Published 01 December 2020
Explanation of the benefits to the artist and the environment of working with photopolymer plates (solar plates) in printmaking.
Exhibition review Butcher Cherel Janangoo, Julie Dowling, Julie Gough 10 February - 7 March 1999 Artplace Western Australia
Published June 1999
Exhbition Review Immediate 31 March- 11 April 1999 Plimsoll Gallery, Hobart Tasmania Curated by Leigh Hobba
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
As it rushes headlong towards the stock exchange, lining its tattered pockets by devilishly offering students the educational stock of the deepest desire, university art schools shed its role under modernity of defining and transmitting cultural value. Mammon replaces machismo in the squeezing of art. And yet....?
Exhibition review Riding on the edge: Art Identity and the Motorcycle 7 February- 11 April 1999 Waverley City Gallery Curated by John Pigot
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'.
Valamanesh has developed a unique and characteristic art vocabulary and his eloquent work occupies a distinct and prominent position in Australian art. Looks at 'the Untouchable' 1984, 'Pyramids with Light - Inside/Outside' 1980, 'Change of Seasons'.
Discussion of the issues for artists of Asian descent in the Australian milieu, exploring issues of identity and displacement. Unheard voices could also characterise emerging artists as well as those from a multicultural background.
Fortunately not all critics are so urgently in need of friends that they write hymns of praise after every long lunch. Some even relish being labelled 'ungrateful'. I would argue that the only critic worth reading is an ungrateful critic. Looks at the role of visual art criticism in the newspaper columns of the daily press.
Exhibition review Emblematic 12-31 March 1999 Smith+Stonely, Queensland Curated by Amelia Gundelach
Editorial for the issue -- not the definitive answer but a series of clues as to what direction the visual arts might be following. The issue picks up ideas addressed in the forum 'Art of Sight, Art of Mind: Speculations on the Future of the Visual Arts and Crafts in Australia' organised by the National Association of Visual Arts. NAVA
Examines recent reports by the Department of Employment, Education, Training and Youth Affairs [DEETYA] and Strand 1998 'Research in the Creative Arts'. Should our retort be 'If you don't know much about art I don't care what you like.' ?
