Tracy Lock on an artist-run environmental art project in the Mount Lofty Ranges
Published 01 September 2016
Published September 2013
Adjunct Professor at RMIT Kevin Murray contrasts the idea of Australians as xenophobic 'moat' people with the idea of 'poor craft' which uses detritus to alchemically create a new preciousness.
Published December 2010
Senior Lecturer at the Power Institute, University of Sydney, Catriona Moore writes bout the recent work of Fiona MacDonald in terms of its connections to locality and history.
Biotech artist Niki Sperou unpacks at the curious art practice of Adelaide and Berlin-based Ariel Hassan who uses science, philosophy and politics as well as paint, canvas and polyurethane foam to make work embodying action, reaction and the connectivity between all things.
University of Chicago Professor Wu Hung analyses Sydney and Beijing-based Shen Shaomin's Bonsai series as seen at the MCA for the 2010 Biennale of Sydney as "uncovering secrets".
Becalmed: the art of going nowhere in the work of Nicholas Folland
Stars of Track and Field Campbelltown Arts Centre 10 December 5 February 2006
Published September 2006
Level 2/16 Milligan Street, Perth, 27 - 31 March 2006
Published 01 September 2006
Yvonne Boag is a traveller, a wanderer and keen surveyor of her surroundings. Her concerns of language and place traverse a myriad of media such as paintings, prints and drawings in a career spanning three decades. As Boag commented in 1989 With every new work I start, it seems I am always at a beginning. Each work is an attempt to hold on to time. To make marks of that time, which will trace a pattern through my life& Through this text Donna Brett looks at Boags journeys to places such as Korea, Paris and the Lockhart River and her use of iconography and dense layering as a means of mapping her interaction with places, journeys and people. Some artistic influences here discussed include the works of Roger Hilton, William Scott, Ben Nicholson, Patrick Heron and Avis Newman. The Lockhart River, Urban Landscape and Conversations series are referred to in considerable detail.
People involved in the arts and education might have difficulty recognising the Australia that the Treasurer has been talking up recently: the one with the record 4% low unemployment. But the Treasurers spin fails to mention that to be counted as employed you only have to work one hour per week, which bears out the reality of a life in the arts.
Experimental Art Foundation Adelaide 21 April 20 May 2006
The symbolic and perpetual possibilities of pattern are constantly under interrogation in the work of Sara Hughes as she is compelled to inhabit the capricious edges of what painting might be. Being a child of her times, Hughes was part of the sticker generation who adorned the unsuspecting surfaces of schoolbooks, bedroom walls, wardrobes, mirrors and fridges. She applies similar processes to her work as a means of mimicking the act of making something ones own and thus reinforces the claiming and transforming of spatial environments. This article follows Hughes practice through the visitation of childhood moments while simultaneously offering a platform for new conversations about spatial interplays and the shifting dialogues between surface and form, codes and perception and graphic modes and painterly references. Some of Hughes' primary influences include William Gibsons 2003 novel Pattern Recognition and the works of Yayoi Kusama, Takashi Murakami, Yoshinori Tanaka and Sergio Leone.
Gertrude Contemporary Art Spaces Melbourne 26 May 24 June 2006
Plimsoll Gallery, University of Tasmania Hobart 6 - 26 May 2006
Murray Bridge Regional Gallery 24 July 31 August 2006
Feast to Feast: QPACifika Queensland College of Art 18 December 2005
Art Gallery of NSW, Museum of Contemporary Art, Pier 2/3 and 14 other venues in and around Sydney 8 June 27 August 2006
