Published 01 September 2019
Looks at the art market and the great beast of commercialism.
Written with David Wood. Explores the work of Tut Ludby who whittles wood in the small town of Strahan in Tasmania.
Published December 1992
The diversity of work found in the art of everyday life transgresses many of the implicit boundaries about art practice laid down by the art world. Other art meets all the criteria by which we usually evaluate art works such as skill, commitment and self-expression yet is rarely seen in a gallery context. In order to recover meaning and value for the art of everyday life the question must be asked: why have these artists been marginalised by the art world?
Art institutions are beginning to welcome Outsiders in. But there seems to be a little uncertainty in the art world as to the specifics of the Other guest list: enterprises such as this Artlink special issue are a means of establishing the canon, of packaging the concept.
Artists of the modern era have always been fascinated by the primitive, be it the obsession of the surrealists, futurists and modernists for the art of the Negro, the passion of a handful of British in the 60s for the work of the Cornish primitive Alfred Wallis or Jean Dubuffet's exploration of children's art and the art of the asylum which he termed Art Brut.
Exhibition review Works by Anna Platten: Paintings and Studies 1982 -1992
University of South Australia Art Museum
30 July - 29 August 1992
Disillusioned with the contemptible familiarity of our environment in the South Australian School of Art a group of fellow students and I decided to take our art somewhere else. So, displaced and gung-ho, our controversial creations in tow, we set off to Broken Hill, the self proclaimed art capital of Australia.
Rediscovery: Australian Artists in Europe 1982-1992 Universal Expo Seville
Curator Jonathon Holmes
Book review Blue Bush, Blue Sky and Silver Guide to artists and galleries of Broken Hill.
Review MFG: A report on the first eight months of Greenaway Art Gallery Opened in March 1992
In a remote corner of the south west of Western Australia, a school teacher who had never trained in art, was the catalyst for a school of landscape painting reminiscent of the style of Namatjira. Everything about this story was remarkable, not least that this happened over 40 years ago and that the average age of the artists was 10. The place was a tiny settlement known as Carrolup, now known as Marribank near Katanning.
Book review The Dictionary of Australian Artists: Painters, Sketchers, Photographers and Engravers to 1870
Edited by Joan Kerr
Oxford University Press Melbourne