Stephanie Radok

Stephanie Radok is an artist, writer and editor based in Adelaide.


New Histories
Artist and writer Stephanie Radok reviews three big new books that point towards new histories of art in the Southern hemisphere - Art in Oceania: A New History; Hotsprings: the Northern Territory and contemporary Australian artists and Mapping South: journeys in South-South Cultural Relations.
Wall to Wall: Graffiti Art
Sakahàn: International Indigenous Art
17 May - 2 September 2013 National Gallery of Canada, Ottawa Curators: Greg Hill, Candice Hopkins, Christine Lalonde
Wall to Wall: Graffiti Art
The Red Queen
MONA (Museum of Old and New Art), Hobart 18 June 2013 – 21 April 2014
Mining: Gouging the Country
Good Medicine
Being Aboriginal doesn’t make you wise, spiritual or even good at art. Being Aboriginal is historical just like being any other nationality or ethnicity. All art can be examined ethnographically, all people can be examined ethnographically.
Indigenous: Re-visions
We are all Flesh: Berlinde De Bruckyere
ACCA (Australian Centre for Contemporary Art), Melbourne 2 June – 29 July 2012
Restless – Adelaide International 2012
Curator: Victoria Lynn Flinders University City Gallery Samstag Museum of Art Contemporary Art Centre of South Australia Australian Experimental Art Foundation March 2012
Indigenous: Indignation
Editorial: Making history
Stephanie Radok takes the temperature of Aboriginal art and history in 2012.
Indigenous: Indignation
The Mystery of Shit: Wim Delvoye
Belgian artist Wim Delvoye is having a retrospective at Hobart's MONA. Stephanie Radok looks at the materials and concepts he uses in a broad context and asks whether his art is critical or spectacle.
Paint every hill: Billy Benn
Billy Benn Perrurle and Catherine Peattie with essays by Ian McLean and Judith Ryan IAD Press RRP $34.95
Indigenous: Beauty & Terror
Rewriting the Labels
Indigenous culture is moving out of dedicated spaces and into the mainstream. Ultimately all Indigenous culture is claiming the space for experiences that have not been widely told and this broadens the space for the stories of everyone whose stories are untold.
Indigenous: Beauty & Terror
Hermannsburg: echoes in the landscape
Curator: Alison French Flinders University City Gallery 11 December 2010 – 30 January 2011
Abstract Nature
Abstract Nature Curator: Margot Osborne Anne & Gordon Samstag Museum of Art, University of South Australia 30 July – 8 October 2010
Stirring II
Eleven recent publications
Stephanie Radok reviews eleven recent publications in a long celebration of the book: Before Time Today: Reinventing Tradition in Aurukun Aboriginal Art; Once Upon a Time in Papunya; John Davis: Presence; Ingo Kleinert: Two Decades; Joachim Froese: Photographs 1999-2008; Renata Buziak: Afterimage; Substance of Shadows: Jutta Feddersen; Khai Liew; Rounds (PICA); Barbara Hanrahan: A Biography; and Ken Bolton's Art Writing.
Stirring II
17th Biennale of Sydney, The Beauty of Distance: Songs of Survival in a Precarious Age
17th Biennale of Sydney The Beauty of Distance: songs of survival in a precarious age Curator: David Elliott MCA, Cockatoo Island, Botanic Gardens, Artspace, AGNSW, Opera House, Pier 2/3 12 May – 1 August 2010
Art in the Public Arena
Adelaide International 2010: Apart, We are Together
Raeda Saadeh, Praneet Soi Contemporary Art Centre of South Australia Rosella Biscotti Australian Experimental Art Foundation Nina Fisher & Maroan el Sani, Donghee Koo, Li Mu, Tara Donovan, Imma Issa, Apichatpong Weerasethakul Anne & Gordon Samstag Art Museum Lucy and Jorge Orta JamFactory Gallery Julian Hooper Flinders University Art Museum Curator: Victoria Lynn 26 February – 14 March 2010
The Underground
Barks, Birds and Billabongs
16-20 November 2009 National Museum of Australia, Canberra
Blak on Blak
Theme Park: Brook Andrew AAMU, Utrecht, The Netherlands, 2008. 124pp, RRP $39.95 Between Indigenous Australia and Europe: John Mawurndjul Claus Volkenandt and Christian Kaufmann (eds) Dieter Reimer Verlag GmbH, Berlin, 2009. 350pp, RRP 45 Judy Watson: blood language by Judy Watson & Louise Martin-Chew, The Miegunyah Press, Melbourne, 2009. 240pp, RRP $39.95 New Beginnings: Classic Paintings from the Corrigan Collection of 21st Century Art McCulloch and McCulloch, Fitzroy, Victoria, 2008. 159pp, RRP $79.95 Icons of the Desert: Early Aboriginal paintings from Papunya Edited by Roger Benjamin with Andrew C. Weislogel, Herbert F. Johnson Museum of Art, Cornell University, 2009. 192pp, RRP $49.95
Changing Climates in Arts Publishing
Strange bedfellows
Why write or think about the work of Patricia Piccinini and Richard Billingham together? Because the work of each of them elicits a visceral response, a response characterised by emotion and gut feeling. Because the border between humans and animals and the relationships between us are examined by both Piccinini and Billingham in a manner that emphasises our relatedness. These are intensely moral artworks with a strong documentary flavour that ask us questions about responsibility and connection that go to the very heart of our lives.
