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Renowned French curator Catherine David visited Auckland to judge the Walters Prize; she awarded the $50,000 prize to Peter Robinson. John Hurrell artist, curator and blogger of NZ art reviews and critical discussion site eyeCONTACT spoke to Catherine about her curating of the Lyon Biennial which touches down in late 2009, and the relationship between artists and curators.

John Hurrell

Editorial

Stephanie Britton

Curators, creators and catalysts

Marcus Westbury, former director of Noise, Next Wave, TINA (This Is Not Art) festivals, and writer and presenter of Not Quite Art on ABC TV, writes about the need for art to get away from reflecting too hard on gatekeepers and their requirements. He looks at the Biennale of Sydney at Cockatoo Island, the Next Wave's The Containers Village and the Melbourne Laneways projects as good examples of stepping outside the cube. He concludes that: 'Artists are best to invest their energy in finding their audiences and their communities.'

Marcus Westbury

Right now I am unravelling: notes on the 2008 Next Wave Festival

A lively coverage of the exciting 2008 Next Wave Festival directed by Jeff Khan. Next Wave began 24 years ago and in 2008 presented the work of around 400 artist over 61 projects.

Simon Gregg

Curating a psycho-geography Campbelltown Arts Centre and the genius of Lisa Havilah

Campbelltown Arts Centre's chief curator and director Lisa Havilah creates challenging and confronting exhibitions like For Matthew and Others (2006), News from Islands (2007) and Ai Weiwei: Under Construction (2008). She believes that: 'contemporary art centres that sit outside of the metropolitan centres provide the highest level of opportunity for the development and application of new forms of curatorial practice.'

Adam Jasper

Beyond the temples: the way of idiosyncracy

Professor and artist Pat Hoffie interviewed highly creative, innovative and idiosyncratic curator Kevin Wilson, once Director of Linden, Director at Noosa Gallery where he devised The Floating Land project and most recently Program Director with the Queensland Artworkers Alliance and their ARC Biennial that opens in October 2009.

Pat Hoffie

To curate or not to curate, 2008 in Europe: urban BB5 and post-industrial Manifesta 7

London-based Macedonian artist and writer Nadja Prlja compares the urban and modern 5th Berlin Biennial BB5: When Things Cast No Shadow (5 April - 15 June 2008) with Manifesta 7 (19 July - 2 November 2008) which occupied the whole arae of Trentoni in Italy. Prlja pays particular attention to the differences in the ways the projects were curated.

Nada Prlja

Curatorial Asia a twenty year perspective

As Director of Asialink Arts Alison Carroll has had twenty years of experience curating and facilitating the curation of exhibitions in or connected to Asia. Her analysis emphasises the complexity and cultural differences experienced by Asian curators in their home countries and looks forward to a more glocal future as they increase their international presence.

Alison Carroll

Places and contexts in two Singapore Biennales: curating courtrooms, containers and camps

Curator of the 2008 Adelaide Biennale Felicity Fenner discriminates between site-specific and site-responsive art practices in an analysis of the last two Singapore Biennales. She suggests that responding to the site may be the best way for a biennale to become more than an expo.

Felicity Fenner

Curating Chinese themes: cheap labour, migration and capital, Shanghai Biennale and Guangzhou Triennial

In September 2008 Dylan Rainforth went to both the 7th Shanghai Biennale (Translocalmotion) and the 3rd Guangzhou Triennial (Farewell to Post-Colonialism). While he found mixed messages in Shanghai which was curated by artistic director Zhang Qing assisted by Julian Heynen and Henk Slager, it was Guangzhou curated by Gao Shiming, Sarat Maharaj and Johnson Chang that hit the sweet spot with 'witty, people-powered ways forward.'

Dylan Rainforth

Manray Hsu taking a political position

Prominent Australian curator Victoria Lynn interviewed Berlin and Taipei-based independent curator Manray Hsu about his notions of decentralised cosmopolitanism and Archipuncture (a sort of acupunture that artists do to cities)..

Victoria Lynn

Hello Tokyo! Good to see you again

Artspace curator Reuben Keehan reflects on the Australia-Japan Visual Art Forum convened by Asialink in June 2008 as the Biennale of Sydney opened. The thirty delegates concluded the stimulating forum with recommendations about ongoing collaborations between curators using a variety of models, as well as the new ideas to be pursued of audience-in-residence programs and an Asian version of Manifesta.

