Issue 29:4 | December 2009 | Changing Climates in Arts Publishing
Changing Climates in Arts Publishing
Issue 29:4 | December 2009
Issue 27:4 | December 2007 | Work
Issue 27:4 | December 2007
Issue 20:4 | December 2000 | Sculpture and Cities
Sculpture and Cities
Issue 20:4 | December 2000



talking it through: publishing in a carbon neutral future

The Ramingining Megaphone
Distinguished pioneer Indigenous Curator, activist and writer, Curator of Contemporary Art at Campbelltown Arts Centre Djon Mundine tells a very funny and intriguing story about how modern communication technology came to Ramingining and how it intersected with 'community consultation' by government departments.
Lean, mean and living dangerously
Associate Professor of Fine Art at the College of Fine Arts, Uni of NSW, Joanna Mendelssohn analyses a slice of the current state of art publishing in Australia from reviews in newspapers to the DAAO (Dictionary of Australian Artists Online - now rechristened Design and Art of Australasia Online).
From here to everywhere: the evolution of blogging
'The Art Life' blogmeister Andrew Frost spills the beans on the genesis of that infamous and lively blog in 2004 and its ongoing evolution in the context of new technologies and their uptake by publishing and by readers.
Artists want catalogues
Campbelltown Arts Centre Director Lisa Havilah writes about the crucial importance of catalogues to artists. Famous Chinese artist Ai Weiwei had his first international survey exhibition at Campbelltown in partnership with Sherman Contemporary Art Foundation. The incentive for Ai Weiwei was that a 2,000 print run book on his art would be published.
Environmental costs of going digital

Director of the Media and Communications Program at the University of Melbourne Professor Sean Cubitt asks: what is the weight of the internet, is it green, clean and immaterial with no environmental costs? The answer is a scary and resounding no.

Measuring the footprint: dead trees vs live text

Freelance writer, author of True Green @ Work and editor Tim Wallace discusses the conflict between new technologies making everything available for free and writers and content creators needing to be paid. He quotes from on a book by Kevin Kelly called New Rules for the New Economy: 10 Radical Strategies for a Connected World: 'The only factor becoming scarce in a world of abundance is human attention.'

Zine publishing and the long tail
Adelaide-based Zinemeister Dr Ianto Ware discusses how prophecies of digital dominance are colosally wrong with regard to zine publishing a genre which remains exclusively hardcopy. He finds zines to be quintessential examples of Editor of Wired Magazine Chris Anderson's Long Tail in which tiny niches multiply and thrive.
Finding the right balance: print + online
Managing editor of RealTime Keith Gallasch describes what the web means to print journalism and how RealTime manages its website and its hardcopy in a careful adaptation to a changing and unpredictable publishing ecology.
Copyright: Copyleft

Copyright lawyer Zoe Rodriguez discusses the implications of digitising works of literature and the contentious Google Book Settlement of 2009.

Libraries, creators and Google
The University of Sydney Librarian John Shipp describes the changing world of university libraries and the way they handle information in a digital age. He has nightmares about the Google settlement and his mantra is that 'creators should retain their rights.'
Communicating and the law
Bill Morrow, artist and legal expert in copyright law, sets out the current state of play. He says that some form of copyright is here to stay but it is in flux with regard to digital rights and the upcoming introduction of laws providing greater privacy protection.
Creative commons: fair to share?
Research Assistant at the Australian Research Council Centre of Excellence for Creative Industries Elliott Bledsoe throws light on (rants about) the wide-ranging implications of Creative Commons - the way of the future for copyright?
Artistic intention, branding and value
Artist Zina Kaye of writes about the importance of branding for artists and how artists play with copyright and fair use. She examines the artwork of Deborah Kelly, Soda_Jerk and Shepard Fairey to show variants on artist's intentions and outcomes.
Writing in the age of graphomania

Novelist and sinologist Linda Jaivin rejects the excess writing and publishing that the internet affords every person with a keyboard and compares it to Milan Kundera's definition of graphomania(an obsession with writing books). She would rather have fewer readers than more scanners believing that a 'long form' like a novel or book-length non-fiction needs slow writing and carefully crafted prose.

