Pat Hoffie

Pat Hoffie is an artist and Professor at the Queensland College of Art, Griffith University.


Peter Timms' 'What's wrong with contemporary art'

Blak Insights Queensland Art Gallery 3 July - 30 October 2004

Currents I
Notes to Bennett
Gordon Bennett 1955–2014
Bio Art
Back to the future: contemporary or alternative?

Professor Pat Hoffie of Griffith University, interviews the two new Directors of the IMA, Aileen Burns and Johan Lundh, and contextualises their appointment in the Contemporary Art Space context of 2014.

Wall to Wall: Graffiti Art
Clifford Frith: perpetuating the bloodlines
Pat Hoffie talked to Clifford Frith, about his life as an artist and a teacher, about where and how your essential focus is born and shaped and the possibility of passing some of this on to students and others. She has admired and watched his way of working and living for two decades and as Frith continues to outlive in energy and inventiveness so many younger than himself she probes into how this came to happen. He is a prolific artist, moving between painting, sculpture and drawing.
Elders: The Old Magic
18th Biennale of Sydney: all our relations
Artistic Directors: Catherine de Zegher and Gerald McMaster Museum of Contemporary Art, Cockatoo Island, Art Gallery of New South Wales, Pier 2/3, Carriageworks 27 June – 16 September 2012
AlphaStation/Alphaville : Luke Roberts
27 November 2010 - 26 February 2011 IMA, Brisbane 17 June–23 July 2011 Australian Centre for Photography, Sydney
The Revolutionary Century. Art In Asia 1900 to 2000
Artist Pat Hoffie reviews Alison Carroll’s The Revolutionary Century: Art in Asia 1900 to 2000' and finds it both timely and prescient.
Stirring II
William Kentridge between chance and a programme
Pat Hoffie interviewed William Kentridge on the phone to 'draw' out some of his ideas about drawing and art. His work remains committed to a sense of the tactile, and to the slow grainy effort of drawing. In his words: ‘I would repeat my trust in the contingent, the inauthentic, the whim, the practical, as strategies for finding meaning. I would repeat my mistrust in the worth of Good Ideas.'
Rational / Emotional
Beyond the temples: the way of idiosyncracy
Professor and artist Pat Hoffie interviewed highly creative, innovative and idiosyncratic curator Kevin Wilson, once Director of Linden, Director at Noosa Gallery where he devised The Floating Land project and most recently Program Director with the Queensland Artworkers Alliance and their ARC Biennial that opens in October 2009.
Curating : Creating
Making it Modern The Watercolours of Kenneth McQueen
Curator: Samantha Littley Queensland Art Gallery 10 November 2007  5 May 2008
Fuel for Thought
Beyond the Parlour Games: We Refuse to Become Victims
Thresholds of Tolerance curated by Caroline Turner and David Williams, was shown at the ANU School of Art Gallery from 10 May to 5 June, 2007. We Refuse to Become Victims, an art work made by three artists collectives, Culture Kitchen in Canberra, Taring Padi in Jogyakarta and Gembel in Dili, Timor, a four part series of large works on fabric of small woodcuts, screenprints and painting struck Pat Hoffie as political art that really works as it is cross-disciplinary, cross cultural and seems to stretch out back to the fields of production rather than towards the empty field of the gallery.
The Bentinck Painters: Stories to Tell
The Aged Persons' Hostel on Mornington Island is home to 1000 residents. Amongst them are three women from nearby Bentinck Island whose culture is a very separate one to that of Mornington and whose experience of exile sets them quite apart. This article looks at the creative practice of Bentinck elder Sally Gabori, her first solo show and the success of the Woolloongabba Art Gallerys Bentinck Project. According to Robert Mercer, one of the co-directors of the WAG: "&the energy of the Bentinck painters comes from an impulse to tell stories about a life lived. To relate people and places and dreams and hopes in ways that make sense of the passage of time".
Elders: The Old Magic
Polemic: An Allergic Reaction - The eminence grise in our Art Schools

Artist/academic Pat Hoffie has been brooding on the rise and rise of the éminence grise in our teaching institutions and warns of the perils of giving in and being swept along by the current of the times. She is not the only commentator to observe that the visual arts created an irritating skin condition for itself in the eighties when, in search of institutional support, it mimicked the language of professionalism and thus unwittingly exposed itself to the corrosive influence of bureaucracy. This is here discussed.

