This article is about sculpture in Western Australia and how efforts have been made in the recent past to establish the nature of its practice and the identity of its practitioners.
...It was therefore inevitable that by 1975 Tom McCullough's Mildura Sculpturescape would attract an increasing number of artists doing installation, process, earth and other forms of art that emerged when sculpture, as it were, left the pedestal, moved around the room and went outside.
It is a brief sober guide to certain spatial (and therefore sculptural) behaviours as initially identified and described by Bronte Edwards, Commander in Chief of the Art Army.
This special issue does not attempt to be a national survey of sculpture. It has focussed on various centres and given others less attention, partly to balance previous material in earlier issues of Artlink of which the following are notes by way of summary.
Examination of the role of dance masks in Papua New Guinea culture. The author was in the area to invite 2 Sulka men to Adelaide to dance hemlaut and susu masks at the Pacific Arts Symposium in April 1993. Coloured photos of the dance masks.
Tony Bond, artistic director of the recent Sydney Biennale suggests that since the staging of the first Biennale in 1973 sculpture and other three dimensional art have been actively promoted in Sydney.
Darwin has a burgeoning arts community which produces a unique body of visual art related to festivals and events. Aboriginal culture and proximity to Asia and the Pacific have influenced the work being produced by these artists.
Review of new series of critical monographs
Edited by Christopher Allen
Ari Purhonen
Richard Goodwin
Australian Artists Series
Oliver Freeman Editions 1992
RRP $49.95
Looks at three locations Grizedale Forest (UK) Yorkshire Sculpture Park (UK) Rijksmuseum Kroller-Muller of Otterlo (Netherlands) where one can experience sculpture within the landscape.
Minimalism is still misunderstood, not only because its manifestations are so various as to strain the word's usefulness as a blanket term, but more importantly because it stood at the confused fissure between modernism and post-modernism; from this stems the lively contradictory implications of Richard Dunn's art practice.