Copyright materials in university teaching
Art History Librarian at the Barr Smith Library, University of Adelaide Margaret Hosking explains the way fees and access are currently worked out for copyright materials in teaching at universities in Australia.
Mix and mash, take it, change it
Writer and curator Danni Zuvela celebrates remix or mashup culture and traces its history back through the Dadaists, Futurists, Max Ernst, Esther Shub, Arthur Lipsett, Joseph Cornell, Bruce Conner and Stan VanDerBeek. In a remix culture people valorise appropriation and talk about being copyfighters who believe the idea of text as property is a joke.
Collaborative Practice
Amanda Matulick is the managing editor of the Australian Network for Art and Technology (ANAT)'s publication Filter magazine, which is hardcopy as well as online at Filter uses open source Creative Commons licensing for its contributors. This means free sharing of information and ideas or as she puts it: "creation for creation's sake".
Don't look it might bite: censoring the visual arts
Executive Director of the National Association for the Visual Art (NAVA) Tamara Winikoff looks at the recent situation in Australia regarding censorship, art, politics and the law.
Freedom of expression and the mode of detachment
Art theorist, philosopher and Emeritus Professor at Flinders University Donald Brook advocates 'detached contemplation' as the most desirable, appropriate and potentially rewarding response to art.
Netting the big and the little fish: monographs and biographies
Emeritus Director of the Art Gallery of South Australia and highly respected investigative curator and writer Daniel Thomas pulls out the stops in a far-ranging appraisal of art book publishing in Australia. He writes: "Once the artist is well dead, even if the book is 'only' a monograph, disregard the family and friends; we need to know everything."
Lives of the 'settled' artists
Tess Allas is the Researcher of Storylines, an ARC funded project officially titled This Side of the Frontier: Indigenous Artists in Settled Australia. It focuses on biographies of Aboriginal artists from all over Australia except for the remote regions. Storylines can be found online at - the DAAO (Dictionary of Australian Artists Online - now rechristened Design and Art of Australasia Online).
Colour Country: Art from Roper River by Cath Bowdler and My Father, my brother: stories of Campbelltown's Aboriginal Men by Dvora Liberman
The exhibition is touring to Flinders University Art Museum 4 December 2009 – 14 February 2010, Drill Hall Gallery, Canberra 25 February – 11 April 2010 and Museum & Art Gallery of the Northern Territory, Darwin 22 May – 17 July 2010.
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
4th Fukuoka Asian Art Triennale, Japan
4th Fukuoka Asian Art Triennale (FT4), Japan 5 September – 23 November 2009
Floating Life: Contemporary Aboriginal Fibre Art
Floating Life: Contemporary Aboriginal Fibre Art Curator: Diane Moon Queensland Art Gallery 1 August – 18 October 2009
Simon Gilby: The Syndicate
Simon Gilby: The Syndicate Central TAFE Gallery, Perth 17 October – 14 November 2009
Kazuyo Sejima + Ryue Nishizawa / SANAA : an architectural intervention
Kazuyo Sejima + Ryue Nishizawa / SANAA : an architectural intervention Sherman Contemporary Art Foundation (SCAF), Sydney 3 July – 26 September 2009
Kathy Temin
Kathy Temin Curators: Jason Smith and Sue Cramer Heide Museum of Modern Art, Melbourne 1 August – 8 November 2009
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*some text missing* Lora Patterson , Fiona Lee, Cath Robinson, Callan Morgan, Grant Stevens Curator: Sarah Jones CAST Gallery, Hobart 18 July – 9 August 2009
BeginningMiddleEnd ANU School of Art Gallery, Canberra Curator: Lucien Leon 18 - 24 September 2009
Nyukana Baker : Retrospective
Nyukana Baker : Retrospective JamFactory Gallery, Adelaide Curator: Diana Young 1 August - 7 September 2009
Shelter: On Kindness
Shelter: On Kindness Curators: Suzanne Davies with Vanessa Gerrans and Sarah Morris RMIT Gallery, Melbourne 25 September – 25 October 2009
Western Australian Indigenous Art Awards
Western Australian Indigenous Art Awards Art Gallery Of Western Australia 25 July - 15 November 2009
Tim Burns: From the Garden
Tim Burns: From the Garden Bett Gallery, Hobart 9 October – 7 November 2009
Shih Chieh Huang : Cubozoa – L-09
Shih Chieh Huang : Cubozoa – L-09 Shed E @ Howard Smith Wharves, ARC Biennial of Art, Brisbane 9 October - 1 November 2009
Fiona Davies: Intangible Collection
Fiona Davies: Intangible Collection Maitland Regional Art Gallery, NSW 15 August - 18 November 2009
Milestones: Ken Orchard 1980-2009
Milestones: Ken Orchard 1980-2009 Red Poles Gallery, McLaren Vale, South Australia 29 August – 27 September 2009
The Hard Work
Michael Keighery, current Chair of Viscopy and past chair of NAVA and the Crafts Council of Australia reviews the apathy and ignorance of artist about their industrial, copyright and taxation rights. He draws attention to the hard worn, by NAVA and Artslaw, ruling by the Tax Office in 2005 that all kinds of artists can now claim their art business expenses against all forms of income.
The Work of Art

