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
Through reference to Walter Benjamins writings, Peers suggests that it has become commonplace to describe the city in terms of the progress of the flaneur, the middle class bohemian who strolled through the city, moving in the ephemeral sphere of impressions and images. This article looks at shopping as a central feature to the manner in which Australian art and culture has developed. The artist is a shopper and collector, moving through the materiality of things. Australian culture has itself become flaneur-ised over the past decade in the expansion of new museums and cultural precincts inviting discovery and added pleasure to the experiences of viewing and consuming art.
Published June 2004
Art Gallery of South Australia, Adelaide 29 February - 30 May 2004
Australian Centre for Photography, Sydney 5 March - 18 April 2004
This essay looks at the work of Jose Da Silva, a young Brisbane artist whose work explores the way pornographic images and acts of violence shape gay male subjectivity. Da Silva underscores the way sexual violence is repeatedly fetishised and performed in gay porn, and by extension queer culture. Da Silvas work is bait, designed to lure an audience with its amateur porn pull. Once captive, an audience finds itself figuratively trapped in a seedy backroom where sexual violence is not simply patterned on recognisable social problems like homo hate crimes and/or gay male domestic violence.
Gallery 25, Mildura April 18 June 6, 2004
The generic theme for the 2nd Auckland Triennial Public/Private sought to address central issues concerned with the relationship of the visual art scene to that of the everyday life (to banality), the potential or otherwise of new technologies to engage with the conditions of modern society and the ability of art to deal in specific ideas of a social and political nature. Furthermore in bringing together artists projects that are cross-cultural and transgenerational, the curatorial aim was to make connections which would intensify the privacy debate. Edward Hanfling examines some of these works with regards to such issues and concerns.
John Curtin Gallery Curtin University of Technology, Perth 14 - 17 April 2004
Ben Booth, Neil Haddon, Anthony johnson, Anna Phillips, Lucia Usmiani and Kit Wise The Queen's Warehouse Gallery Tasmanaian museum and Art Gallery, Hobart 18 March - 2 May 2004
While the idea of modern and contemporary art are located in a fairly nebulous discursive realm, the notion of modern or contemporary lifestyle (the two seem, in fact, interchangeable) are very much a part of the familiar rhetoric of consumer spending. No Nonsense Return Policy (2003), Pat Foster and Jen Bereans installation at BUS Gallery, documented six miss-assembled items of IKEA furniture and dissect the curious aesthetic cycles that drive the commercial products in both realms. Taylor looks at this work and others which are focused on drawing attention to the formal and ideological intersections between modernism and the stuff of homes and home decoration.
Guy Benfield, Nadine Christensen, Stephen Honegger & Anthony Hunt, Tom Nicholson, Sangeeta Sandrasegar, Parekohai Whakomoe Australian Centre for Contemporary Art, Melbourne 23 March - 16 May 2004
Plimsoil Gallery, Hobart 5 - 28 March 2004
Mayne Centre, University of Queensland Opened 15 April 2004
