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Paint every hill: Billy Benn
Billy Benn Perrurle and Catherine Peattie with essays by Ian McLean and Judith Ryan IAD Press RRP $34.95
Yiwarra Kuju: The Canning Stock Route
Sarah Scott reviews and questions Yiwarra Kuju: The Canning Stock Route exhibition at the National Musuem of Australa. She asks: "Why don’t the NMA’s collections of Indigenous material culture feature more strongly in their exhibition program? Why are both the NMA and the National Gallery of Australia (NGA) collecting the highly sought after and expensive works produced by major Papunya artists? If the commissioning of art and associated documentary material is a priority for the NMA what other Indigenous material culture may they be neglecting?"
Remembering Forward at the Museum Ludwig
Curator at AAMU Georges Petitjean describes the 'Remembering Forward' exhibition at the Museum Ludwig in Cologne in detail, how it came about, what surrounds it and what it might mean.
CoBra and Aboriginal art at AAMU, Utrecht
Newtown fellow at the University of Cambridge Khadija La visited AAMU (the Musuem of Contemporary Aboriginal Art) in Utrecht to see "Breaking with Tradition" an exhibition curated by Georges Petitjean that hangs works by CoBrA artists together with work by Indigenous artists and Roar artists who work or worked in Indigenous art centres.
A Third Path: the Musée des Confluences
French curator Arnaud Morvan, who recently completed his Phd at the University of Melbourne on the art of the East Kimberley, writes about the new approach to showing and consulting about Indigenous art taken by the still-under construction Musée des Confluences (due to open in 2014) in Lyon. "It represents a first step towards an abolition of the segregation endured by non-Western art in Europe and an attempt to rise above the antiquated opposition between art and ethnography."
Elcho Island: Morning Star over London
Artlink's UK contributing editor Jo Higgins interviewed Melbourne-born London gallerist Rebecca Hossack about her Indigenous art program and her attempts to raise its profile in London. She has two galleries and each summer for three months both galleries show only Australian Indigenous art in her Songlines series. Recently Elcho Island art featured.
New displays at Pitt Rivers Museum
In 2009 eight new case displays were added to the legendary 1884 Pitt Rivers Museum in Oxford. Indigenous art scholar and lecturer Susan Lowish examines how Aboriginal art fared in this rejig of history.
Rising Queensland Indigenous artists
As leaders of unique working partnerships between the Indigenous art industry and the Queensland Government, pioneers like Judy Watson, Dennis Nona, Vernon Ah Kee, Richard Bell and Sally Gabori have established strong international reputations.
Donning Oxford
Christian Thompson who is one of the two inaugural Charlie Perkins Scholars at Oxford University writes about this experience and how it makes him think of his upbringing and the responsibility it entails. "...it is our arrival at Oxford that reminds me of how much work we still have ahead of us as young Aboriginal people and future leaders of our communities. This is something you feel as an inherent responsibility when you meet people daily from all around the world, whose communities are facing similar hardships and the symptoms of the ravages of colonisation; time is of the essence."
Action at Canopy Artspace in Cairns
Canopy Artspace first opened for the 2009 Cairns Art Fair. It houses the Australian Art Print Network, New Flames Foundation and Editions Tremblay NFP (no Fixed Press). Paloma Ramos who works at Editions Tremblay vividly decribes the intense and fertile work in printmaking and sculpture that happens at Canopy.
Euraba Paper Company, Boggabilla
Associate Lecturer at the College of Fine Art in Sydney Tess Allas writes about when she was NSW Regional Indigenous Cultural Officer and first met the women of Boggabilla who formed the Euraba Paper Company which won the Parliament of NSW Aboriginal Art Prize in 2010.
Working in Indigenous Art Centres
Felicity Wright speaks from long experience, as a worker and as a reviewer of art centres on Aboriginal lands. Her thoughtful article teases out many do's and don'ts in this highly contested field.
Tracey Moffatt / Stop(the)Gap / <BR>tall man
Tracey Moffatt: Narratives Curators: Stephen Zagala, Maria Zagala Art Gallery of South Australia 26 February - 20 March 2011 Stop (the) Gap: International Indigenous art in motion Curator: Brenda Croft Samstag Museum of Art 24 February - 21 April 2011 Vernon Ah Kee: tall man Australian Experimental Art Foundation 23 February - 26 March 2011
Dialogues with Landscape
Exhibition Co-ordinator: Katie Lenanton University of Western Australia Cultural Precinct 15 February – 6 March 2011
Landscapes and Horses: Ivan Durrant
Curator: Rodney James Mornington Peninsula Regional Gallery 16 February - 26 April 2011
Space Antics: Sue Henderson, David Marsden, Penny Mason
Burnie Regional Art Gallery 19 March - 8 May 2011
Ken and Julia Yonetani / Janet Tavener
Still Life: The Food Bowl: Ken and Julia Yonetani Artereal Gallery, Sydney, June 2011 Mildura Palimpsest #8, 9-11 Sept 2011 GV Art, London, October 2011 Melting moments: Janet Tavener Incinerator Art Space, Willoughby 2 -27 March 2011
Networks (cells & silos)
Monash University Museum of Art
1 February – 16 April 2011
Curator: Geraldine Barlow
1 February – 16 April 2011
Curator: Geraldine Barlow
Dis-covery
Long Gallery, Salamanca Arts Centre, Hobart 25 March - 1 May 2011 Curator: Colin Langridge
Ulli Beier
Ulli Beier (1922-2011) I remember a Yoruba saying that Ulli often quoted: “If an old man dies, you shall not weep but congratulate his family for that his life has come full circle.”
John Barbour
John Barbour (1954-2011), a complex, intelligent and much loved South Australian artist and academic, was in the prime of his life and at the height of his career when he died on Sunday 17 April 2011.
Victorian Indigenous Art Awards 2011
Article on VIAA, Indigenous arts in Victoria – from the VIAA Curator.
Not black enough, the politics of skin
Bundjalung man, journalist and radio broadcaster Daniel Browning, guest editor of this issue of Artlink, writes about the current state of racism and Aboriginality in Australia.
Lin Onus: picturing histories, speaking politics
Art historian and painter Gamilaroi/Gamilaraay woman Donna Leslie examines the work and the legacy of Lin Onus, its humour, its depth and its urgency.
Learning to be proppa : Aboriginal artists collective ProppaNOW
Senior Research Fellow and Senior Curator at the National Museum of Australia Margo Neale presents an incisive account of the genesis of proppaNOW the Queensland collective of urban Aboriginal Artists who are making waves in Australia and internationally with their intelligent brash art.
Gordon Hookey : Flash Gordon’s message - language is a virus - the King's English (not)
Curator, artist and South Australian School of Art lecturer Brenda L. Croft gives the lowdown on Gordon Hookey's really rude and loud art that uses language and Australian animals to put the boot into racism and lend a voice to the silenced.
History is a weapon: Fiona Foley history teacher
Badtjala woman Fiona Foley is a sculptor, installation artist, painter, printmaker, photographer, public artist, curator, lecturer and public speaker. Her work addresses lacunae and silences in Australian history, opening wounds and drawing attention to important topics of the past and how it affects the present.
Art of glass: Yhonnie Scarce
The first Aboriginal student to graduate from the University of South Australia with a major in glass, Yhonnie Scarce makes blown glass objects that explore Aboriginal history and draw on her Kokatha and Nukunu ancestry.
Dianne Jones : a little less conversation
Curator of Indigenous Art at the Art Gallery of Western Australia Clotilde Bullen provides insight into Nyoongar artist Dianne Jones' use of humour and iconic images from Western art to make hard-hitting blak art about racism, the absence of black faces in history and the portrayal of black women.
Tony Albert: there’s no place like home
Wirri man Bruce McLean of the Birri Gubba nation is currently Associate Curator, Indigenous Australian Art at the Queensland Art Gallery/Gallery of Modern Art, Brisbane. He writes with personal insight about the art practice of the youngest member of proppaNOW Tony Albert who comes from Cardwell in Queensland and was included in the 2009 Havana Biennale.
From Tiwi with love: Bindi Cole
Yamatji man Stephen Gilchrist is curator of Indigenous Art at the National Gallery of Victoria. He writes about recent winner of the 2009 'Victorian Indigenous Art Awards' Bindi Cole’s provocative artwork as an inventive addition to the genre of portraiture photography.
Gary Lee: the outsider
Photographer Gary Lee makes work saturated with beauty and homoeroticism. His photographs of Aboriginal men are celebratory, bold and uncompromising.
Beaver Lennon: painting country
Trainee curator of Indigenous Australian Art at the Art Gallery of South Australia Nici Cumpston writes about the new art of Beaver Lennon a young emerging artist of Mirning and Antikirinjara people who lives in Ceduna on the far west coast of South Australia. His great-grandmother was the author of the memoir 'I’m the one that know this country, the story of Jessie Lennon and Coober Pedy'.
Nowhere Boy
Emeritus Curator Djon Mundine OAM, currently Indigenous Curator of Contemporary Art at Campbelltown Arts Centre, Western Sydney, spills his guts on the current state of play as he sees it in Australian Aboriginal art where fashion has overtaken activism and some artists are just so hot right now.
Look good feel good: the art of healing
Murri woman Jenny Fraser has recently completed a Masters in Indigenous Wellbeing at Southern Cross University in Lismore. She writes about different avenues for wellbeing for all Australians through practices known by Indigenous Australians.
New Creations in Aurukun: Ceremonial Art
For the Adelaide Festival, Aptos Cruz Gallery in the Adelaide Hills is showcasing an extensive range of art from senior and emerging Aurukun artists, with about 35 works representing all artists using the art centre. This is a great opportunity to see new creations coming from the community. The exhibition continues to 4 April 2010.
Queensland Indigenous Artists Creating More than Great Art!
The Queensland Indigenous Arts Marketing and Export Agency (QIAMEA) was established in 2003 to promote the export of quality Queensland Indigenous art globally and nationally. A focal point for Queensland Indigenous art will be the 2nd Cairns Indigenous Art Fair (CIAF) to be held from 20 to 22 August 2010.
6th Asia Pacific Triennial
Queensland Art Gallery Gallery of Modern Art 5 December 2009 - 5 April 2010
Culture Warriors
Culture Warriors Curator: Brenda L. Croft Katzen Arts Center, American University, Washington D.C. 10 September – 6 December 2009
Menagerie
Menagerie Object Gallery and Australian Museum, Sydney 5 September - 2 November 2009 travelling till 2012
To hear the language of birds: Paul Uhlmann
Fremantle Arts Centre 26 September – 22 November 2009 Curator: Jasmin Stephens
Critical Generosity
Morgan Allender, Christopher Boha, Thom Buchanan, Annika Evans, Talitha Kennedy, Chloe Langford, Julian Lucas, Mary-Jean Richardson, Sam Songalio, Tomasz Talaj, Billie Justice Thomson, Reed Young Curator: Brigid Noone FELTspace ARI, Adelaide 5 - 21 November 2009
White Picket Fences in the Clear Light of Day Cast Black Lines: Sangeeta Sandrasegar
Gallery 4A, Sydney 7 November - 12 December, 2009
Currents II
People involved in the arts and education might have difficulty recognising the Australia that the Treasurer has been talking up recently: the one with the record 4% low unemployment. But the Treasurers spin fails to mention that to be counted as employed you only have to work one hour per week, which bears out the reality of a life in the arts.
ex de Medici: Symbols of Mortality
ex de Medicis self-named approach to her practice Dogs Breakfastism signals an idiosyncratic working method that has seen her embrace photocopy, sound, performance, photography and drawing across a three-decade career. Kelly Gellatly looks at the multifaceted creative occupations of de Medici as both a visual and tattoo artist and the inherent connection she makes in and between these two practices. This text looks at two of de Medicis most prominent series - Gals n Guns and Spectre - through which she explores pressing issues such as global capitalism, corporatisation, materialism and the ongoing war on nature.
Yvonne Boag: Mapping Place, Memory and Conversations
Yvonne Boag is a traveller, a wanderer and keen surveyor of her surroundings. Her concerns of language and place traverse a myriad of media such as paintings, prints and drawings in a career spanning three decades. As Boag commented in 1989 With every new work I start, it seems I am always at a beginning. Each work is an attempt to hold on to time. To make marks of that time, which will trace a pattern through my life& Through this text Donna Brett looks at Boags journeys to places such as Korea, Paris and the Lockhart River and her use of iconography and dense layering as a means of mapping her interaction with places, journeys and people. Some artistic influences here discussed include the works of Roger Hilton, William Scott, Ben Nicholson, Patrick Heron and Avis Newman. The Lockhart River, Urban Landscape and Conversations series are referred to in considerable detail.
