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Contributors
Artlink
Abbra Kotlarczyk
Adam Mandarano
Adelè Sliuzas
Alan Cruickshank
Ali Gumillya Baker
Alison Bennett
Alison Carroll
Altair Roelants
Amelia Wallin
Amy Spiers
Andrew Gaynor
Andrew Yip
Andy Wear
Angela Valamanesh
Anna Haebich
Anna Nazzari
Anna Jean Bonshek
Anne Kirker
Anne Marsh
Anne Mosey
Anne Sanders
Anneke Sanders
Anneke Silver
Bec Dean
Belinda Barnett
Ben Leslie
Beth Field
Bindi MacGill
Binghui Huangfu
Bonney Djuric
Brett Jones
Bridget Currie
Brigid Noone
Brook Andrew
Bruce E. Phillips
Callum McGrath
Carol McGregor
Caroline Williams
Cate Jones
Cath Bowdler
Catherine De Lorenzo
Catherine McGuiness
Catherine Speck
Catriona Moore
Chloe Watfern
Christine Burry
Clare Ruciak
Colin Langridge
Courtney Coombs
D J Huppatz
Daena Murray
Dale Buckley
Damian Showyin
Daniel Kim
Daniel Mafe
Daniel Thomas
Daniel Mudie Cunningham
Darren Jorgensen
David Broker
David Bromfield
David Munn
David Sequeira
Dean Walsh
Deborah Malor
Deborah Mills
Debris Facility
Diana Klaosen
Diana Smith
Diana Young
Djon Mundine
Dominique Angeloro
Donald Brook
Dorothy Erickson
Elly Kent
Elly Raymond
Emily Crockford
Emma Johnston
Emma Woolley
Emmaline Zanelli
Erin Sickler
Eve Sullivan
Felicity Wright
Felix Ratcliff
Frances Kofod
Gabrielle Mordy
Gavin Malone
Geoff Levitus
Georgy Downey
Gerry Wedd
Glenn Barkley
Guy Fredericks
Helen Fuller
Helen McDonald
Ian Hamilton
Ian McLean
Ian Milliss
Ian North
Imran Ahmad
Ingrid Day
Issues
SENSORIA: Access & Agency
Issue 42:2 | Wirltuti / Spring 2022
Local Colour
Issue 39:1 | March 2019
Big Ideas
Issue 36:1 | March 2016
Sexing the Agenda
Issue 33:3 | September 2013
Elders: The Old Magic
Issue 26:4 | December 2006
Art History: Go Figure
Issue 26:1 | March 2006
Stirring
Issue 25:3 | September 2005
Currents I
Issue 24:3 | September 2004
Emerging Artists
Issue 17:4 | December 1997
Culture/Agriculture
Issue 15:1 | March 1995
Articles
Return to the Wunderkammer
Eve Sullivan interviews Lisa Slade Curator of the 2016 Adelaide Biennial of Australian Art: Magic Object
Let's boycott all biennales!
Ian Milliss on why biennales, like wars, are the continuation of politics by other means
Material thinking and sustainability in contemporary ceramics
Altair Roelants on critical new directions in ceramics from Australia and New Zealand
On First Nations agency in our European-based cultural institutions
Léuli Eshraghi interviews First Nations curators and artists Tess Allas (UNSW Art and Design), Bruce McLean (QAGOMA), Kimberley Moulton (Museum Victoria) and Rosanna Raymond (SaVAge K’lub for APT8)
Artist-run initiative: Fontanelle moving to Port Adelaide
Eve Sullivan in conversation with directors Brigid Noone and Ben Leslie
The new National Gallery Singapore: A monument for intersecting histories
Alan Cruickshank on branding the city-state as a global city for the arts
Letter from a young woman artist (after Janine Burke)
Diana Smith writes back to Burke questioning how much has changed.
55th Venice Biennale: The Encylopedic Palace
55th International Art Exhibition, Venice
1 June – 24 November 2013
1 June – 24 November 2013
Heartland: Contemporary art from South Australia
Art Gallery of South Australia
21 June – 8 September 2013
21 June – 8 September 2013
5th Auckland Triennial: “If you were to live here …”
The Auckland Art Gallery
10 May – 11 August 2013
10 May – 11 August 2013
Roy Ananda: The Devourer; Sandra Uray-Kennett: A Knights Tour through a Rent in the Wall
Contemporary Art Centre of South Australia Gallery and Project Space, Adelaide
26 April – 26 May 2013
26 April – 26 May 2013
19th International Symposium of Electronic Arts: Resistance is Futile
19th International Symposium of Electronic Arts
7 – 16 June 2013
7 – 16 June 2013
My Country, I Still Call Australia Home: Contemporary Art from Black Australia
Gallery of Modern Art, Brisbane
1 June – 7 October 2013
1 June – 7 October 2013
Eldertorial
Dr Pat Hoffie worked with Stephanie Britton to realise this themed issue. They networked across the nation to collect together a set of fascinating interviews and tributes to a dynamic and charismatic group of elders who helped create the identity of Australian art today. They wish to thank all the talented and dedicated interviewers some of whom travelled great distances to do face to face interviews with artists, curators and gallerists.
Rewards, Awards and Living Treasures
Thelma John provides an insight towards the National Trust Living Treasures Program, which recognises outstanding Australians that have contributed to our society with invaluable knowledge and experience within different disciplines such as visual art, acting and sport. John goes on the say that the program was initially for the elderly but has recently included more youthful luminaries. Although in retaliation to this John continues to elaborate on Australia's consistent movement towards a suitable Living Treasures program that includes awards that recognise such achievements within the Australian community.
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".
Daniel Thomas: Empathy and Understanding
Steven Miller talked to Daniel Thomas AM, much-loved curator and Emeritus Director of the Art Gallery of South Australia, at his house overlooking the wild north coast of Tasmania about what he has discovered about art and artists during his long career across three major Australian art museums.
