Issue 25:1 | March 2005 | Handmade: The New Labour
Handmade: The New Labour
Issue 25:1 | March 2005
Issue 20:3 | September 2000 | Reflection: 20th Anniversary Issue
Reflection: 20th Anniversary Issue
Issue 20:3 | September 2000
Issue 12:2 | June 1992 | Thinking Craft, Crafting Thought
Thinking Craft, Crafting Thought
Issue 12:2 | June 1992


The Sounds of Silence
Through traditional method, an explicit residue of manual labour, and a constructed subject, Ricky Swallows wooden work suggests a past tense, which leads the viewer backwards through the material history of the work. The Defining aspects of Swallows approach are distinctly framed in the western tradition of the artisan and the language of figuration.
The Art of Outsourcing
While our romantic inheritance imagines artists working in isolation, this is changing. Increasingly, successful artists are working with teams of technicians who contribute precious amounts of skill, time and experience to the final work. Harvey looks at the relationships between artists, apprentices and their creations within the realm of tactile, three-dimensional art and some of the apparent concerns associated.
It's Not You, It's Me - I Just Don't, You Know, Think We're Compatible
"It should go without saying that our responses to the handmade, the mass-produced and techno gadgetry are principally structured within and by fantasy worlds. Cook explores peoples relationships to objects in a world that is perpetually developing and enhancing itself materially, or so it seems.
I Came to Japan Because of the Chopstick
Timms' account of a personal journey through Japan and South Korea and the traditional history of fine pottery crafts that accounts for a large degree of Eastern culture. He here explores the distinctions and connections between Eastern and Western material culture as exemplified through the life and role of the chopstick.
Getting Off Your Face With a Destructive Character
Christian Capurros Another Misspent Portrait of Etienne de Silhouette documents the act of erasure over a period of five years, with the artist asking family, friends, artists and others to each erase a page from the male fashion rag Vogue Hommes. Each rubber was asked to record how long it took them to rub out their page, the results were then tallied.
The Darkroom in the Age of Post-Film Photography
In both amateur and professional photography the few multinational corporations that control the industry have collectively marshalled their marketing strategies to capitalise on recent advances in digital technology. Jolly looks at the shifting photographic trends, their viability and the increasing loss of intimate image-making.
Pixel Perfect: The Craft of Photography in the Age of Digital Reproduction.
Walkling proclaims that something is being mourned that has to do with the physical object and its associated labour, in the meantime the distinction between amateur and professional photographer is lessening as this particular creative niche is becoming more automated.
Australian Drawing Now: Labouring Lightly
The on again/off again love affair between drawing and contemporary art practice seems to have been going on ad nauseam. From the sixties through to the present day, ongoing tensions between the apparent values of traditional and conceptual art have resulted in much of today's appreciation for the reworking of both aesthetics in what has become a new labour of love.
Nurturing the Handmade
In interacting with an object, its physical properties are paramount; as a result, the power of objects to affect us becomes identified with their physical attributes, leading to an emphasis on making, and so linking making with authorship. Sorzano explores the process of object-making as the work in our minds, the work in our hands, and the work as a result....
The Hand in Making
The Tamworth Fibre Textile Biennial began in 1975 and every two years a collection of contemporary fibre textile work tours nationally to metropolitan and regional audiences. For Attiwill, guest curator of the 16th Biennial, the spark for the exhibition A Matter of Time came from Sue Rowleys wisdom: it is useful to think of craft in terms of multiple temporalities, A Matter of Time is an exploration of this usefulness.
Bush TV's: Piliyi - Good One
Nyinkka Nyunyu is an art and culture centre located on Warumungu land in Tennant Creek, right in the middle of the Northern Territory. From the time the idea came up to build something alongside the sacred site of Nyinkka Nyunya, art was always going to be an integral part of the project. The result of many brainstorming sessions amongst traditional owners of the land on which Tennant Creek stands was the idea of dioramas, or Bush TVs to provide the means to present history and contemporary life through art to a diverse audience.
Hand to Mouse: Design and the Handmade
There have always been cycles in the making of what we describe as art, crafts and design, where surges of new ideas have been followed by revivals of earlier values or reform movements that challenge both. The Powerhouse Museum, Sydney, is working on an exhibition for late 2006, on the interface between art, design, industry and the values of the handmade. Cochranes hope is that it will challenge audiences to look closely at some of the exciting working relationships that are possible.
