More from this Issue
David Bromfield on Sculpture
Exhibition review The Games Room
Stuart Elliott at Lawrence Wilson Art Galley
University of Western Australia
21 October - 4 December 1994
Death of a Myth
Michelle H Elliot at Gomboc Galleries and Sculpture Park
6 - 27 November 1994
Rice on the Terrace
The artist grew up in Baguio, which looks to be quite close to Ifugao on the map, and although I was taught that the rice terraces of this region of the Philippines were the eighth wonder of the world it was many years before he was able to see them.
Mark Stephens on 600,000 Hours
Exhibition review 600,000 Hours (mortality) exhibitions
Experimental Art Foundation
Adelaide South Australia
15 September - 4 December 1994
Cate Jones on Photography
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
The Terratransformers of Planet Three
Re-creation of a living landscape has to happen in farmyards, back-yards, and city squares, it has to be understood and practised at the small scale as well as the large. The remake the landscape for an ecological future we must make it fit for all living beings.
Ingrid Day on Phil Mullaly
Exhibition review Other Refuge Have I None
Phil Mullaly
New Land Gallery
16 November - 30 December 1994
Husbandry and the Coporate Collection
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.
A Piece of EcoCity
The Halifax EcoCity Project is not just the seed for a future ecological Adelaide; it is the embodiment of a new paradigm that is sweeping the planet.
Robyn Daw on Elsje King
Exhibition review Elsje King: Textiles
University Gallery
University of Tasmania, Launceston
9 September - 7 October 1994
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Art about farming, farming as an art
The daily experience of tending a tract of land in the south-east of South Australia is the raw material of artist–farmer James Darling. The land which comprises Duck Island is watercourse country where sand, water, salt and native vegetation are the elements from which, over decades of passionate attention, he and his partner Lesley Forwood have developed a farm which includes a special salt-tolerant grass for their cattle. His exhibition, Define the Country, at Riddoch Art Gallery in Mount Gambier is a response to this farmed landscape.
The Cultural Biography of Plants
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.