Published 30 March 2022
Looks at the 5 year sculpture development program at the Gasworks 3.46 hectares of open space in Melbourne - close to the city, accessible with strong community focus and an emphasis on contemporary art.
Written with Vincent Megaw Visual Arts Exhibitions and the Fifth Pacific Arts Association Symposium Great colour photos of works by indigenous Australians.
Published June 1993
Does each country, race and cultural group have a particular sense of humour? And if so, is it possible to define their specific characteristics?
...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.
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.
Exhibition review Possible Clouds: Bronwyn Platten and Cecelia Clarke Experimental Art Foundation Adelaide South Australia 12 February - 14 March 1993
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
Exhibition review Book of Jonah 1932 Pat Brassington, Edward Colless, David McDowell Private House, Mt Stuart, Hobart May 1993
Conference review Pacific Arts Association 5th International Symposium University of South Australia Aboriginal and Torres Strait and Pacific Islander Visual Arts Week - Tandanya Aboriginal Cultural Centre Adelaide 12 -17 April 1993
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.
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.
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.
Sculpture is not like painting because it is not flat and does not raise the question of mimesis in the same way. A theory of sculpture must therefore be, somewhere at its deep foundations, different from a theory of painting. Not just a bit different: a lot different.
