Published 01 September 2019
Decorama at Inflight
Inflight Gallery, Hobart
2 30 September 2006
Published December 2006
Taking a Chance on Love: Selected Works 1990 2006
9 July 27 August 2006
McClelland Gallery + Sculpture Park, Langwarrin, Victoria
Gwen Leitch Harris, born 1931 in Burnie, Tasmania, was raised in a matriarchal household where her artistic gift was sensitively realised. She studied painting at Hobart Technical College under Jack Carrington Smith who recognised her talent. Gwen described herself being like Adelaide& a well-kept secret and in her gentle unassuming manner, revealed aspects of her remarkable life. Hellen Fuller here pays homage to the life and career of a remarkable woman and artist.
Life Is Getting Longer
Michael Bullock (Aus), Eleanor Crook (UK), Nick Devlin (Aus/UK), Jon Jones (UK), Justine Khamara (Aus), Steven Rendall (Aus/UK)
Curated by Steven Rendall
VCA Gallery, Melbourne
1 24 June 2006
Bert Flugelman is a sculptor and painter. His influence on generations of students is legendary, in major art schools in Sydney, Adelaide and Wollongong whose sculpture departments suddenly spring into life when he arrives. He has an Honorary Doctorate from the University of Wollongong, whose Friends association raised the money to pay for his gigantic winged sculpture on Mount Ousley overlooking the city an Icarus in the ascendant. At 82, he is still hard at work making large-scale works in his studio and workshop in Bowral, NSW, where Tamara Winikoff interviewed him on 23 June 2006.
English-born Carol Rudyard arrived in Perth, Western Australia, in 1950. Her initial studies at the Western Australian Institute of Technology focused on textile design and colour field and op art inspired paintings. In 1977 she began a progressive shift into slide-based installation then installation with video. Recently she has shown digital prints. Carols reputation derives from early engagement with audiovisual technologies and her social analysis of the complicity of consumerism and the gaze at the time when theory was often held responsible for a dissipation of critique. This article includes an edited transcript of a conversation held between Carol Rudyard and Jasmin Stephens in August 2006.
Published 01 December 2006
In 1991 Daphne Williams was awarded the Order of Australia for her contributions to the development of the Aboriginal arts in Central Australia, and more generally for her support to Aboriginal people and their cultures. Now in her late 70s, she remains a friend to all of the Indigenous families she has known and assisted for three generations; a mentor and friendly help to the present generation of Papunya Tula workers and a respected friend to many in both Alice Springs and the wider art world. This interview follows Daphnes career from her first contact with the Indigenous people of Alice Springs in 1960 through an hour of so of discussion, much of it surrounding mutually shared memories of people and country between herself and close friend Dick Kimber.
Steven Miller talked to Daniel Thomas AM, much-loved curator and Emeritus Director of the Art Gallery of South Australia, at his house overlooking the wild north coast of Tasmania about what he has discovered about art and artists during his long career across three major Australian art museums.
Irrunytju Arts: Senior Artists from Irrunytju
12 August - 9 September 2006
Raft Artspace, Parap, NT
Arthur Pambegan Jr was born in 1936 and lives at Aurukun on Cape York Peninsula. He is one of the senior members of the Wik-Mungkan language group and an elder of the Winchanam people. His main traditional lands lie between the Small Archer River and the Watson River. The sacred totemic sites of his people are told through two main stories Walkaln-aw (Bonefish Story Place) and Kalben (Flying Fox Story Place) which are the subjects of ceremonial carved sculptures. Peter Denham spoke to him in June 2002 at Aurukun.
Minyma Tjukurrpa is the Pintupi term for womens law or story. When the older women of Kintore saw members of their immediate family painting at the Ikuntji Womens Centre at Haasts Bluff they instigated a painting project which was to become known by that name. These same women went on to paint for Papunya Tula and are now represented in public galleries nationally and internationally. This article documents the history of the Ikuntji community, the links between the Pintupi from the Walungurru area and Haasts Bluff and the dancing and painting practices of these twenty-five senior women.