Published 01 June 2019
State Library of NSW
Chris Westwood and the New Deal for Radio National and ABC FM.
About 95% of registered Australian architects are male. As writers on architecture, women are most likely to be found in our 'traditional' role as hagiographers - disciplinary 'handmaidens to the Heroes' - chronicling the erection of Icons and the cultural penetration of Canons - often described as 'seminal works'.
Published December 1990
Over 100 individuals, companies and institutions contributed to the success of teh Ausgraph 90 Art and Video Program.
As artists strive to turn outer space iinto a new canvas for creative expression, some of their proposals have provoked controversy.
The slide from film to video may perhaps one day be compared to the move away from the alexandrine and toward free verse poetry - out of this there emerged a reflection on the literary fate of language and the same is happening today for the image.
The Wall is down. The east is no longer red. Did we win? The Washington Post has called it the end of history, so something must be happening.
Book review Art and Architecture Thesaurus: Toni Peterson (director) New York: Oxford University Press
Published on behalf of the Getty Art History and Information program 1990
Set of three volumes
A report from a week's visit to art schools, museums, galleries and artists' organisations in Hanoi and Ho Chi Minh City October 1990.
A festival for schools initiated by the Key Centre for Design at RMIT aims to encourage young people to explore aspects of their human made environment.
Exhibition review Powder: Jam Factory Bullring
Adelaide South Australia
There's no climate of criticism which takes the media themselves seriously as art, so it's hardly surprising if the media return that compliment to art.
A case study in the problematics of software art. The author test drives Fred Truck's ArtEngine a robot artwork that makes art. (sic). The work is in the form of a sizable piece of software written for the Mac2 computer.
Artists' Week was established in 1982 as an initiative of the South Australian visual arts community in reponse to the poor emphasis on visual art in the Adelaide Festival Program and to the growing need for forums to discuss art.