Becalmed: The Art of Going Nowhere in the Work of Nicholas Folland

Cover of Becalmed: The Art of Going Nowhere in the Work of Nicholas Folland
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The Palmer Sculpture Biennial
Profile
Tracey Lock

Tracy Lock on an artist-run environmental art project in the Mount Lofty Ranges

Published 01 September 2016
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Josephine Starrs and Leon Cmielewski: And the earth sighed
Profile
Julianne Pierce

Published 01 September 2016
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The Derwent Project
Profile
David Stephenson and Martin Walch

Published 01 September 2016
NAVA
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Ray Harris: Guileless and Monstrous
Profile
Juliette Peers

Published September 2013
Stop the Moats: Recent work by Cecile Williams and Nick Mangan
Profile
Kevin Murray

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
100KM Artworks: Fiona MacDonald's Local Studies
Profile
Catriona Moore

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.

Published December 2010
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Confluent Forms: Ariel Hassan recent work
Profile
Niki Sperou

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.

Published December 2010
Shen Shaomin's Bonsai
Profile
Wu Hung

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".

Published December 2010

Becalmed: the art of going nowhere in the work of Nicholas Folland

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Art Fairs: Where to go?
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Paul Greenaway

Every dog has its day is an expression never more true than when it is applied to Art Fairs. In the late 1980s the Chicago Art Fair and the Cologne Art Fair were both hot spots, while in the early 1990s ARCO in Madrid started to make its presence felt. FIAC in Paris had a minor moment in the sun, as did Frankfurt and then later Berlin. By the end of the 1990s Armory in New York, Miami/Basel, and Frieze in London had all emerged as the places to go.

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Bronia Iwanczak: The Artist as Mental Ecologist
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Jacqueline Millner

Bronia Iwanczak is a mental ecologist, a monitor of the pervasive cultural toxicity that characterises contemporary life in the west. Her work consistently addresses the role that technological mediation plays in this cultural landscape and focuses the viewers attention on the relationship between their inner subjective worlds and outer objective worlds. Iwanczak employs touch as a vital element in her work as she believes it has some transformative effect on the viewer. This artistic preocupation is here explored with direct reference to the Timebinder series (2004), a body of work acting as a precursor to Iwanczaks most recent series Many Fish Sacrifices (2005). The subject of these works is the ugly social reality of untimely, unjust death and they ultimately act as a means through which Iwanczak aims to mobilise the current cultural inability to meaningfully honour grief.

Published September 2006
ex de Medici: Symbols of Mortality
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Reflections in a Golden Eye
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Kirsten Rann

James Lynch. Sean Meilak. Viv Miller. Jonathan Nichols. Lisa Radford. Michelle Ussher
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Bloom: Anna Hughes, Lisa Harms & Kaylie Weir
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Niki Sperou

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Biennale of Sydney 2006
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Melentie Pandilowski

Art Gallery of NSW, Museum of Contemporary Art, Pier 2/3 and 14 other venues in and around Sydney
8 June  27 August 2006

Published September 2006
Sydney Biennale a flaneur reports back
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Bartholomew Rose

Biennale of Sydney

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Confluence: Palimpsest
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Melinda Rankin

Murray Bridge Regional Gallery
24 July  31 August 2006

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Currents II
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Stephanie Britton

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.

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Indigenous Art of the Kimberley > New Energy: Mananambarra
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Henry F. Skerritt

On the white walls of the gallery the large paintings of Wandjina by senior Kimberley artist Omborrin beam forth filling the room with the radiance of his beloved Kimberley homelands.

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Michael Schlitz prints
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Sean Kelly

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Bronwyn Oliver
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Axolotl
ACMI
Dan McCabe
Japan Foundation