Published 24 January 2022
Published 15 December 2021
To survive financially and professionally a large number of artists in WA have formed themselves into co-operatives.
Review Women and sexuality in Asian-Pacific Cinema Media Resource Centre Adelaide South Australia February 26 - March 11 1994
Published June 1994
Various locations
Review Adelaide Installations Adelaide Festival South Australia Various locations 25 February - 13 March 1994
Published 01 June 1994
Melbourne artist Ewa offers the benefit of her experience in marketing art without a gallery.
The City of Noarlunga and the City of Prospect in South Australia are the only two councils who have retained community arts officers.
During the 1990s a number of initiatives have been undertaken in Western Australia which aim to improve the lot of the State's artists. The article examines three particular initiatives.
Exhibition review 4 Seasons - Objects that Contain Plimsoll Gallery University of Tasmania Centre for the Arts March 4 - 27 1994
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.
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...
As an organisation, Arts + Industry is fundamentally concerned with economics and income generation. Assisting artists and designers to either find employment with industry or create opportunities as self-employed designer/makers is integral to their goals.
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 artist describes her attempts to sell her sculpture and the need to take other work. How has this impacted on her artistic approach?
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.
