Published 01 September 2018
Coby Edgar interviews Warren Roberts, CEO of YARN Australia
Published June 2018
Published 01 June 2018
For Richard Larter the material act of making paintings is an essential part of his daily life. He has written that my first mature paintings were pointillist abstracts done in house paints and enamels on lilac coloured masonite (Larter, 1998). Larter is an artist well aware of the visceral qualities of paint. Larters syringe paintings, made by forcing paint in raised lines onto hardboard, became the signature works for his initial Australian success. His role as assistant to the ceramicist Zora Merabek who was restoring the Marabout Tombs in Algiers led to a continuing interest in the visual forms of Islamic culture and a love of strong pure light. This article follows Larters prominent career and a lifetime of travel throughout Australia, New Zealand and abroad.
Published December 2006
This article celebrates the 42nd anniversary of Watters Gallery and the enormous contribution founding member Frank Watters and his partner Geoffrey Legge have made to the Australian art scene. Scheduling non-selling shows, allowing the gallery to be used for installations, poetry readings and performances and trust underpin everything that Watters stands for now. Key figures in the success of Watters Gallery here discussed include Barry Stern, Robert Dickerson, Margo Lewers, Daniel Thomas and the artists themselves.
City of Perth PhotoMedia Award
Perth Institute of Contemporary Arts (PICA)
5 October - 5 November 2006
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.
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.
Hector Jandanys work was informed by the ever-present knowledge of his country, and the ngarranggarni or Dreamtime the time the world and the rules for life began. He was renowned as a teacher of Gija language and culture in Warmun since the 1980s and he helped spread knowledge of song and ngarranggarni throughout the East Kimberley. Jandany was part of an amazing cultural team including George Mung Mung, Jack Britten, Henry Wambiny, Queenie McKenzie and others supported at Texas Downs by the kindness of manager Jimmy Klein.
Dr Pat Hoffie worked with Stephanie Britton to realise this themed issue. They networked across the nation to collect together a set of fascinating interviews and tributes to a dynamic and charismatic group of elders who helped create the identity of Australian art today. They wish to thank all the talented and dedicated interviewers some of whom travelled great distances to do face to face interviews with artists, curators and gallerists.
Stills Gallery, Sydney
16 August 16 September 2006
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.
The Aged Persons' Hostel on Mornington Island is home to 1000 residents. Amongst them are three women from nearby Bentinck Island whose culture is a very separate one to that of Mornington and whose experience of exile sets them quite apart. This article looks at the creative practice of Bentinck elder Sally Gabori, her first solo show and the success of the Woolloongabba Art Gallerys Bentinck Project. According to Robert Mercer, one of the co-directors of the WAG: "&the energy of the Bentinck painters comes from an impulse to tell stories about a life lived. To relate people and places and dreams and hopes in ways that make sense of the passage of time".
This chapter in octogenarian art theorist and philosopher Donald Brook's autobiographical writings sheds light on the early adulthood of this super-gifted individual. It follows an earlier chapter on his childhood and adolescence Depravity in Wharfedale published in Artlink Vol 25#3 (2005).