Bert Flugelman: Still Flying
Bert Flugelman is a sculptor and painter. His influence on generations of students is legendary, in major art schools in Sydney, Adelaide and Wollongong whose sculpture departments suddenly spring into life when he arrives. He has an Honorary Doctorate from the University of Wollongong, whose Friends association raised the money to pay for his gigantic winged sculpture on Mount Ousley overlooking the city an Icarus in the ascendant. At 82, he is still hard at work making large-scale works in his studio and workshop in Bowral, NSW, where Tamara Winikoff interviewed him on 23 June 2006.
Carol Rudyard: Storyboards and Solitude
English-born Carol Rudyard arrived in Perth, Western Australia, in 1950. Her initial studies at the Western Australian Institute of Technology focused on textile design and colour field and op art inspired paintings. In 1977 she began a progressive shift into slide-based installation then installation with video. Recently she has shown digital prints. Carol's reputation derives from early engagement with audiovisual technologies and her social analysis of the complicity of consumerism and the gaze at the time when theorywas often held responsible for a dissipation of critique. This article includes an edited transcript of a conversation held between Carol Rudyard and Jasmin Stephens in August 2006.
Inge King: Playing Seriously
Zara Stanhope talked to Inge King on 28 August 2006 shortly after the dedication of her latest piece of public art Rings of Saturn at Heide Museum of Modern Art. The interview took place at the Robin Boyd designed house where King (b. 1918) and her aristist partner Grahame King have lived for half a century. The both have small studio spaces in the buildings, which are set on several acres in Warrandyte in outer Melbourne.
Ray Crooke: The Stillness and the Colour
Though born and educated in Melbourne, Ray Crooke spent most of his career in the tropics away from the metropolis, risking anonymity, at a time when equity funding and regional issues were unheard of. Despite these odds he is recognised as one of Australias visionary artists, his tropical and outback paintings suffused with a contemplative stillness. What are some of the pivotal points that shaped his independent career? What is he involved in at present? These were some of the questions put to him in Cairns where he and his wife June, now in their early eighties, live. Some of Crooke's artistic influences and contemporaries here discussed are Arthur Boyd, Charles Blackman, Russell Drysdale and Sidney Nolan.
Udo Sellbach: Harsh Truths and Strong Feelings
Artist, educator and arts administrator Udo Sellbach (1927 2006) has made, and up until his death in September 2006, continued to make a profound contribution to the fine arts in this country. Born in Cologne in 1927, Udo emigrated to Australia in 1955. His experience as a founding member of the Kolner Presse and printmaker at the Kolner Werkschulen (1947-53) equipped him with the expertise to promote the development of printmaking as a studio practice within Australian art schools, particularly in the areas of etching and lithography. Sarah Scott conducted this interview with Udo in his studio in Taroona, Tasmania shortly after his seventy-ninth birthday in July 2006.
Butcher Cherel Janangoo: Imanara
Butcher Cherel Janangoos birth took place around eighty-five years ago. His mother was a Gooniyandi and Kija woman and he cites this as his heritage. He is first and foremost a markmaker. The lexicon of dots, dashes, strokes, washes, lines and imprints of brush, carving tool and sponge that Butcher employs are played out on canvas and paper as well as on etching and lithography plates and lino blocks. He is happy to work in any of these media yet regardless of the form or content of Butchers works, the subjects are all spectres of the same country, his riwi or home country that he calls Imanara.
Milton Moon: Approaching the Intangible
In his 80th year the eminent potter Milton Moon, AM, continues to make pots, working in a studio at his home in Adelaide. He exhibits with Aptos Cruz Galleries at Stirling in the Adelaide Hills. Over a long career Moon has received many awards and honours, including a Churchill Fellowship (1965) and is represented in many major public collections, including all the State galleries and The National Gallery of Australia. On a mild morning in early spring 2006 Margot Osborne sat with Moon to discuss his career as outlined in this article.
Arthur Pambegan Jr: Not to Die Away
Arthur Pambegan Jr was born in 1936 and lives at Aurukun on Cape York Peninsula. He is one of the senior members of the Wik-Mungkan language group and an elder of the Winchanam people. His main traditional lands lie between the Small Archer River and the Watson River. The sacred totemic sites of his people are told through two main stories Walkaln-aw (Bonefish Story Place) and Kalben (Flying Fox Story Place) which are the subjects of ceremonial carved sculptures. Peter Denham spoke to him in June 2002 at Aurukun.
Richard Larter: The Seasons of Art
For Richard Larter the material act of making paintings is an essential part of his daily life. He has written that my first mature paintings were pointillist abstracts done in house paints and enamels on lilac coloured masonite (Larter, 1998). Larter is an artist well aware of the visceral qualities of paint. Larters syringe paintings, made by forcing paint in raised lines onto hardboard, became the signature works for his initial Australian success. His role as assistant to the ceramicist Zora Merabek who was restoring the Marabout Tombs in Algiers led to a continuing interest in the visual forms of Islamic culture and a love of strong pure light. This article follows Larters prominent career and a lifetime of travel throughout Australia, New Zealand and abroad.
Hector Jandany 1927-2006: Teacher of Culture
Hector Jandanys work was informed by the ever-present knowledge of his country, and the ngarranggarni or Dreamtime the time the world and the rules for life began. He was renowned as a teacher of Gija language and culture in Warmun since the 1980s and he helped spread knowledge of song and ngarranggarni throughout the East Kimberley. Jandany was part of an amazing cultural team including George Mung Mung, Jack Britten, Henry Wambiny, Queenie McKenzie and others supported at Texas Downs by the kindness of manager Jimmy Klein.