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Polemic: An Allergic Reaction - The eminence grise in our Art Schools
Artist/academic Pat Hoffie has been brooding on the rise and rise of the éminence grise in our teaching institutions and warns of the perils of giving in and being swept along by the current of the times. She is not the only commentator to observe that the visual arts created an irritating skin condition for itself in the eighties when, in search of institutional support, it mimicked the language of professionalism and thus unwittingly exposed itself to the corrosive influence of bureaucracy. This is here discussed.
Australian New Media: An Active Circuit
Through a process of active lobbying by various people around the country in the mid-eighties, the funding and institutional support for art and technology practice in Australia began to materialise. Some key figures in this push were Stephanie Britton, Louise Dauth and Gary Warner who saw the Australian Network for Art and Technology (ANAT) come into existence. The progress of the Australian new media arts scene is here documented from these early years and the various initiatives and supportive programs and events through to what is now the fundamental arts and cultural practice of the twentieth century. Artists Maria Miranda, Norie Neumark and Mari Velonaki are featured.
Interfacing Art, Science and New Media
Among the current metaphors used to describe the unfolding relations between art and science, the two ascriptions that have held sway most recently have been those of collaboration and/or intersection. Both art and science have sent out sets of feelers towards each others cultures which has in turn produced an overlapping sphere of cultural and intellectual activity. Following Lisa Jardine's argument, Munster tentatively proposes that we think through these connections as a process of hybridisation performed by the work of the technical-aesthetic objects themselves rather than to declare a glorious new age of harmony, unity and productivity between the two. Artists Oron Catts, Ionat Zurr, Guy Ben-Ary, Justine Cooper, Michele Barker and Patricia Piccinini are in reference.
Melinda Rackham's Online Installations
Time is the key. They say that the only law of physics that absolutely requires time is the second law of thermodynamics, the law that says systems tend towards entropy. That tendency is time's arrow, the ineluctable winding down of the universe. Except, of course, for life.
Jon McCormack's Evolving Ethics
Most readers would probably have noticed that talk about A-life technology (or any technology for that matter) has a definite shelf life. Liminal Product [LP] quizzed internationally acclaimed computer artist Jon McCormack, whose paper [Re]Designing Nature given at dLux media arts FutureScreen symposium on Artificial Life in October 2000, and recent piece, Eden exhibited at Cyber Cultures, Casula Powerhouse, in the same year, articulate many of the concerns about A-Life that Australian artists grapple with.
Is Any Body Really There? Hybrid/Performance Arts
In a work that refuses language and conventional psychologising, Mary Moores production Exile, which opened at the Sydney Spring International Festival of New Music at The Studio, Sydney Opera House in 2000, the ascribed meaning is an experience rich in identification. This is pleasurably disorienting theatre that says it all about the immersive experience from 3D to Cinemascope to TODD-AO to Cinema to VR. Other new media performance and installation works are brought into focus such as the Melbourne-based Company in Space work Trial by Video (1997), Liquid Gold by Lisa O'Neill, that of Queensland media artist Keith Armstrong and the Melbourne performance company The Men Who Knew Too Much.
Digital Drawing: The Same But Different
Drawing - the use of line and tone - is at the other end of a technology timeline currently unravelling in the digital age of information. The theory and practice of drawing ranges from a tool for honing perceptual disciplines to one that permits the free-flow of the obsessive-compulsive component of our personalities. Leggett looks at the works of artists Paul Thomas, Maria Miranda, Harriet Birks, Alyssa Rothwell, Mr Snow, Peter Callas, Simon Biggs and Damien Everett and the various digital tools they employ to assist in the documenting and drawing out of their individual ideas.
Fresh Portals for the Caravanserai: art and new media in India and Australia
In Delhi early in 2001, a new media research and development program Sarai: The New Media Initiative was launched carrying the energy and quality of intellectual exchange embedded within the history of the caravanserai, translated through the colourful codes, cants and images of public urban life within India's cities. Sarai is a bold initiative facilitating formal and informal partnerships within India and internationally between the likes of hackers, philosophers, artists, media theorists, graphic designers, anthropologists, filmmakers and software developers. Some of the names which appear in this article include Meena Nanji, Rehan Ansari, Graham Harwood, Monica Narula, Sarah Neville, Mari Velonaki and Mukhul Kesevan.