Reuben Keehan

Hello Tokyo! Process is all

Diorama of the City: Between Site & Space 13 September - 13 October 2008 Tokyo Wonder Site Artists: Alex Gawronski, Gail Priest, Tim Silver, Hiraku Suzuki, exonemo, Paramodel

Reuben Keehan

Hello Tokyo! Ghostings

Bec Dean

Hello Tokyo! Flagging it

Some Material Flags, MOT Tokyo, 22 October - 12 January 2009. Louisa Bufardeci

Rachel Kent

Throwing voices

Senior Curator at Christchurch Art Gallery Justin Paton reflects on curating the exhibition that he remembers most fondly and that speaks to him of the magic of curating - the show of wall paintings called Big Talk by US word- artist Kay Rosen in 2004 at the Dunedin Public Art Gallery.

Justin Paton

Back from the brink: culture in Timor-Leste

The Museum and Art Gallery of the Northern Territory (MAGNT)'s Curator of Southeast Asian Art and Material Culture Joanna Barrkman curated Husi Bei Ala Timor Sira Nia Liman /From the Hands of Our Ancestors which is on at MAGNT in Darwin from 21 November 2008 to 12 July 2009. The show celebrates the survival of Timor-Leste's cultural inheritance and asks whether traditional art forms and techniques have a role to play in the formation and assertion of Timor-Leste's national and cultural identity.

Joanna Barrkman

Firing across the gaps

In May 2008 Wagga Wagga Art Gallery's new Director Cath Bowdler curated Crossfire, an exhibition of resonating artworks from the Gallery's two major collections, the National Art Glass Collection and the Margaret Carnegie Print Collection, as a way of introducing herself to both the space and the place. Bowdler was initially inspired by the glass work Salt on Mina Mina by Dorothy Napangardi.

Cath Bowdler

Species enhancement by international gene pool

Director of Wollongong City Gallery Craig Judd writes about the memorable experience of curating Wild Thang: post pop from the MCA, a show that combined works from the MCA's collection with corresponding pieces in the collections of the towns the exhibition visited: Bathurst, Armidale, Gold Coast and Albury.

Craig Judd

Curating paths, musical chairs

Outgoing Director of the Experimental Art Foundation Melentie Pandilovksi spills the beans on the current state of play internationally in terms of powerful independent curators moving into important positions in museums. He puts forward the prevalence of a 'new institutionalism' seeking to redefine contemporary art institutions from within. The EAF is about to release a Futures paper on this topic.

Melentie Pandilovski

So you want to be a curator?

Joanna Mendelssohn, author and Associate Professor at the College of Fine Art, University of New South Wales where she co-ordinates the Master of Art Administration, writes about the highly competitive and financially unrewarding realities of getting a position as a curator in an art musuem.

Joanna Mendelssohn

I've looked at love from both sides now: reflections on freelance / independent / guest curating

Juliette Peers, art historian and lecturer at RMIT, surveyed a number of freelance curators to find out how they work and why they embrace this insecure, interstitial existence. Hannah Mathews, Elizabeth Gertzakis, Vivonne Thwaites and Anne Kirker are among the freelance curators to whom she spoke.

Juliette Peers

Emerging, educating and unruly: Vivonne Thwaites

Hahndorf Academy Curator Melinda Rankin reflects on the recent work of legendary freelance curator Vivonne Thwaites who introduced Rankin to the deep levels of research, the surprises, the risks and the sheer hard work of being a curator.

Melinda Rankin

Artrave

Artlink

Video loops and VIP dinners: 2008 Beijing and Hong Kong Art Fairs

Artlink Executive Editor Stephanie Britton 'did' two major art fairs in our region, the first ever in Hong Kong - ART HK08 and the fifth Beijing one - CIGE (China International Gallery Exposition). She found them both fascinating and especially enjoyed the Mapping Asia and Alternative Energy sections of CIGE and the symposium organised by Asia Art Archive at HK08.

