Ian Hamilton

The CYSS Show

Artlink 2:6

Annette Bezor: A Passfonate Gaze
Richard Grayson 2000

James Darling: Instinct, Imagination, Physical Work
Daniel Thomas 2001

Nick Mount: Incandescence
Margot Osborne 2002
Wakefield Press/SALA

Greg Johns
John Neylon, Macmillan 2002

New Museums, New Agendas

Editorial Fuel for Thought

James Geurts: 90 degrees equatorial

James Guert's recent show at the Experimental Art Foundation in Adelaide is described through this article to have induced an almost trance-like state from the arrangement of the four square light boxes, depicting scenes from four sites of interception to the four large digital projections humming with visual and auditory stimuli. The focus of this text is on Guerts remarkable journey to the four corners of the globe. The corners are literally represented by smallish triangle objects of inner lit plastic photographed and composed to construct a full form of the globe. The way they are presented, as foreign objects in the landscape, raise questions about the way the west relates to the wider world. In the particular settings Guerts has used, all being sites on or near the sea, the corners are impositions, objects at odds with the surrounding environments. This is enforced as a reminder about the extent that the West continues to impose its will on even the most remote communities.

The South Issue: New Horizons

Ann Newmarch

Anticipation Ann Newmarch Prospect Gallery Adelaide 5 - 26 November 2006

The Word As Art

In The Vein

Gallery 25, Mildura April 18 June 6, 2004

Shopping & Extreme Pleasures

On Reflection by Noel Sheridan

Autobiographical book by Noel Sheridan with contributions from Donald Brook, George Alexander and others Four Courts Press, Dublin, 2001, 212pp, colour

Art & Enterprise

Changing Identity: Culture and the City Critical Mass: The New Brisbane

A Torn Parchment: The Murray Darling Palimpsest

Since European settlement the Murray Darling district has been a major site for irrigation and has been established as an important agricultural centre. In 1956 a valuable collection of late nineteenth and early twentieth century art was bequeathed to the city and a new gallery was built to display it. Over the years the Mildura Sculpture Prize has progressed to become a non-competitive event and in 1973 for the first time, environment was the theme. With the launch of Mildura Palimpsest, Mildura once again emerged as a central location for experimental art that tackled ecological issues.

Ecology: Everyone's Business

Hossein Valamanesh

Greenaway Art Gallery, Adelaide 29 June - 24 July 2005

Stirring

Can Culture Save the River and Wetlands?

This question 'can culture save the river and wetlands'was put to a debating panel at the annual conference of Country Arts SA in October 2003. The river in question was the Murray. This article takes up some of the important issues surrounding environmental degredation and focuses on the SunRise 21 Artists in Industry Project which saw the collaboration of artists and organizations working together to establish a mutual relationship between arts and the environment.

Adelaide and Beyond

Artists Pave the Way

One outcome of the recent spate of local urban design projects and processes has been employment for artists.

The Art of Survival

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