More from this Issue
Gleaning Relational Aesthetics
The term Relational Aesthetics was first coined by Nicolas Bourriard, French curator and, since 1999, co-director with Jerome Sans of the Contemporary art centre Palais de Tokyo in Paris. Relational art doesn't produce a product but focuses on relations between audience members, events and ideas.
Pitch Your Own Tent
Curated by Max Delany Monash University Museum of Art, Melbourne 23 June - 27 August 2005
Here Come the Jets
Current trends in image reproduction, addressed through the introduction of giclee technology and industry. Neylon deals with issues of prints authenticity and some of the controversial debates surfacing within Australias art community.
Pantjiti Mary McLean: A Big Story
Pantjiti Mary McLean: A Big Story, Paintings and drawings 1992 - 2005 Tandanya National Aboriginal Cultural Institute Inc., Adelaide 7 May 7 August 2005
22nd Telstra NATSI Art Award
Museum and Art Gallery of the Northern Territory (MAGNT) 13 August - 23 October 2005
Degenerates and Perverts
Degenerates and Perverts: The 1939 Herald Exhibition of French and British Contemporary Art by Eileen Chanin and Steven Miller, with an introduction by Judith Pugh Miegunyah Press, 2005, RRP $69.95 Reviewed by Paula Furby
Give Wings to the Arts
This article outlines a radical new model for arts funding in Australia which will seek to adequately address many of the economic and creative necessities of young and established artists. Hall clearly sets out the proposal for the model, pointing out the four wings which would come into place to assist various sectors of the creative industries including Visual Arts, Literature, Crafts and Composition and Choreography and would replace both existing Fellowships and New Works Grants.
New Museum Creates Cafe Society in Shenzhen
At the end of January 2005 in the He Xingning Art Museum in Shenzhen, a conference was held to coincide with the opening of the first dedicated Contemporary Art Museum in China named OCTA Contemporary Art Centre. The conference was essentially looking at the major issues confronting contemporary art in China as it goes through yet another dramatic evolution.