Interview with James Mollison

Cover of Interview with James Mollison
0.786
Between worlds: Belinda Mason and Blur Projects
Feature
Alasdair Foster

Published 01 September 2020
0.786
Body, remember: Wrap me in a sister cloak
Feature
Ali Gumillya Baker

Published September 2020

0.794
Regimes of care: Concerning the afterlife of artists
Feature
Robert Cook

Published 01 September 2020
NAVA
0.788
The idea of redemption: Artmaking in prison
Feature
Alasdair Foster

Published 01 September 2020
0.786
On thin ice: Creating a life beyond addiction
Feature
Ginger Gorman

Published 01 September 2020
0.792
Flesh after fifty: Changing images of older women in art
Feature
Jacqueline Millner

Published 01 September 2020
ACE Open
0.786
How can I live in your world? Empathic strategies in contemporary Asian art
Feature
Reuben Keehan

Published 01 September 2020
0.786
Shahidul Alam: You're blocking the sun
Feature
Kelly Hussey-Smith

Published 01 September 2020

The Office of Multicultural Affairs talks for Artlink with James Mollison, Director of the National Gallery of Victoria March 1991.

Buy Now   or   Subscribe
Artlink App in iTunes
Share on Facebook Share on Twitter
Support independent writing on the visual arts. Subscribe or donate here.

More from this Issue Full Issue Contents

Art and Racism: Inter-National Issues
Feature
Alison Carroll

The way that I want to convey that meaning [racism] here is to use a small number of relatively random examples of current art/race = art/power debates from around the world. They give a flavour of the issues. They have obvious relevance to Australia's relationship to the rest of the world, as well as to relationships within Australia.

Published June 1991
Film Makers Davor Dirlic and Laszlo Dudas
Feature
Anna Epstein

Fortunately the artists are capable of overturning all the newly acceptable conceits about them, and they might deny most of the assumptions that multicultural academics make about them, whilst still giving a new window on our world, as indeed, all good art from anywhere will.

Published June 1991
Concept of Country
Feature
Fiona Foley

Looks at the art practice of Fiona Foley (Thoorgine Country), Terry Ganadilla (Mewenbi Country) and Dale Yowingbala (Gamerdi Country), three aboriginal artists who worked together on an unusual project in Maningrida during 1991.

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
Collaborative Impressions
Feature
Nola Routoulas

Exhibition review: Works by Nola Routoulas, Helen Karpathakis, Nora Mantzioris and Alexandra Akritidis.
Artzone Gallery, Adelaide South Australia April 1991

Published June 1991
Multicultural, Aboriginal or Just Plain Australian
Feature
James Jupp

A great deal of agonising has gone on since the 1988 Bicentenary about the nature of Australian identity and therefore the nature of our distinctive culture.

Published June 1991
Milan Milojevic
Feature
Milan Milojevic

The artist writes about his art practice. Good colour photographs.

Published June 1991
Australian Contemporary Design in Jewish Ceremony
Feature
Helen Light

Ritual and ceremony enrich all aspects of Jewish life, its life cycle events and daily life. Jews give constant thanks for God's munificence - for the first fruits of the season, for the food on the daily table, for new clothing donned. Everything is inbued with significance and for all events there are rituals.

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
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
The Studio in Deer Park
Feature
Paul Borg

Paul Borg, an artist of Maltese origin, speaks of his unusual working arrangements.

Published June 1991
Performing in Tongues
Feature
Paul Carter

...Underlying this linguistic fertility is a migrant intuition of the relativity of language, of the lightness and mutability of its phonology, inflections and syntax. Less portentously there is no migrant to this country who has not experienced those punning co-incidences, echoic repetitions, mutual misunderstandings and mishearings which are the basis of my scripts. It may be no accident that in 1992 Australian voices evoke first contact with the New World.

Published June 1991
 
MGNSW
Guildhouse 2
QAGOMA
PICA
Artlink Promo