Understanding/Misunderstanding

Cover of Understanding/Misunderstanding
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Melanie Jame Wolf's Pop-Cultural Drag: The Chronopolitics of Labour, Libido and Image
Feature
Daniel Mudie Cunningham

Published April 2021
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Apprehending the Multiverse: A Costumed Allegory for Four Percussionists Michaela Gleave's Cosmic Time
Feature
Ann Finegan

Published April 2021
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Michaela Stark: On Control and Beauty
Feature
Alison Kubler

Published April 2021
Experimenta
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Cigdem Ayedemir: Like a Prayer
Feature
Sumaiya Muyeen

Published April 2021
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On art, fashion, purpose and more: Peggy Griffiths-Madij and Jan Griffiths in conversation with Alana Hunt
Feature

Published April 2021
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From the clothes rack to the body of the wearer: Circumnavigate Kandos in our clothes
Feature
Ann Finegan

Published April 2021
MGNSW
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Sarah Rodigari: Redressing the vernacular
Feature
Abigail Moncrieff

Published April 2021
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The Mangkaja x Gorman Collection: A new wave of Indigenous art and fashion collaboration
Feature
Belinda Cook

Published April 2021

A reference to Wittgenstein's Zettel.

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More from this Issue Full Issue Contents

As Australian as AMPOL
Feature
Penny Webb

How much marketability is immanent in the artist's cultural background is a matter of delicate negotiation between dealer and client. Just now, it may appear to some artists an unfortunate fact that for them, Aboriginality is not an option.

Published June 1991
4 Artists from WA
Feature
Julian Goddard

Looks at the art practice of four artists in Western Australia - Patrizia Tonello, Alex Spremberg, Cathy Cinanni and Karl Wiebke. Illustrations of their independent works included.

Published June 1991
Other Peoples' Stories, Other Peoples' Voices
Feature
Ruby Langford

Does anyone have their right to represent stories and cultural background not their own? Does anyone have the responsibility to do so? No, I don't think so.....

Published June 1991
Heritage Revealed
Feature
George Boeck

The Australian National Gallery's library has just completed a project which documented ethnic and immigrant objects in about 750 photographs. The bulk of these photographs show textile and ceramic craft brought with immigrants to Australia or made in Australia following traditional methods and designs. Nearly 20 ethnic groups from Europe, the Middle East and Asia are represented. Photos of textiles included.

Published June 1991
Karin Lettau
Feature
Jane Deeth

Brief article looking at the art practice of Karin Lettau. Good colour photographs of the work.

Published June 1991
A Living Museum at Work in Melbourne's Multicultural West
Feature
Olwen Ford

Those who come to know Melbourne's western suburbs find many treasures in the region's history, heritage, environment and contemporary culture.

Published June 1991
Julia Ciccarone
Artist Profile
Julia Ciccarone

The artist writes about her art practice, in particular her preoccupation with the Australian landscape and how people perceive it. Two images are included: 'Secret Self' and 'Blanket' both from 1990.

Published June 1991
Theatre Oneiron Crosses Cultural Bridges
Feature
Fotis Kapetopoulos

Theatro Oneiron (Theatre of Dreams) a Greek Australian performance ensemble established in Adelaide in the mid 1980s is the result of dedication and vision. Photo from production of 'The Courtyard of Miracles' 1991 included in the article.

Published June 1991
Desultory Remarks from a NESB Museologist
Feature
Amareswar Galla

It is evident we are trying to redress an imbalance in the cultural representation of our heritage and arts.

Published June 1991
Satellite Dreaming
Feature
Tony Dowmunt

Making a TV documentary about indigenous people's television in Australia. Photographs on location at Ernabella in the Pitjantjatjara lands of far north west South Australia.

Published June 1991
Accelerate
Feature
Sam Schoenbaum

"I used to boast about you, my son the painter. You painted trees, now you paint squares to humiliate me." Quote by the artist's father in the early 1970s Melbourne.

Published June 1991
Multicultural Artworkers: Sacrificial Anodes?
Feature
Helen Andreoni

This is a new notion for me. I'm sure it is a term familiar to most readers. However, just in case, this is my version of what it means. To understand it you need to appreciate that there is an hierarchical order of metals determined by their 'nobility'. A sacrifical anode is less a noble metal which is used to attract impurities away from more noble metals that you do not wish to be eroded. Thus if you wish to avoid erosion in your copper boiler, you can put a sacrificial anode in the water which will attract the impurities in the water and keep them away from your noble boiler. The link between multicultural artworkers and sacrificial anodes is entirely my own!

Published June 1991
 
Hadley's Art Prize 2021
ACE Open
MUMA
Guildhouse 2
City of Unley