Since European settlement the Murray Darling district has been a major site for irrigation and has been established as an important agricultural centre. In 1956 a valuable collection of late nineteenth and early twentieth century art was bequeathed to the city and a new gallery was built to display it. Over the years the Mildura Sculpture Prize has progressed to become a non-competitive event and in 1973 for the first time, environment was the theme. With the launch of Mildura Palimpsest, Mildura once again emerged as a central location for experimental art that tackled ecological issues.
Flux2: New Art from Western Australia Brendan Van Hek, Ben Sullivan, Bennett Miller, Helen Smith, Pilar Mata Dupont and Tarryn Gill Lawrence Wilson Art Gallery, Perth 18 September - November 2005
The scourge of non-recyclable waste devastating the precious land of the Pacific Islands has become a new subject matter for some of the local performers. A play put on in front of the newly built Parliament House on the tiny Pacific island of Tuvalu marked the islands transition to becoming the worlds first plastic shopping bag free country. Campbell looks at some of the ecological and economic crisis in the South Pacific Islands in the year that was declared The Year of Action Against Waste and the methods which are employed to assist with the educating of such issues.
South Australian School of Art International Drawing Conference Drawing is Everything Adelaide 4 September - 9 October 2005 Ruth Hadlow: Patternbook South Australian School of Art Gallery Dialecticaline Prospect Gallery Drawing is a Verb Adelaide Central Gallery2
Jean Bojko is the founder of TeATRePROUVeTe, a project created in response to a desire for a socially inclusive cultural event to be held in the Shire of Nievre in regional France in 2000. Bojko came up with the idea of marrying the 32 smallest villages of the shire with thirty-two artists. The aim was to get the villagers to see their own potential and to build a network with others. The event involved mock burials which took place in the local cemeteries as well as numerous events focused on environmental viability and sustainability as a way to symbolically reinforce the transition of these individuals from craftsmen to members of common life.
Ken Yonetani is an artist born and raised in Japan, and now practising in Sydney. Much of his recent work explores the intersections between consumption, desire, and human impact on our environs. He talks here with Julia Yonetani, who, apart from being Kens partner, is a lecturer, translator and writer on art, history, and things Japanese. This interview was conducted in Japanese and translated into English by Julia.
Byron Bay-based fibre artist Melissa Hirsch is the first artist to achieve climate neutrality through her involvement with Climate Friendly, a goverment-accredited Australian company which allows businesses and individuals to calculate the climate impact of their energy use. As a result she plans to promote her climate neutral art to corporate clients seeking a more eco-friendly image. Environmental sustainability was the impetus in Hirschs choice of career and has been the guiding force in the trajectory of her development as an artist; to produce art in nature, with nature, about nature.
On 2 July 2005 Goulburn Regional Art Gallery held a community forum to discuss the water crisis in the region. The all-important forum only happened because of art, or more specifically because Goulburn Regional Art Gallery had organised the exhibition Water Works of 16 regional artists works about water sustainability and survival. Gallery director Jennifer Lamb tells the hair-raising story of a town learning to do without water and the role of artists in coming to terms with this.