The A-gender of Cute Capital
One the one hand the notion of the cute is seemingly universal and yet it is marked by specific cultural indices and contextual factors. The possible modes of employing the cute is evidenced by the practices of Australian artists Martine Corompt and Kate Beynon. Both artists have a strong interest in character culture (ie. comics, cartoons) and their associated vernaculars; in turn they explore and outline different types of cute landscapes. Both artists use ambiguity in the case of gender representation and utilise aspects of eastern and western contexts and character traits to create works which reinforce and subvert the constructions of gender, class and culture within the universal graphic language.
Do Art-droids Dream Of Electric Sheep?
Peter Robinson and Jacqueline Fraser were the first two New Zealand artists ever to be included in the Venice Biennale. Both were chosen as a result of their work, rich in conceptual layering and with roots in Maori culture, but wrapped in appealingly conventional presentation styles with plenty of hooks for an international audience. This fact leads Butt to the discussion surrounding the support for New Zealand's arts and culture sectors, pointing to a few examples such as Cuckoo, The Physics Room web project series and artists such as Sean Kerr and Warren Olds.
An Ecology of OZ Mutant Media
Wade Marynowsky, aka Spanky is a software engineer who has coded a new program which allows audio-video samples to be collated for the live performance of a particular song, triggered live through a preferably loud sound system and video projector. This innovation marks a step forward in the realm of audio-video intersection and hybridisation. The recent emergence of VJ's (Vidi-yo Jockeys), artists who combine computer and VHS source materials to play with visual rhythms, create atmospheres, tell stories, respond to the music and provide visual stimulus also play a crucial role in this new media arena. Other new media collectives such as Shut up & Shop, Kraftwerk, the Distributed Audio Sequencer Environment crew and Labrat are here discussed.
Inframedia Audio: Glitches and Tape Hiss
This article focuses on that which is known as sound art, new media art or if a label is required the best might be simply audio. It is not so much a sound as a transparent substrate for organised expression but rather sound being mediated, synthesised, generated, collaged. Furthermore this article looks at the in-between sounds - the glitches, clicks, pops, and CD-skips - with many artists drawing on these entropic internal workings of audio processing systems. Artists include Nam June Paik, Minit, David Haines, Vicky Browne, Andrew Gadow and Netochka Nezvanova.
Out of Australia: International Exposure
This article poses the question of what new media art exhibitions, as international exports, can offer to us as a nation, as a new media community and as individual artists, and of how they can function in terms of the transmission and propagation of certain ideas and images into what might be called the world brain. To discuss this Wallace looks at the structure and outcomes of PROBE, the first large-scale exhibition of contemporary, new media art ever held in Beijing which featured the work of Patricia Piccinini, Justine Cooper, Leon Cmielewski/Josephine Starrs, Brenda L. Croft, Zen Yipu and Jen Seevink, as well as including a range of internet sites.
Storming the Reality Studio
Tofts attempts to redefine that which is commonly known as new media art, as he believes it is out of touch with what's actually going on in digital culture. He refers to a range of contemporary Australian artists utilising digital media to explore some of the ways old material is appropriated and remediated to present works that are new and unique. Amongst those are Josephine Starrs and Leon Cmielewski, Murray McKeich, Ian Haig, Nicholas Negroponte, David Carson, James Widdowson, Gregory Baldwin, Elena Popa, Greg O'Connor, Troy Innocent, Rebecca Young, Andrew Trevillian and Tina Gonsalvas.
Writing on the Net: Nodes and Hypertext
Many new media works contribute to the field of hypertext despite not being concerned with the literary. Corroli refers to Adrian Miles who likes to 'think of hypertext as being primarily about links and nodes and their relations, which may or may not privilege words'. This topic is examined using examples where hypertext has become a primary focus such as the partnering of eWRe, trAce Online Writing Centre and ANAT who developed a series of online writing residencies in the late 1990s. Artists also discussed: Anne Walton, Francesca da Rimini, Sally Pryor, Diane Caney and Robin Petterd.
