The Rise and Rise of Michael Eather

Cover of The Rise and Rise of Michael Eather
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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
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Lipstick and Land Rights: A poetic response
Feature
Lorna Munro

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

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

Published 15 December 2021
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Sovereign Sight: Intersections of the historical archive and artistic practice—a curatorial perspective
Feature
Kimberley Moulton

Published 15 December 2021

Examines the work of Michael Eather as art maker, gallery director, educator, project promoter and consultant. He established Campfire Consultancy with others. Also established the Fireworks Gallery: Aboriginal Art and other Burning Issues in Brisbane, Queensland.

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More from this Issue Full Issue Contents

Art Teachers Hampered by Lack of Training
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Maria Whaley

Art teachers today are expected to have a greater proficiency in a broader range of art skills, yet due to the under funding of teacher training they are receiving less training and professional development to prepare them for the classroom. Discusses the 1999 International Society of Education through Art (InSEA) the theme being 'Cultures and Transitions' held in Brisbane. 1st conference held in 1951

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Virtual Futures for New Media Art: A Report on dLux Media Arts' Immersive Conditions Forum
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New media art has developed a close if troubled relationship with the figure of the future. Discusses Troy Innocent's ICONICA, Mousetrap by Ian Haig, RAPT by Justine Cooper, OSMOSE and EPHEMERE by Char Davies and Immersive Conditions a forum held at the Powerhouse Museum Sydney. Examines concepts of virtual reality and apparent reality.

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User-friendly Internet Options for the Arts
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Immediate
Review
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Exhbition Review Immediate 31 March- 11 April 1999 Plimsoll Gallery, Hobart Tasmania
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Published June 1999
Polemic: The End of Art Schools as we know them?
Feature
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Emblematic
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Published June 1999
Polemic: Practice Makes Perfect: Art Museums, Audiences and the Future.
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Published June 1999
Talking about Ethics: Marie Sierra takes on her audience
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Published June 1999
Striking a Chord: David Keeling's Postcolonial Tasmania
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Ian McLean

The measure of an artist's public success is the extent to which his or her art matters to a particular community. David Keeling aims to present a critical discourse that participates in existing social and political debates. His turning point was not completing his post-graduate degree, not moving to the big smoke or winning a grant or prize, or having a sell-out exhibition but a revelation.

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Blak Beauty and Images from the Sea
Review
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Australian Museum at Customs House,
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Published June 1999
An Identity Crisis for Art Education?
Feature
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Published June 1999
The Traditional and the New - Artists and Teachers Please Note
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Dianne Longley

Explanation of the benefits to the artist and the environment of working with photopolymer plates (solar plates) in printmaking.

Published June 1999