In the Wake of Gesture: Architecture and the Handmade
Architecture has long since surrendered the tactile in favour of grander visions. Through an examination of Sandra Seligs recent work Synthetic Infinite at the Museum of Contemporary Art in Sydney and the unique responses to architecture and the handmade that this work displays, Murray attempts to question how we might then consider architecture and our relationship with built matter to restore a direct connection with human experience.
Domestic Arts in the White Cube
There exists an increasing number of artists - mostly women - creating art using what have been known, somewhat disparagingly, as domestic arts: knitting, crochet, sewing, tatting, embroidery. For many of these artists the choice of method is integral to what the work is saying, the making - the journey - as important as the result, even if that journey is not immediately obvious to the viewer.
Parallel Universe: The Gray St. Workshops @ 20
Gray Street Workshop, which is this year celebrating its twentieth anniversary, has pursued a creative work ethic closely aligned to values of the handmade, not as an end per se but as a means to evolve a creative language grounded in the interplay between ideas and practice.
Patrick Hall's Cabinets of Everyday Curiosities
For Hughes, Patrick Halls cabinets recall the great elaborately decorated cabinets of the 17th century. Rather than mere decoration, Halls cabinets express a poetry of the everyday that is neither a condescending celebration nor a critical analysis but a deeply personal response to his materiel.
Unpacking 'Il Cretino Veloci' or 'The Fast Idiot'
Thomson pays tribute to an increasing minority of Australians devalued for getting their hands in the mucky stuff. As he proclaims ...people who make things with their hands for a living are seen as a hopeless anachronism rooted to the ground. In an age where the majority of the Australian population now work in what are termed the service industries, the ability to apply ones motor skills are making for a society who rarely needs to use those funny slabs of flesh at the end of our arms.
Life is Very Long
Yarra Sculpture Space, Melbourne 28 August - 12 September 2004
Batik and Kris: Duality of the Javanese Cosmos
Perc Tucker Regional Gallery 10 September - 7 November 2004
Living Together is Easy
National Gallery of Victoria: Ian Potter Centre, Melbourne 27 August - 7 November 2004 Contemporary Art Center, Art Tower Mito, Japan 24 January - 28 March 2004 Curated by Jason Smith and Eriko Osaka
For Nothing
The Bank, Midland, WA 26 November - 14 January 2005
Mary Scott - Skirted
Criterion Gallery, Hobart 28 October - 23 November 2004
Disorientate: Colour, Geometry and the Body
John Aslanidis, Paul Boam, John Dunkley-Smith, NeilHaddon, John Plapp, Wilma Tabacco Plimsoll Gallery, University of Tasmania, Hobart 15 October - 7 November 2004
Artifically Reconstructed Habitats: Finola Jones
Canberra Contemporary Art Space 13 August - 25 September 2004 Gertrude Contemporary Spaces, Melbourne 29 October - 20 November 2004
Vivienne Westwood
National Gallery of Australia, Canberra 12 November 2004 - 30 January 2005
Fine Art Graduate and Honours Exhibitions Beyond
Griffith University, Queensland College of Art 24 - 27 November 2004 GraduArt 2004 Toowoomba Regional Gallery 27 November 2004 - 30 January 2005 modus vivendi Queensland University of Technology 3 - 5 November 2004
Christian de Vietri: The Nature of Things
Goddard de Fiddes Gallery, Perth 27 November - 18 December 2004
Petrified Nature: Julia Robinson and Morgan Allender, Birds and Bees, Louise Flaherty
Downtown Art Space, Adelaide 28 October - 6 November 2004 The Project Space, CACSA, Adelaide 29 October - 5 December 2004
Everyone Lives Downstream: James Darling and Lesley Forwood
Greenaway Art Gallery, Adelaide
24 November – 19 December 2004
Modern Machine Art
Information processing technology influences our notions about creativity, perception, and the limits of art ... It is probably not the province of computers and other telecommunication devices to produce works of art as we know it; but they will, in fact be instrumental in redefining the entire area of esthetic awareness.
Artlink - The Second Decade 1991-2000
Britton recaps on the decade that was and discusses some of the significant challenges she and her team at Artlink faced such as marketing, distributing, staffing, staying solvent and avoiding terminal burnout. Also looks at some of Artlinks major achievement over the past ten years.
Screen Gallery
At the time of this article, Screen Gallery, the world's first gallery for the exhibition and research of digital media, was anticipated to open at Federation Square in Melbourne. Screen Gallery is located underground, on the site of a couple of old railway platforms 100 metres long, 15 metres wide and seven metres deep. Creative Director of the Screen Gallery, Ross Gibson spoke to Stephanie Radok over the internet.
