Published 30 March 2022
Geelong Art Gallery 15 July - 9 September 2011
Contemporary Art Centre of South Australia CACSA 22 July - 28 August 2011
Published December 2011
Bendigo Art Gallery 1 August - 6 November 2011
Kirsten Farrell muses on colourphobia through her life, her Phd and her reading of the book Colourphobia (2000) by David Batchelor
Artist and curator Una Rey writes about the exhibition 'Speaking in colour' that she curated for the Newcastle Gallery from their collection in March-May 2011. Her experience of working with Indigenous artists in Central Australia coloured her choices and her interpretations of them.
Executive Director of NAVA Tamara Winikoff missed the voices of artists at the October 2011 World Summit on Arts & Culture in Melbourne.
Land, Sea and Sky: Contemporary Art of the Torres Strait, GOMA Strait Home, State Library of Queensland Awakening: Stories from the Torres Strait, Queensland Museum Belong, Bangarra Dance Theatre, Queensland Performing Arts Centre Mabo Oration 2011, Follow the Stars: Indigenous culture, knowledge and intellectual property rights 1 July - 23 October 2011
South Australian artist Julia Robinson's striking sculpture draws on the darkness in human culture that has often been represented by goats. Made from fibreglass and snugly covered in fabric they assume strange forms and positions that give them a "reverberating energy".
South Australian artist Thom Buchanan's most recent drawing adventure was on stage with dancers from the ADT.
142 Liverpool St, Hobart 26 August 2011 and ongoing
In an interview format artist and academic Stephen Haley discusses the work of Kate Shaw the artist whose work features on the cover of the Phenomena issue of Artlink. Shaw talks about the way she uses colour, her techniques and goals from garnering attention to depicting an ambivalent relationship to the natural world.
In his meditations on the recently published book Insect Media by Jussi Parikka, the New York-based staff writer for Rhizome at the New Museum Jacob Gaboury suggests that the dehumanisation of media technologies may be seen as engaging with the world in a form of non-human affect.
