Published 01 December 2019
Published 01 March 2019
Looks at the ceramic works of Zsuzsa Kollo which refer to Pre-historic, Eastern, and Christian works. includes b/w photo.
A reference to Wittgenstein's Zettel.
Published June 1991
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!
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.....
Standing between the mirrors of East and West, my art always gets an inverted image and a double interpretation. This is me.....
Exhibition Review: Tandanya National Aboriginal Cultural Institute Adelaide South Australia
November 1990 - June 1991
The ceramic work of Silvia Stansfield draws on the cultural legacy of South America. Discussion of the work of this artist with good colour photographs.
Exhibition Review: Tandanya Adelaide South Australia January - June 1991. Interviews with curators Kerry Giles Kurwingie and John Kean. Images of inma at Ernabella included in the article.
The Emperor's New Clothes
March 1-3 1991
Exhibition Review Under the Southern Cross (survey of Aboriginal Art) Noosa Regional Gallery December - January 1991
Exhibition review: Works by Nola Routoulas, Helen Karpathakis, Nora Mantzioris and Alexandra Akritidis.
Artzone Gallery, Adelaide South Australia April 1991
Looks at the art practice of Ginger Riley Munduwalawala, born in 1937 at Ngukurr in the Northern Territory. Good colour photos of the artist and some works.
...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.