Stephanie Britton

What would it mean to win? a film by Zanny Begg and Oliver Ressler

Gerald Raunig

25th National and Torres Strait Islander Art Award (NATSIAA)

25th National and Torres Strait Islander Art Award (NATSIAA) Museum and Art Gallery of the Northern Territory (MAGNT) 15 August 26 October 2008

Sarah Scott

It's time: Emily Floyd

Its Time : Emily Floyd Australian Print Workshop Gallery, Fitzroy, Melbourne 23 August - 18 October 2008

Anna Zagala

Katherine Moline

Katherine Moline Yuill / Crowley, Sydney 10 July 2 August 2008

Sarah Hetherington

Spatsville: Memoirs of a failed painter: Alasdair Macintyre

Splatsville: Memoirs of a Failed Painter: Alasdair Macintyre Ryan Renshaw, Brisbane 23 September - October 11 2008

Emma Lindsay

New social commentary 08

New Social Commentary 08 Warrnambool Art Gallery 6 September 2 November 2008

Bryony Nainby

Shards: Judy Watson, Yhonnie Scarce, Nici Cumpston

Shards: Judy Watson, Yhonnie Scarce, Nici Cumpston Curator: Mary Knights South Australian School of Art Gallery (SASA) 30 September - 24 October 2008

Jemima Kemp

Without Borders: Outsider Art in an antipodean context

Without Borders: Outsider Art in an Antipodean Context Curators: Glenn Barkley, Peter Fay Campbelltown Arts Centre, NSW 30 August 21 September 2008

Vaughan O'Connor

Ornament: Anne MacDonald

Ornament : Anne MacDonald Carnegie Gallery, Hobart 19 September 26 October 2008

Briony Downes

Warburtonta-latju Warntu Palyaranytja (We are doing Warntu work in Warburton)

Warburtonta-latju Warntu Palyaranytja (We are doing Warntu work in Warburton) Holmes à Court Gallery 1 August 14 September 2008

Holly Story

Fremantle Print Award 2008

Fremantle Print Award 2008 Fremantle Arts Centre 23 August - 5 October 2008

Mariyon Slany

Exit music: a lake and a stand of trees: George Popperwell

exit music: a lake and a stand of trees: George Popperwell Contemporary Art Centre of South Australia (CACSA) 25 July 7 September 2008

Lisa Harms

Errant Abstractions

Errant Abstractions Pam Gaunt Galerie Düsseldorf 3 - 31 August 2008

Ric Spencer

Neo Goth: black in black

Neo Goth: Back in Black Curator: Alison Kubler UQ Art Museum, University of Queensland, Brisbane 25 July - 21 September 2008

Craig Douglas

Lynette Wallworth: shared moments of revelation

Lynette Wallworth's New Media Art is subtle and complex. Empathy is the emotion at the heart of all her works such as Invisible by Night in which the viewer activates the work by reaching out to make contact with a grieving woman and Hold in which viewers catch imagery in glass bowls. Wallworths international profile is rising. She has exhibitions planned for France (Aix en Provence Festival), the Melbourne Festival in 2008 and the Adelaide Film Festival 2009 and with each new project she is striking an emotional chord in her audiences that resonates long after the physical engagement with the work is over.

Ted Snell

Rose Farrell and George Parkin: home (operating) theatre

Rose Farrell and George Parkin's art consist of photographs of tableaux involving the artists in sets that they build in their home. They frequently copy old medical illustrations in which the reality of the past is both made to live and to seem ever more mythical. Dylan Rainforth takes an informative and affectionate approach to the complexity of Farrell and Parkin's modus operandi and their newest photographic series called Restoration.

Dylan Rainforth

Deborah Kelly's gods, monsters and probable histories

Each of Deborah Kelly's projects has multiple identities and is cut to fit a certain idea. They are 'both nomadic and site-specific, traversing worlds from art institutions to supermarket shelves and creating multifarious audiences along the way'. Her best known work 'Beware of the God' was first projected over the MCA in 2005 and was last seen at the 2008 Singapore Biennale.

Ilaria Vanni

Helen Fuller: Domestic forensics

Cath Kenneally

George Gittoes art and the war on terror

George Gittoes' latest film Miscreants was made in Pakistan and records the contradictions of life there with the polemic of Goya and the speed of an MTV music clip. This film follows his earlier cult films Soundtrack to War and Rampage. Gittoes is never a dispassionate observer, he continues to paint and to draw, making war art that is emotional as well as rich with the difficult truths of our time.