Australian Aboriginal Cultures Gallery
The new Australian Aboriginal Cultures Gallery, the spearhead of the new and improved South Australian Museum development program, set out to unlocked one of the great ethnographic collections of the world and give insight into one of the worlds oldest, most continuous living cultures. Some of the artefacts on display included totem poles from Elcho Island, headdresses from Central Australia, Darwin area and Mornington Island and wooden shields from across Australia.
Artlink and Museums, Past and Present
The issues raised by revisiting in some degree the past within Artlink touch upon a more general invocation to the authority and precedent of history in an Australian context. Some of these issues are here discussed with reference to key figures such as the Papunya Tula movement, David Kerr, Jude Adams, Drusilla Modjeska, Joan Kerr, Anne McClintock, Louise Dauth, Penny White, Zara Stanhope, Stuart Hall, Nicholas Rothwell, Paul Carter and Donald Brook.
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.
Craft Theory
The twentieth anniversary of Artlink has provided an occasion for an article on the current state of craft theory and its ramifications. This article gathers and presents a knowledge that eddies around craft and engages in the ontology of craft theory. Its aspirations: for craft theory to be not only approached from the point of view of the useful, instrumental or skilful but as offering new ways of moving and thinking. William Morris, Adolf Loos, David Walker, Sue Rowley, Grace Cochrane, Justin Clemens, Mark Pennings, Kevin Murray, Gilles Deleuze, Nicole Tomlinson, John Rajchman, Felix Guattari, Tony Fry, Frances Lindsay and Paul Carter are discussed through this text.
Design Practice: Trawling the Speculative Field
This article is a response to a renewed interest by design practice into the cultural and natural environment for inspiration, and a renewed focus of design education and practice on investigations in the field. The recent installation works of two architectural practices - Lyons: City of Fiction inspired by the Museum of Contemporary Art, Sydney and Shop:Dunescape by PSI New York - are here described.
Art/Body the Liminal Experiences of Indigeneity
Art from an indigenous context cannot be transferred wholly into another context for reading. This denies the fact that indigenous contexts do have ways of seeing and making sense of their art. Mel presents a discourse for alternate ways of viewing such indigenous artwith reference to terms such as postmodern, objectivity and subjectivity. The Mogei people of Mt Hagen area in Papua New Guinea are examined through this text.
Social Ecology
In March 2000, Stuart Hill attended the Mildura Palimpsest #3 Science and Art Symposium organised by Sunraysia TAFE and La Trobe University. One of the speakers was Stuart Hall, scientist and ecologist who, in his talk introduced the concept of social ecology, a cross-disciplinary field of which he is the inaugural professor at the University of Western Sydney, Hawkesbury Campus. Here is Hill's interview with Stephanie Radok.
Regional Art: Theorising the regions
This article seeks to challenge regional communities away from the self-prophesying defeatism of whingers from the bush towards a concept of growing communities. The arts have an intrinsic contribution to make within the chosen future. Fettling discusses this with reference to globalisation, de-centred cultural and ethnic hybridization and individuality. Featured artists include Megan Jones, Andrew McDonald, Janet Gallagher, Vicki Reynolds, Danielle Hobbs, Chris Booth, Craig Christie, Rodney Spooner, Michael Doneman, Motoyuki Niwa and Lee Salomone.
Art for Social Change: Footsteps from the Past to the Future
We have arrived at a point where we are constantly experimenting with and experiencing a new understanding of diversity in Australia. Art discovers new directions through the development of strategies that enable it to penetrate and interpret the unknown other in a more profound way. This sets up the topical discussion for this article with references to exhibitions Boghcheh (Bundle), Defiling the Object, Embellishing the Family Photograph and The City which showed at the Gabriel Gallery in 2000. Featured artists include Karen Lunn, Mehmet Adil, Peter Bok, Alan Cruickshank, Helen Fuller, Catherine K, Pramod Kumar, Michelle Nikou, Deborah Paauwe, Bronwyn Platten, Hossein Valamanesh, Zita Weelius, Mei Wong, Anthony Figallo, Fassih Keiso, Samia Mikhail, Yatzek Szmuc and John Tsiavis.
