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Contributors
Artlink
Aaron Seeto
Adrian Jones
Ali Gumillya Baker
Alison Carroll
Alison Inglis
Amy Griffiths
Andrew Best
Andrew Paul Wood
Anita Aarons
Anna Ward
Anne Kirker
Annemarie Kohn
Anusha Kenny
Bec Dean
Bert Flugelman
Brenda L Croft
Brian Fuata
Brian Tucker
Bridget Riley
Briony Lee Downes
Bruce McLean
Carmen Ansaldo
Carol Schwarzman
Cath Kenneally
Catherine Lumby
Catherine Speck
Catherine Wilson
Chee-Sean Tan
Chloe Langford
Christen Cornell
Christina Barton
Christine Morrow
Christine Nicholls
Christopher Heathcote
Claire Krouzecky
Clare Lewis
Clint Woodger
Craig Judd
Damien Quilliam
Daniel Browning
Darren Jorgensen
David McNeill
Diana Klaosen
Dianne Jones
Djon Mundine
Dorothy Broom
Edward Scheer
Emily Cormack
Emily Sexton
Emma Bugden
Emma Velde
Farid Farid
Felicity Fenner
Fiona Foley
Flaudette May V. Datuin
Fran Edmonds
Garry Jones
Gary Proctor
Gay McDonald
Geoffrey Legge
Greg McCarthy
Gregory Kwok-Keung Leong
Gwynneth Porter
Hetti Perkins
Ian Howard
Ian North
James Bennett
Jan Hogan
Jane Goodall
Jane Messenger
Jason Wing
Jazmina Cininas
Jeff Khan
Jessica Reid
Joanna Mendelssohn
John Kean
John Neylon
John Oster
Joshua Skinner
Jude Adams
Judy Darragh
Juliette Peers
Karen Brown
Kate Montgomery
Kevin O'Brien
Kieran Finnane
Kon Gouriotis
Lara Strongman
Lisa Harms
Lisa Havilah
Louisa Marks
Louise Dauth
Margaret Moore
Margriet Bonnin
Maria Kunda
Marian Pastor Roces
Marjorie Johnson
Maurice O'Riordan
Max Bourke
Issues
Indigenous: Indignation
Issue 32:2 | June 2012
Diaspora
Issue 31:1 | March 2011
New Zealand Contemporary Art Turangawaewae A Place to Stand
Issue 26:2 | June 2006
Hybrid World
Issue 24:4 | December 2004
Art and the Economy
Issue 12:3 | September 1992
Articles
Editorial: ®ECLAIMED closing the gap of radical apathy
Daniel Browning takes a long hard look at the gap of apathy in Australia.
Editorial: Making history
Stephanie Radok takes the temperature of Aboriginal art and history in 2012.
The elephant in the room: public art in Brisbane
Artist-activist Fiona Foley recounts a recent incident of the commissioning of a public art work for Kurilpa (place of the kuril or native water rat). Kurilpa is the cultural precinct where GOMA is located. Foley imagines works by prominent Queensland Aboriginal artists dotted along that place.
The Ghost Net art project
Program Director for Ghost Nets Australia Sue Ryan describes how the Ghost Net Art Project began and what it is all about - people using eco-trash to share stories and express their creativity.
The Ballad of Jimmy Governor
Emeritus Indigenous curator Djon Mundine wrote this essay on the occasion of a production of Posts in the Paddock a play about Jimmy Governor by the company My Darling Patricia. The performance included members of the both families involved. Mundine addresses questions of familial and national forgiveness.
What lies buried on my land rises
Nyoongar artist Dianne Jones returned to York in Western Australia where her people come from and researched its tragic Aboriginal history.
Culture Warriors as cultural diplomacy
Senior lecturer at the College of Fine Arts (CoFA), University of New South Wales, Gail McDonald analyses the exhibition Culture Warriors, the first National Indigenous Art Triennial curated by Brenda L. Croft, that travelled to Washington in 2009. McDonald argues that, rather than diplomatic blandness, real political confrontation was present in the exhibition.
A place of our own
This conversation between curator Hetti Perkins and co-editor Daniel Browning looks at Perkins call for a National Institution, or Centre, of Indigenous Art, which might become, as she puts it, “a living space that breathes culture”.
Artefacts of authenticity
Artist and lecturer Garry Jones is undertaking a Phd at the Australian National University School of Art in Canberra. In this article he reveals some of his investigations of Aboriginal artefacts in museum collections and questions notions of authenticity, reclamation and reinvigoration of the past in contemporary Aboriginal art.
For architecture and country
Torres Strait Islander Kevin O'Brien, who is commissioning and directing an independent exhibition called 'Finding Country' at the Venice Architecture Biennale 2012 running from August to 25 November 2012, writes about an Aboriginal architecture that is not about buildings shaped like native animals.
Tandanya: the case for home
The National Aboriginal Cultural Institute, known as Tandanya, was established in 1989 in Adelaide. Philip Watkins, Artistic and Cultural Director of Tandanya, 2006-2011, said: “This is Tandanya’s role – to show our world through our eyes, to tell our stories and to sing our songs with our voices.” Curator, educator and writer Sara White reviews Tandanya's 23 years of art and asks "Does Australia need more Tandanyas?"
Archie Moore: drilling deep
Freelance curator and writer Tim Morrell studies the art practice of Brisbane-based Archie Moore which is emphatically free from any signature style and is concerned with sharing his experience as an Indigenous Australian in order to put viewers 'in his shoes'.
How did Aborigines invent the idea of contemporary art?
Brenda L Croft, artist, curator and Senior Research Fellow at the National Institute for Experimental Arts, UNSW, reviews and finds gaps in the big pink book put together over many years by Ian McLean that collects iconic bits of writing about Aboriginal art and knits them together.
Indigenous Art Code: cracking the code
The Director of the Indigenous Art Code John Oster explains the Code, how it works, why it is needed and who isn't complying.
Chiharu Shiota: State of Being Sue Saxon and Jane Becker: All that is solid melts into air
TarraWarra Museum of Art 25 February - 27 May 2012
FotoFreo 2012: The City of Fremantle Festival of Photography
Perth, Western Australia 17 March – 15 April 2012
Glen Skien: MYTHO-POETIC
The Webb Gallery Queensland College of Art Griffith University 19 – 28 April 2012
Obscured by Light: Pamela Lofts and Kim Mahood
Araluen Arts Centre, Alice Springs 25 February – 25 March 2012
Panorama: are we there yet?
Daniel Boyd, Nadine Christensen, Sarah Goffman, Fiona Lowry, Bennett Miller, Arlo Mountford, Joan Ross, Caroline Rothwell, Bernie Slater, Jemima Wyman Casula Powerhouse Arts Centre, NSW 27 January 2011 – 13 March 2012
Parallel Collisions: 2012 Adelaide Biennial of Australian Art
2 March to 29 April 2012 Art Gallery of South Australia Curators: Natasha Bullock, Alexie Glass-Kantor
Restless – Adelaide International 2012
Curator: Victoria Lynn Flinders University City Gallery Samstag Museum of Art Contemporary Art Centre of South Australia Australian Experimental Art Foundation March 2012
Spaced: Art out of place
Artistic Director: Marco Marcon Fremantle Arts Centre 4 February - 11 March 2012
Big wave: Desert Country
Legendary curator John Kean looks at three recent large exhibitions of Aboriginal art - Tjukurrtjanu: Origins of Western Desert Art, Desert Country and Living Water, and questions whether the same spirit sings in all of them.
Sitting & connecting: Goulburn Art Class 2-0-1-1
Goulburn Class 2-0-1-1 was an exhibition curated by Djon Mundine at the Goulburn Regional Art Gallery of work made by prisoners at the local Correction Centre in response to ten one day workshops in the prison by seven Aboriginal artists whose work was also in the show. Writer and editor Maurice O'Riordan reviews the exhibition and more importantly the processes it involved.
