The archive in the contemporary
The artworks of Danie Mellor, Brian Robinson and Christian Thompson each draw on archival material for subject matter, for inspiration, and to develop new work that harks back and forward at the same time.
More from this Issue
Jimmy Pike: there is more
Curator and writer Karen Dayman fills in the background of the development of the work and broadens the profile of Great Sandy Desert artist Jimmy Pike whose skills took him around the world and into collaborations with Desert Designs, with his partner Pat Lowe and with the theatre.
The limits of criticism
Anthropologist John Carty casts his eyes over the last ten years of writing on Desert art, mostly in newspapers, and finds many cliches and inconsistencies. He asks: "Where are the fine-grained localised art histories, the rich biographies of our most interesting and important individual artists? Where are their voices?" And replies: "They are still waiting in the Desert."
Disquiet and resistance in the art of Julie Gough
Senior Curator of Indigenous Art at the National Gallery of Victoria Judith Ryan surveys the complex and inventive art practice of Julie Gough who is concerned with "developing a visual language to engage with the unsettling space between conflicting and subsumed Australian histories."
Jean Baptiste Apuatimi (1940–2013)
Curator of Asian Art at the Art Gallery of South Australia James Bennett writes with affection about the life and work of highly respected Tiwi artist Jean Baptiste Apuatimi. He describes the way she would not repeat a formula in her art but constantly push aesthetic boundaries in exploring new themes.
Rainforest identity (past and future)
Napolean Oui is a Cairns-based, mid-career, Djabugay artist and a proud advocate of the rainforest art style unique to Far North Queensland. 2012 was a breakthrough year for him, he did a residency at Studio PM with Paul Machnik and others in Montreal, developed new work at Djumbunji Press for a solo show at Kickarts Contemporary Arts in Cairns during the Art Fair, AND sold work to the National Gallery of Australia.
tough(er) love: art from Eyre Peninsula
Curator: John Neylon Flinders University Art Museum 28 February – 28 April 2013
Harry James Wedge (1957–2012)
Assistant Curator of Indigenous Heritage Collections at the Macleay Museum Matt Poll writes a thoughtful, engaging and detailed account of the life and art of Harry Wedge, known as 'Big H' in his home community in Cowra. Poll says:" Harry’s artistic career remained an enigma to those closest to him throughout his life. His work is an exemplary case of an Australian outsider art – though not in the conventional definition."
Ken Thaiday Senior, Darnley Man
Exhibitions Manager at Cairns Regional Gallery Justin Bishop tells the rich story of how Ken Thaiday Sr. came to be a major Torres Strait Islander artist. In August 2013, Cairns Regional Gallery, in partnership with Cairns Indigenous Art Fair (CIAF), will be presenting a survey exhibition of Ken Thaiday Sr.’s work.
Rekospective
Yorta Yorta and Wiradjuri curator and lecturer Jirra Harvey traces the career of self-taught graffiti and studio artist Reko Rennie. He uses a traditional Kamilaroi patterning in neon and in graffiti as a contemporary statement of sovereignity. Harvey says: "The subtext to such works is a running narrative on government practices that work to control and restrain Aboriginal communities and the subsequent rebellion of the people."
Ghostnets go global, and local
Ghost nets are fishing nets that have been abandoned at sea, lost accidentally, or deliberately discarded. The GhostNet Project, which began on islands and in communities around the top of Australia, uses the nets to make artworks, to raise awareness of marine pollution, to be creative. Awareness of Ghostnets is on the rise both nationally and internationally.