Unsentimental Experimental: The Experimental Art Foundation 25 years on
Bilske looks at the history of EAF: Experimental Art Foundation and some of the significant events which have contributed to its success since its inception in 1974. Discusses briefly Stephanie Brittons publication A Decade at the EAF written in 1984 and the role Donald Brook has played in tackling head-on the problem of just what the experimental in Experimental Art Foundation means. Some of the artists involved with EAF include Aleks Danko, Mike Parr, Michael Craig-Martin, John Barbour, George Popperwell, Shaun Kirby, Craige Andrae, Nic Folland, Hayley Arjona, Sam Wilde, Samantha Small, Jim Moss, Chris Chapman, Sally-Ann Rowland and Michael Newall.
Donald Brook's Art Theory
This text is a dedication to Donald Brooks literary contributions to Artlink magazine over the years. Different from his specifically theoretical writings on art, those featured in Artlink focus on temporal and local issues, and are often written in a wittily ironic style that leaves readers unsure whether they have understood his position.
Culture Without Limits: a reflection of art, politics, and shabby nationalism
In this article Kapetopoulos reflects on the watersheds which reinforce her attachment to multiculturalism. The watersheds are the works of certain artists involved with Multicultural Arts Victoria (MAV) and the rise of One Nation. The artists Kapetopoulos writes about are: Yumi Umiumare, Tina Yong and Sung Ping; Charito Saldana; Renato Cuocolo and his innovative theatre company IRAA; Emmanuel Santos and Sandor Matos.
Adelaide Studios
This article celebrates the diversity of some of the groupings whichlink artists within the city that is Artlink's birthplace, Adelaide. Gray Street Workshop, Central Studios, Experimental Art Foundation (EAF), Australian Network for Art and Technology (ANAT), Jam Factory Contemporary Craft and Design, Jamboree Ceramic Workshop, SAAW (South Australian Artists Workshop), Red Door Facing East, Butcher's Studio, Blythe Street Studios, Rice Art, Zu Design, SEAS Studios and the Electronic Writing Research Ensemble are all examined.
Parables of Criticism
Looks at the current issues in the art versus craft debate and the impact of post modern theories.
Thinking Craft, Crafting Thought
Toward a Typology of Small Objects
With increasing anxiety, we face searching questions of the viability, the integrity, the destiny of craft. In themselves, the questions are salutory and point to an intellectual vitality in craft culture, a vigour and toughness which have not existed since the Arts and Crafts Movement. Responses to the challenge vary from relish in the contradictions of craft practice to the old-fashioned despair for any debate whatsoever.
Thinking Craft, Crafting Thought
The Floating Web
For centuries now, textiles and the skills required in their creation - spinning, weaving, embroidery, sewing, quilting - have been considered women's work, occupying them indoors while men engaged in more serious activities like warfare.
Thinking Craft, Crafting Thought
Why Craftwork Does Not Compute
Will the computers, mobile or immobile, take over craft work in the near or medium future? Are craftspeople doomed to the fate of the Indian hand loom weavers of the last century-- will their bones bleach the plains? The answer is........
Thinking Craft, Crafting Thought
Craft, Science and the Natural: An Introduction
There seems to be a consensus that craft is in a state of crisis. But consensus or not, the observation of this alleged crisis is sterile if we do not place it against its background. Is this crisis unique to craft, or is it a manifestation of a more general crisis which extends across other cognate areas? If it is more general, does it nevertheless have special implications for craft?
Thinking Craft, Crafting Thought
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
The Archaeological Metaphor: A Personal Excavation
Now as a much older woman with another career as an artist I have been reconsidering my experience in Museums, reconsidering the structures of archaeology which grid and measure the chaotic site.
Thinking Craft, Crafting Thought
Distant Lives/ Shared Voices
Written with Janis Jefferies. Discusses the 1992 artist initiated and organised international forum for tapestry weavers in Lodz Poland.
Thinking Craft, Crafting Thought
The Reflections of a Taxidermist
I view my memories as a fragmented collage of life, constantly in review and abstracted through the shifting of time and place. Taking and putting together some of these fragments I recall how I became a taxidermist.
Thinking Craft, Crafting Thought
After the Art/Craft debate: Critical Writing into the 1990s
Most writers and researchers in the visual arts and crafts would now consider the debate about the difference between art and craft to be an old chestnut whose day has well and truly gone. Refers to the debates between David Bromfield and Anne Brennan.