Rational / Emotional
Talking about my g-g-g-generation: Mark Siebert
Mark Siebert: Forever 27 is at the Experimental Art Foundation, 15 May – 13 June 2009.
After the Missionaries
Joe Felber: Moments of time
Joe Felber's art practice is interdisciplinary and acquisitive, absorbing, assembling, composing and de-composing, playing and re-playing elements from a vast collection of fragments collected across the world in cities and art galleries.
Biennale of Sydney 2008 Revolutions - Forms That Turn
Biennale of Sydney 2008 Revolutions - Forms That Turn Curator: Caroline Christov-Bakargiev 18 June  7 September 2008
Currents III
Photographs by Laurence Aberhart Essays by Gregory OBrien and Justin Paton Victoria University Press 2007 NZ $125
Currents III
Craig Walsh transfigured nights, surprising days
The artworks developed by Craig Walsh over the last sixteen years in Australia and around the world take the immediacy of the moving image and place it in unexpected places doing unexpected things. With a strong global profile he is increasingly being asked to participate in prestigious international events, most recently Drift 08 in London and Koganecho Bazaar in Yokohama.
Currents III
Papunya Painting: out of the desert
Curator: Vivien Johnson National Museum of Australia 28 November 2007  3 February 2008
Art Mind Beauty
The 32nd congress of the international committee of the history of art (CIHA)

A brief description on the 32nd CIHA and its relevance in relation to art history and practices.

Art Mind Beauty
The Ranger
The Ranger Julie Gough SASA Gallery, Adelaide 12-28 September 2007
Artworks Out on the Beach Townsville
In September 2007 in Townsville Stephanie Radok attended the Perc Tucker Regional Gallerys Strand Ephemera, a biennial outdoor sculpture and installation exhibition first held in 2001. The Strand is a 2km landscaped beachfront park where local and interstate artists placed their site specific works which ranged from an Aeolian harp by Nameer Davis to a throne made of seasponges by Wendy Robertson. An enthusiastic audience of children and Strand-strollers made their way from work to work thinking about art and its myriad manifestations. Commissioned artists making work in shipping containers were Craig Walsh, Bonemap, Donna Marcus, Chris Fox and Richard Goodwin.
Bridget Currie, James Dodd, Louise Haselton, Laura Wills
parkside nomadic group moves inland 4 winter : Laura Wills Project Space, Contemporary Art Centre of South Australia 1 June - 8 July 2007 Years without Magic: Louise Haselton & Bridget Currie SASA Gallery, UNISA, Adelaide 12 June - 6 July 2007 Speakeasy: James Dodd Experimental Art Foundation 13 July - 18 August 2007
Screen Deep
Doldrum, Nicholas Folland; Gloria Novi Saeculi, Genia Chef
Gloria Novi Saeculi (Glory of the New Century), Genia Chef Experimental Art Foundation, Adelaide 7 October - 5 November 2005
Art History: Go Figure
A Water or a Light
Water figures in Australian art and Australian history as a vital thread binding together many narratives and imageries. Art that concerns itself with some manifestation of water demonstrates what can be considered a new phase in Australian art about the land. David Keeling, Nicole Ellis, Ruby Davies, Peter James Smith, Patricia Picinnini, Judy Holding and Danielle Thompson are all Australian artists whose work is manifested by this notion of the land and of water.
