Published 01 December 2020
About the work and fame of Las Vegas based art writer Dave Hickey. Like all icons Dave comes with a portable, pocketable, mythology. A pungent blend of his own statements, press hype, rumour and dubious speculation.
Nyilpirr Spider Snell
Raft, 3 - 20 December 2003
Fitzroy Fusion, Mangkaja artists
Raft II, Darwin
6 - 20 December 2003
Published March 2004
Queensland Art Gallery, Brisbane
18 November - 1 February 2004
Brook looks at the role of geographic location throughout the ages of art theory and practice. The metaphor of adverse location prompted some baroque theorising about the metropolis as contrast-partner to the provinces...with the onset of neo-conservatism and the supervenience of economically rational accounts of virtue and of value the idea that art is peculiarly sensitive to location because it is more cultural than clothing and footwear came under challenge.... Addressed in a context that concerns the locality of Adelaide, and beyond.
Exhibition of Young Australian Artists
Museum of Contemporary Art
17 September - 30 November 2003
The twenty-first century, it seems, will not be the age of manifestos. Like advertising campaigns and the design of cars and other consumer items, contemporary art has started to look the same....there is no agenda, no politics, no historical claims. As McLean states, for Derek Kreckler, the point of being an artist today is not how well you resist this condition, but how well you can bend it to your own ends. Krecklers work is here positioned in a postminimalist rather than a postmodernist framework.
This question can culture save the river and wetlands was put to a debating panel at the annual conference of Country Arts SA in October 2003. The river in question was the Murray. This article takes up some of the important issues surrounding environmental degredation and focuses on the SunRise 21 Artists in Industry Project which saw the collaboration of artists and organizations working together to establish a mutual relationship between arts and the environment.
White fella technology was once considered a threat to Anangu culture and identity, but when iMacs, data-projectors and printers turned up in Anangu communities, they attracted a great deal of interest and excitement. The above mentioned title was an exhibition that opened at the South Australian Museum in October 2003 and comprised of three remarkable multimedia interactive databases which stand to offer unique opportunities to investigate pitjantjatjara and Yankunytjatjara peoples history and culture.
This article is about hip young artists working outside the field of contemporary art. Even if the changes of the last forty years have meant that liking things for being cool and fashionable has generally lost its polemical significance, my sense is that this still may hold some currency with regard to the specific condition of contemporary art in South Australia. Strickland examines the work of South Australian artist Magosia Miow.
Like many of the people at Balgo, Elizabeth Nyumis early life was a nomadic existence with her family group on the Canning Stock Route. Whe her mother died she walked with her father into the old Catholic mission at Balgo. She began painting for Warlayirti Artists in 1988. Recently a very successful painter, she was invited to show at the 2004 Biennale of Sydney. OBrien examines Nyumis life and work.
The 2003 Graduating Students Exhibition
ANU School of Art Gallery
5 - 14 December 2003
Colin Koch is the coordinator of Ku Arts, the artists representative and development body, a role which requires him to make the journey up into the northern regions of South Australia, land belonging to the Anangu people, once every six weeks. Koch discusses the significance of Ku Arts: some of the hurdles they have had to overcome and the subsequent milestones this regional indigenous arts centre has acheived.