Pixel Perfect: The Craft of Photography in the Age of Digital Reproduction.

Cover of Pixel Perfect: The Craft of Photography in the Age of Digital Reproduction.
1.126
Foreign returned: Between expatriate and repatriate in Mumbai
Feature
Balamohan Shingade

Published 01 September 2018
1.126
Human flow in Melanesia: Taloi Havini's artefacts and habitats
Feature
Nicholas Thomas

Published 01 September 2018
1.122
Living and dying under surveillance: Xu Bing's Dragonfly Eyes
Feature
Sasha Grbich

Published 01 September 2018
NAVA
1.122
Inhuman flow: Censorship and art in the two Chinas
Feature
Darren Jorgensen and Tami Xiang

Published 01 September 2018
1.124
Sublime Plight: Richard Mosse, Ai Weiwei and the social turn
Feature
Wes Hill

Published 01 September 2018
1.3
YARN: The art of conversation
Feature

Coby Edgar interviews Warren Roberts, CEO of YARN Australia

Published June 2018
PICA
1.126
Editorial: Kanarn Wangkiny/Wanggandi Karlto (Speaking from Inside)
Feature
Clothilde Bullen with James Tylor

Published 01 June 2018
1.276
Katie West: Living well
Feature
Katie West

Published 01 June 2018

Walkling proclaims that something is being mourned that has to do with the physical object and its associated labour, in the meantime the distinction between amateur and professional photographer is lessening as this particular creative niche is becoming more automated.

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More from this Issue Full Issue Contents

The Darkroom in the Age of Post-Film Photography
Feature
Martyn Jolly

In both amateur and professional photography the few multinational corporations that control the industry have collectively marshalled their marketing strategies to capitalise on recent advances in digital technology. Jolly looks at the shifting photographic trends, their viability and the increasing loss of intimate image-making.

Published March 2005
Australian Drawing Now: Labouring Lightly
Feature
Kit Wise

The on again/off again love affair between drawing and contemporary art practice seems to have been going on ad nauseam. From the sixties through to the present day, ongoing tensions between the apparent values of traditional and conceptual art have resulted in much of today's appreciation for the reworking of both aesthetics in what has become a new labour of love.

Published March 2005
Ian Chandler 1942 - 2004
Obituary
John Neylon

Ian Chandler
1942  2004

Published March 2005
For Nothing
Review
Ian McLean

The Bank, Midland, WA
26 November - 14 January 2005

Published March 2005
Mary Scott - Skirted
Review
Felix Ratcliff

Criterion Gallery, Hobart
28 October - 23 November 2004

Published March 2005
Petrified Nature: Julia Robinson and Morgan Allender, Birds and Bees, Louise Flaherty
Review
Sera Waters

Downtown Art Space, Adelaide
28 October - 6 November 2004

The Project Space, CACSA, Adelaide
29 October - 5 December 2004

Published March 2005
The Hand in Making
Feature
Suzi Attiwill

The Tamworth Fibre Textile Biennial began in 1975 and every two years a collection of contemporary fibre textile work tours nationally to metropolitan and regional audiences. For Attiwill, guest curator of the 16th Biennial, the spark for the exhibition A Matter of Time came from Sue Rowleys wisdom: it is useful to think of craft in terms of multiple temporalities, A Matter of Time is an exploration of this usefulness.

Published March 2005
Disorientate: Colour, Geometry and the Body
Review
Philip Watkins

John Aslanidis, Paul Boam, John Dunkley-Smith, NeilHaddon, John Plapp, Wilma Tabacco
Plimsoll Gallery, University of Tasmania, Hobart
15 October - 7 November 2004

Published March 2005
Unpacking 'Il Cretino Veloci' or 'The Fast Idiot'
Feature
Mark Thomson

Thomson pays tribute to an increasing minority of Australians devalued for getting their hands in the mucky stuff. As he proclaims ...people who make things with their hands for a living are seen as a hopeless anachronism rooted to the ground. In an age where the majority of the Australian population now work in what are termed the service industries, the ability to apply ones motor skills are making for a society who rarely needs to use those funny slabs of flesh at the end of our arms.

Published March 2005
Nurturing the Handmade
Feature
Rigel Sorzano

In interacting with an object, its physical properties are paramount; as a result, the power of objects to affect us becomes identified with their physical attributes, leading to an emphasis on making, and so linking making with authorship. Sorzano explores the process of object-making as the work in our minds, the work in our hands, and the work as a result....

Published March 2005
Domestic Arts in the White Cube
Feature
Sue Green

There exists an increasing number of artists - mostly women - creating art using what have been known, somewhat disparagingly, as domestic arts: knitting, crochet, sewing, tatting, embroidery. For many of these artists the choice of method is integral to what the work is saying, the making - the journey - as important as the result, even if that journey is not immediately obvious to the viewer.

Published March 2005
In the Wake of Gesture: Architecture and the Handmade
Feature
Ainslie Murray

Architecture has long since surrendered the tactile in favour of grander visions. Through an examination of Sandra Seligs recent work Synthetic Infinite at the Museum of Contemporary Art in Sydney and the unique responses to architecture and the handmade that this work displays, Murray attempts to question how we might then consider architecture and our relationship with built matter to restore a direct connection with human experience.

Published March 2005
 
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