Forget the White Gloves: Plug-ins Rule OK ANAT National School for New Media Curation

Cover of Forget the White Gloves: Plug-ins Rule OK ANAT National School for New Media Curation
David Smerdon: Duchamp's Opposition
Feature
Rex Butler and David Smerdon

Published 14 May 2020
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Nagesh's recipe for Biryani
Feature
Nagesh Seethiah

Published 01 December 2019
0.77
Geological pit stops: Kate Hill and Isadora Vaughan
Feature
Abbra Kotlarczyk

Published 01 March 2020
NAVA
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Duchamp and Australia: In opposition
Feature
Rex Butler and A.D.S. Donaldson

Published 01 March 2020
0.77
The Brazilian moment: A picture gallery in transformation
Feature
John Mateer

Published 01 March 2020
0.786
Crafty prepping
Feature
Sera Waters

Published 01 March 2020
City of Melville
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2019: The year of our cyberpunk future
Feature
Darren Jorgensen

Published 01 March 2020
0.768
Art in the time of the burning
Feature
Ian Milliss

Published 01 January 2020

ANAT Australian Network for Art and Technology devised its 1999 National School, me.d.ia.te, to assist curators and arts workers in gaining a technical and theoretical understanding of new media art exhibition practice. It aimed to provide a 'world's best practice' model.

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More from this Issue Full Issue Contents

User-friendly Internet Options for the Arts
Feature
Chris Limmer

Dynamic interactive web-sites are becoming increasingly the norm. Lists the types of functions that are available using particular technology.

Published June 1999
Upping the Ante: SALA'99.Leter to the Editor
Feature
Paul Greenaway

Describes the nature of SALA South Australian Living Artists Week to celebrate the talent and imagination of SA artists and aims to promote widespread recognition of their achievements by exposing their work to new audiences. There were 50 venues, 28 of which were outside the metropolitan area.

Published June 1999
New Geographies of Knowledge
Feature
Stephanie Radok

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
The Good the Bad and the GST
Feature
Tamara Winikoff

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.

Published June 1999
The Artist and the Critic
Feature
Joanna Mendelssohn

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.

Published June 1999
The Traditional and the New - Artists and Teachers Please Note
Feature
Dianne Longley

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

Published June 1999
Virtual Futures for New Media Art: A Report on dLux Media Arts' Immersive Conditions Forum
Feature
Mitchell Whitelaw

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.

Published June 1999
Striking a Chord: David Keeling's Postcolonial Tasmania
Feature
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.

Published June 1999
The Rise and Rise of Michael Eather
Feature
Pat Hoffie

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.

Published June 1999
Thin Red Pocket Lining: A Note on the Value of University Art Schools
Feature
Ian North

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....?

Published June 1999
Butcher Cherel Janangoo, Julie Dowling, Julie Gough
Review
Judith McGrath

Exhibition review Butcher Cherel Janangoo, Julie Dowling, Julie Gough 10 February - 7 March 1999
Artplace Western Australia

Published June 1999
Polemic: The End of Art Schools as we know them?
Feature
Ian Howard

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.

Published June 1999
 
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