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Wasted
Metis is a remarkable fusion of art and science. The first of these biennial events, held in May 1999, was inspired by Rebecca Scott from the CSIRO and Canberra artist Jill Peck, and featured works which resulted from a range of collaborations between artists and scientists. Metis 2001 - Wasted focuses on environmental themes including detritus, recycling, toxic waste and land degradation.
The Waterworks Project
Culturally, spiritually, intellectually, water runs through our lives creating and suggesting connection and renewal. All life depends on water. Like those European explorers who encountered this land so recently, the artists who worked on the Waterworks project searched to make sense of the many manifestations and meanings that water has. It is no real surprise that survival was the thread that connected most of the thinking of the artists. The project saw the work of artists Cameron Robbins, Malcolm McKinnon, Lisa Philip-Harbutt, Jo Crawford, James Darling, Catherine Truman, Graeme Hopkins, Jonathon Novick and Elena Gallegos.
Modern Australian Women: paintings & prints 1925-1945 and In Context: Australian Women Modernists
Curator: Jane Hylton Art Gallery of South Australia 24 November 2000 - 25 February 2001 Curator: Paula Furby Flinders University Art Museum 8 December 2000 - 17 February 2001
Interceptions: Art, Science and Land in Sunraysia
Editor Helen Vivian Mildura Arts Centre and Artmoves, 2000
Nola Farman's Wind Tree
Nola Farman's The Wind Tree is one of a series of three permanent public artworks commissioned in 1998 by Griffith Artworks, Queensland College of Art, and installed at the new Logan Campus of Griffith University south of Brisbane. The Wind Tree stands on a site that was once occupied by indigenous inhabitants and from the time of white settlement until the recent sixties, the homestead site of the dairy cattle stud Ellerslie. The Wind Tree has been christened according to a traditional pedagogical symbol: the Tree of Knowledge. Ross examines Farman's site specific work in relation to its complex functional and aesthetic qualities.
A Water or a Light
Water figures in Australian art and Australian history as a vital thread binding together many narratives and imageries. Art that concerns itself with some manifestation of water demonstrates what can be considered a new phase in Australian art about the land. David Keeling, Nicole Ellis, Ruby Davies, Peter James Smith, Patricia Picinnini, Judy Holding and Danielle Thompson are all Australian artists whose work is manifested by this notion of the land and of water.
Bias
An exhibition of contemporary embroidery Moonah Arts Centre. Hobart 17 November - 22 November 2000
Reading the Waters
Norman has based this article around Terry White's concept of 'land literacy', a notion he defines as 'the ability to read and appreciate the signs of health [and ill-health] in a landscape'. From a cultural perspective, the land literacy idea quickly compounds itself into a multi-dimensional concept and perhaps a new discipline 'Landliteracy' that calls into question interdisciplinary demarcations, understandings of home, perceptions of the land and how we might experience place. Furthermore, Norman has used this concept as a way of discussing artmaking operations in relation to the landscape and the idea of 'waterliteracy'. Britain's Common Ground Movement, the work of Craig Andrae and the art project website redreadwater.com are here referred to.