Art theorist and Emeritus Professor of Visual Arts, Flinders University, Donald Brook examines the art world and its strange ways. Art, he says, is not craft nor the consequence of any exercise of skill at all but the artworld is infallible in identifying art.

Throwing the Baby Out with the Bathwater
The CDEP (Community Development Employment Program) was axed by the Howard Federal Government throughout the Northern Territory though is still current in South Australia and Western Australia. The Program was launched in 1977 by the Fraser Government and has been a very valuable way of getting Aboriginal people to be engaged productive community memes in art centres and other activities. A number of key Aboriginal art centres rely on CDEP staff for printing, administration, preparators, artists and craftspeople. It is a vital component in building community self-reliance and pride.
The Obsessive Compulsive Worker
What does obsessive artwork mean? Is this a new compulsion among artists and what does it mean? The work of Hossein Valamanesh, Fiona Hall, Zhuang Hui, Zhang Huan, Shen Shaomin, Katsuhige Nakahashi are referenced.
A Relationship can't be Outsourced: Tracey Clement
The idea of slow art takes on a gripping intensity in Tracey Clements textile works which use ideas of duration and repetition to refer to womens traditional work and skills - a huge ball of wool, a giant button-covered blanket, full-size bodies made from thread and most recently a miniature city of salt and wire. The excessive though delicate relationship between the artist and the work becomes evident in the resulting artefacts. She admits to watching very bad DVDs while on the job.
Soft Power - Confession: Leung Mee Ping
Hong-Kong based Leung Mee Ping sees the artist as a craftperson able to fabricate intricate work that makes the viewer revision the everyday. Memorising the Future is an ongoing project of shoes made from felted human hair. It has been shown all over the world in major museums and now consists of more than 11,500 shoes.
Busy Work: Dreaming Time
Justine Khamara uses a scalpel to cut out tens of thousands of images from magazines. She then joins the often identical images to make very large assemblages. The artist sees the obsessive busywork that she does with her hands as providing her with space to dream and do the real work of sifting through the stuff in her head.
Process, Production and the Invisible Line: Carly Fischer
Carly Fischer's work is on the cover of the Work issue of Artlink. Her latest exhibition at Helen Gory Galerie of everyday cleaning items and broken fluorescent tubes made from blue paper is art that is almost invisible but critiques consumerism and the culture of waste.
Work Wanted: Keith Wong
An artist advertising art in the yellow pages as an artwork turns out not to be a light matter.
Everybody's Working for the Weekend
This article was written by a mysterious Australian creative labour collective possibly based in Western Australia. It humorously analyses the special characteristics of creative work as against the goals of capitalism while simultaneously possessing an intense work ethic through looking at recent artworks by Matthew Hunt, Tarryn Gill and Pilar Mata Dupont, Rodney Glick and Lynnette Voevodin, and pvi collective. It concludes that the creative task of showing how the nature of work is historically and geographically located is vital.
Labour of Love: Claire Healy and Sean Cordeiro
The latest work by Claire Healy and Sean Cordeiro, artists who have been fruitfully collaborating for over seven years was shown at the Art Gallery of New South Wales in 2007. Called The Paper Trail it explores Paul Virilios ideas about dromology (the science and logic of speed especially in relation to war) through thinking about the Mongolian Empire. A fantastic Mongolian Ger (a nomadic structure ordered on the internet), government archives, Johnson Solids and the Trailer of Death are some of the features of the installation which suggests complex and recurring layers to all globalisation.
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.
Valuing Relationships: Concertina
