Polemic: The Undoing of Art History (Part I)

In this part 1, the viability of the subject called Art History is challenged, using the terms art and work of art in a conventional way. The nature of histories as they are ascribed to kinds, especially art as a kindcultural kinds, the problems associated with generalisations and the dilemma for the Macho art historianare ideas addressed through this text.

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Fiona Foley: Knowing Where to Look

Fiona Foley's career as an artist has resulted in a diverse practice united by a dedication to indigenous issues that are of relevance to all Australians. Her presence as an artist, advocate, activist and identity in the Australian cultural scene has remained poised and proud for over two decades. From her involvement in the formation of the Boomalli Ko-operative to her often hard-hitting presence as a public speaker and the lyrical and enchanting nature of her images, Foley has continued to disturb assumptions and challenge clichés about the way Australians think of themselves and the place we inhabit. Ephemeral Landscapes (1990), Ya Kari - speak for (2001), Kunmarin - wooden shield (2001) and other works are here discussed.

Pat Hoffie

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Kieran Finnane

Nicholas Folland

Greenaway Art Gallery 39 Rundle Street, Adelaide 1 - 26 August 2001

Ruth Fazakerley

Blighted Paradise: Colonial Visions of Northern Australia

Rockhampton Art Gallery 12 October - 25 November 2001

Martin Terry

NO MUTTERING

Ivan Dougherty Gallery, Sydney 4 October - 3 November 2001

Queensland College of Art Gallery, Griffith University, 25 Jan - 24 Feb 2002

Kiersten Fishburn

Rosslynd Piggott: Perfect/Sense

In the context of Melbourne art, Rosslynd Piggott could be linked to a significant movement of young artists who emerged in the 1980's. Her earlier works were figurative compositions which presented painterly/philosophical essays upon the nature of water, clouds and impermanence through surrealistic juxtapositions. This article follows her career from the early painting days through to her current concerns with mediums such as sculpture, installation and more recently performance.

Juliette Peers

Jeffrey Smart Drawings and Studies 1942-2001

Australian Galleries Works on Paper, Melbourne 13 October - 4 November 2001

Cliff Burtt

Trade: Fiona Hall

Stephanie Radok

Light Years: William Robinson and the Creation Story

Art for William Robinson has always been an intensely personal exercise, from the early domestic interiors, suffused with love for his family, to the hard-won intimacy of his relationship with the wilderness in which he now lives. Yet the animating principle of his work in its ever changing fashion is its expression of faith. Robinsons landscape is unquestionably a God-revealed world; what is in question is the relation of man to that universe. As much as Robinson's art is a faithful reflection of his immediate environment, it is drawn from the memory of an experience in a landscape.

Hannah Fink

Home is where the heart is

University of South Australia Art Museum, 13 September - 20 October, 2001

Pamela Zeplin

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Sculptural works by Ricky Swallow and Erick Swenson Museum of Contemporary Art, Sydney 1 August - 4 November 2001

John Kirkman

KaltjaNOW

Wakefield Press in association with the National Aboriginal Cultural Institute - Tandanya Softcover 170pp

Gary Lee

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