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Ray Norman
Issue 21:1
Taking in Water
Vis.Arts.Online
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0.354
Art and Landscape in Tasmania
Robyn Archer has moved from Adelaide to direct Tasmania's first international arts festival. 10 Days on the Island is a clever poem that steps around the customary wilderness branding of the state and links Tasmania into a productive global context.
Raymond Arnold
0.8
On Reflection
Brian McKay: recent works Galerie Düsseldorf 29 October - 19 November 2000
Gail Cameron
0.8
Wild Art at the World's End
During the 1970s and 1980s conservation battles were fought over the meaning of wild places such as Tasmania - previously regarded as Australia's deep south - a pioneering place where the normal rules hardly seemed to apply. Grant looks at some of conservation battles both lost and saved during this time, and at one of the key agents for change, a wilderness photographer, the late Peter Dombrovskis. As a result of Dombrovskis' important work, the Tasmanian arts community and two government bodies have come together to try and ensure that this arts/environment symbiosis continues. Some other key artists discussed in this article are Julie Gough, David Martin, Tim Pugh, Anthony Curtis and Kim Kerze.
Peter Grant
0.802
Water and Dust: Coongie Lakes
To non-indigenous people, Australia has often seemed a paradoxical, even perverse country. It is indeed the most climatically unpredictable of all continents - a land where seasonal cycles are overwhelmed by unpredictable drought and flood. Dr Puckridge examines this fact about Australia, with a particular focus on the Lake Eyre Basin and Coongie Lake. This article includes text by artists Peter Richards and Erika Calder who work extensively alongside Dr Puckridge in their ongoing pursuit to inform and educate the wider community on the importance of working co-operatively with all the different and varied users of the Lake Eyre Basin.
Dr Jim Puckridge
0.8
Simulating the Flow
Alfred Deakin was not a man to muck about. As well as being a major player in the long campaign to establish an Australian Federation, he was an indefatigable crusader for irrigation, pushing hard to establish a pioneer industry. As President of a Royal Commission on Water Supply & Irrigation, Deakin visited and studied Californian irrigation schemes in 1885.
Malcolm McKinnon
Time, Gentlemen, Please

Art Association of Australia and New Zealand Conference Queensland University of Technology, Brisbane 7-10 December 2000

Robyn Daw
0.8
Phillip George: Tranzlution
Stills Gallery Sydney 6 December 2000 - 10 February 2001
Joanna Mendelssohn
0.8
World Without End: Photography and the 20th Century
Art Gallery of New South Wales 2 December 2000 - 25 February 2001
Joanna Mendelssohn
0.8
Preserved Sound
New work by Fleur Schell Craftwest Gallery Perth October- November 2000
Judith McGrath
0.8
Artrave
0.8
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.
Cath Cantlon
0.8
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.
Toni Ross
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PO Box 182
FULLARTON SA 5063

Artlink acknowledges the law, customs and culture of Kaurna People, the traditional owners of Tarntanya / Adelaide, and extends this respect to all Indigenous peoples across Australia.

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