Heather Ellyard: Inventories and Commentaries
Heather Ellyards valued objects are static, symbolic, juxtaposed rather than flowing. Ellyard asserts that she wants to speak the lyrics and sorrows of our time. As she has said, I am interested in the glimpses, held, remembered, aligned inclusively&I am interested in awareness and how to acknowledge it within a visual framework. It may be that Ellyards vision of the periodical table is a bridge: between life made up of many little things and the one big thing toward which we all yearn. She leans more to wisdom art than to the mimetic or the sublime. Ellyards art is incorrigibly plural, and sustainedly committed to the broadest kind of human vision. Textual references include the works of D.W. Winnicott, Jacob Rosenberg, Arthur Koestler, Basquiat, Brett Whiteley and Primo Levi amongst others.
Robert Owen: A Different Kind of Modern
Robert Owens longstanding interest in exploring dimensions of light and space beyond the merely visual reaches back into an important line of constructivist art of the early twentieth century. Experiments with form and material have characterised Owens practice throughout his career, as has his openness to heterogeneous influences. Some of the major influences on Owens practice include metaphysical philosophy, Buddhist spirituality, optics, geometry in physics, minimalist sculpture and the work of Marcel Duchamp. This article refers to the works of Naum Gabo, De Stijl, Russian Constructivism, Bauhaus, Lynden Dadswell, Walter Gropius, Chairman Clift, George Johnston, Leonard Cohen, Jack Hirshman, Jean-François Lyotard, Charles Biederman, David Bohm and Stephen Hyde.
Becalmed: The Art of Going Nowhere in the Work of Nicholas Folland
Becalmed: the art of going nowhere in the work of Nicholas Folland
Sara Hughes: The Big Stick Up
The symbolic and perpetual possibilities of pattern are constantly under interrogation in the work of Sara Hughes as she is compelled to inhabit the capricious edges of what painting might be. Being a child of her times, Hughes was part of the sticker generation who adorned the unsuspecting surfaces of schoolbooks, bedroom walls, wardrobes, mirrors and fridges. She applies similar processes to her work as a means of mimicking the act of making something ones own and thus reinforces the claiming and transforming of spatial environments. This article follows Hughes practice through the visitation of childhood moments while simultaneously offering a platform for new conversations about spatial interplays and the shifting dialogues between surface and form, codes and perception and graphic modes and painterly references. Some of Hughes' primary influences include William Gibsons 2003 novel Pattern Recognition and the works of Yayoi Kusama, Takashi Murakami, Yoshinori Tanaka and Sergio Leone.
Renate Nisi: Sculpture of the Senses
Renate Nisi is obsessed by being packaged in a body, that condition common to humans, other animals, plants and even microbes. Growing up in Germany, where 'art had epic qualities', she flirted with the Sublime and the Romantic but converted to Expressionism 'with the figure as central motif.' A further shift has occurred since then, towards minimalism and three-dimensionality, 'away from the sovereignty of forms onto the relational qualities of environments.'
Indigenous Art of the Kimberley > Warmun Arts: The Unfolding Stories
This January, in the startlingly beautiful country of the Warmun Community, rained in by a particularly intense wet season, art matriarch and grandmother of eighteen, Mabel Juli, sat on the veranda of the Ngalangpum School looking through some of the old paintings which comprise the Warmun Community Collection.
Indigenous Art of the Kimberley > New Energy: Mananambarra
On the white walls of the gallery the large paintings of Wandjina by senior Kimberley artist Omborrin beam forth filling the room with the radiance of his beloved Kimberley homelands.
Twenty: Sherman Galleries 1986-2006
Twenty: Sherman Galleries 1986-2006 Laura Murray Cree (ed) Craftsman House ISBN 0 9757684 1 7 RRP $95
Biennale of Sydney 2006
Art Gallery of NSW, Museum of Contemporary Art, Pier 2/3 and 14 other venues in and around Sydney 8 June 27 August 2006
Tracey Clement: Border Zones
Groundfloor Gallery, Balmain SafARI, Pelt, Chippendale Sculpture, installation, jewellery http://www.groundfloorgallery.com/ 14 June - 1 July 2006
Deluxe: decorous crossover between art and design
Plimsoll Gallery, University of Tasmania Hobart 6 - 26 May 2006
Reflections in a Golden Eye
James Lynch. Sean Meilak. Viv Miller. Jonathan Nichols. Lisa Radford. Michelle Ussher Curated by Jan Duffy and Kate Barber Linden - St Kilda Centre for Contemporary Arts 8 July - 13 August 2006
et al: the second of the ordinary practices
The second of the ordinary practices et al Institute of Modern Art Brisbane 10 June - 22 July