Taking in Water
Arid Arcadia: art of the Flinders Ranges
Curated by Alisa Bunbury Art Gallery of South Australia 30 August - 3 November 2002
New Museums, New Agendas
New Art Spaces in South Australia
Adelaide, surrounding areas and country SA
Art & Enterprise
Singapore Nokia Art 2001
Singapore Art Museum 9 December 2001 - 3 February 2002
The Improved Body
Focus: No Man is an Island: A Two Part Reading
Radok here recognises the issue of nationality present in the work of German artist Nikolaus Lang, an artist who often visits Australia to make field trips, to research, to make art and to exhibit. Since his first visit as a participant in the 1979 Sydney Biennale, Lang has been collaborating with Aboriginal people, as his work strongly relates to the origins of art and the origins of the materials of art, often literally the pigments that form artworks. Parts I and II discuss these facts and some of the ideas imbedded in his collaborative works with Indigenous artists Dorrie Gibson, Andrew Gibson and John Turpie.
Art and Childhood
Parameters Head: A La Ronde, Sally Smart
Experimental Art Foundation 7 - 30 September 2000
Sculpture and Cities
Plans and Disasters and Modern Love Pictures
Plans and disasters Matt Bate, Andrew Best, Louise Flaherty, Chris Flanagan, Viv Miller 1 - 17 November 2002 modern love pictures Matt Bate, Bianca Barling, Jim Strickland, Arran Steirman, Katrina Simmons, Mimi Kelly & Clint Woodger December 2002 Downtown, 27 Hindley Street, Adelaide
Holy, Holy, Holy
Flinders University Art Museum 20 February - 17 April 2004
Shopping & Extreme Pleasures
Tweak, Tweak, Let's Surf
David Lehmann Greenaway Art Gallery, Adelaide 28 May - 22 June 2003
Rich & Strange
Giant Steps and Transcriptions
Experimental Art Foundation 25 February - 2 April 2005 Greenaway Art Gallery 22 February - 1 March 2005 Adelaide Film Festival
Mark Siebert: Out of Circulation
Downtown Artspace, Adelaide 7 - 24 September 2005
Ecology: Everyone's Business
Drawing on the Earth: Bronwyn Wright's 'Running Dog'
Photographer Bronwyn Wright has been visiting the local swamp lands northeast of Darwin with her dogs for about fifteen years. Her latest artwork at The Swamp draws on her knowledge of this piece of land and on her Spatial Sciences (GIS and Remote Sensing) studies at Charles Darwin University. It is a geoglyph, an earth drawing of a dog that is ecological because it treads lightly on the earth by using only human footprints to make marks that are visible from space.
Ecology: Everyone's Business
Remediation as art with Gavin Malone
For a decade the art practice of Gavin Malone has been concerned with ecological rehabilitation and cultural interpretation. A former grazing property and thus a degraded ecosystem, the 185 ha property belonging to fellow artist Greg Johns overlooking the plains of the River Murray, has been transformed into what Malone suggests is not just a sculpture park with a Landcare project but actually reconceptualises art as ecology.
Ecology: Everyone's Business
Fabrics of Change: Trading Identities
Flinders University Art Museum 18 June - 1 August 2004
Currents I
Mildura Palimpsest #4
Mildura, various sites 19 April - 20 May 2001
Art and Childhood
22nd Telstra NATSI Art Award
Museum and Art Gallery of the Northern Territory (MAGNT) 13 August - 23 October 2005
The Meaning of Aboriginal Art
This essay is not about interpreting Aboriginal art rather it is about the wider issues raised by Aboriginal art, issues that tear through the discrete context of contemporary art and connect it to history, to the everyday, to politics and to the future.
Rich & Strange
Raw and Cooked Margins
A series of journeys and pilgrimages characterise Paul Hobans life, his account of which is spotted with significant exhibitions, readings, people, music and events. It wasnt until 1993, when he was 39, that Hoban first had a one man exhibition at Greenaway Art Gallery. Radok here paints a clear picture of his work - A sense of surfaces and layers; words - intelligible, unintelligible, back-to-front, upside-down; wrinkles and transparency; colour and pattern; modernism and archaism, and so on. A myriad of conceptual and stylistic devises that exist largely within the margins of art conventions.
Currents I
Wet Culture - Playing With Codes
Melentie Pandilovski, the Director of the Experimental Art Foundation in Adelaide, sees the current manifestation of the word experimental in Experimental Art Foundation as relating to biotechnology, consciousness and the places taken up by artist in scientific places where experiments are the usual tasks at hand. In a move away from dry hard-wired technologies the last five years has seen a rise of wetwork and a new subculture within science as artists find new roles in scientific laboratories and ask fresh moral, ethical and aesthetic questions.
