Published 01 June 2020
Interview with First Nations curators Kathleen Ash-Milby (Portland Art Museum), Maia Nuku (Metropolitan Museum of Art) and Nigel Borell (Auckland Art Gallery Toi o Tāmaki).
The artist describes her attempts to sell her sculpture and the need to take other work. How has this impacted on her artistic approach?
The Premier of Victoria may claim that his government has opened Victoria for business, but it is the important role of local government and the Federal Government in developing arts training and facilities that is really making the running. Artists are no longer in their garrets but in front of pcs in their offices.
Published June 1994
Operating both as an industry training ground and as a space for creative experimentation, low budget film and video production must be thought of as an economic and a cultural investment.
Brisbane has been and continues to be well served by artist run spaces and access galleries, particularly in the last 2 years 1993-1994. Can there ever be an over supply? Looks at Dogget Street Studios, QAA, Metro Arts, Inkahoots, Loading Bay, Isn't Studios and Fireworks Gallery.
or what I learned at school... the artist Malcolm McKinnon examines his training through the art school in Melbourne in the 1980s.
Written with Shiralee Saul and Susan Fereday. How does an art object differ from a manufactured 'designer' commodity? Is the traditional status of the work of art undermined by repetition, reproduction and affordability? Are the qualities of fetish, uniqueness and authorial presence removed from or reinstated in the art multiple.
Every State has one - a local council that is outstanding in its commitment to the arts and in Western Australia, the credit for innovation and energy goes to the City of Gosnells, who have arguably led the pack for the last 5 years in interesting community arts projects...
Bark painters of Arnhem Land are experimenting with a new medium - canvas- and in so doing both increasing their output and responding to market forces.
The time is post-recession, the economic climate is uncertain, Australian designers and consumers inhabit the suburbs but are cut off from each other, and someone decided to do something about it in the City of Caulfield, Victoria.
At the Jam Factory in Adelaide, Rolf Bartz, David Archer and Lorry Wedding-Marchiaro are three of the SA designer makers who have entered into a marketing agreement which may be the way of the future for many more.
They may not have been characterised as 'artist run initiatives' but exhibition spaces run by artists have been around, in one form, or another for a long time.
Artists are particularly vulnerable to economic downturn for two main reasons...the business cycle and the role of other jobs in a tight employment market.
The transforming role of local government. More enlightened attitudes towards art making are coming from all levels of government and from property developers and others - often at the urging of those various levels of government.