Published April 2021
Dynamic interactive web-sites are becoming increasingly the norm. Lists the types of functions that are available using particular technology.
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.
Published June 1999
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.
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,
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.
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.
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....?
Exhibition review Emblematic 12-31 March 1999 Smith+Stonely, Queensland
Curated by Amelia Gundelach
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.
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.
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.
Explanation of the benefits to the artist and the environment of working with photopolymer plates (solar plates) in printmaking.
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'.