Smart Strategy for Art Education

The marketing of senior secondary art achievement in South Australia, which has seen a rise in popularity in Year 12 art exhibitions, cannot be taken as proof of the depth and sustainability of visual art education in schools across all levels.

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The 2003 Graduating Students Exhibition ANU School of Art Gallery 5 - 14 December 2003

Philippa Kelly

Young South Australian Art

This article is about hip young artists working outside the field of contemporary art. Even if the changes of the last forty years have meant that liking things for being cool and fashionable has generally lost its polemical significance, my sense is that this still may hold some currency with regard to the specific condition of contemporary art in South Australia. Strickland examines the work of South Australian artist Magosia Miow.

James Strickland

Small and Green is Beautiful

Stephanie Radok

Virtual Adelaide

One of the leading interactive groups to come out of Britain is the Blast Theory who are making interactive gaming projects, installations and mixed reality projects in various major cities of the world. They were based in Adelaide from January to March 2004 under the South Australian Premiers Thinkers in Residence Program in partnership with various other major Australian art corporations. Through the use of real and virtual city cityscapes there is an overlapping of concepts of time and space, with a focus on ideas of absence and presence amongst players online and those on the streets.

Heather Croall

The Real Thing: Recent Art of Derek Kreckler

The twenty-first century, it seems, will not be the age of manifestos. Like advertising campaigns and the design of cars and other consumer items, contemporary art has started to look the same....there is no agenda, no politics, no historical claims. As McLean states, for Derek Kreckler, the point of being an artist today is not how well you resist this condition, but how well you can bend it to your own ends. Krecklers work is here positioned in a postminimalist rather than a postmodernist framework.

Ian McLean

Stories: Past, Present and Future

Franchesca Cubillo, the Artistic and Cultural Director of the National Aboriginal Cultural Institute, has a broad cultural background with Spanish Catholic and Filipino cultural infuences fusing seamlessly with her Aboriginal heritage. Aside from her administrative and managing roles at the institute she is also a painter and photographer. Maughan looks at Cubillos life and work as it is shaped through an appreciation of the importance of family and community.

Janet Maughan

Signs of the Times: Stephen Page, Sacred Symposium, Adelaide Biennale

Stephen Page is the first Artistic Director of the Adelaide Festival of Arts to be indigenous and his program for 2004 includes indigenous works but perhaps not many more than most Adelaide Festivals, which have always had a significant indigenous component. Yet there is a sense that the commissions that Page has initiated represent a maturity in approach and development that signifies a watershed for Indigenous culture in Australia. Page expects it to be optimistic, philosophical, constructive, to reflect on the fusion of the old and new without bastardization.

Stephanie Radok

Scape

CAST Gallery, Hobart 8 - 30 November 2003 Curated by Celia Lendis

Briony Downes

The Queensgate Car Park

The Australian Centre for Concrete Art Henderson Street, Fremantle Launched on December 2003

Margaret Moore

Lost and Found

Queensland Art Gallery, Brisbane 18 November - 1 February 2004

Pat Hoffie

Witnessing to Silence

Caroline Turner, Jen Webb, Jon Cattapan and Christine Clark

The Chapman Brothers

UK artists Jake and Dino Chapman have been the subject of public and media controversy since their emergence on the British art scene in the early 1990s. The Chapmans assert that their shock tactics are in aid of an examination of cultural taboos.

Sophie Forbat

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