Concertina is a group of seven artists, Katrina Weber, Ros Miller, Wendy Rushby, Kathryn Hill, Wendy Todd, Dana Kinter and Anny Gooden, who for six years have been working as a collective creating within self-prescribed boundaries. Once a year they set aside their own practices and embark upon a major collaborative project leading to an exhibition. Their latest venture meant one artist Anny Gooden stepping outside the group, she was overseas, and providing instructions to the others. The resulting exhibition, Text as Muse, was shown at Light Square Gallery from 27 June - 26 July 2007. 
Reskin: Intensive Collaboration
A fascinating participant report on an exciting collaborative project of great vision and experimentation. Reskin 2007 was developed by the Australian Network for Art and Technology (ANAT), the Australian National University School of Art, the Centre for New Media Arts (CNMA) and Craft Australia. It brought twenty international and national artists, designers and technologists together under the guidance of seven professional wearable technology specialists at the forefront of their respective fields. The idea of Reskin, co-ordinated by Alexander Gillespie was to design wearable technologies for the body using the latest materials and methods.
Mirroring our Dialogue: Danielle Freakley as 'The Quote Generator'
The Quote Generator is a three year public art project where the artist only speaks in quotes which she instantly attributes. For the first year Danielle Freakley will quote from commercial products, the second year from friends and acquaintances and the last year from herself in the past.
Taking Care of Business: Ash Keating
Melbourne-based artist Ash Keatings art practice is based on an ethic and aesthetic of recycling. He reinvents waste often for site-specific interventions - before disposing of the relics by recycling them responsibly. For 'Press Release' (2005-ongoing) he cut 6,500 copies of the same bird from magazines and has thrown them skywards, letting them soar to the ground, in atriums and galleries from Sydney to Santiago. In his videos he is seen at work deconstructing free newspapers or wrestling with large discarded vinyl banners.
A Bush Camp in a Mysterious Land: Guan Wei
Chinese-Australian artist Guan Wei first visited Australia eighteen years ago but it was only in 2006 that he went bush for two weeks with nine other artists, on an artists camp organised by Darwin's contemporary art space 24 Hour Art in collaboration with Injalak Arts and Crafts in Western Arnhem Land. His vivid experiences of the great outdoors, its sounds, animals and birds, led to his A Mysterious Land series. He worked with local Aboriginal artists, was shown rock paintings and found similarities between Aboriginal culture and Taoist philosophy.
We Can Work it Out: New Style Residencies in Asia
Since the early nineties Asialink has helped to plunge 450 Australian artists into the proverbial deep end of arts practice, the overseas residency. Out of their comfort zones, far from friends and familiar comforts, the artists test their artwork and themselves in new cultural contexts. The recent experiences of Megan Keating in Taiwan, Danius Kesminas in Indonesia, Alwin Reamillo in the Philippines and Ben Morieson in Japan are described in all their variety and embrace of an increasingly Asia-literate world.
Witnessing: Transcending the Public-Private Divide in Photography
Reveries: Mortality and photography was curated for the National Portrait Gallery by Helen Ennis and shown from 27 April to 5 August 2007. This touring show will be at Mornington Peninsula Regional Gallery from 19 March to 18 May 2008. It includes a wide range of approaches from the harrowing to the humorous. It includes work by Axel Poignant  a self-portrait with his last roll of film, Anne Ferran, Carol Jerrems, Craig Potton, William Yang, Anne Noble, Ruth Maddison, Bernie ORegan and Jonathon Delacour who stopped taking photographs after this series of babies and their carers in intensive care.
The Creative Potential of the Awkward: Sarah crowEST
