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Published 01 September 2019
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Published 01 December 2018
Sydney Biennale bad, 2004 in Melbourne good. The artworlds consensus locked in quick and hard. Fair? Of course not.
Why compare the two, anyway? Because the National Gallery of Victoria (NGV) and the Australian Centre for the Moving Image (ACMI) seemed to set it up that way, by the timing of their show. They certainly took as 2004s model the nationally bound Whitney Biennial and, in particular, the Art Gallery of New South Waless Perspecta exhibitions (last one 1999) - in turn established to counter the perceived internationalism of the Sydney Biennale.
Published September 2004
Flinders University Art Museum
18 June - 1 August 2004
Narelle Autio and her partner in life and work, Trent Parke, completed a 16-month journey around Australias coastline in 2004. The two set out to document the culture of Australian coastal dwellers with an exhibition lined up at the Australian Centre for Photography the following year. Baxter speaks of her first encounter with the works of these remarkable photographers and goes on to offer some insight into the profundity encapsulated by these images.
Heide Museum of Modern Art, Melbourne
8 April - 4 July
Travelling to Victoria, Tasmanaia, Queensland, NZ
July 2004 - July 2006
Many years ago the Chinese writer Lin Yutang expressed that, from an Oriental perspective, Western artists always seem to depict objects from the outside, whereas those from China and Japan express their experience of them from within. This Eastern approach is inherent in the culture, not a position able to be merely adopted, and springs in part from religious inheritance, but also from the pictorial nature of Asian written languages. This inherent approach can be found in the recent work of Catherine Woo, expressing some sort of biological affinity. If the paintings can be said to be about anything, it is a the fine balance between energy and rest rather than the apparent subject matter.
The Inner Edge
Academy Gallery, University of Tasmania, Inveresk
14 June - 9 July 2004
Polish/Australian artist Gosia Wlodarczak draws obsessively, as a means of engaging with a biological cognitive bedrock. By drawing out the duration of her being she avoids the burden of memories and hope. This, she thinks, will lighten the weight of ideology that oppresses her with its exaggerated claims of authenticity...Ideology is already manifest in her sence of self, freedom and individual consciousness. It is even there in the languages she lives between; in her name, in her history, a graduate of the Poznan Academy of Fine Arts in Poland, now living in inner-city Perth.
Melbourne artist Sue Fords 2003 photographic series Continuum is a suitable portal through which Stanhope looks at aspects of Fords work, a practice that has consistently evinced strength of vision and a humanistic philosophy, rich in connecting personal and local subjects to the field of national culture, social politics and the nature of individual existence. Continuum looks at the aftermath of bushfires and is aligned with her passionate reflection and documentation of the nature of our being in both time and place. If there is one medium that records time it is photographs - Sue Ford.
Raafat Ishak, Horst Kiechle, Kaji Ryui, Grant Stevens.
Curator: Nicholas Chambers
Gertrude Street Contemporary Art Spaces
9 July - 21 August 2004
Institute of Modern Art, Brisbane
30 April - 29 May 2004
Queensland Art Gallery
3 July - 30 October 2004
Michael Jagamara Nelson is an artist who love - maybe even needs - a challenge. As Johnson examines, he has had his fair share. With his first painting, a piece he did for his uncle Jack Wayuta (a senior custodian for the Flying Ant Dreaming for Yuwinji) going unrecognised as one of his own for fifteen years, Michael Nelson made his mark in the indigenous art scene after his big break from Daphne Williams of Papunya Tula Arts.