Thinking Craft, Crafting Thought
Touching Things Lightly: The Furniture of Kevin Perkins
Kevin Perkins and the Parish Church of St Thomas Acquinas, Charnwood ACT. A model for collaborative design. Consummate technical skills, the continuance of long-established traditions which focus on excellence and a fundamental reverence for the qualities of the materials are discussion points that are, at times, given minimal attention when the products of today's craftspeople and designer/makers are discussed.
Thinking Craft, Crafting Thought
Design Visions: International Exchange: Time for a Stocktake
Design Visions; The second Australian International Crafts Triennial on show at the Art Gallery of Western Australia in August September 1992 provided a chance for local viewers, historians, critics, artists, designers and 'craftspeople' to discuss and possibly take stock of our place in the international arena.
Thinking Craft, Crafting Thought
Jill Smith: Artist/ Designer in Industry
Looks at the ceramic practice of Jill Smith. It often happens when people with different views and areas of expertise are brought together to solve a problem that something new emerges.
Thinking Craft, Crafting Thought
NSW Tafe: A Different Approach to Ceramics
It turned out that 95% of the symposiasts were blissfully unaware that, starting with the TAFEs, they are already in the era of funding allocation on the basis of conceptually incoherent doctrines of an 'arts industry' with about as much relevance to their interests as atonal music has to the board of BHP.
Thinking Craft, Crafting Thought
The Crafts Come of Age
Book review The Crafts Movement in Australia: a history University of NSW Press $79.95
Thinking Craft, Crafting Thought
The Problem of Orthodoxy in Contemporary Glass
In her introductory notes to the exhibition 'Glass: Material in the service of meaning' the artist Ginny Ruffner comments on the current field of glass art as "being awash in objects, some beautiful, some ugly, most about glass itself - material as content."
Thinking Craft, Crafting Thought
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
Two Countries, One Weave?
Written with Phillip (Piri) Everett Over the last year Tandanya (National Aboriginal Cutural Institute) has received much bad publicity but is carrying on and slowly and steadily making history. It opened in 1989 with celebrations featuring Ernabella Inma and Yothu Yindi. Includes photographs of indigenous women at weaving workshops in the South East of South Australia at Camp Coorong Cultural Centre.
Thinking Craft, Crafting Thought
Marketing from the Top End
Representatives from seven screenprint workshops in remote and indigenous Australia came together in March 1992 to attend a textile marketing forum in Darwin organised by Steve Anderson, co-ordinator of ANCAA (Association of Northern and Central Australian Aboriginal Artists).
Thinking Craft, Crafting Thought
From Italowie to Chambers Gorge - A New Tapestry
When travelling by car over long distances the landscape outside the window endlessly unfolds as a field of subtly carying colour and texture punctuated by the irregular rhythm of straggling trees and bushes.
Thinking Craft, Crafting Thought
Margaret Kirkwood, craft practitioner from NSW and active in the Craft Council within her State, writes her prediction for the future of crafts in Australia.
Thinking Craft, Crafting Thought
David Walker, craft practitioner from Western Australia and active in the Craft Council within his State, writes his prediction for the future of crafts in Australia.
Thinking Craft, Crafting Thought
Marion Marshall,craft practitioner from Victoria, and active in the Craft Council within her State, writes her prediction for the future of crafts in Australia.
Thinking Craft, Crafting Thought
4 Jewellery Co-operatives: On Staying in the Black: Fluxus
Looks at the workshop Fluxus in Dunedin in New Zealand, formed by Kobi Bosshard and Stephen Mulqueen in 1983.
Thinking Craft, Crafting Thought
Helmut Lueckenhausen, craft practitioner from NSW and active in the Craft Council within his State, writes his prediction for the future of crafts in Australia.
Thinking Craft, Crafting Thought
4 Jewellery Co-operatives: On Staying in the Black: Fingers
Looks at the Jewellery Co-operative Fingers formed in 1976 in Auckland New Zealand. Fingers sells the work of 30 New Zealand jewellers with a managment partnership of 6 to 8 practising jewellers. The rest sell on consignment basis.
Thinking Craft, Crafting Thought
4 Jewellery Co-operatives: Ipso Factory Company
Ipso Facto Company formed in 1984 by 5 ex-students from the Sydney College of the Arts.
Thinking Craft, Crafting Thought
4 Jewellery Co-operatives: Gray Street Workshop
Looks at the workshop Gray Street, Adelaide, South Australia.
Thinking Craft, Crafting Thought
The Western Way - Linney's, Argenta and Others
Western Australia has a tradition of artist/craftspeople with studio - gallery -shops.