Joanna Mendelssohn

The dramatic tensions of some place: Mary Scott

Tasmania-based Mary Scott's art ranges across media from traditional to cutting edge. Sometimes she meticulously paints oil on linen from digitally devised imagery, at other times she uses multiple inkjet prints as the final work. Focusing on Scott's 2007 exhibition Some Place at Criterion Gallery in Hobart, Mary Knights describes her hallucinogenic and unheimlich works as depicting 'with detachment and clarity the spectrum of human fragility.'

Mary Knights

Landscape and complexity: Raquel Ormella

Raquel Ormella's art is political and takes many circuitous approaches to complex issues. Her recent work Wild Rivers: Cairns, Brisbane, Sydney shown in the 2008 Sydney Biennale called up a political landscape of maddening complexity even as it emphasises the need for direct action. Bec Dean writes: 'Ormella is a kind of critical idealist who understands not only the effectiveness of lobbying and the power of the individual in bringing about change but also the slow-burn persistence of such change.'

Bec Dean

Craig Walsh transfigured nights, surprising days

The artworks developed by Craig Walsh over the last sixteen years in Australia and around the world take the immediacy of the moving image and place it in unexpected places doing unexpected things. With a strong global profile he is increasingly being asked to participate in prestigious international events, most recently Drift 08 in London and Koganecho Bazaar in Yokohama.

Stephanie Radok

Jun Nguyen-Hatsushiba seduction and imponderability

Jun Nguyen-Hatsushiba's best-known work is the video Memorial Project Nha Trang, Vietnam: Towards the Complex - For the Courageous, the Curious and the Cowards (2001)in which fishermen ride cyclos (cycle rickshaws) underwater across the seabed. An engaging retrospective of Nguyen-Hatsushiba's thought-provoking and challenging work was shown in 2007 at the Museum of Art Lucerne and in 2008 at the Manchester Art Gallery displayed the work. In his most recent and ongoing work he is running a global marathon, the diameter of the earth. The artist says: 'After developing various kinds of memorial projects, I needed to experience the nature of physical struggle myself.'

Catherine Wilson

G.R.L. giving people opportunities to tear their city apart since 2005

In March 2008 James Powderly and Evan Roth of the New York-based Graffiti Research Lab (G.R.L.) spent time in Adelaide during the Festival as guests of Carclew Youth Arts. The Graffiti Research Lab is dedicated to outfitting graffiti writers, pranksters, artists and protestors with open source tools for urban communication. Today, an inventory of street artforms would include tagging, muralling, political sloganeering, stencils, stickers, paste-ups, installation, guerilla projection, culture jamming, and advertisement hacking. Powderly and Roth define graffiti as anything that happens outside in the city without permission. At the heart of all G.R.L. projects is the concept of open source , and perhaps it is this approach that has been their greatest area of influence.

Charity Bramwell

Aboriginal art: it's a complicated thing

Tim Acker, an independent arts consultant working with Aboriginal artists in remote and regional Australia, writes about the current situation. Questions of ethics in the sale, and making, of Aboriginal art are under review and an Australian Indigenous Art Commercial Code of Conduct has been developed though the 2008 Federal budget failed to fund its roll-out. Acker suggests that consumers become more educated about the art and about the provenance of the works they buy.

Tim Acker

Problematic artworks or my doctor told me to take up painting to help me cope with the panic attacks

Suzanne Spunner, a graduate of Melbourne University's Art Authentication Program at the Centre for Cultural Materials Conservation, writes about the successful landmark prosecution of Pamela and Ivan Liberto for forging Rover Thomas paintings in November 2007. Meanwhile in April 2008 artist Nat Thomas, half of the art duo Nat and Ali, in an exhibition entitled 'Appropriation: how appropriate is it?', made and showed fake Rover Thomas paintings as an art prank. 'My doctor told me to take up painting to help cope with the panic attacks' is a quote by Pamela Liberto from the transcript of the case, appropriated by Nat Thomas as the title for one of her fake Rover Thomas works.