Digital Luggage and Meaningful Relationships
Machan turns the light on and examines the fears associated with technology - mystical secret language, complex software, indecipherable code - and furthermore those associated when art is involved. She proposes that the use of technology in everyday life be an experimental process, more aligned to the ways it is used in an art-based contexts. She states that: through risk taking with fragile technologies we not only accelerate our knowledge but also accelerate relationships formed from the very human experience with technology .
Ethnicity and Excellence in the Arts
One of the leading debates in Cultural Studies around the world deals with the issues of cultural difference or ethnicity in relation to concepts of a national culture.
Arts in a Multicultural Australia
Wer ist Unschuldig?
This issue of Artlink meanders (with kitschy loucheness rather than formalist stringency) around 'taste' bad and good, the workings of taste and various permutations of cultural expression in present day Australia. Kitsch is scrutinised.
Taste Meets Kitsch
The Taste Factor
When I was an art critic, I quickly grew to dislike the word 'taste'. It was a convenient tool used to dismiss reviews by people who didn't like what I had to say. Whenever I delivered a negative crit upon a widely revered artist, or a positive crit on a very minor figure, they complained that I was allowing my taste to undermine my professionalism.
Taste Meets Kitsch
Kitschoprenia
Our affection for kitsch is a benign form of aesthetic hypocrisy. My generation, give or take 15 years, adores kitsch. We want to have some badness; it's fun: you laugh both at your dismay for an object and your perplexity over the delight that it brings. In a broad cultural sense, my generation is kitschophilic; and this means, I suppose, not that we love the kitschy object with innocence but that we love the contempt which the kitschy object arouses.
Taste Meets Kitsch
Kitsch or Kind: Representations of Aborigines in Popular Art
Much contemporary Aboriginal art functions in the inappropriate melding of two visual art traditions and is kitsch within the given meaning within the article.
Taste Meets Kitsch
Kitschville - The Sydney Gay and Lesbian Mardi Gras
...But the Mardi Gras will always be a child of the seventies. Remember that mantra 'the personal is political'. In spite of the co-option and mainstreaming of Lesbian and Gay culture this wonderful spectacularly amateurish display (of difference) cannot help but be a politicised intervention.
Taste Meets Kitsch
Mary MacKillop Kitsch
I confess to a feeling of great affection for Mary MacKillop (1842 - 1909), vernacular culture and kitsch, and great enthusiasm for the idea of an Australian Vatican - an extravagant museum which is also a major site of pilgrimage.
Taste Meets Kitsch
The Black Swan of Western Australian-ness
Since 1829, the inhabitants of the western third of Australia have identified more closely with the black swan than the kangaroo. The swan was and is to be found on a wide range of items from buildings to letterheads and furry toys. It crosses class boundaries...
Taste Meets Kitsch
Destiny Deacon: It's Been Ages Since We Last Marched
You can hear her on the radio and see her on the television and contemplate her in better State galleries. Pluralist par excellence, artist, writer and film-maker Destiny Deacon has been blazing away on visual and linguistic fronts since premiering 'Koori Rocks Gub Words' in 'Pitcha Mi Koori' (1990).
Taste Meets Kitsch
Worms and Roses
The first Australian garden books put vegetables first but by the mid 19th century the language of flowers was in vogue. Gardens, flowers and art...
Taste Meets Kitsch
Cakes for Show: The Last Great Undigested Art
That these same institutions have never seriously attempted to digest the great crafty, feminine art of traditional cake decoration is more regrettable. Icons, after all, are as valued as the most avant-garde compostion if made of oil paint and gold leaf on wood. When future generations visit our hallowed aesthetic halls, let them meet cake!
