How to Hold a Festival in the Cook Islands

Cover of How to Hold a Festival in the Cook Islands
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Lipstick and Land Rights: matriarchal sovereign history and the cyber frontier
Feature
Lorna Munro

Published 24 January 2022
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We Don't Fabricate, We Weave: Kumarangk (Hindmarsh Island) and Ngarrindjeri women’s resistance
Feature
Dominic Guerrera

Published 15 December 2021
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Reclaiming the Rock in Project Banaba: Creativity, survival and agricultural colonialism in the Pacific
Feature
Katerina Teaiwa

Published 15 December 2021
Gallipoli Art Prize
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Lipstick and Land Rights: A poetic response
Feature
Lorna Munro

Published 15 December 2021
0.8
Woven Selves, Entangled Countries: Weaving across borders
Feature
Dameeli Coates

Published 15 December 2021
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Sovereign city, sovereign self and Warrior Woman Lane
Feature
Timmah Ball

Published 15 December 2021
Guildhouse
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Miyurr Mi:wi: Working from home in the spirit of Country
Feature
Tracey Rigney

Published 15 December 2021
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My Sovereign Mind: A practice in two parts
Feature
Hayley Millar Baker

Published 15 December 2021

Make your moment in Pacific history and hang the cost. On 15 October 1992 Raratongans waited expectantly for their 2000 guests from 23 other Pacific countries to arrive for the 6th Pacific Festival of Arts.

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I just had this Inkling...
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Jackie Kerin

Interview with Tazz a tattoo artist in South Australia.

Published December 1992
Disposable Icons
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Tattoos

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Frank 'Bronco' Johnson - The Poetics of Defence
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He was always delighted to be fighting with someone....

Published December 1992
From Stone Henge to Post-Feminist Creatures
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Tattoo in Aotearoa/ New Zealand
Tattooing is not 'Outsider' or 'Other' art. To suggest this is to fall once more into the tiresome quagmire of Western art definitions. Looks at an exhibition 'Tattoo' 1993.

Published December 1992
Nothing if Not Innocent
Feature
Victoria Coles

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.

Published December 1992
The O/S Experience
Review
Jonathan Holmes

Rediscovery: Australian Artists in Europe 1982-1992 Universal Expo Seville
June/July 1992
Curator Jonathon Holmes

Published December 1992
Now Who is Being Naive?
Feature
John Kean

Naive is a tag used to describe the style of a particular artist and by inference the content of their work. In this examination of 4 contemporary artists working in what can be characterised as a naive style. the author illustrates that they are being anything but naive in the analysis of events, issues and stereotypes.

Published December 1992
MFG: A Report on the First Eight Months of Greenaway Art Gallery
Review
Stephanie Radok

Review MFG: A report on the first eight months of Greenaway Art Gallery Opened in March 1992

Published December 1992
Bill Sorrell
Feature
Julian Goddard

Looks at the environment of Bill Sorrell working in the small farming town of Toodyay in the Avon Valley about 80 kilometres from Perth Western Australia.

Published December 1992
Outsider Art: Flavour of the Month
Feature
Philip Hammial

Looks at the art market and the great beast of commercialism.

Published December 1992
Foils for the Silver City
Feature
Matthew Simon

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.

Published December 1992
Ciao from Canberra
Feature
Anne Virgo

Hidden in the neat suburban streets of Canberra are the sculptures of Giacomo Rampone. Superbly crafted from steel and cement, these sculptures adorn the front gardens of each of Rampone's homes past and present.

Published December 1992