Reviewing Our Mob: A state-wide celebration of South Australian Indigenous art
Our Mob is a state-wide celebration of South Australian Indigenous art held annually at the Adelaide Festival Centre since 2006. Curator Susan Jenkins who worked on it for three years from 2009-2011 analyses what works about Our Mob and what the future might be.
Long Way Home: A celebration of 21 years of Yunggorendi First Nations Centre
Yunggorendi First Nations Centre for Higher Education and Research at Flinders University, celebrated 21 years of operation in 2011 with an exhibition of work selected by staff and students from the collection of Flinders University Art Museum. Artist Ali Gumillya Baker critically reviews selected works in the exhibition and the issues they raise.
No Place without Other Places: Spinifex Arts Project at fifteen years
University of Western Australia lecturer Darren Jorgensen examine the Spinifex Arts Project from its inception with reference to a new exhibition happening August-October 2012 at John Curtin Gallery and asks the big question: "What would it mean if Aboriginal artists were not tied to language groups, communities, art centres and regional styles?"
Postcards from China
Multi-disciplinary artists Jason Wing, who has both Aboriginal and Chinese forebears, undertook a residency in Xucun, a remote village in China, where Chinese artists Qu Yuan and Shen Shaomin have established the Xucun Art Commune in order to protect the village's beauty and heritage.
Tu Di Shen Ti, Our Land Our Body: the Ngaanyatjarra poetic goes to China
The exhibition 'Tu Di Shen Ti – Our Land Our Body, Masterworks of the Warburton Collection', was seen in China by about a quarter of a million people, across seven venues, throughout 2011. Director of the Warburton Arts Project Gary Proctor describes how the exhibition came about, what it looked like and what its goal are.
Ancestral memory: out of the shadows
University of Melbourne Research Fellow Fran Edmonds along with Victorian artists Lee Darroch, Maree Clarke and Vicki Couzens looks at the story of Aboriginal art in Victoria as a determined reclamation of the past, a cross-generational celebration in the present and a visionary guide for the future.
On the ground with Our Mob in 2011
Terry Cleary was the Statewide Indigenous Community Artists Development (SICAD) Program Manger with Ananguku Arts and Culture from 2009-2011. He reflects on the potential power of Our Mob when it works.
Old Categories, New Frameworks: Asia-Australia
Writer, researcher and arts manager Christen Cornell studies the way China is now much more of a player on the international art curcuit than Australia and what it means to young Chinise-Australian artists.
Transcultural Radical
Director of 4A Centre for Contemporary Asian Art in Sydney Aaron Seeto attends to the artwork of Sumugan Sivanesan, Sangeeta Sandrasegar, Guan Wei and Kaleb Sabsabi to raise questions of experiences of cultural difference and the way they are inadequately critically interrogated in contemporary art practice.
Unrequited Language: Khaled Sabsabi
Freelance writer and doctoral candidate Farid Farid analyses the installations and videos of deep thinker Khaled Sabsabi which use sound and collaboration as a significant part of their presence.
Flight, Philippines: Nothing to Declare
Associate Professor at the University of the Phillipines and visiting research fellow at the University of New South Wales Flaudette May V. Datuin looks at the complex ideas of home, absence and presence in the work of artists examining the lives of Overseas Filipino and Filipina workers (OFWs).
Traditional Skills: Refugees
South Australia's Craftsouth ran an outstanding workshop series in May 2010 where refugees with traditional craft skills from six countries taught their secrets to Australian craftspeople.
Weeds without Frontiers: Stephanie Radok
Poet, novelist and broadcaster Cath Kenneally examines the recent work of Stephanie Radok which involves weeds painted on beer coasters and finds tenacity, diversity and survival-skills in it.
Iran: Scripts of Despair and Love: Nasim Nasr & Siamak Fallah
Curator, artist and doctoral candidate Lisa Harms writes about two artists, Nasim Nasir and Siamak Fallah, both originally from Iran who now live and work in Adelaide and make work that references their homeland.