Suzanne Spunner

Artrave

Artlink

Perils of the studio: inside the artistic affairs of bohemian Melbourne, Alex Taylor

Perils of the Studio: Inside the artistic affairs of bohemian Melbourne by Alex Taylor, Australian Scholarly Publishing in association with the State Library of Victoria, 2007, hardcover, 212 pages RRP $59.95

Juliette Peers

Jon Cattapan: possible histories

by Chris McAuliffe Melbourne: Miegunyah Press, 2008, RRP $49.95 Reviewed by Ian North

Ian North

Aberhart

Photographs by Laurence Aberhart Essays by Gregory OBrien and Justin Paton Victoria University Press 2007 NZ $125

Stephanie Radok

Biennale of Sydney 2008 Revolutions - Forms That Turn

Biennale of Sydney 2008 Revolutions - Forms That Turn Curator: Caroline Christov-Bakargiev 18 June 7 September 2008

Stephanie Radok

Performances at Biennale of Sydney 2008 Revolutions - Forms That Turn

Performance at Biennale of Sydney 2008 Revolutions - Forms That Turn Curator: Caroline Christov-Bakargiev 18 June 7 September 2008

Jo Higgins

God-favoured, Rodney Glick: Surveyed

God-favoured, Rodney Glick: Surveyed Lawrence Wilson Art Gallery 13 June 10 August 2008

Ric Spencer

Companion Planting

Companion Planting Lucy Bleach, Michelle Cangiano, Dean Chatwin, Raef Sawford, Amanda Shone Curator: Jack Robins CAST Gallery, Hobart May 24 June 15 2008

Bryony Nainby

Kate Rohde: flourish

Kate Rohde: flourish Curator: Jenna Blyth TarraWarra Museum of Art 20 April - 20 July 2008

Justine Khamara

Ian Friend: Thirty Years of Works on Paper 1977-2007

Ian Friend: Thirty Years of Works on Paper 1977-2007 Curators: Gordon Craig and Anne Kirker QUT Art Museum, Brisbane 24 April- 29 June 2008

Angela Gardner

Uneasy: Recent South Australian Art

Uneasy: Recent South Australian Art Curator: Timothy Morrell Samstag Museum of Art, University of South Australia 20 June - 17 August 2008

Niki Sperou

The Lovely Season, Enrique Martinez Celaya

The Lovely Season Enrique Martinez Celaya Liverpool Street Gallery 27 February 27 March 2008

Naomi Gall

Hijacked

Hijacked Artsource, Fremantle April 5 - May 4

Thelma John

Bal Tashchit: Thou Shalt Not Destroy

Bal Tashchit: Thou Shalt Not Destroy Curators: Melissa Amore and Ashley Crawford Jewish Museum of Australia, St Kilda 8 April 29 June 2008

Sophie Knezic

III Performances (in white cube)

III PERFORMANCES [in white cube] Linda Lou Murphy Ana Wojak & Fiona McGregor Alison Currie Curator: Melentie Pandilovski Experimental Art Foundation, Adelaide 30 May 5 July 2008

Russell Kelty

Translating from the dead to the living, Karin Lettau

Translating from the dead to the living Karin Lettau Design Centre, Tasmania 24 April 20 June 2008

Jane Deeth

Xstrata Coal Emerging Indigenous Art Award 2008

Xstrata Coal Emerging Indigenous Art Award 2008 Gallery of Modern Art (GoMA), Brisbane 11 July 12 October 2008

George Petelin

The Future of Art

Editorial for the issue -- not the definitive answer but a series of clues as to what direction the visual arts might be following. The issue picks up ideas addressed in the forum 'Art of Sight, Art of Mind: Speculations on the Future of the Visual Arts and Crafts in Australia' organised by the National Association of Visual Arts. NAVA

Stephanie Britton

The Future of Art

Polemic: The End of Art Schools as we know them?

Art and sport both attempt to construct value and meaning within our lives. For art this is a likely outcome. For media sport it is a contrived ingredient. Artists and art schools have perpetuated a myth about the importance and value of art objects. Suggests possible answers to the issues of teaching art in art and design schools.

Ian Howard

The Future of Art

Polemic: Practice Makes Perfect: Art Museums, Audiences and the Future.

Examines how galleries, art spaces and arts infrastructure might evolve over the next 25 years to accommodate changes in interaction between artists and audiences. Focus is on the State Galleries and how we might present the multiplicity of view points from the last 30 + years. Resource issues are explored.

Trevor Smith

The Future of Art

A Worthwhile Investment: The Ceramics of Pippin Drysdale

Examination of the ceramic works of Pippin Drysdale of Western Australia from her early years through to the 1999 Festival of Perth. Looks at her national and international successes.

