Published 30 March 2022
Looks at the recent work of John Wolseley and Victor Majzner.
Exhibition review High Fibre Diet
Fremantle Arts Centre
29 October - 4 December 1994
Published March 1995
New Caledonia has become the first Pacific nation to hold a Biennale of Contemporary Visual Art. Lucienne Fontannaz travelled to Noumea to interview artist Rene Boutin and discovered an artist who takes more than the gallery and his studio as his milieu.
Exhibition review Lifeworks: Aboriginal women photographed in action and at work by Aboriginal women photographers
Tandanya National Aboriginal Cultural Institute
Adelaide South Australia
7 October - 4 December 1994
Published 01 March 1995
Aesthetic value is determined by commonly held notions of taste, beauty and attractiveness and differs from culture to culture. How does this influence us in our choice of nourishment - our daily bread, fruit or snack food? Why does food today look like it does?
If there is a contemporary issue for landscape artist to engage with, it must be the process of developing a relationship with the landscape, even if it is at the level of s sustain[able] failure, a low level antagonism or an uneasy peace. It is as difficult and as complex as any other issue, and it ultimately speaks of the human condition.
Exhibition review Passionate Habits
Contemporary Art Centre of South Australia
11 November - 4 December 1994
The cultural biography of plants provides an extremely fertile field for artists to explore. It also encourages artists, and viewers, to explore the interface between cultures and between culture and agriculture.
"I used to think there was no link between farming and art...well, most art reflects the environment in which it is produced and the artist who produces it..."
Exhibition review Four Point Bearing: Simon Barley, Paul Hay, Ian Parry and James Smeaton
Tasmanian Museum and Art Gallery
26 December 1994 - 25 February 1995
Artist's journal by Paul Hay
Making taste? Making money? Melbourne historian Juliet Peers scrutinises a group of books and catalogues on corporate art collections to see whether boardroom fancies and their lavish publications reflect a wider role in shaping popular visions of Australian painting.
Even in the shiny spaces of the big cities, for some the dirt of the paddocks is only just below the surface. Michael Eather talks to three artists who were born and raised in the country, about their current attitudes to the land as a place of production.