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Tarntanya / Adelaide
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1 September 2003
Issue 23:3
Rich & Strange
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Colin McCahon: A Question of Faith
Colin McCahon was born in 1919 in the South Island of New Zealand, in the town of Timaru, that is to say, about as far from the centres of modern art as it is possible to get. The early Italian Renaissance as much as the work of Gauguin and Picasso provided McCahon with his lead in these paintings. Raw and strange, they were greeted with puzzled and angry responses whilst at the same time these profound works secured a number of loyal and powerful supporters. McAloon looks at what was initially a slow and meandering ascent to his career and examines one of McCahon's most well known exhibitions which included 78 of McCahon's works covering the span of his career from 1946 to 1982.
William McAloon
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If All We Have is Each Other, That's OK
Darren Sylvester William Mora Galleries, Melbourne 5 - 28 June 2003
Natalie King
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spECTrUm Project Space
Northbridge Inaugural year 2002 - 2003
Domenico de Clario
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Loop-Back: New Australian Art to Berlin
Engberg writes about FACE UP, a large museum exhibition curated for the Hamburger Bahnhof Museum in Berlin in October 2003. Britta Schmitz who curated FACE UP was intent on extending the discussion surrounding conceptualism and modernism that is reflected backwards with a sideways glance created by a slow burn effect. Photography was delivered in the works of Rosmary Laing, Simryn Gill and Darren Siwes. Installation, in a variety of manifestations, was offered in works by Patricia Piccinini, Mikala Dywer and Fiona Hall.
Juliana Engberg
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4x4
Vernon Ah Kee, Jewel MacKenzie, Kim Demuth, Annie Hogan Institute of Modern Art, Brisbane 12 June - 12 July 2003
Chris Handran
Rich and Strange
Stephanie Britton
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Tweak, Tweak, Let's Surf
David Lehmann Greenaway Art Gallery, Adelaide 28 May - 22 June 2003
Stephanie Radok
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Why Correggio Jones is not The Hero of the 2004 Biennale of Sydney
The title of the 2004 Sydney Biennale was Biennale Of Reason and Emotion, the curator was Isabel Carlos, a Portuguese woman who will stress her cultural links with the New World, but in her case it is South America rather than North. One of the ideas she wished to explore through the Biennale was the concept of 'south' in a world dominated by the culture of the 'north'. As she states - "what I really want is to create a Biennale that works on the borders of the perception and on artworks that change our way of seeing the world around us."
Joanna Mendelssohn
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Warped Reflections
Through this article Clement examines the idea that, as human beings we never tire of looking at ourselves, and we particularly seem to like looking at a self we recognise. In this sense it is not hard to see why Mueck's sculptures are so popular, not only in their satisfying familiarity but also in the sheer technical virtuosity they display. The same cultural anxiety that subtly animates Mueck's seemingly ordinary human figures deforms the flesh of Patricia Piccinini's hyper-real creatures. Subsequent to this idea of self observation, Clement looks at the increasing fluidity of the boundaries of the human body and, through examples of such artistic concerns, questions what it means to be human.
Tracey Clement
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The Rodney Gooch Collection: A Major Survey of the Art-making of the Utopia Artists from the Late 1970s to 1998
Tandanya National Aboriginal Cultural Institute 27 June - 17 August 2003
Janet Maughan
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Nocturne
Kit Wise Inflight, North Hobart 4 - 29 July
Briony Lee Downes
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Place-Urbanity: A Psycho-Ethnographic Portrait of Melbourne by Jeffrey Shaw
Australian artist Jeffrey Shaw has been at the forefront of interactive new media practice for the past two decades. He has used complex technologies to create large-scale immersive experiences that explore the meeting point between physical touch and human motion, and fantastic and uniquely conceived digital landscapes. He is also the founding Director of the Institute for Visual Media at the ZKM Centre for Art and Media in Karlsruhe in Germany. Right looks at Shaw's film piece Place-Urbanity which premiered in November 2002 and which has proven to be one of the most popular works in the ACMI's collection.
Graham Right
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PO Box 182
FULLARTON SA 5063

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