A look at roughly the last five years of 2007 Samstag scholar Sarah crowESTs art practice of objects, performances and videos. CrowESTs manifesto is to maintain flexibility in her thinking; to do or consider the opposite of that which is usual or customary and to make something very messy. Her work often explores the functions of the alter ego in contemporary visual arts practice.
Unknown Worker in Art: Alan Lukey
A retrospective survey of the work of Alan Lukey who died in 2003 aged 51 organised by fellow artist John Foubister with the help of Jill Lukey was shown at New Land Gallery in Port Adelaide, 21 April to 10 June 2007. Lukey was a South Australian artist who painted abstract and meditative works and lived on the Fleurieu Peninsula between 1977 and 2003. He also made public art works often in the shape of waves.
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.
John Maitland's Energy Architecture
John Maitland is the sole director of Energy Architecture, an Adelaide architecture firm committed to environmentally sound and socially responsible architecture established in 1990.
Indigenous Triennial
Culture Warriors: National Indigenous Art Triennial 07 Curator: Brenda L. Croft. National Gallery of Australia, 13 October 2007 - 10 February 2008; touring to Art Gallery of South Australia, 20 June - 31 August 2008; Art Gallery of Western Australia, 20 September - 23 November 2008; Queensland Gallery of Modern Art, MarchMay 2009. (Note: The touring exhibition will be about 90 works rather than the 130 seen in Canberra.)
X Strata Indigenous Art Awards
Xstrata Coal Emerging Indigenous Art Award GoMA, Brisbane 4 August - 11 November 2007
The Hours
The Hours: Visual Arts of Contemporary Latin America Curator: Sebastian Lopez Museum of Contemporary Art, Sydney 21 June - 2 September 2007
Territorial Canberra Contemporary Art Centre June 2007 24 hr Art, Darwin September  October 2007 ACT Artists: Silvia Vélez, Bernie Slater, Raquel Ormella NT artists: Franck Gohier, Catriona Stanton, Gary Lee
Almost Everywhere Apparent Sonia Leber and David Chesworth Australian Centre for Contemporary Art, Melbourne 11 August - 30 September 2007
Fremantle Print Awards
Fremantle Print Award 07 Fremantle Arts Centre 8 September - 21 October 2007
Papunya Tjupi: A New Beginning
Papunya Tjupi: A New Beginning Ivan Dougherty Gallery 6 September - 6 October 2007
Anne Mestitz
Electric Love Anne Mestitz Bett Gallery, Hobart 4 August - 18 August 2007
Strange Fruit
Strange Fruit: Testimony and Memory in Julie Dowlings Portraits Curator: Jeanette Hoorn Ian Potter Museum of Art, Melbourne 21 July - 14 October 2007
Painting at SALA
Shades of the Real: a selective survey of tonal painting Adelaide Central Gallery 20 July - 11 August 2007 artists: Morgan Allender, Nona Burden, Stephanie Crase, Kveta Deans, Louise Feneley, Mary-Jean Richardson, Chelsea Lehmann, Rachel Smyth, Deborah Trusson, Yve Thompson Christian Lock Greenaway Art Gallery 4 -29 July 2007 Kaylie Weir (in Noodle) Premier Art Gallery SALA exhibition 3 August  1 September 2007 Learning to Speak Simone Kennedy Artlab SALA Exhibition 3-19 August 2007
Tautology Emma White 9 - 26 August 2007 MOP Projects, Sydney
No. 1
No. 1 six a, North Hobart 24 August - 24 September 2007
Sara Elson
Sarah Elson Anigozanthos (eudaimonia hybrid) 5 August - 2 September 2007 Galerie Desseldorf, Perth
The Ranger
The Ranger Julie Gough SASA Gallery, Adelaide 12-28 September 2007
Topsy Eleanor Avery, Ray Cook, Kim Demuth, Alice Lang, David Spooner, Grubbanax Swinnasen. Curator Chris Comer Metro Arts Galleries, Brisbane 5 - 22 September 2007
Unchain my Art: Notes on the role of myths and preconceptions in shaping perceptions of women's art
This article notes the role of myths and preconceptions in shaping perceptions of womens art. In framing art reputations in Australia, the most disputed and uneasy component is gender. Peers looks at the 1970s feminist art movement which was important for providing the blueprint for an ongoing understanding of art as an interrogative gesture and the works of women artists such as Grace Cossington-Smith, Stella Bowen, Joy Hester, Clarice Beckett, Janine Burke, Kiffy Rubbo, Margaret Preston, Hilda Rix Nicholas, A.M.E. Bale, Margaret Olley, Meg Benwell, Judy Perrey and Anne Marie Graham.