Dorothy Erickson

The Future of Art

The Rise and Rise of Michael Eather

Examines the work of Michael Eather as art maker, gallery director, educator, project promoter and consultant. He established Campfire Consultancy with others. Also established the Fireworks Gallery: Aboriginal Art and other Burning Issues in Brisbane, Queensland.

Pat Hoffie

The Future of Art

Talking about Ethics: Marie Sierra takes on her audience

Examines the career of Marie Sierra from her arrival in Australia in 1984, her coming to Melbourne in 1986 and her Barcelona studio residency in the mid 1990s. Explores how the roles of academic and artist sustain and inform each other. Deals specifically with works 'Justice' 1992 , 'Do that Job' 1993, 'Knowledge is Power' 1994, 'Planning' 1995, 'Public Address' 1995, 'Separation and Growth' 1996.

Rose Lang

The Future of Art

Striking a Chord: David Keeling's Postcolonial Tasmania

The measure of an artist's public success is the extent to which his or her art matters to a particular community. David Keeling aims to present a critical discourse that participates in existing social and political debates. His turning point was not completing his post-graduate degree, not moving to the big smoke or winning a grant or prize, or having a sell-out exhibition but a revelation.

Ian McLean

The Future of Art

Hossein Valamanesh: Taking the Intuitive Path

Valamanesh has developed a unique and characteristic art vocabulary and his eloquent work occupies a distinct and prominent position in Australian art. Looks at 'the Untouchable' 1984, 'Pyramids with Light - Inside/Outside' 1980, 'Change of Seasons'.

Chris Reid

The Future of Art

Deschooling Art

Education is the second most depressing non-subject in the entire catalogue of non-subjects, beginning with the Aardvark as Social Construct and ending with The Flagant Signifier in Finno-Ugric Zyrian,

Donald Brook

The Future of Art

Thin Red Pocket Lining: A Note on the Value of University Art Schools

As it rushes headlong towards the stock exchange, lining its tattered pockets by devilishly offering students the educational stock of the deepest desire, university art schools shed its role under modernity of defining and transmitting cultural value. Mammon replaces machismo in the squeezing of art. And yet....?

Ian North

The Future of Art

How the Tail Now Wags the Dog

One would have to be a marketing executive, or just extremely sanguine, to see much that is good in the current system for funding teaching and research in our universities. This is not to claim that the Dawkins reforms replaced something wonderful or fair. But we now have a system that is actively promoting mediocrity ona a national, even international scale. Let me explain, for the uninitiated how it works.

Rodney Crackers

The Future of Art

An Identity Crisis for Art Education?

Examines recent reports by the Department of Employment, Education, Training and Youth Affairs [DEETYA] and Strand 1998 'Research in the Creative Arts'. Should our retort be 'If you don't know much about art I don't care what you like.' ?

Graeme Sullivan

The Future of Art

The Traditional and the New - Artists and Teachers Please Note

Explanation of the benefits to the artist and the environment of working with photopolymer plates (solar plates) in printmaking.

Dianne Longley

The Future of Art

Virtual Futures for New Media Art: A Report on dLux Media Arts' Immersive Conditions Forum

New media art has developed a close if troubled relationship with the figure of the future. Discusses Troy Innocent's ICONICA, Mousetrap by Ian Haig, RAPT by Justine Cooper, OSMOSE and EPHEMERE by Char Davies and Immersive Conditions a forum held at the Powerhouse Museum Sydney. Examines concepts of virtual reality and apparent reality.

Mitchell Whitelaw

The Future of Art

Forget the White Gloves: Plug-ins Rule OK ANAT National School for New Media Curation

ANAT Australian Network for Art and Technology devised its 1999 National School, me.d.ia.te, to assist curators and arts workers in gaining a technical and theoretical understanding of new media art exhibition practice. It aimed to provide a 'world's best practice' model.

Adele Hann

The Future of Art

A Country Practice...

The Northern Rivers Region of NSW has more practising artists per head of population than any other region of Australia. Issues such as surviving as a country artist, traditional art practice, commercial considerations, prescribed political and gender issues are raised. Critiques the project 'Beyond the Basin' funded by the NSW Ministry for the Arts and its resultant exhibition 'A Country Practice'.

