More from this Issue
The Silence of the Lambs: Before Leaving for a Trip Abroad
Looks at the Museum of Contemporary Art on Circular Quay in Sydney and the issue of economics.
Proposals from Invisible Worlds
This paper is almost all stories. Each one is part of much larger ones about cultures changing and moving to occupy the same geographies. We can speak of the conflicts and possibilities that seem to ignite by spontaneous combustion in these sites. But there is a series of sites from which I wish to speak: spaces of crisis that seem to lie within my person. B/w photographs of ritual and shrine.
The Ham Museum ARCO 1992
Critically examines the 11th manifestation of the international art fair ARCO in Madrid. Photographs of the art fair included in the article.
Incidental Benefits: Arts Industry Rhetoric and Policy Objectives
The notion of the arts as an industry dates in Australia from about 10 years ago with the beginnings of statistical data measuring the economic impact of artistic activity. ... (Response to this article by Anna Ward, Director of the National Association of Visual Arts also in this issue of Artlink.)
The Fourth Side of the Triangle: Bronwyn Oliver
Exhibition review Bronwyn Oliver
Artspace, Adelaide Festival Centre Adelaide, South Australia
29 May - 18 July 1992
Give Me a Home Among the Gum Trees...
Exhibition review Backyards Exhibition
Prospect Gallery
21 June - 12 July 1992
What is Australian Work?
I am often asked where I originally come from. And, if I am in a wicked mood, I will try to embarass the questioner with some non-answer. A persistent enquirer will ignore the flippancy and further qualify their question by rephrasing the terminology to ask whether I was born in Australia (which incidentally, was the form the question was usually couched in up to the 1980s when issues of multiculturalism introduced a so-called obscure politeness.
Predicaments of Furniture Design
No matter what we say about furniture, it seems to have been said before. Small wonder that painting and installation attracts our writers more than furniture, when discourse about tables and chairs is confined to the rehearsal of so many grim platitudes. But if banality beleaguers the objects themselves, it is still more oppressively unavoidable in discussion of the unfortunate Australian industries of furniture design and manufacture.
A response to the Article by Nelson English
A response to the article by Nelson English in this issue of Artlink Volume 12 no 3.
A Belgian Artist's Work in Tasmania
Exhibition review Chantal Delrue: Recent Works
Dick Bett Gallery
Hobart, Tasmania
February - March 1992
The Artist, the Gallery and the Recession
In thinking about the repercussions of the recession for artists and galleries, I am worried that our dismay at the present hardship and heartbreak may blind us to the fundamental recession related changes to the artist-gallery system which tend to the detriment of artists and forever endanger the quality and excitement of the Australian art scene.
The Arts- Survival of the BIGGEST?
The arts community of Australia has weathered the recession extremely well. While shopkeepers are shutting their doors, factories are shedding their workers, and the average Australian contemplates life in the same house for the next five years, the average artist continues on pretty much as always.