Creative Adaption and Continuing Conversations
A flying journey through some of the Australia Council's most recent innovative projects which are also conversations with community partners and where outcomes are broad and diverse leading potentially to new forms of contemporary art practice...
Open House Singapore Biennale 2011
One of the curators of the Singapore Biennale Australian Russell Storer explains how the Biennale is a sited conversation, about place as well as process.
Curious and Collaborative: Encounters in Tokyo, Singapore & Yogyakarta
Next Wave Artistic Director Emily Sexton and Next Wave Artistic Program manager Ulanda Blair discuss the waves of Invisible Structures a project curated by Next Wave and supported by Asialink in which Australian artist collectives do exchanges with collectives in Tokyo, Singapore and Yogyakarta.
Gwangju Summer: Open 2010
London-based curator and postgraduate researcher Tania Doropolous discusses 10,000 Lives: the Eighth Gwangju Biennale as well as the curatorial summer school that accompanied it.
Reconnecting the Dots: Next Sydney Biennale Directors
Indigenous Canadian Gerald McMaster and Belgian Catherine de Zegher are joint directors of the next Biennale of Sydney. Joanna Mendelssohn interviewed Catherine de Zegher about the global and the local, difference and similarity...
Manifesta 8: Seeking a Dialogue with Africa
Curator and arts manager Alison Carroll visited Manifesta 8 the European Biennial of Contemporary Art held 9 October 2010 - 9 January 2011 in both Murcia and Cartegena in Spain and featuring over 100 artists.
After the Deluge
Novelist, freelance writer and contributor to Inside Story website www.inside.org.au Jane Goodall writes about the recent floods in Queensland in relation to climate change and art and how "we need the merging energies of many artists to shift the consciousness of an era mesmerised by determination to perpetuate a way of life that may well be no longer viable."
Life, death and magic: 2,000 years of Southeast Asian ancestral art
National Gallery of Australia 13 August – 31 October 2010
The Quod Project: Tania Ferrier
Heathcote Museum and Art Gallery, Perth 21 January - 27 February 2011
Pmere Arntarntareme / Watching This Place
20 November 2010 – 13 February 2011 Araluen Arts Centre, Alice Springs, NT
Freehand: Recent Australian Drawing
Curator: Linda Michael Heide Museum of Modern Art 25 November 2010 – 6 March 2011
John Barbour: Work for Now
Curator: Kerry Crowley Australian Experimental Art Foundation 12 November 2010 - 29 January 2011
Home Open: Fremantle Artists and Their Collections
Fremantle Arts Centre 27 November 2010 - 23 January 2011
Hermannsburg: echoes in the landscape
Curator: Alison French Flinders University City Gallery 11 December 2010 – 30 January 2011
AlphaStation/Alphaville : Luke Roberts
27 November 2010 - 26 February 2011 IMA, Brisbane 17 June–23 July 2011 Australian Centre for Photography, Sydney
The whole and the sum of its parts: Kate Scardifield
MOP Projects, Sydney 3 December - 19 December 2010
Editorial: Diaspora
Last week, I was standing in front of a man called Daryl who has lived in the Campbelltown suburb of Minto for 20 years. I saw him dance some of the story of his life.
Andrew Drummond: Observation/ Action/ Reflection
Andrew Drummond: Observation/ Action/ Reflection by Jennifer Hay et al Christchurch Art Gallery / Te Puna o Waiwhetu, New Zealand, 2010. ISBN 978-1-877375-19-4, rrp NZ $89.99.
