Contributors
Ian North
Ian North is an artist, writer and Adjunct Professor at the SA School of Art
Articles
Jon Cattapan: possible histories
by Chris McAuliffe Melbourne: Miegunyah Press, 2008, RRP $49.95 Reviewed by Ian North
Currents III
The Link Exhibition
The Link Exhibitions were a series of contemporary art exhibitions run on a very low budget by the Art Gallery of South Australia between 1974-1979 to increase communication and understanding between Australian artists . This article is a retrospective account of the events and responses to the Link Exhibitions. Key figures discussed are Imants Tillers, Jim Cowley, Bob Ramsay, Brian Medlin, Terry Smith, John Baily, Noel Sheridan, Donald Brook, Hank Vischedyk, John Kaldor, Charlotte Moorman, Nam June Paik, Ann Newmarch, Hossein Valamanesh, Aleks Danko, Tony Coleing, Marcus Beresford, Alison Carroll, Ian Maidment, Dick Richards and Barry Pearce.
Reflection: 20th Anniversary Issue
(The World May Be)Fantastic 2002 Biennale of Sydney
15 May - 14 July AGNSW, MCA, City Exhibitions Space Customs House, Artspace and other venues around Sydney
Art & Enterprise
Imants Tillers and Positive Value
Artlink asked Ian North to interview Imants Tillers for this issue, in view of North's longstanding interest in both Tiller's work and the landscape genre generally. North introduces the artist from his early recognition as a leading conceptual artist in the 1970's and pre-eminent postmodernist thereafter, working consistently according to strategies he evolved during the 1980's. This interview examines some of the key works and local concerns of Tiller's ongoing artistic practice.
Best Practice: Export Quality
On Your (Motor)bike - REVIEW: Reason and Emotion, Biennale of Sydney, 2004, and 2004: Australian Culture Now, Melbourne
Sydney Biennale bad, 2004 in Melbourne good. The artworld's consensus locked in quick and hard. Fair? Of course not. Why compare the two, anyway? Because the National Gallery of Victoria (NGV) and the Australian Centre for the Moving Image (ACMI) seemed to set it up that way, by the timing of their show. They certainly took as 2004's model the nationally bound Whitney Biennial and, in particular, the Art Gallery of New South Wales's Perspecta exhibitions (last one 1999) - in turn established to counter the perceived internationalism of the Sydney Biennale.
Currents I
The Ham Museum ARCO 1992
Critically examines the 11th manifestation of the international art fair ARCO in Madrid. Photographs of the art fair included in the article.
Art and the Economy
Richard Dunn: Beyond Dialectics
Minimalism is still misunderstood, not only because its manifestations are so various as to strain the word's usefulness as a blanket term, but more importantly because it stood at the confused fissure between modernism and post-modernism; from this stems the lively contradictory implications of Richard Dunn's art practice.
Dimensions: Sculpture in Australia
A Critical Evaluation of the First Adelaide Biennial of Australian Art
Adelaide Biennial of Australian Art Art Gallery of South Australia Adelaide 2 March - 22 April 1990 Confined exclusively to Australian art - the Whitney Biennial is a model - the Adelaide Biennials will both complement the international Biennale of Sydney and posit alternatives to the surveys of current art represented by the biennial Australian Perspecta exhibitions at the Art Gallery of New South Wales.
10th Birthday Issue
Briefly, Two Epics
Review Adelaide Installations
Adelaide Festival of Art
South Australia Various locations
February - March 1994
The Art of Survival
In the Coil of Life's Hunger
Looks at the work of James K Baxter 1926 - 1972 (poet) Colin McCahon 1919 - 1987 (artist) both of whom found in travel through New Zealand recurrent metaphor's for life's journey. The principle referent in their work was death.
Art & Death: Facing Mortality
C(r)ook Brook: Ian North has the Last Word
Ian North has the last word. A response to the challenging article by Donald Brook 'The Artist and the Industry' in Artlink Volume 15 No 2 & 3.
The Face
Thin Red Pocket Lining: A Note on the Value of University Art Schools
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....?
The Future of Art
Antony Hamilton: Mythology of Landscape
Survey exhibition, Art Gallery of South Australia
3 September 7 November 1999
Good Taste: Food, Consumption & Pleasure
Photo Files ed Blair French
edited by Blair French
Sydney: Power Publications and Australian Centre for Photography, 1999
paperback, 315pp b&w illustrations
Disintegration