New Books on Richard Goodwin and Ari Purhonen

Cover of New Books on Richard Goodwin and Ari Purhonen
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The five phases of Aboriginal art
Feature
Djon Mundine

 

Published 01 September 2005
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palawa kani: Expressing the power of language in art
Feature
Zoe Rimmer and Theresa Sainty

Published 01 June 2020
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Reconnecting the Yaghan community to cultural belongings 90 years on
Feature
Rebecca Carland

Published 01 June 2020
Darwin Aboriginal Art Fair
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Looking for murnong
Feature
Lou Bennett and Romaine Moreton

Published 01 June 2020
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Kin‑dling and other radical relationalities
Feature
Emily Johnson and Karyn Recollet

Published 01 June 2020
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Making Inuit art in the moment
Feature
asinnajaq

Published 01 June 2020
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Notes from Kahoʻolawe, Ka Paeʻāina o Hawaiʻi, Moananuiākea
Feature
Drew Kahuaina Broderick and Josh Tengan

Published 01 June 2020
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Weaving memory, living embodiment
Feature
Freja Carmichael

Published 01 June 2020

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

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More from this Issue Full Issue Contents

Mildura - The Watershed for Sculpture: McCullough and Performance
Feature
Daniel Thomas

The Mildura Sculpture Triennials directed by Tom McCullough seemed the liveliest and most ennjoyable art events held anywhere in Australia...

Published June 1993
In Landscapes and Parks: Gasworks Park Melbourne
Feature
Philippa Burne

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.

Published June 1993
Mildura - The Watershed for Sculpture: 1975 Destablising Old Canons
Feature
Noel Sheridan

...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.

Published June 1993
Sculpture Flourishes in Western Australia
Feature
Robyn Taylor

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.

Published June 1993
Dimensions - Ground Painting in Papunya
Feature
Richard (Dick) Kimber

Extensive examination of the women's ground painting created at Tandanya (National Aboriginal Cultural Centre) for the Adelaide Festival in 1990.

Published June 1993
Places for Sculpture and Sculptors: Sydney
Feature
Cecily Briggs

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.

Published June 1993
Places for Sculpture and Sculptors: Perth
Feature
Dorothy Erickson

Gomboc Gallery and Sculpture Park is an inspiring example of vision and dedication to an artform within the private enterprise system.

Published June 1993
Australian Humour in Sculpture
Feature
Ken Scarlett

Does each country, race and cultural group have a particular sense of humour? And if so, is it possible to define their specific characteristics?

Published June 1993
Exhibitions for PAA
Review
Ruth Megaw

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
Locations
Review
Stephanie Radok

Exhibition review Location: Contemporary photo-based work from Australia University of South Australia Art Museum
4-27 March 1993

Published June 1993
In Landscapes and Parks: Lake Districts, Yorkshire, Otterlo
Feature
Janice Lally

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.

Published June 1993
Richard Dunn: Beyond Dialectics
Feature
Ian North

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.

Published June 1993
 
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