Tim Burns - Paintings and Drawings

Cover of Tim Burns - Paintings and Drawings
1.126
Amala Groom: Cosmic Body of remembrance
Feature
Hannah Donnelly

Published 01 June 2019
1.128
imagineNATIVE at 20
Feature
Pauline Clague in conversation with Jason Ryle

Published 01 June 2019
1.128
Sydney Elders: Continuing Aboriginal Stories

State Library of NSW

Feature
Jonathan Jones

Published 01 June 2019
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1.126
Speaking back to colonial collections: Building living to Aboriginal archives
Feature
Kirsten Thorpe

Published 01 June 2019
1.122
Unravelling the past: Barbed wire and campfire learnings
Feature
Ali Cobby Eckermann

Published 01 June 2019
1.108
Dark Emu: Thank the Earth
Feature
Bruce Pascoe

Published 01 June 2019
Riddoch
1.126
Deaths in custody: We've got to give it everything
Feature
Lorena Allum

Published 01 June 2019
1.12
Indigenous storytelling: Deconstructing the archetype
Feature
Pauline Clague

Published 01 June 2019

Exhibition review Cape Bruny Winter 1990 - 1991 Paintings and Drawings by Tim Burns Dick Bett Gallery Hobart Tasmania 7 - 26 May 1992

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The Watch, the Pen and the Biro
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To demonstrate the extent to which our relationship to the objects we possess has changed, Kevin Murray recently gave a short impromptu performance during a recent lecture, systematically removing a number of possessions and apparel from his person.

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The Floating Web
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For centuries now, textiles and the skills required in their creation - spinning, weaving, embroidery, sewing, quilting - have been considered women's work, occupying them indoors while men engaged in more serious activities like warfare.

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Representatives from seven screenprint workshops in remote and indigenous Australia came together in March 1992 to attend a textile marketing forum in Darwin organised by Steve Anderson, co-ordinator of ANCAA (Association of Northern and Central Australian Aboriginal Artists).

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The Problem of Orthodoxy in Contemporary Glass
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In her introductory notes to the exhibition 'Glass: Material in the service of meaning' the artist Ginny Ruffner comments on the current field of glass art as "being awash in objects, some beautiful, some ugly, most about glass itself - material as content."

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When travelling by car over long distances the landscape outside the window endlessly unfolds as a field of subtly carying colour and texture punctuated by the irregular rhythm of straggling trees and bushes.

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Touching Things Lightly: The Furniture of Kevin Perkins
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With increasing anxiety, we face searching questions of the viability, the integrity, the destiny of craft. In themselves, the questions are salutory and point to an intellectual vitality in craft culture, a vigour and toughness which have not existed since the Arts and Crafts Movement. Responses to the challenge vary from relish in the contradictions of craft practice to the old-fashioned despair for any debate whatsoever.

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