Adelaide and Beyond
Signs of the Times: Stephen Page, Sacred Symposium, Adelaide Biennale
Stephen Page is the first Artistic Director of the Adelaide Festival of Arts to be indigenous and his program for 2004 includes indigenous works but perhaps not many more than most Adelaide Festivals, which have always had a significant indigenous component. Yet there is a sense that the commissions that Page has initiated represent a maturity in approach and development that signifies a watershed for Indigenous culture in Australia. Page expects it to be optimistic, philosophical, constructive, to reflect on the fusion of the old and new without bastardization.
Adelaide and Beyond
Gleaning Relational Aesthetics
The term Relational Aesthetics was first coined by Nicolas Bourriard, French curator and, since 1999, co-director with Jerome Sans of the Contemporary art centre Palais de Tokyo in Paris. Relational art doesn't produce a product but focuses on relations between audience members, events and ideas.
A Response by a Fringe Dweller
Debates about what is mainstream, whether in global or national terms, seem to perennial. Some have claimed Aboriginal art is now mainstream. Stephanie Radok takes this notion apart.
Hybrid World
First Australian Jewellery Biennial
Exhibition review Manifest Destiny: Ian North Vast: David Stephenson Contemporary Art Centre South Australia 14 September - 6 October 1991
Art, Architecture & the Environment
Asunder, and Lindy Lee Painting
Exhibition review Time Warps Sound Installation by Ros Bandt Composing Women's Festival Union Gallery Adelaide South Australia September 1991
Art, Architecture & the Environment
Exhibition review Possessed: Virginia Barratt, Simryn Gill, Richard Grayson, Michele Luke, Julienne Pierce, Steve Wigg Bullring Jam Factory South Australia 6 October - 3 November 1991
Art, Architecture & the Environment
Andy Goldsworthy: Everything in the City is Nature
British artist Andy Goldsworthy came to Australia for three weeks in July to work on site at Mount Victor Station east of the Flinders Ranges. During the 1992 Festival of Arts photographs of the works made at Mount Victor and an installation was shown at the Artspace at the Adelaide Festival Centre, a survey of past works was on show at Yarrabee and Goldsworthy produced a permanent work for the Adelaide Botanic Gardens.
Art, Architecture & the Environment
The Fourth Side of the Triangle: Bronwyn Oliver
Exhibition review Bronwyn Oliver Artspace, Adelaide Festival Centre Adelaide, South Australia 29 May - 18 July 1992
Art and the Economy
Silvia Stansfield
The ceramic work of Silvia Stansfield draws on the cultural legacy of South America. Discussion of the work of this artist with good colour photographs.
Arts in a Multicultural Australia
Exhibition review Location: Contemporary photo-based work from Australia University of South Australia Art Museum 4-27 March 1993
Dimensions: Sculpture in Australia
Women Sculptors - A New Bread
You could say that much of the most interesting and demanding artwork being done today is being done by women....There are many new languages in the work of contemporary women sculptors. Important overview of the Mildura Sculpture Triennials in terms of women's representation. Great photos!
Dimensions: Sculpture in Australia
Through the Looking Glass: Community art at the Strathmont Centre
Every human being is an artist wrote Joseph Beuys who believed the creativity and its potentially concomitant powers of self determination and freedom are inherent in all people and the most worthy occupation for them.
Community Arts
Torso, Group Show: Richard Baxter Smith and Bill Doyle
Exhibition review Torso: Gray Street Workshop 25 July - 18 August 1991 Bite: Richard Baxter Smith and Bill Doyle Artzone 31 August - 11 September 1991
Art & Education
Gavin Blake
Exhibition review Gavin Blake: Immaculate Projections North Adelaide School of Art Gallery 23 July - 8 August 1991
Art & Education
Ordinary Otherness
Exhibition review Unfamiliar territory: Second Adelaide Biennial of Australian Art 1992 Art Gallery of South Australia 28 February - 19 April 1992
Museums on the Edge
Making a Living: The Jam Factory
In May 1992, Stephanie Radok spoke to Frank McBride, Peter Tysoe, Stephen Bowers, David Adderton and Greg Healey about recent developments at the Jam Factory Craft and Design Centre in Adelaide, South Australia.
Thinking Craft, Crafting Thought
Artists Week
Artists' Week was established in 1982 as an initiative of the South Australian visual arts community in reponse to the poor emphasis on visual art in the Adelaide Festival Program and to the growing need for forums to discuss art.
10th Birthday Issue
MFG: A Report on the First Eight Months of Greenaway Art Gallery
Review MFG: A report on the first eight months of Greenaway Art Gallery Opened in March 1992
Naive & Outsider Art
Knocking on the Inside: Heather Ellyard, Annette Bezor, Janette Moore and Anna Platten
Looks at the work of Heather Ellyard, Annette Bezor, Janette Moore, Anna Platten.