Taste Meets Kitsch
Made in WA: A Sculptor's Alternative Practice
Although well known in regional art histories, Western Australian sculptor Edward Kohler has a far wider importance. Economic survival led him to blend popular and high art long before it was standard practice. With the Piccadilly Theatre reliefs of 1938, the sheer exuberance and infectious quality of a positive (if unconscious) kitsch aesthetic entered professional Australian art 60 years ago: Hollywood meets Olympia.
Taste Meets Kitsch
If Aquarium Gravel Is So Bad For You, How Come It Tastes So Good?
In the trading card world there are collectors, dealers, curators, critics, interested observers, and of course various magazines. Does this world sound familiar? Looks at the role of collecting...
Taste Meets Kitsch
Delma's Collection
Collections of any kind require patience, luck, money, space, time and dedication.....
Taste Meets Kitsch
Image Bank
Collection of images with artists statements. Artists featured: Katanya Shanzy, Anne Graham, Geoffrey Seelander, Simon Duncan, Pierre Cavalan, Stefan Szonyi, Cliff Burt, Andrea McNamara, Karen Ferguson, Constanze Zikos, Jandee Amar Leddar, Leon Pericles, Meryn Jones, Annie Taylor, Ex de Medici and Ian Mowbray.
Taste Meets Kitsch
Pretty Baby
Collecting and making dolls grows in popularity in Australia, but members of Australia's arts industry are relatively under-represented in the ranks of doll collectors. Original dolls speak of the culture that produces them.
Taste Meets Kitsch
The Other Big F-Word
Monash University Gallery presented Fashion, Decor, Interiors, curated by Natalie King 7 June - 15 July 1995, high-lighting aspects of advertising, mass production and architectural design through the work of Lyndal Walker, Tony Clark and Stephen Bram -- extracts from the exhibition catalogue.
Taste Meets Kitsch
Not Afraid of Flying: Fairies and Femocrats
Are gossamer wings set to supplant shoulder pads as signifiers of feminist power? Shopping malls in middle class suburbs are now sprouting fairy shops where, for only a few dollars, little girls and grown-up ones too, can sprout fairy wings that temporarily release them from the masculine world around them.
Taste Meets Kitsch
Kings of Kitsch: Big Things
Big things have the power to make real the stuff of dreams. They have the power to make us stop at places we would never have dreamed of visiting. Grand kitsch is both art and beyond.
Taste Meets Kitsch
Boys and Girls: Pierre et Gilles' Sydney Mardi Gras Poster
Examines the 1995 poster for the Sydney Gay and Lesbian Mardi Gras. How appropriate though, at the moment when Mardi Gras had successfully commodified itself as a cultural event, that its key representation should be through international glamour product photography.
Taste Meets Kitsch
Museum of Shopping
Kitsch is a kind of creole. It quotes and mixes references from quite unrelated sources, dresses in wildly unsuitable materials, then tries to insinuate itself using childhood wiles.
Taste Meets Kitsch
Motor-Cross Dressing
Issues of stereo-typing, conforming behaviour and fun and practicality are looked at in an observation of an MG driver.
Taste Meets Kitsch
Tamworth
The days of the Tamworth Festival are marked with ceremonies. Stars place their hands into cement and history in the Hands of Fame Park. At the rear of Maguire's pub the popular alternative Noses of Fame honours famous noses.
Taste Meets Kitsch
Bruising as R & D
Livid Festival was launched in Brisbane in 1988 with the broad altruistic aim of 'giving a go' to local Brisbane bands, performers and visual artists. Within three years the festival had grown exponentially and included a wide range of feature guest artists.
Taste Meets Kitsch
Thought Police Versus Life: Extracts from an Interview with Ray Hughes
Discussion with the artist Ray Hughes about issues that have impacted on his art practice. Biographical details also included.
Taste Meets Kitsch
Ethereal Days
Exhibition review Defrosting Familiar Tales
Jo Crawford, Bev Hogg
Jam Factory Gallery
Adelaide South Australia
7 July - 27 August 1995
Taste Meets Kitsch
Reathing, Writhing and Fainting in Coils: Richard Grayson
Exhibition review Received
Richard Grayson
Greenaway Art Gallery
Adelaide South Australia
12 July - 6 August 1995
Taste Meets Kitsch
When Is A Door Not A Door?