Thinking Craft, Crafting Thought
Yurundiali - Reasons for Optimism
The predominant group in Moree (outback New South Wales) are the Gomilleroi people who are considered the most cohesive moiety group in Australia. Looks at the indigenous artists co-operative Yurundiali which is marketing its screen print designs.
Thinking Craft, Crafting Thought
Screenprinting the Tiwi Way: An Element of Spontaneity
It is not accidentatl that amongst the Tiwis of Bathurst and Melville Islands, fabric printing has become such a significant craft form. Of all indigenous Australian cultures the Tiwis historically have perhaps the richest tradition of body painting.
Thinking Craft, Crafting Thought
The Hermannsburg Potters
The Arrernte people from Hermannsburg a former Lutheran mission about 130 km west of Alice Springs in Central Australia are generally known for their Namatjira style watercolour paintings. Now they are making ceramics.
Thinking Craft, Crafting Thought
Semiotically Speaking: A Craftperson's View
One need not restrict this semiotic approach to an analysis of the objects of fashion given that the major role adopted by craftspeople in contemporary times is that of drawing attention to otherwise ordinary objects and processes by remaking them in a mode other than mass production.
Thinking Craft, Crafting Thought
Tim Burns - Paintings and Drawings
Exhibition review Cape Bruny Winter 1990 - 1991 Paintings and Drawings by Tim Burns Dick Bett Gallery Hobart Tasmania 7 - 26 May 1992
Thinking Craft, Crafting Thought
Tasdance in Silk
Exhibition review Greg Leong Launceston Country Club Tasmania
Thinking Craft, Crafting Thought
Anne Newmarch - Superimpositions
Exhibition review Superimposition Ann Newmarch Prospect Gallery Adelaide South Australia 23 February - 22 March 1992
Thinking Craft, Crafting Thought
...But Never by Chance..., Skin and From Women
Exhibition review ...but never by chance (eroticism) editor/curator Linda Marie Walker Exhibitors Jennifer Hamilton, Melanie Howard, Bronia Iwanczak, Sheridan Kennedy, Rosemary Laing, Rosslund Piggott, Carol Rudyard Skin Curators Annette Bezor, Julianne Pierce, Exhibitors Maria Kozic, Jan Nelson, Sally Smart, Josie Starrs Contemporary Art Centre Adelaide South Australia May 1 - 31 1992 From Women Curator Vivonne Thwaites Exhibitors Maria Cruz, Michele Elliot, Nicole Page-Smith, Lucia Tancredi Artspace Adelaide Festival Centre 10 April - 23 May 1992
Thinking Craft, Crafting Thought
Hossein Valamanesh Recent Work
Exhibition review Hossein Valamanesh: Recent Work Greenaway Gallery Adelaide South Australia 3 May - 3 June 1992
Thinking Craft, Crafting Thought
Contemporary Gipsland Artists
Exhibition review Contemporary Gippsland Artists A touring exhibition initiated by the LaTrobe Valley Arts Centre Morwell Victoria University of South Australia Art Museum 9 April - 8 May 1992
Thinking Craft, Crafting Thought
Designing Minds
JamFactory Craft & Design Centre 24 June - 23 July Object Galleries 5 August - 1 October Symposium: University of SA, 21-22 July
Queer Transgressions
Powerhouse, Brisbane 30 June - 30 July 2000
David Rosetzky: Custom Made
Centre for Contemporary Photography Melbourne 9 June - 1 July 2000
Drive-By, Fourteen Artists
Sarah Dawson & Bec Dean, Cam & Yvette Merton, Rick Mason & Malcolm Riddoch, Jo Law & Redmond Bridgeman, Marcus Canning & Emily Murray, Vikki Wilson & Erin Heffron, Sam Landels & Sohan Arial Hayes. Each work rotated between locations nightly around the city of Perth during 15-28 April 2000
The 12th Biennale of Sydney 2000
AGNSW, MCA, Artspace and satellite venues 26 May - 30 July
Little Rippers: Australian Fringe Pop
Outre Gallery, Melbourne to July 15 Fluxus in Germany 1962-1994: A Long Story With Many Knots RMIT Gallery to July 15th
Rosemary Laing: Gradience and Flight Research
Australian Centre for Photography 27 May - 25 June 2000 flight research Gitte Weise Gallery 25 May - 17 June 2000
Andrew Arnaoutopoulos: Trojan Horse
Institute of Modern Art 15 June to 22 July 2000
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