Published 01 September 2020
Published 01 June 2020
Published 08 April 2020
Published 01 March 2019
Published 01 December 2019
Published 01 September 2019
Published 01 June 2019
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.
Published September 2004
9 July - 7 August 2004
Araleun Arts Centre, Alice Springs
3 April - 9 May 2004
Stills Gallery, Sydney
17 March - 17 April
John Curtin Gallery, Perth
25 June - 8 August 2004
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.
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.
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.
Carnegie Gallery, Hobart
10 June - 4 July 2004
Curators: Stephen Mori, Felicity Wade & Raquel Ormella
III, V, VI of Contemporary Art Projects SA 2004
Contemporary Art Centre of South Australia
Curator, Alan Cruickshank
23 April - 23 August 2004
Raafat Ishak, Horst Kiechle, Kaji Ryui, Grant Stevens.
Curator: Nicholas Chambers
Gertrude Street Contemporary Art Spaces
9 July - 21 August 2004
Heide Museum of Modern Art, Melbourne
8 April - 4 July
Travelling to Victoria, Tasmanaia, Queensland, NZ
July 2004 - July 2006