Published 25 August 2021
Explanation of the benefits to the artist and the environment of working with photopolymer plates (solar plates) in printmaking.
Explores the relationship between art making in the city and the regional areas. How much do curatorial strategies or templates order and determine what we see in State galleries and large exhibitions? Looks at the exhibition 'Palimpsest #2' to raise questions of curatorial control or whether it should continue without such controls.
Published June 1999
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.
Exhibition reviews Blak Beauty February 6- May 2 1999
Curated by Brook Andrew
Images from the Sea December 5 1998- June 27 1999
Australian Museum at Customs House,
The Northern Rivers Region of NSW has more practising artists per head of population than any other region of Australia. Issues such as surviving as a country artist, traditional art practice, commercial considerations, prescribed political and gender issues are raised. Critiques the project 'Beyond the Basin' funded by the NSW Ministry for the Arts and its resultant exhibition 'A Country Practice'.
Art and sport both attempt to construct value and meaning within our lives. For art this is a likely outcome. For media sport it is a contrived ingredient. Artists and art schools have perpetuated a myth about the importance and value of art objects. Suggests possible answers to the issues of teaching art in art and design schools.
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.
Education is the second most depressing non-subject in the entire catalogue of non-subjects, beginning with the Aardvark as Social Construct and ending with The Flagant Signifier in Finno-Ugric Zyrian,
Examines the career of Marie Sierra from her arrival in Australia in 1984, her coming to Melbourne in 1986 and her Barcelona studio residency in the mid 1990s. Explores how the roles of academic and artist sustain and inform each other. Deals specifically with works 'Justice' 1992 , 'Do that Job' 1993, 'Knowledge is Power' 1994, 'Planning' 1995, 'Public Address' 1995, 'Separation and Growth' 1996.
Exhbition Review Immediate 31 March- 11 April 1999 Plimsoll Gallery, Hobart Tasmania
Curated by Leigh Hobba
Critics rarely talk about money and art. How to price a work of art and how to make a living of about $35,000 per annum are discussed. Artist need to work out how to make a name for themselves to increase the base price of their artworks. And anyway if you have to think about the price, chances are you can't afford it.
Dynamic interactive web-sites are becoming increasingly the norm. Lists the types of functions that are available using particular technology.
The role of the arts within the Federal Coalition portfolio. Proposed new tax arrangements suggest a contraction in support for new innovative work in favour of much more conservative, market driven high end focussed practice, and a drop overall in arts activity.