Published 30 March 2022
Looks at the Studio School of Painting and Drawing in South Australia. It is essentially a working artist's studio which has admitted students.
Museums and larger arts spaces are increasingly looking at ways to improve access to their exhibitions for a wider range of people. Contemporary art spaces face a more difficult battle than museums in trying to become more relevant to their diverse communities.
Published June 1994
Exhibition review 4 Seasons - Objects that Contain
University of Tasmania Centre for the Arts
March 4 - 27 1994
Exhibition review Jemmy
Mehmet Adil, Craige Andrae, Johnnie Dadie, Simryn Gill, Richard Grayson, Linda Marie Walker, Paul Hewson, Shaun Kirby, David O'Halloran, Bronia Iwanczak, Andrew Petrusevics, Bronwyn Platten, George Popperwell, Jyanni Steffensen, Steve Wigg
Curated by Alan Cruikshank
Ebenezer Studios Basement
February 18 - March 13 1994
Exhibition review Dark Nature
Anne MacDonald and David Stephenson
Dick Bett Gallery Hobart, Tasmania
3 - 22 March 1994
Bondi Pavilion Community Cultural Centre is situated right on Bondi Beach in the heart of one of Sydney's most ethnically diverse areas.
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.
"If you are real lucky you got CDEP or your are making it selling your art and then you got a good art centre too, maybe. If you are real lucky just when you turn up with a couple of week's art production, maybe yours, maybe the families, the centre's got cash, no one's a bastard, everyone's happy, the store has even got some decent food, even new bikes, toy guns, tape decks and a few tins of Log Cabin. Shit, life's good - sometimes anyway." A personal view of art making in indigenous communities.
A recurring feature of recent initiatives is to be self-funded or to operate with a minimum level of government funding and frequently to begin with a limited time frame in mind. The social side of such organisations cannot be underestimated and is probably as important as any art that eventuates.
How do artists survive when they are not able to sell work in galleries -- sales are at a record low and many galleries have folded-- or get commissions through State agencies -- because these are few and far between?
Ipswich City Council in Queensland is recruiting artists and designers from their large regional base and assisting them to create their own incomes through the work they are already trained to do.
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.
Written with Lee Salomone exploring the utilisation of prominent billboards on the tram track in Adelaide for the term of one year at no cost for them to be used as public art spaces.