Exhibition review Birds Have Fled
Angela Valamanesh
Univsersity of South Australia Art Museum
7 September - 2 October 1995
Taste Meets Kitsch
Inflecting the Museum
Exhibition review Litteraria
Simryn Gill and Robert MacPherson
Artists in residence at the South Australian Museum
16 September - 31 December 1995
Taste Meets Kitsch
Making and Breaking
Exhibition review Cross Fibre
Lia Gill Pam Lofts and NT women working with fibre
24 Hour Art Darwin, Northern Territory
18 August - 2 September 1995
Taste Meets Kitsch
Monstrous Change Observed
Exhibition review Forrest Place During the Time of the Fly Plague and Other Paintings 1993-1995
Thomas Horeau
Perth Western Australia
Taste Meets Kitsch
A Dual Aesthetic
Exhibition Review Patmos Series Paintings
Jules Sher
Perth Galleries
Western Australia
Taste Meets Kitsch
Continuous History
Exhibition review Djalki Wanga: The Land is My Foundation
50 years of Aboriginal Art from Yirrkala
Northeast Arnhem Land Northern Territory
Lawrence Wilson Art Gallery
Western Australia
July 9 - September 3 1995
Taste Meets Kitsch
Teaching Aids
Exhibition review Active Agents: Aids Art in Australia
Anthony Babicci, Bronwyn Bancroft, Simon Carver, Eddie Hackenberg, Ian Hartley, Leonore Lancaster, David McDiarmid, Ross Moore, Marcus O'Donnell, Scott Redford, Celia Roach, Gary Shinfield, Jackie Stockdale, Andrew Thomas-Clark, Hiram To, Julia Topliss, John Turner, David Urquart
Curators Jill Bennett and John Turner
University Gallery, University of Tasmania, Launceston
11 May - 9 June 1995
Taste Meets Kitsch
Actions Louder Than Words
Exhibition review Beep 'n' Click
Entrepot Gallery Tasmanian School of Art
Hobart Tasmania
8 - 29 September 1995
Taste Meets Kitsch
It's Things That Matter
Book review The Barossa Folk: Germanic Furniture and Craft Traditions in Australia
By Noris Ioannou
Craftsman House
1995
Taste Meets Kitsch
Performing in Tongues
...Underlying this linguistic fertility is a migrant intuition of the relativity of language, of the lightness and mutability of its phonology, inflections and syntax. Less portentously there is no migrant to this country who has not experienced those punning co-incidences, echoic repetitions, mutual misunderstandings and mishearings which are the basis of my scripts. It may be no accident that in 1992 Australian voices evoke first contact with the New World.
Arts in a Multicultural Australia
Multicultural Artworkers: Sacrificial Anodes?
This is a new notion for me. I'm sure it is a term familiar to most readers. However, just in case, this is my version of what it means. To understand it you need to appreciate that there is an hierarchical order of metals determined by their 'nobility'. A sacrifical anode is less a noble metal which is used to attract impurities away from more noble metals that you do not wish to be eroded. Thus if you wish to avoid erosion in your copper boiler, you can put a sacrificial anode in the water which will attract the impurities in the water and keep them away from your noble boiler. The link between multicultural artworkers and sacrificial anodes is entirely my own!
Arts in a Multicultural Australia
Multicultural, Aboriginal or Just Plain Australian
A great deal of agonising has gone on since the 1988 Bicentenary about the nature of Australian identity and therefore the nature of our distinctive culture.
Arts in a Multicultural Australia
Art and Racism: Inter-National Issues
The way that I want to convey that meaning [racism] here is to use a small number of relatively random examples of current art/race = art/power debates from around the world. They give a flavour of the issues. They have obvious relevance to Australia's relationship to the rest of the world, as well as to relationships within Australia.
Arts in a Multicultural Australia
Visions in the South Pacific: The Immigrant Artist: A Twice Told Tale
Colonial Ghettoes: the possibilities and limitations of new identity as vision.
Arts in a Multicultural Australia
Understanding/Misunderstanding
A reference to Wittgenstein's Zettel.
Arts in a Multicultural Australia
Heritage Revealed
The Australian National Gallery's library has just completed a project which documented ethnic and immigrant objects in about 750 photographs. The bulk of these photographs show textile and ceramic craft brought with immigrants to Australia or made in Australia following traditional methods and designs. Nearly 20 ethnic groups from Europe, the Middle East and Asia are represented. Photos of textiles included.
Arts in a Multicultural Australia
Australian Contemporary Design in Jewish Ceremony
Ritual and ceremony enrich all aspects of Jewish life, its life cycle events and daily life. Jews give constant thanks for God's munificence - for the first fruits of the season, for the food on the daily table, for new clothing donned. Everything is inbued with significance and for all events there are rituals.
Arts in a Multicultural Australia
Interview with James Mollison
The Office of Multicultural Affairs talks for Artlink with James Mollison, Director of the National Gallery of Victoria March 1991.
Arts in a Multicultural Australia
Desultory Remarks from a NESB Museologist
It is evident we are trying to redress an imbalance in the cultural representation of our heritage and arts.
Arts in a Multicultural Australia
The Plan
Looks at the 'National Agenda for a Multicultural Australia' launched by the Prime Minister in 1989 which included provision for the development of a plan for collecting institutions such as museums, art museums, libraries and archives to reflect Australia's cultural diversity in their activities and practices.
Arts in a Multicultural Australia
Cultural Diversity and Public Galleries
Written with Joseph Eisenberg. The National Association for the Visual Arts [NAVA] is currently sponsoring a project on 'Multiculturalism and the immigrant artist in Australian visual culture'. Part of the study focuses on the role of public galleries in appreciating, exhibiting, and acquiring the work of Australian artists from non- English speaking backgrounds [NESB].
Arts in a Multicultural Australia
As Australian as AMPOL
How much marketability is immanent in the artist's cultural background is a matter of delicate negotiation between dealer and client. Just now, it may appear to some artists an unfortunate fact that for them, Aboriginality is not an option.
Arts in a Multicultural Australia
Metaphors of Multiculturalism
Palimpsest...Vision of a multicultural Australia. An exhibition co-ordinated by the Multicultural Arts Trust of South Australia, December 1990 Chesser Gallery Adelaide. Great colour photos.
Arts in a Multicultural Australia
Sprirituality Aboriginality
An exhibition of contemporary Aboriginal art 'Aboriginal Art and Spirituality' opened at the High Court of Australia in 1991. The exhibition to tour after its opening in Canberra.....All of the works in the exhibition speak quite overtly about the highly problematic intervention of the missions, the politics of racism and the way in which Aboriginal spirituality will always remain linked to the land.
Arts in a Multicultural Australia
Under the Southern Cross
Exhibition Review Under the Southern Cross (survey of Aboriginal Art) Noosa Regional Gallery December - January 1991
Arts in a Multicultural Australia
Satellite Dreaming
Making a TV documentary about indigenous people's television in Australia. Photographs on location at Ernabella in the Pitjantjatjara lands of far north west South Australia.
Arts in a Multicultural Australia
Other Peoples' Stories, Other Peoples' Voices
Does anyone have their right to represent stories and cultural background not their own? Does anyone have the responsibility to do so? No, I don't think so.....
Arts in a Multicultural Australia
SBS TV Arts
With the exception of some programming on SBS and the ABC, artists receive very little exposure on television. The limitations of television, the need to maintain a wide audience reach, the difficult question of what is 'good art' in a televisual sense, all may help to explain the absence of living artists from this, the most powerful of all media.
Arts in a Multicultural Australia
Some Cultural Baggage on the Australian Literary Scene
Above all we need new myths to suit the new Australian culture which is part of the Asia Pacific region. We can't live by Aboriginal myths alone, as some have suggested, in a land so changed by our coming. The unpacking of cultural baggage by writers of all cultural groups, old and new, has to continue until it gives rise to a myth which we all recognise as fitting the Australia to which we have contributed. Wrote David Malouf.