E-volution of New Media
Fiona Foley: Knowing Where to Look
Fiona Foley's career as an artist has resulted in a diverse practice united by a dedication to indigenous issues that are of relevance to all Australians. Her presence as an artist, advocate, activist and identity in the Australian cultural scene has remained poised and proud for over two decades. From her involvement in the formation of the Boomalli Ko-operative to her often hard-hitting presence as a public speaker and the lyrical and enchanting nature of her images, Foley has continued to disturb assumptions and challenge clichés about the way Australians think of themselves and the place we inhabit. Ephemeral Landscapes (1990), Ya Kari - speak for (2001), Kunmarin - wooden shield (2001) and other works are here discussed.
Best Practice: Export Quality
Sympathetic Magic: Skin and Canvas
The skin, the membrane, the corporeal envelope, the shroud, the veil - all those things that tend to separate and define appearances from either the being inside, or from the beingness outside - have provided a source of some of the most rich and persistent metaphors for Western culture. With the 20th century bringing a re-emergence of the idea of the skin as an organ rather than a boundary, notions and representations of the physical body dominated the work of last century and painting returned as an important medium for such depictions. This article looks at the metaphoric and literal relationship between skin and its various representations in contemporary art.
The Improved Body
Deficiency - Installation and paintings
Christian Flynn Soapbox Gallery, Brisbane 21 March - 4 April 2003
Critical Mass: The New Brisbane
Next Wave Coming
A conversation between Jennifer Herd, artist, curator and convenor of the BOVACAIA program at the Queensland College of Art, Griffith University, Richard Bell, artist and activist, Gloria Beckett, an artist who is currently completing her Masters candidature at the QCA, GU, and well known artist and lecturer, Pat Hoffie. Together they discuss some of the personal and artistic struggles of the Aboriginal Murri community and the role of performative and visual arts in recognising a history largely understood.
Critical Mass: The New Brisbane
Always Remember: there is no past
This article examines Brisbanes steeped conservative polical history and looks at the radical changes which occured as a result of the early 1990s shift to a Labour goverment. As an aftermath to the anti-climax that was the 1988 World Expo, the 90s was a decade which saw the Queensland Art Gallery embark on new avenues of experimentation and a new confidence was in the air. Furthermore Hoffie addresses the ongoing lack of substantial criticism in relation to arts and cultural development as many saw this as the single most pressing problem dogging the local scene.
Critical Mass: The New Brisbane
The Art of Fiona Hall
Queensland Art Gallery, Brisbane 19 March - 5 June 2005 Julie Ewington, Fiona Hall, Piper Press, 2005, RRP $88.
Blak Insights
Queensland Art Gallery 3 July - 30 October 2004
Currents I
Lost and Found
Queensland Art Gallery, Brisbane 18 November - 1 February 2004
Adelaide and Beyond
Anatomy of a Metaphor
Madeleine Kelly Modus Gallery Fortitude Valley, Brisbane 6 - 22 April 2001
Art and Childhood
Echoes of Home
Museum of Brisbane, 6 May - 21 August, 2005
Australia and Asia: Friends and Family
The past 10 years have seen the building of ties between Australians and Asians through the interactions occasioned by the three Asia-Pacific Triennial exhibitions in Brisbane. There are now many personal and binding friendships across the region which did not exist before. This changes our concept of 'region' significantly.
The Long Stare: Seeing Contemporary Asian art Now
The Watch, the Pen and the Biro
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.
Thinking Craft, Crafting Thought
Culture/ Agriculture
Story 1: A story about land owners and nomads. Story 2: Never terra nullius. Story 3: Genetic imperialism. Story 4: The politicization of hunger. Story 5: Kunde and the perception of order.
Careful They Might Hear You: A Response to Donald Brook
A response to the challenging article by Donald Brook 'The Artist and the Industry' in Artlink Volume 15 No 2 & 3.
The Face
Bruising as R & D
Livid Festival was launched in Brisbane in 1988 with the broad altruistic aim of 'giving a go' to local Brisbane bands, performers and visual artists. Within three years the festival had grown exponentially and included a wide range of feature guest artists.
Taste Meets Kitsch
Living in Second-Natureland: the role of obsession in Technology-based Art.
From a confession of context, the author looks at new definitions where ÔlifeÕ and ÔexperienceÕ are defined as time spent engaging with technology, where ÔspaceÕ and ÔtimeÕ are primary sources for experience; the necessity of obsession and the work of Adrienne Jenik
Art in the Electronic Landscape
Serious Fun
Book review Absolutely Mardi Gras Jointly published by Doubleday and the Powerhouse Museum 1997 RRP $29.95
Australian Design
The Irrepressible Imprecision of Emotion
One of the general aims of internationally focussed survey exhibitions is to reflect the art of a particular time....However there is also a sense in which exhibitions of this nature can tend to operate as a form of cultural engineering, where the very status of inclusion in such exhibitions influences the kind of work made.
Art & Medicine
Art as Cultural Diplomacy: Back to the Drawing Board
How would we re-present ourself to the rest of the world if we became a republic? It is the treatment of Australia's indigenous people that will ultimately determine both how we can imagine our own cultural development and how we are viewed by other cultures in the region.
Looking at the Republic
The SCIP Project: The Making of Memories in Amnesia Land
Looks at the Sandgate Town Centre Improvement Project (Suburban Centre Improvement Projects) in South East Queensland.
Public Art in Australia
Not Fence Sitting: The Art on Line Project
The 'Art on Line' project initially conceived by Craig Walsh, involved the work of three Brisbane based artists - Wendy Mills, Keith Armstrong and Craig Walsh - who are perhaps better known as working along the experimental edge of fine art, rather than as 'community artists'.
Public Art in Australia
The Rise and Rise of Michael Eather
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.
The Future of Art
Cementa Unley Museum NAVA Country Arts SA