Kathy Acker & McKenzie Wark
Published December 2015
Judy Annear (ed)
Len Lye with Roger Horrocks
Seva Frangos
Justin Heazlewood
Sasha Grishin
John Summers, Chris Lehmann, Thomas Frank (eds)
Published September 2015
Helen Johnson
Book review Body and self: Performance Art in Australia 1969 -1992 By Anne Marsh Oxford University Press Australia 1993
...So in effect, what we have in Australia is a separation of public and commercial by governments arts departments that unfortunately does not take into account the fact that the arts industry operates on a continuum...
Published June 1994
Review A sad thing has happened to the once vibrant visual arts component of the Festival of Perth - the oldest arts festival in Australia. It has become tired if not downright tiresome. The whole event needs a good shake - up.
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.
Article written with Phillip Bannigan and Sue Harris. Transactions, enterprise training, curating, industry, art in public, trainees, cashflow.
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.
"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.
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 City of Noarlunga and the City of Prospect in South Australia are the only two councils who have retained community arts officers.
Melbourne artist Ewa offers the benefit of her experience in marketing art without a gallery.
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.
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?
Located in Melbourne Victoria, the City of Fitzroy was given $1m by the federal government in 1992 for capital works. One project funded was the commissioning of 16 pieces of public art from 11 artists to build on that heart of cafe culture Brunswick St.
