"This is [not] for everyone" - forewarning the end of a free and open web

Cover of “This is [not] for everyone” – forewarning the end of a free and open web
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Lipstick and Land Rights: matriarchal sovereign history and the cyber frontier
Feature
Lorna Munro

Published 24 January 2022
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We Don't Fabricate, We Weave: Kumarangk (Hindmarsh Island) and Ngarrindjeri women’s resistance
Feature
Dominic Guerrera

Published 15 December 2021
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Reclaiming the Rock in Project Banaba: Creativity, survival and agricultural colonialism in the Pacific
Feature
Katerina Teaiwa

Published 15 December 2021
Guildhouse
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Lipstick and Land Rights: A poetic response
Feature
Lorna Munro

Published 15 December 2021
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Woven Selves, Entangled Countries: Weaving across borders
Feature
Dameeli Coates

Published 15 December 2021
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Sovereign city, sovereign self and Warrior Woman Lane
Feature
Timmah Ball

Published 15 December 2021
Gallery Lane Cove
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Miyurr Mi:wi: Working from home in the spirit of Country
Feature
Tracey Rigney

Published 15 December 2021
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My Sovereign Mind: A practice in two parts
Feature
Hayley Millar Baker

Published 15 December 2021

Digital nomad Fee Plumley reviews the state of the internet and Facebook's new algorithm that wants to tell you what you want to know.

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Fee Plumley is a nomadic geek artist driving around Australia in #homeJames (my beautiful big red bus) making & sharing geek art with my Nomads in Residence and everyone we meet along the way.

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Feral: Sylvia Ross; Paintings 2011-2013: Emanuel Raft
Review
Emma Yeung

Mary Place Gallery, Sydney
13 – 23 November 2013

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James Cochran
Artist Profile
James Cochran

James Cochran, aka Jimmy C, (b. 1973) played a key role in the development of the underground graffiti movement in Australia during the early 1990s, and has a Masters degree in Visual Arts from the University of South Australia. His interests in graffiti, urban realist and figurative oil painting have converged over time, leading to the development of his signature aerosol pointillist style. Cochran now lives in London.

Published March 2014
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War Is Over! (if you want it): Yoko Ono

Museum of Contemporary Art, Australia

Review
John Burns

Published March 2014
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(in)destructible
Feature
Alison Young

Published March 2014
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Standing on the shoulders of giants
Feature
Sean Irving

Published March 2014
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New Histories
Book Review
Stephanie Radok

Artist and writer Stephanie Radok reviews three big new books that point towards new histories of art in the Southern hemisphere - Art in Oceania: A New History; Hotsprings: the Northern Territory and contemporary Australian artists and Mapping South: journeys in South-South Cultural Relations.

Published March 2014
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Nish Cash
Artist Profile
Nish Cash

Nish Cash is a graffiti artist based in Melbourne. She talks about how she got started writing graffiti and about the support offered by Ladie Killerz, (a national female graffiti event that happens annually with a wall jam, exhibitions, and performances).

Published March 2014
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Future hardware wildstyle: Clemens Behr
Feature
James Dodd

Published March 2014
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On Men
Review
Adelé Sliuzas

Curator: Eleanor Scicchitano
FELTspace, Adelaide
4 September – 21 September 2013

Published March 2014
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World Atlas of Street Art and Graffiti

Rafael Schacter, with a foreword by John Fekner

Book Review
Jo Higgins

Published March 2014
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Sideways, always
Editorial
Annemarie Kohn

Co-Guest Editor of WALL TO WALL Annemarie Kohn writes about how the seed for a graffiti issue of Artlink was sown, back in 1991 at the Metro nightclub in Adelaide. Twenty-three years later, this edition of Artlink is thought to be the first time an Australian art journal has been devoted to exploring graffiti as a contemporary artform.

Published March 2014
The legitimate semantics of a subcultural Artform
Editorial
Charity Bramwell

Guest co-editor of WALL TO WALL Charity Bramwell explores the way culture acquires credibility through museums, publications, and the formation and deformation of art history canons.

Published March 2014