Furniture, Ceramics: What the Hell, Let's Do It

Cover of Furniture, Ceramics: What the Hell, Let's Do It
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Risky business: Engaging adolescents at the Art Gallery of South Australia
Feature
Kylie Neagle

Published 01 September 2019
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MCAD Manila: Learning, sharing and conversation
Feature
Joselina Cruz and Paula Acuin

Published 01 September 2019
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Museum MACAN: Critical conversations through art
Feature
Aaron Seeto

Published 01 September 2019
Artlink Subs Promo
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Falling in love (Or is the curatorial a methodology?)
Feature
Tara McDowell

Published 01 September 2019
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Being an artist and an art teacher
Feature
Henry Ward

Published 01 September 2019
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Trying to be at home in the world: New parameters for art education
Feature
Gert Biesta

Published 01 September 2019
Riddoch
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Choose your own immersion: Art schools as a site of creative becoming
Feature
Una Rey

Published 01 September 2019
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Vanishing into action: Art beyond the contemporary
Feature
Alasdair Foster

Published 01 September 2019

Examines the Centre for Furniture Design, the Centre for the Arts in Tasmania and the Atlantis Studio in Townsville Queensland.

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More from this Issue Full Issue Contents

Migrant Artists and the Mysteries of Australian Culture
Feature
Elizabeth Gertsakis

The Thousand Handed Hydra has been an experiment of difference and opposition in practice. Hydra began in May 1993 as a one year pilot program of education, transition and introductin for migrant artists to the professional networks of Australian (Melbourne) art, culture and practice. Includes the work of artists Fernando Ronquillo, Anita Lorina and Rafael Rojas.

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Self-Starting Sculpture
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Samantha Meadmore

The artist describes her attempts to sell her sculpture and the need to take other work. How has this impacted on her artistic approach?

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Designs on Shopping
Review
Sean Kelly

Exhibition review 4 Seasons - Objects that Contain
Plimsoll Gallery
University of Tasmania Centre for the Arts
March 4 - 27 1994

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Drawing Wages
Feature
Stephanie Britton

Looks at the Studio School of Painting and Drawing in South Australia. It is essentially a working artist's studio which has admitted students.

Published June 1994
Whitechapel Meets Eastenders
Feature
Kevin Wilson

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
Pav Offers Sweet Success
Feature
Stephanie Britton

Bondi Pavilion Community Cultural Centre is situated right on Bondi Beach in the heart of one of Sydney's most ethnically diverse areas.

Published June 1994
Brisbane Offers Plenty of Space
Feature
Christine Morrow

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.

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Missing in Action
Book Review
Sarah Miller

Book review Body and self: Performance Art in Australia 1969 -1992
By Anne Marsh
Oxford University Press Australia 1993

Published June 1994
The Spirit of Collectivism: A Brief Guide to Melbourne's Artist-run Galleries
Feature
Merran Ricketson

A brief guide to Melbourne's artist run galleries: Ether Ohnetitel, The Women's Gallery, Gallery Gecko, The COOP, A For Art Space, Making Sense Contemporary Art Space, The Basement Project, Argyle Street Studios, West Space, Arts Post, RedPlanet, Another Planet Posters, Red Letter Community Workshop, A.R.T. (artaroundtown), First Floor, Store 5, Room 4, ROAR Studio, Temple 29 and 41 Gold Street.

Published June 1994
Powerful Alternatives - Sydney
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Virginia Ross

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.

Published June 1994
Things I've Seen a Little Different Along the Way - Stories from Up North
Feature
Steve Fox

"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.

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Living Off Your Art: New Figures on Artists' Income
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David Throsby

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.

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