Published 30 March 2022
To survive financially and professionally a large number of artists in WA have formed themselves into co-operatives.
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.
Published June 1994
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.
Melbourne artist Ewa offers the benefit of her experience in marketing art without a gallery.
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...
Looks at the artist run space 'No Vacancy' located in Melbourne, Victoria.
Exhibition review Dark Nature Anne MacDonald and David Stephenson Dick Bett Gallery Hobart, Tasmania 3 - 22 March 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
Bondi Pavilion Community Cultural Centre is situated right on Bondi Beach in the heart of one of Sydney's most ethnically diverse areas.
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.
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.
or what I learned at school... the artist Malcolm McKinnon examines his training through the art school in Melbourne in the 1980s.
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.
