More from this Issue
The Advantages of Isolation
Exhibition Review The Advantage of Isolation
Festival of Perth Artplace
Claremont Western Australia
28 January - 6 March 1993
and at the Blaxland Gallery
Sydney New South Wales
11 February - 7 March 1993
Places for Sculpture and Sculptors: Sydney
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.
Mildura - The Watershed for Sculpture: An Enchanted Garden
1993 is the 20th annniversary of Sculpturscape '73 an outdoor exhibition that happened in Mildura, a small city on the Victorian side of the Murray River, distant from the state capitals of eastern Australia.
Pacific Arts Association Symposium
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
Exhibitions for PAA
Written with Vincent Megaw Visual Arts Exhibitions and the Fifth Pacific Arts Association Symposium Great colour photos of works by indigenous Australians.
Gerry Wedd
Exhibition Review Scratch Works
By Gerry Wedd
Jam Factory Centre of Art and Design
February 1993
Sculpture Flourishes in Western Australia
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.
New Sculpture in Papua New Guinea
Re-evaluation of the current position of artworks from Papua New Guinea looking particularly at sculpture.
To the Surface
Exhibition Review To the Surface - Contemporary Landscape Plimsoll Gallery
Centre for the Arts Hobart Tasmania
10 - 24 January 1993
Curator Ray Arnold
Dimensions - Ground Painting in Papunya
Extensive examination of the women's ground painting created at Tandanya (National Aboriginal Cultural Centre) for the Adelaide Festival in 1990.
A Fact, A Question
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.
New Books on Richard Goodwin and Ari Purhonen
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