Peter Wynn-Moylan

The Future of Art

New Geographies of Knowledge

Explores the relationship between art making in the city and the regional areas. How much do curatorial strategies or templates order and determine what we see in State galleries and large exhibitions? Looks at the exhibition 'Palimpsest #2' to raise questions of curatorial control or whether it should continue without such controls.

Stephanie Radok

The Future of Art

One Pole Too Many? Learning to Speak the Language of a Successful Australian Arts Practitioner

Discusses the exhibition 'Diaphanous' at Span Galleries curated by Kirsten Rann, deconstructing and challenging the notion of multicultural artist.

Juliette Peers

The Future of Art

Unheard Voices: Asian Artists in Australia

Discussion of the issues for artists of Asian descent in the Australian milieu, exploring issues of identity and displacement. Unheard voices could also characterise emerging artists as well as those from a multicultural background.

Neil Manton

The Future of Art

Art Teachers Hampered by Lack of Training

Art teachers today are expected to have a greater proficiency in a broader range of art skills, yet due to the under funding of teacher training they are receiving less training and professional development to prepare them for the classroom. Discusses the 1999 International Society of Education through Art (InSEA) the theme being 'Cultures and Transitions' held in Brisbane. 1st conference held in 1951

Maria Whaley

The Future of Art

The Artist and the Critic

Fortunately not all critics are so urgently in need of friends that they write hymns of praise after every long lunch. Some even relish being labelled 'ungrateful'. I would argue that the only critic worth reading is an ungrateful critic. Looks at the role of visual art criticism in the newspaper columns of the daily press.

Joanna Mendelssohn

The Future of Art

Hypothetical Product

Critics rarely talk about money and art. How to price a work of art and how to make a living of about $35,000 per annum are discussed. Artist need to work out how to make a name for themselves to increase the base price of their artworks. And anyway if you have to think about the price, chances are you can't afford it.

Peter Anderson

The Future of Art

The Good the Bad and the GST

The role of the arts within the Federal Coalition portfolio. Proposed new tax arrangements suggest a contraction in support for new innovative work in favour of much more conservative, market driven high end focussed practice, and a drop overall in arts activity.

Tamara Winikoff

The Future of Art

Upping the Ante: SALA'99.Leter to the Editor

Describes the nature of SALA South Australian Living Artists Week to celebrate the talent and imagination of SA artists and aims to promote widespread recognition of their achievements by exposing their work to new audiences. There were 50 venues, 28 of which were outside the metropolitan area.

Paul Greenaway

The Future of Art

User-friendly Internet Options for the Arts

Dynamic interactive web-sites are becoming increasingly the norm. Lists the types of functions that are available using particular technology.

Chris Limmer

The Future of Art

Immediate

Exhbition Review Immediate 31 March- 11 April 1999 Plimsoll Gallery, Hobart Tasmania Curated by Leigh Hobba

Maria Kunda

The Future of Art

Emblematic

Exhibition review Emblematic 12-31 March 1999 Smith+Stonely, Queensland Curated by Amelia Gundelach

Cameron Stelzer

The Future of Art

Doll

Exhibition review Doll 19 March - 15May 1999 29 artists plus works from the SA Museum, Artspace, Adelaide Festival Centre South Australia Curated by Vivonne Thwaites

Vivonne Thwaites

The Future of Art

Blak Beauty and Images from the Sea

Exhibition reviews Blak Beauty February 6- May 2 1999 Curated by Brook Andrew Images from the Sea December 5 1998- June 27 1999 Djamu Gallery: Australian Museum at Customs House, Sydney NSW

Ilaria Vanni

The Future of Art

Butcher Cherel Janangoo, Julie Dowling, Julie Gough

Exhibition review Butcher Cherel Janangoo, Julie Dowling, Julie Gough 10 February - 7 March 1999 Artplace Western Australia

Judith McGrath

The Future of Art

Riding on the Edge: Art, Identity and the Motorcycle

Exhibition review Riding on the edge: Art Identity and the Motorcycle 7 February- 11 April 1999 Waverley City Gallery Curated by John Pigot

Robert Nelson

The Future of Art

A Revolutionary Digital Summer in the UK

Digital technology is driving the revolution in visual culture and consciousness. Exploring the ninth International Symposium of the Electronic Arts [ISEA98].

Anna Jean Bonshek

The Big Pond: Australian Artists Overseas

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