Going Over Old Ground

Cover of Going Over Old Ground
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Braddon Snape: Internal pressures
Feature
Faye Neilson

Published 01 December 2020
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Looking on, listening in: Wendelien van Oldenborgh's Bete & Deise
Feature
John Mateer

Published 01 December 2020
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Butcher Joe's multiple world Stephen Muecke
Feature
Stephen Muecke

Published 01 December 2020
ACE Open
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Archie Barry: Entangled listening
Feature
Jacqui Shelton

Published 01 December 2020
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Meg Porteous: Dissociative bodies
Feature
Amy Weng

Published 01 December 2020
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Adam Cullen: Acute misanthropy
Feature
Wes Hill

Published 01 December 2020
Hadley's Art Prize 2021
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James Newitt: Working with the trouble
Feature
Sasha Grbich

Published 01 December 2020
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Hayley Millar-Baker: I will survive
Feature
Claire G. Coleman

Published 01 December 2020

The artist discusses the research for her exhibition entitled 'The Private Eye- a foreigner's power of observation'. Held in regional Victoria 1998.

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More from this Issue Full Issue Contents

The Fleurieu Biennale 1998
Review
Michael Newall

McLaren Vale
Fleurieu Peninsula
6 - 29 November 1998

Published March 1999
History and Memory
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Philippa O+Brien

History and meaning are very much at the centre of an important exhibition in WA of Aboriginal art. Many of the artists draw on personal or family memory, while others use documentary evidence of the past. Parallel to these individual histories is the history of government policy and its impact on groups and individuals.

Published March 1999
Fabricating Archives: Six New Zealand Artists confuse the system
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Christina Barton

In New Zealand, conceptual and post conceptual artists from the 1970s to the present have incorporated various references to the archive; its contents, classificatory systems and its institutional adjuncts, the library, the art gallery and the museum.

Published March 1999
Elizabeth Gertsakis: Tampering with the Archive
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Brett Jones

Elizabeth Gertsakis has excavated her family histories and Greek/Slavic heritage as part of understanding difference as a critical space of knowing. It is not an attempt to 'position' or 'locate' herself in Anglo Australian culture or in the art world, but to understand the mechanisms that produce dominant cultural histories and resultant exclusions.

Published March 1999
Vault: A Collaborative Installation Cluster
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Lisa Harms

Ian North and Helen Fuller
12 November - 6 December 1998
Experimental Art Foundation

Published March 1999
Artists and Collections: a working partnership
Feature
Rachel Kent

The notion of the artist working with the museum collection is not new. Historically, artists have drawn inspiration from museums and their diverse collections - archaeological, ethnographic, medical, botanical and zoological- as a basis for academic studies and finished works.

Published March 1999
Parallax Error
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Naomi Cass

Working within the context of the Percy Grainger (1882-1961) collection, artists Louise Weaver and Carolyn Eskdale created an installationwithin the architecture and material culture of the building. In 1998 composer and sound artist Ros Bandt created an installation for the Museum's courtyard.

Published March 1999
Debra Phillips: List
Feature
Blair French

'List' examines Phillips recent investigations into issues of memory, history and renown, and the structuring of such through systems of language representation and communication. The work traverses the worlds of royalty, theatre, film, science, politics, literature and fashion. The images range across a period of 150 years.

Published March 1999
Recollections of Memory: Akio Makigawa
Review
David Bromfield

Jewellery by Carlier Makigawa
Galerie Dusseldorf
October 1998

Published March 1999
Four Shoes Many Signs
Feature
Jason Smith

Four artist's projects initiated by the National Gallery of Victoria engage contemporary art practices and the role of the museum and public galleries as mediators between the collections and the viewers. Impacts on policies regarding the moral rights of artists.

Published March 1999
The TMAG Commissions 1998
Feature
David Hansen

Here at the end of the twentieth century, the world is having to come to terms with the socio-political, economic and environmental legacies of nineteenth century imperialism. Contemporary art participates in this post colonial discourse: issues of ancestry and inheritance, relations between indigenous and settler peoples, national and imperial mythology, mapping and borders, migration and language, ecology and exploitation - these are increasingly familiar themes.

Published March 1999
Archives After the Seventies and After
Feature
Tom Nicholson

Brown and Green are well known for their meticulously produced paintings, often involving the layering and juxtaposition of competing forms and histories. They continue to paint though photography has now assumed a major position in their practice. These photographs function as archives without narrative: scrambled mythology.

Published March 1999
 
PICA
NAVA
Guildhouse
Gallipoli Art Prize
MGNSW