Art & the Feminist Project
Jemmy Caution
Exhibition review Jemmy Mehmet Adil, Craige Andrae, Johnnie Dadie, Simryn Gill, Richard Grayson, Linda Marie Walker, Paul Hewson, Shaun Kirby, David O'Halloran, Bronia Iwanczak, Andrew Petrusevics, Bronwyn Platten, George Popperwell, Jyanni Steffensen, Steve Wigg Curated by Alan Cruikshank Ebenezer Studios Basement February 18 - March 13 1994
The Art of Survival
Critical Mass/ City Art/ Artists' Initiatives
A recurring feature of recent initiatives is to be self-funded or to operate with a minimum level of government funding and frequently to begin with a limited time frame in mind. The social side of such organisations cannot be underestimated and is probably as important as any art that eventuates.
The Art of Survival
Indecent Exposures and Dissonance: Two New Books from Catriona Moore
Book reviews Indecent Exposures: Twenty years of Australian Feminist Photography By Catriona Moore Allen & Unwin in association with the Power Institute of Fine Arts 206 pp $21.95 Dissonance: Feminism and the Arts 1970 -90 Edited by Catriona Moore Allen & Unwin in association with Artspace 308 pp $21.95
Art & Death: Facing Mortality
Memory Staccato
Exhibition review Flight/Flight: Alex Rizkalla Experimental Art Foundation, Adelaide SA 27 April - 21 May 1995
The Face
When Is A Door Not A Door?
Exhibition review Birds Have Fled Angela Valamanesh Univsersity of South Australia Art Museum 7 September - 2 October 1995
Taste Meets Kitsch
Light Works
Exhibition review Some Pictures from a Somniloquist's Diary Tony Trembath 1 November - 26 November 1995 Greenaway Gallery Adelaide SA
Men's Business: Masculinities Reflected
Doin' the Limbo
Exhibition review White Hysteria Curated by Susan Treister Contemporary Art Centre, Adelaide South Australia 7 - 30 June 1996
Indigenous Arts of the Pacific
Salome's Dance
Exhibition review Blind: Annette Bezor Greenaway Art Gallery, Adelaide, South Australia March 26 - April 20 1997
Art & Medicine
Drugs 'n' Art
The role of drugs and art making is examined in the works of particular artists. Historically drugs have been used for enlightenment as well as for healing or endurance....
Art & Medicine
Re Affiliations 12 June - 13 July 1997 Margaret Sanders, Claudia Lünig, Clare Martin, Hanh Ngo, Maria Stukoff, Lisa Jeong, Paloma Ramos, Madelaine Neveu Nexus Gallery, Adelaide
Looking at the Republic
The Sublime and the Parochial: The Foot of God
In Australia, the land has been, for non-Aboriginal settlers, from the beginning a sign for the nation and for the manufacture of livelihood (the sheep's back, mineral wealth) as well as a repository of dreams and misapprehensions. The importance of the land to Aboriginal Australian ought to be easy for us to comprehend.
Looking at the Republic
Quandong Country
Editorial for the issue 'Emerging Artists' (Vol 17 #4). The term 'emerging artist' is a red herring of a funding category in suggesting that the needs of emerging artists are so different from those of emerged artists. Like overnight sensations in film or theatre, emerging visual artists may be many years in the gestation.
Emerging Artists
Embodiment: Concerning the Ontological in Art
The exhibition The Painters of the Wagilag Sisters 1937-1997 is a historic landmark in the exhibition of Aboriginal art in Australia. A collaboration between three curators, Wally Caruana, Djon Mundine and Nigel Lendon, as well as with the contributing Yolgnu artists, landowners and custodians from Central and Eastern Arnhem Land the exhibition confirms the significant role of the National Gallery of Australia in collecting, presenting and promoting Aboriginal art.
Art & the Spirit
Artists' Week... Walk that Walk
Review of Artists week for the Adelaide Festival of Arts 1998
Public Art in Australia
Black Humour
Curated by Neville John O'Neill for the Canberra Contemporary Art Space. Tandanya, National Aboriginal Cultural Institute, Adelaide 10 July - 16 August 1998
Art, Pornography & Censorship
Warka Irititja Munu Kuwari Kutu/Work from the Past and the Present
A celebration of fifty years of Ernabella Arts Tandanya National Aboriginal Cultural Institute, Adelaide August - September 1998
The Big Pond: Australian Artists Overseas
New Geographies of Knowledge
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.
The Future of Art
Country Arts SA Unley Museum NAVA Cementa Bendigo Art Gallery