Braided Rivers: Regionalism in New Zealand Art
Andrew Paul Wood focuses on some of the issues pertaining to New Zealands regionalist tensions, particularly the obvious division of the North and South Islands. Furthermore he looks at some of the opposing aesthetic qualities to have come from artists of the North and the South regions. This is here discussed through reference to artists Colin McCahon, Don Binney, Pat Hanly, Bill Sutton, Rita Angus, Gordon Walters, Milan Mrkusich, Gretchen Albrecht, Ronnie van Hout, Bill Hammond, John Pule, Elizabeth Allan, Dorothy Irvine, Sandy Gibb, Billy Apple, Sofia Tekela-Smith, Ani ONeil, Niki Hastings-McFall, Shigeyuki Kihara, Peter Robinson, Shane Cotton, Ralph Hotere, Robyn Kahukiwa, Tony de Latour, Seraphine Pick, Saskia Leek, Grant Takle, Peter Wheeler and James Robinson.
New Arrival: Brian Butler, Director of Artspace
Interview with Brian Butler, the new Director of Artspace, Auckland. Questions are raised regarding Butler's decision to leave his position at the Los Angeles cutting edge art gallery 1301PE in order to direct a publicly funded space in Auckland and his visions for the future of Artspace.
State of the Art New Zealand
This essay draws on some of the themes and issues raised by the 1997 report 'New Vision: A Critical View of the Visual Arts Infrastructure', commissioned by Creative New Zealand and the Chartwell Trust to document the state of New Zealand's visual arts infrastructure of the time. It is here used in reference to offer a series of (partial, personal and biased) snapshots that consider the state of the visual arts scene in New Zealand. Some key figures here referred to include Gordon H. Brown, Lee Weng Choy, Greg Burke, John Maynard, Cheryll Sotheran, Priscilla Pitts, John McCormack, Pae White, Sam Durant, Lee Bul, Peter Robinson, Ann Shelton, Fiona Clark, Giovanni Intra, Fumio Nanjo, Jonathan Watkins, Mercedes Vicente, Tyler Cann, Robert Leonard, David Hatcher, Louise Garrett, Simon Rees, Michael Stevenson, Ronnie van Hout, Francis Upritchard, Denise Kum, Yuk King Tan, Joyce Campbell, Hamish McKay, Andrew Jenson, John Gow, Gary Langsford, Michael Lett, Heather Galbraith, Jenny Todd, Brian Butler and others.
You And Me And Everyone We Know: Photography
This article looks at the controversy that surrounded Ans Westra's pictorial essay Washday at the Pa, published during the 1960's, as a way of addressing the current trends in New Zealand photography. Emma Bugden uses this example to raise issues of Maori and Pekeha representations in New Zealand art and the renewed interest in social realism among New Zealand photographers in recent years. Artists included in this discussion are Edith Amituana, Andrew Ross, Marti Friedlander, Peter Black, Peter Peryer, Anne Noble, Laurence Aberhart, Greg O'Brien, Justin Paton, Ava Seymour, Joel Peter Witkin, Fiona Amundsen and Neil Pardington.
Don't Misbehave! SCAPE 2006 Public Art Biennial
This article looks at the argument for public art in Christchurch subsequent to the phenomenal public debate sparked when Michael Parekowhai's 5m high fibreglass bunnies became the centrepiece of the SCAPE 2002 Biennial. Velde further examines some of the recent aims for SCAPE 2006 by curators Natasha Conland and Susanne Jaschko who are looking to embrace contemporary art's exploration of different media channels.
Visions and Revisions: Recent Work by Shane Cotton
Strongman here looks at the recent works of New Zealand artist Shane Cotton. Issues of transformation - of an ebb and flow of changes in form and meaning over time, of visions and revisions of and between cultures - have been central concerns of Cotton's work for more than a decade. Through extensive reference to Maori and Christian culture, Cotton explores what he describes as the 'collision and collusion' of New Zealand's two official cultures.
An Artist's Economy: Madden, Stevenson, Upritchard
New Zealand artists Peter Madden, Michael Stevenson and Francis Upritchard have each worked within disparate environments and local economies for some years, in Auckland, Berlin and London respectively. Each of them self-consciously explores alternative economies available to them through the production of art. Between them Madden, Stevenson and Upritchard have participated in such art events as the Venice Biennale and exhibited at the Tate Gallery, Darren Knight Gallery, the Museum of New Zealand, Herbert Read Gallery and the Bart Wells Institute.