Arts in a Multicultural Australia
Bring Your Own and After...Migrant Publishing
It is the responsibility of Australian Collections to preserve this material - correspondence and manuscripts as well as printed texts - in many languages, not as exotic flowers of 'accented' literature, but as integral parts of the history and literature of multicultural Australia.
Arts in a Multicultural Australia
A Very Personal View
A very personal view. And finally there is a need for us to allow art and artists to develop from their own roots, regardless of their country or culture of origin.
Arts in a Multicultural Australia
Theatre Oneiron Crosses Cultural Bridges
Theatro Oneiron (Theatre of Dreams) a Greek Australian performance ensemble established in Adelaide in the mid 1980s is the result of dedication and vision. Photo from production of 'The Courtyard of Miracles' 1991 included in the article.
Arts in a Multicultural Australia
Beginning in the Middle
Reflections on an exhibition of abstract art at Linden Gallery St Kilda, Melbourne March 1991. An emigrant artists once said to me "I can never abandon the figure and make purely abstract art, after all I am Greek".
Arts in a Multicultural Australia
Realising Our Land of Promise
Looks at a number of community arts residencies undertaken in South Australia and the art practices of Andrew Hill and Eugenia Hill.
Arts in a Multicultural Australia
'...The Divinity of Optimism', Le Thanh Nhon at Acacia Centre
Le Thanh Nhon and the Acacia Indo-Chinese Children's Centre.
Arts in a Multicultural Australia
Ngura Kujara - Two Homes
Exhibition Review: Tandanya Adelaide South Australia January - June 1991. Interviews with curators Kerry Giles Kurwingie and John Kean. Images of inma at Ernabella included in the article.
Arts in a Multicultural Australia
How Clay Speaks for Neville Assad
The alphabet was invented, so they say, in Lebanon. To some Lebanese, their country represents an un-broken link with the birth of human history. Non-Aboriginal Australians, by contrast, share stories of interrupted family ties, of exile and forgetting. How then do these Lebanese relate to life in Australia?
Arts in a Multicultural Australia
Images from the Esperanto Suite
During the process of producing his artworks, George looks for ways of translating different philosophical ideas into marks and images.
Arts in a Multicultural Australia
Silvia Stansfield
The ceramic work of Silvia Stansfield draws on the cultural legacy of South America. Discussion of the work of this artist with good colour photographs.
Arts in a Multicultural Australia
A Letter from Berlin
Hossein Valamanesh writes from Berlin hoping that this issue of Artlink will help in the understanding of the multicultural nature of Australian Culture and not assist in any way in making pigeon holes to safely classify the issue.
Arts in a Multicultural Australia
Mirror in Mirror
Standing between the mirrors of East and West, my art always gets an inverted image and a double interpretation. This is me.....
Arts in a Multicultural Australia
Accelerate
"I used to boast about you, my son the painter. You painted trees, now you paint squares to humiliate me." Quote by the artist's father in the early 1970s Melbourne.
Arts in a Multicultural Australia
Karin Lettau
Brief article looking at the art practice of Karin Lettau. Good colour photographs of the work.
Arts in a Multicultural Australia
Artists of Malaysian Origin in Melbourne
Survey of five Malaysian artists living and working in Melbourne Australia. Great colour photos of their works.
Arts in a Multicultural Australia
Film Makers Davor Dirlic and Laszlo Dudas
Fortunately the artists are capable of overturning all the newly acceptable conceits about them, and they might deny most of the assumptions that multicultural academics make about them, whilst still giving a new window on our world, as indeed, all good art from anywhere will.
Arts in a Multicultural Australia
Milan Milojevic
The artist writes about his art practice. Good colour photographs.
Arts in a Multicultural Australia
Observations of a Chinese Painter
Tang Qizhong is a painter and Fine Arts educator from China. He writes about his art practice and the relationship between art practices and institutions in China and Australia.
Arts in a Multicultural Australia
The Odyssey of Salvatore Zofrea
Zofrea wrote "I want my work to sing forever."
Arts in a Multicultural Australia