Good Taste: Food, Consumption & Pleasure
Vol 19 no 4, 1999
Guest editor Hannah Fink. There is a current of nausea running through this issue...yet this queasiness has perhaps more to do with a dis-ease with the manner in which we take our pleasures than the creative impulse itself. Food as cultural history, cookbooks, artists as cooks, artists' recipes, being Greek in Australia, artists and restaurants, paintings about food, bush tucker, honey in indigenous art, monument to Irish famine. Reviews
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John Davis died as he had lived, prepared and clear minded. Once he made the ultimate choice to let go of his irreversible struggle with cancer, he organized final things, and then consciously he entered the zone-of-loving-care provided by his children. On October 17th he died, surrounded.
In every known way, John's life was consistent: the man, the husband, the father, the teacher, the artist, the friend, the citizen were congruent. His life line and his art were held together by a strong substructure, integrated, invisible, motivated by a patient sensitivity to nature and an enduring imagination.
John's CV is pages long: decades of exhibitions throughout Australia, installations in the Indian Triennial, in the Venice Biennale, in the USA and Scotland, in Japan, Korea, Saudi Arabia, New Zealand; residencies in Australia, the USA, Japan and New Zealand. His professional life was full and his oeuvre unique. A new book on his work is currently being prepared by Craftsman House.
John was born in Ballarat, Victoria, spent childhood time in Melbourne, but essentially grew up in Swan Hill, close to the Murray river, which he loved. He married Shirley, his life-long companion, who died suddenly less than two years ago leaving a rupture beyond words. John and Shirley were both educators, John teaching first in regional high schools, then in Melbourne and finally at the VCA, where he was Coordinator of Post Graduate Studies for many years. His students called him inspirational, with good reason. He was generous and responsible with what he knew, offering the same values to his students that he applied to his own work: time, skill, clarity and an eye for truth.
He faced the world with simple materials, twigs, calico, bitumen, glue, needle and thread. He foraged for twigs and made an empire from their fragile joints for his exquisitely constructed sculptures. In the early days he was called the twig-man, and he remained true to twigs until the end. Even now, a cropped forest waits on his studio floor.
Though the land was his source and inspiration, it was always tangent to conceptual development. Consistently, his work was both symbolic and grounded in observation. He turned his passion for the environment into metaphor, stitching together miles of calico, like a tailor sewing a poem about a river or a fish or a memory.
His last work, prepared just before his death, will be shown at Robert Lindsay Gallery in Melbourne next year. I was privileged to see and discuss the work-in-progress with him. At one end of the exhibition is an expression of contracted darkness, a black statement; at the other end, an offering, a Ko-an. In between there are 12 stations-of-river, honed to river-bones of stillness, rising from the floor. In his final months of life, John Davis was working patiently with ultimate things, grappling with and understanding contradictions. Carefully, he left a legacy of grace.
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Articles in this issue
- Artrave: Artrave
- Book review: Art + Food = Lucio
- Book review: Craft and Contemporary Social Ritual: Eating and Drinking
- Book review: Designing the Hot Potato: Food, Design and Culture
- Book review: Set Menus
- Editorial: Tasteless
- Feature: An Gotta Mor: A Sculpture for the Irish Famine
- Feature: Breadline: Women and Food
- Feature: Bush Tucker: Some Food for Thought
- Feature: Cash Crop: A New Work by Fiona Hall
- Feature: Cookbooks
- Feature: Faites Vos Jeux: Aesthetics and Dis/Order in Kennett's Victoria
- Feature: Fast Food: Don't spoil your appetite
- Feature: Force-Fed: Food in the Art of Destiny Deacon.
- Feature: Greek as a Souvlaki
- Feature: Homemade: The Rosalind Brodsky Cookery Show
- Feature: Honey: It's Meaning in Aboriginal Art
- Feature: Mediterranean Paradise: artists and the kitchen: David Strachan and John Olsen
- Feature: My Millennium Dome: Domes Tripe and Teacups in the art of Donna Marcus
- Feature: Nariphon: How to eat a bowl of noodles
- Feature: Nostalgia, Nation and Gobstuff
- Feature: Pictures on Plates
- Obituary: John Davis
- Obituary: Rosalie Gascoigne AM
- Obituary: Wladyslaw Dutkiewicz
- Recipes: Recipes: Writers and Artists Share their Favourites
- Review: Antony Hamilton: Mythology of Landscape
- Review: Body of Language: Roseanne Bartley
- Review: Brenda L. Croft, Destiny Deacon & Glen Hughes
- Review: History and Memory in the art of Gordon Bennett
- Review: Messengers from the West
- Review: One Sculptural Furniture
- Review: Remembering Chinese: Gregory Kwok-Keung Leong
- Review: Robert Juniper
- Review: The Third Asia Pacific Triennial of Contemporary Art
- Review: Twenty Five Years and Beyond: Papunya Tula Painting
- Review: WARP
- Review: What John Berger Saw: