Published 01 December 2020
Describes Asialink's exhibition program which commenced in 1991 at the same time as the residency program with funding from the VACB and the Department of Foreign Affairs and Trade.
Since 1986 Annette Bezor has been working in both the Cite Internationale des Arts and private studios in Paris. The Adelaide Paris connection, seemingly so contemporary is very much a part of South Australian visual art history. Conducted as an interview with the artist.
Published December 1998
Digital technology is driving the revolution in visual culture and consciousness. Exploring the ninth International Symposium of the Electronic Arts [ISEA98].
Examines Asialink's artist in residency program. Complete with a list of Visual Arts/Crafts Residency destinations.
Curated by Di Barrett
Nexus Gallery, Adelaide
September - October
Sit Up!: 100 Masterpieces from the Vitra Design Museum Collection
Nature as Object: Craft and Design from Japan, Finland and Australia
Art Gallery of Western Australia
2 July - 6 September 1998
Andrew Petrusevics and Chris Gaston
Artspace, Adelaide Festival Centre
28 August to 24 October 1998
Craftwest Gallery, Perth and Moores Building, Fremantle
4 - 26 July 1998
Centre for Contemporary Craft, Customs House, Sydney
12 September - 11 October 1998
The strength of the Australian jewellery practice may be attributed to the jewellery departments in Australian universities and art schools as well as to the influence and impact of leading jewellery artists who have arrived from other countries to live, teach or practice in Australia. Looks at the work of Dorothy Erikson.
'Ask the dust' the exhibition of Anne Pincus at Access Gallery in Sydney explores the contrast between the light and sand and dust of Australia and Israel and the darkness of Europe.
University of SA Art Museum
4 September - 3 October 1998
Curated by Ian North
Zhong Chen as a relatively recent graduate of the SA School of Art won a Samstag Scholarship to travel to the Chelsea College of Art in late 1997.
The author with Djon Mundine explore the paradox which is faced by Aboriginal dealers and curators who take Aboriginal art to the world. Issues of viability to ethnocentricity and notions of the primitive as well as the role of art in educating audiences and promoting the culture of indigenous Australians are discussed.