Art Gallery of Western Australia
Published 04 May 2022
Adelaide Railway Station
Monash University Museum of Art
Published 30 March 2022
Edited by Brad Haylock & Megan Patty Sternberg Press, 2021, 288 pages
Angela Goddard and Tim Riley Walsh (eds.) Griffith University Art Museum and Power Publications, 2020 66 images, including colour plates 216 pages
The Substation
Published 15 December 2021
ACE Open, Tarntanya/Adelaide
TarraWarra Museum of Art
Review To Traverse Water IHOS Opera Hobart, Tasmania Constantine Koukias and Ann Wulff
The title of Monical Pellizari's recently completed short film has a characteristically wry double edge. 'Just Desserts (1993)' tempers an unfortunates Australian maxim with distinctive humour. This film is a delight, a consolidation of the stylistic and thematic concerns of her previous 3 films in 13 witty and evocative minutes.
Published March 1993
Exhibition review Completing the Picture: Women artists and the Heidelberg era Carrick Hill, South Australia 8 November - 6 December 1992
Exhibition review Cultic Gloss: Shaun Kirby Contemporary Art Centre Adelaide, South Australia October 23 - November 24 1992
What is the effect on film when the maker's background is utterly different from the culture in which he now works. Anna Epstein talked to a film-maker who brings fresh vision to the Australian film industry.
The Third International symposium on Electronic Art (TISEA) which took place in 16 venues in Sydney from 9 -13 November 1992 converted the whole city into a massive hologram event.
Blotting paper, alchemy or potent cocktail. When radical European film-makers in the 1950s with the Nagra sound recorder and noiseless, hand held camera, the Eclair, launched what they called Cinema Verite, they thought they had discovered a way to film truth on the move.
To begin this discussion of Ross Gibson's new film 'Wild' it may be useful to trace its origins to his 1984 film 'Camera Natura'. The earlier film employed an essay mode to deconstruct the discourses around non-Aboriginal imaging of the landscape.
Aleksi Vellis announced his arrival in the turmoil of early 90s Australian cinema with his debut feature 'Nirvana Street Murder' a restlessly energetic film with cavalier camera moves that are almost as swish as the director himself.
In the incredible shrinking space between 1984 and 2001 the distinction between social-issue documentary and surreal fiction is collapsing - almost as fast as Australian capitalism or Soviet communism.
Surely one of the powers of cinema is the aesthetic redemption of everyday reality, a poetics in motion that can distill and energise mundane objects, be they tiles on a kitchen wall, the fluorescent facade of an airport terminal, a luminously white T-shirt being twisted and tugged or the compact shapeliness of Y-fronts on a young body emerging from bed.
It is diversity, and the celebration of the marginal which makes Australian film innovative. Diversity provides the opportunity for people in Australia to enjoy and reflect on the cultural heterogeneity rather than on the alienating myth with which we are so familiar.
Discussion with George Mannix. If there is any form of expression that eats money it is the feature length movie. Camera, lights and actors all cost big bucks and many ideas have stopped at the drawing board simply because there wasn't enough money. Independent Producer George Mannix had other ideas.
