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
Queens Theatre Adelaide 29 April 21 May 2006
Published September 2006
Feast to Feast: QPACifika Queensland College of Art 18 December 2005
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.
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.
The second of the ordinary practices et al Institute of Modern Art Brisbane 10 June - 22 July
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.
James Lynch. Sean Meilak. Viv Miller. Jonathan Nichols. Lisa Radford. Michelle Ussher Curated by Jan Duffy and Kate Barber Linden - St Kilda Centre for Contemporary Arts 8 July - 13 August 2006
ex de Medicis self-named approach to her practice Dogs Breakfastism signals an idiosyncratic working method that has seen her embrace photocopy, sound, performance, photography and drawing across a three-decade career. Kelly Gellatly looks at the multifaceted creative occupations of de Medici as both a visual and tattoo artist and the inherent connection she makes in and between these two practices. This text looks at two of de Medicis most prominent series - Gals n Guns and Spectre - through which she explores pressing issues such as global capitalism, corporatisation, materialism and the ongoing war on nature.
Noel Sheridan 1936 - 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.
Murray Bridge Regional Gallery 24 July 31 August 2006
Published 01 September 2006
