Signage to Confuse and Amuse

Cover of Signage to Confuse and Amuse
1.128
Wardlipari Homeriver: Vulnerable observations
Feature
Uncle Lewis Yarluburka O’Brien and Ali Gumillya Baker

Published 01 March 2019
1.126
Local colour: Dyeing and women's wealth
Feature
Julie Ewington

Published 01 March 2019
1.122
Hi-vis commodities: A body corporate's toxic economy
Feature
Tessa Laird with Debris Facility

Published 01 March 2019
Axolotl
1.126
Revisiting colour problems: Emily Vanderpoel, Hilma af Klint, Becca Albee, Clare Milledge
Feature
Amelia Wallin

Published 01 March 2019
1.126
Queer uses of colour: A tinted hermeneutics
Feature
Abbra Kotlarczyk

Published 01 March 2019
1.278
Meet Lisa Walker in her workshop: VR in the museum
Feature
Justine Olsen and Prue Donald

Published 01 December 2018
Dan McCabe
1.126
Eugenie Lee's Seeing is Believing: VR in pain management
Feature
Dylan DeLosAngeles

Published 01 December 2018
1.128
Artificial imagination: Deepfakes from latent space
Feature
Sean Dockray

Published 01 December 2018

Richard Tippings installation Signs Signed was in Munichs Salvatorplatz during August 1999. Twenty two reflective signs were placed in the square and streets around the Literaturhaus as a part of the Piazza installation art project, curated by Art Circolo. This feature includes images of Tippings Signs with accompanying text.

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More from this Issue Full Issue Contents

Public Art Boom in Western Australia
Feature
Nikki Miller

The difficulties of public art are universally acknowledged - they are the same across state and national borders and usually result in compromised solutions - however if they are to be considered more as collaborative efforts between artist and community rather than works of art the outcomes become interesting. Millers article addresses this notion through a discussion of recent Western Australian public art programs and in particular the achievements of ArtSource, an employment agency for visual artists. Key figures in this text are Brian McKay, Ahmad Abas, Tony McClure, Jon Tarry, John Elkington, Linnea Glatt and Michael Singer.

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Polemic: GO BACK You Are Going the Wrong Way
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Donald Brook

Brook breaks this argument down into sub categories: The rationale of the art history museum, The cabinet of curiosities, Evolution, Cultural evolution, Art as the source of memetic variation and The cultural museum.

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Auctions and Copyright: Moratorium
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Recent auctions held by Christies, Sotherbys and Deutscher-Menzies have clearly demonstrated that the market is now looking towards artists in their fifties and even younger. The relationship between artists and auction houses is here discussed with reference to artists Juan Davila, Charles Blackman, Imants Tillers, Mandy Martin, John Wolseley, Howard Arkley, Lloyd Rees, Emily Kngwarray, Lin Onus and groups Desart, Balgo Artists and Utopia Arts.

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Watermarks: Crossings, Carolyn Lewens and Neil Stanyer and Illuminating Evidence, Felicity Spear and Sarah Winfrey
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Frank Bauer Goes Public
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German born artist Frank Bauer was raised on the philosophy that art, design and industry could work together to achieve a more visually coherent and democratic society. Over the past thirty years he has produced a huge body of work in metal, which includes jewellery, hollow ware, furniture and lighting. Through this text Fairlamb focuses on Bauers wind sculptures, exhibited at the Powerhouse Museum and JamFactory, which stand over four metres high and bring together his considerable knowledge of balance, precision engineering and sculptural metal work.

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Gateway to Adelaide: The Process, The Result
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Undertaken by Transport SA from 1996 until 2000, the Adelaide-Crafers Highway project resulted in major route reconstruction along a 10 km section of the Prince Highway. This has resulted in artist/ designer/ architect collaborations for the production of three major walls, elements of paving, bus stops and two bus shelters, a water feature and a freestanding sculptural piece. Artists and architects included in the project are George Popperwell, Greg Healey, Tony Bishop, Marijana Tadic, Neil Cranney, Mark Butcher and Rob Williams.

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Stafford and Staff: Queensland's Public Art Agency
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Timothy Morrell

Morrell examines the recent structural developments which have taken place at and around the precinct of Brisbanes Roma Street Transit Centre. Under Queenslands Art Built-in policy approximately $1.4 million was proposed to be spent on works of art to feature in the new precinct. Morrell was the public art curator for the Roma Street project and this article developed out of conversations held with the Public Art Agencys Executive Program Officer John Stafford.

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Hilda Rix Nicholas: Her Life and Her Art by John Pigot
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Miegunyah Press (MUP) 2000
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Texas: Artists Move in on Project Row House
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