Of New Zealand Art and Letters
When it comes to New Zealand publications, the excitement generated by each forthcoming issue is as good a yardstick as any to judge by.
Special (Auckland)
Special Gallery is an activity centre at Level 1, 26 Customs St East, Auckland. Exhibiting artists have included Jason Lindsay, Tahi Moore, Fiona Conner, Seung Yul Oh, Nick Austin, Tao Wells, Daniel Du Bern, Helga Fassonaki, Alex Vivian, Chris Cudby, Dave King, Julian Dyne, Fraser Munro, Eddie Clemens, Richard Bryant, Patrick Lundberg, Simon Denny, Jennifer Mason, Robin Kydd, Fin Ferrier, Ben Tankard, Chris Fitzgerald, Stephan Neville, Lou Darlington and Nate Williamson.
Enjoy (Wellington)
Enjoy was born out of transparency and openness and a focus on critical dialogue combined with some utopian ideals such as being 'Liberated from Commercial Constraints' and has been a place for dissent and discussion. Artists Ciaran Begley and Ros Cameron with administrator Rachel Smithies established enjoy in 2000. Exhibiting artists have included Caroline Johnston, Eve Armstrong and Violet Faigan.
Cuckoo
Cuckoo was formed in January 2001 by dreamers Ani O'neill, Daniel Malone, Judy Darragh (artists), Jon Bywater and Gwyneth Porter (writers). Collectively they created this space as a means for discussing ways to present artist's projects outside the traditional method of running a gallery space. Some of the artists involved with cuckoo are Dan Arps, Kate Newby, Sriwana Spong, Ben Tankard, Janet Lilo, Fiona Connor, Seung Yul Oh and Nick Austin.
RM103 (Auckland)
In 1997 a tiny office overlooking a record store in Auckland was turned into a gallery space called 'rm3'. Directors of the now 'rm103' include Andrew Barber, Kylie Duncan, Kirsten Dryburgh and Nicholas Spratt. Previously exhibiting artists include Bjorn Houtman, Sarah Gruiters, Finn Ferrier, Gaelen Macdonald and Erica van Zon.
Charles Merewether: Director of 15th Biennale of Sydney
It is always hard to characterise an exhibition as vast and sprawling as the Biennale of Sydney as it takes over the city, but every time the Biennale has taken place, it has taken on the flavour of its artistic director. Joanna Mendelssohn has conducted an interview with Charles Merewether - art historian, writer and curator - who has produced what could be the most confronting Biennale for many years. His take is at first glance the external world of war and conflict, of cultural difference and exchange but ultimately he wanted to do 'a show that tried to interfere in the way in which contemporary art was being seen'. Included in this article is the work of artists Akram Zaatari Saida, Elena Kovylina, Raeda Saadeh, Ghada Amer, Ruti Sela, Maayan Amir, Sejla Kameric, Mladen Stilinovic, Milica Tomic, Imants Tillers, Savanhdary Vongpoothorn, Julie Gough, Adrian Paci, Liza Ryan, Sharon Lockhart and Antony Gormley.
Steve Kurtz: Critical Art Ensemble
An interview between Mireille Astore and Steve Kurtz, member of the Critical Art Ensemble (CAE) and Professor of Art at University at Buffalo. Kurtz participated in Home Works III, a recurring production of Ashkal Alwan, the Lebanese Association for Plastic Arts. Lectures, discussion panels, video screenings, performances and book launches, all contributed to the wealth of ideas offered and generated during an intense week from 17-24 November 2005. Astore asked Kurtz about his practice and its relationship to Home Works III.
2006 Contemporary Commonwealth
Australian Centre for the Moving Image: 24 February - 21 May National Gallery of Victoria 24 February - 25 June Festival Melbourne 2006 Commonwealth Games