Published December 2014
Mazie Turner 1954–2014
Published 01 September 2014
Gordon Bennett 1955–2014
Published September 2014
Published 01 June 2014
Howard Taylor 1918 – 2001 WA
Published September 2001
Published 01 September 2013
Thancoupie (aka Dr Thancoupie Gloria Fletcher James AO) was a trailblazer in Aboriginal art, studying, showing and making work in ceramics for many years. Her work was shown nationally and internationally. After many years she returned home to Weipa, and while still making and exhibiting, focused much of her attention on her family, community, land rights and the next generations.
Published June 2013
Joan Kerr, Art Historian, February 1938 - February 2004
John Curtin Gallery Curtin University of Technology, Perth 14 - 17 April 2004
Published June 2004
Adelaide Bank 2004 Festival of Arts 28 February - 4 March
National Gallery of Australia 2 - 4 April 2004
A series of three exhibitions which appeared to erase or at least redraw the boundaries between art photography and pornography was seen at the Australian Centre for Photography in Sydney in 2003. Helen Grace talked to Alasdair Foster, Director of the ACP and curator of one of the exhibitions, about this timely and challenging project.
James Guppy has a curiously ambiguous place in contemporary art. This is not because of his subject matter, but rather because of his technique. For the most part Guppys recent work is not about fun, nor is it even really about sex. Rather he argues it is about the nature of exploitation. He argues that artists by their nature are voyeurs who see the world around them and all its objects as items to be used as visual product. His recent Peeping Box series taps into this idea where images of sexual activity with a particular sadistic overlay are presented behind thick glass to incite some vain attempt on the part of the viewer to engage in such voyeuristic acts.
Peter Hennessey & Patricia Piccinimi Greenaway Gallery, Adelaide 28 February - 28 March 2004
Food increasingly became alienated from the body over the latter half of the twentieth century. Its material, its preparation, its distribution and its consumption became hostage to the banal aesthetics of the food stylist, the aridity of cultural studies and the repressive partnership of the public health zealot and the liability lawyer. Paul van Reyk here presents a manifesto on the food slut, a model for the examination of current food consumption trends in our society. As he states, a food slut is never indifferent to food, any more than a sex slut is indifferent to sex.
Museum of Brisbane 11 March - 23 May 2004
Australian Centre for Photography, Sydney 5 March - 18 April 2004
Plimsoil Gallery, Hobart 5 - 28 March 2004
The two hours of Jake Chapmans lecture at the Capitol Theatre in Melbourne in March 2004 were in many ways a homage to Modernism and the aesthetic of industry - albeit back-handed. The hierarchies of art history, the possibility of the poetic and the tradition of humanism all came under attack. The core issue circled around throughout the discussion was the degree to which art was simply a diversion for the middle-class: a market-responsive product or cathartic moment in which people could be and even pay for the privilege of being shocked.
