here pays particular attention to her installation devised for the Bass Strait Forum in Launceston in December 2000.
Nola Farman's Wind Tree
Nola Farman's The Wind Tree is one of a series of three permanent public artworks commissioned in 1998 by Griffith Artworks, Queensland College of Art, and installed at the new Logan Campus of Griffith University south of Brisbane. The Wind Tree stands on a site that was once occupied by indigenous inhabitants and from the time of white settlement until the recent sixties, the homestead site of the dairy cattle stud Ellerslie. The Wind Tree has been christened according to a traditional pedagogical symbol: the Tree of Knowledge. Ross examines Farman's site specific work in relation to its complex functional and aesthetic qualities.
Reflections on the Noosa River
In early 1999, Gregory Pryor spent 28 days in meditative reflection on the Noosa River. The resulting work and exhibition, Wearing Clothes on the Noosa River, presented the complete drawing cycle of 224 parts at the Noosa Regional Gallery. In this personal intervention in Noosa, Pryor has produced a record of cyclical flow and the passing of time. The artist's written and visual observations encompass minute details of daily life - its sights, smells and sounds - juxtaposed with ruminations on the metaphysical, the power of nature and the interconnectedness of life. Other artists who have been involved with the 'river residencies' at Noosa and the creative documenting of other important water ways include Christine James, Scott Avery and Britt Knudsen-Owens.
Water and Dust: Coongie Lakes
To non-indigenous people, Australia has often seemed a paradoxical, even perverse country. It is indeed the most climatically unpredictable of all continents - a land where seasonal cycles are overwhelmed by unpredictable drought and flood. Dr Puckridge examines this fact about Australia, with a particular focus on the Lake Eyre Basin and Coongie Lake. This article includes text by artists Peter Richards and Erika Calder who work extensively alongside Dr Puckridge in their ongoing pursuit to inform and educate the wider community on the importance of working co-operatively with all the different and varied users of the Lake Eyre Basin.
Karra: River Red Gum
Karra was a visual arts project devised for the 2000 Adelaide Festival. Its focus was the River Red Gum, once the most widespread tree in south eastern Australia and quite justifiably an Australian icon. The project comprised an installation by three artists Chris De Rosa, Agnes Love and Jo Crawford in the Artspace Gallery, Adelaide Festival Centre, from 1 March to 20 April, and a 40 page publication with essays and visual material from many contributors. As curator, Thwaites' intention for Karra was for people to consider their connection with the tree as well as the urgent problems facing this ecosystem, such as salinity, diminished water flow and environmental degradation.
The Waterworks Project
Culturally, spiritually, intellectually, water runs through our lives creating and suggesting connection and renewal. All life depends on water. Like those European explorers who encountered this land so recently, the artists who worked on the Waterworks project searched to make sense of the many manifestations and meanings that water has. It is no real surprise that survival was the thread that connected most of the thinking of the artists. The project saw the work of artists Cameron Robbins, Malcolm McKinnon, Lisa Philip-Harbutt, Jo Crawford, James Darling, Catherine Truman, Graeme Hopkins, Jonathon Novick and Elena Gallegos.
Staring at the sea, staring at the sand: the work of Matthew Dalziel and Louise Scullion
Humanity's universal relationship to the environment has always been at the heart of Matthew Dalziel and Louise Scullion's work, and in large part stems from their own working and living proximity to the ocean on the coastline of Scotland in the fishing village of St Combs. Kubler conducts an examination of some of Dalziel and Scullion's installations, many of which offer that most magical and rare thing in art, the miraculous. Kubler looks at their collaborative works General Release, Sargassum, Rain and Melt and the various ways they have explored the Nature/Culture dichotomy. In particular cyclical weather patterns and mankind's evolving interaction with Nature.