Frank Bauer Goes Public
German born artist Frank Bauer was raised on the philosophy that art, design and industry could work together to achieve a more visually coherent and democratic society. Over the past thirty years he has produced a huge body of work in metal, which includes jewellery, hollow ware, furniture and lighting. Through this text Fairlamb focuses on Bauers wind sculptures, exhibited at the Powerhouse Museum and JamFactory, which stand over four metres high and bring together his considerable knowledge of balance, precision engineering and sculptural metal work.
Asher Bilu: Doing Business with the Cosmic
From the beginning, Asher Bilus work has had two loci of concentration: the mystery of matter, its structures, boundaries and possibilities, and Mystery itself, space, sound, reverberations of the invisible, the very universe. Bilu takes on the physical demands of his experiments like a workman, he manipulates them like a technician. This article examines Bilus art practice from his early days as a migrant in Australia and winner of the prestigious Blake Prize to his recent work the Infinity Series.
Beyond Mertz and Whitechapel: 'contemporary' Australian Modernism
Furby raises the issues of women artists role in Australian society and the considerable lack of recognition for this minority. The radical art group, the Contemporary Art Society (CAS), which was founded in Victoria in 1938 to counter attack academic art and to foster original and creative contemporary art, had its majority as women artists. The works of Mirka Mora, Erica McGilchrist, Nancy Borlase, Elsa Russell, Jacqueline Hick and Barbara Robertson are included in this discussion.
The Art of Living Dangerously: Victor Meertens
Documents the life and work of Victor Meertens: his journey to Europe where he became inspired by the work of the early Flemish painters and Grunewalds Isenheim Altarpiece (c.1505-1510), his involvement with the Third Australian Sculpture Triennial and the Australian Biennale 1988, his various solo shows and other notable achievements within the contemporary Australian art scene of the late 20th century.
Public Art Boom in Western Australia: It is the edges that make it interesting
The difficulties of public art are universally acknowledged - they are the same across state and national borders and usually result in compromised solutions - however if they are to be considered more as collaborative efforts between artist and community rather than works of 'art' the outcomes become interesting. Millers article addresses this notion through a discussion of recent Western Australian public art programs and in particular the achievements of ArtSource, an employment agency for visual artists. Key figures in this text are Brian McKay, Ahmad Abas, Tony McClure, Jon Tarry, John Elkington, Linnea Glatt and Michael Singer.
Space adventures: Collaborations in public art and urban design in Victoria
Local government bodies in Victoria are demonstrating a range of approaches to the development of public art in urban design with recent project examples indicating new possibilities between artists, residents, designers, architects, business and even neighbouring councils. The Skewed Arch example in the City of Yarra is one discussed along with the works of Inge King, Chris Perk, Diane Mantzaris, David Davies, Alistair Knox, Ian Sinclair and Jackie Straude.
Heroism in the Public Domain
The two most heroic commitments to public art in Australia since Parliament House, Canberra, are for the refurbishment of the Sydney International Airport and the Olympic 2000 Homebush Bay site. These aspirations are eloquently expressed in forms and structures that are surprising , beautiful and of varying quality. The Airport Project features the work of Michael Riley, Robyn Backen, Ron Smith, Kerry Clare, Lindsay Clare, Brook Andrew and Fiona McDonald. Those included in the Homebush Bay Project are Peter Cripps, Terri Bird, Ari Purhonen, Neil Dawson, Paul Carter, Ruark Lewis, Janet Laurence, James Carpenter, Elizabeth Gower and Robert Owen.
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