Search
You searched for contributors, issues and articles tagged with History ...
Contributors
asinnajaq
Artlink
QIAMEA
The Unbound Collective
Adam Geczy
Adelè Sliuzas
Adrian Martin
Alan Lee
Ali Gumillya Baker
Alison Carroll
Alison Gray
Amy Jackett
Amy Spiers
Ana Marie Saaverdra
Andrew Harper
Andrew Yip
Andy Wear
Anita Angel
Ann Finegan
Anna Bagshaw
Anna Haebich
Anne Ooms
Anne Sanders
Anne Marie Brody
Anneke Sanders
Anneke Silver
Annika Evans
Antoanetta Ivanovna
Bec Tudor
Belinda Briggs
Ben Byrne
Ben Eltham
Beth Jackson
Beverley Mitchell
Blair French
Brenda L Croft
Brendan Kennedy
Brett Jones
Brian Martin
Bridget Currie
Briony Downes
Bruce McLean
Carol Schwarzman
Caroline Durré
Caroline Farmer
Caroline Phillips
Caroline Wilson
Carolyn Wilson
Cath Bowdler
Catherine Speck
Chang Seung-yeon
Chantelle Woods
Chris Handran
Christina Barton
Christine Watson
Clare Williamson
Cliff Burtt
Clothilde Bullen
Clotilde Bullen
Cobi Labuscagne
Craig Judd
Daena Mossman
Daena Murray
Daniel Browning
Danni Zuvela
Darren Jorgensen
David Bromfield
David Garneau
David Hansen
David Pledger
Deborah Malor
Deborah Mills
Denise Robinson
Djon Mundine
Donald Brook
Donna Leslie
Drew Kahuaina Broderick
Dunja Rmandic
Eleanor Scicchitano
Ellie Buttrose
Emily Cloney
Emily Cormack
Emily Johnson
Emma Bitmead
Erica Izett
Eve Sullivan
Faye Rosas Blanch
Fernando Balcells
Frances Kofod
Freja Carmichael
Garry Jones
Gary Lee
Gim Jong-gil
Gregory Pryor
Helen Fuller
Hye Jin Mun
Ian Hamilton
Ian McLean
Ian North
Ioana Gordon-Smith
Issues
INDIGENOUS_Kin Constellations
Issue 40:2 | June 2020
Korea
Issue 35:4 | December 2015
Art & War: Badlands
Issue 35:1 | March 2015
Indigenous: Re-visions
Issue 33:2 | June 2013
Blak on Blak
Issue 30:1 | March 2010
Time
Issue 29:1 | March 2009
The South Issue: New Horizons
Issue 27:2 | June 2007
Elders: The Old Magic
Issue 26:4 | December 2006
Remote
Issue 25:2 | June 2005
Mining the Archive
Issue 19:1 | March 1999
Articles
Knowledge positions in Aotearoa and Turtle Island art museums
Interview with First Nations curators Kathleen Ash-Milby, Maia Nuku and Nigel Borell.
Korean heat at the Asia Pacific Triennial of Contemporary Art, Brisbane
Alison Carroll on the legacy of the Asia Pacific Triennial as the place to see Korean art in Australia
The public good of private museums in Korea
Chang Seung-yeon on the the conspicuous activity of the private art museum run by corporations and individuals
We are Korean: Cultural agency is power
David Pledger looks at the role of arts and culture in globalising national economies and contrasts Korean and Australian strategic thinking
The rogue aesthetic practice of crossing the DMZ
Gim Jong-gil on the seditious seed that is the Demilitarized Zone between North and South Korea
Art–science convergence: High-tech/media/robotics/post-human
Hye Jin Mun on the intersection between the arts and sciences in Korean art
Filling the holes of history with the present: Cho Duck Hyun, Noh Suntag and Jo Haejun
Jung Hyun on three Korean artists who deal with history in strikingly different ways
Art that embraces the village and its residents
Kim Hae-gon on the Maeulmisul Art Project supporting regional renewal
Art museums rule: State support for grand visions
Kim Inhye on Seoul’s evolving infrastructure of museums, independent artists’ spaces and residency programs
Ecology and new border paradigms: The Real DMZ Project 2015
Lee Sun Young on practices that shed light on the division and possibilities for reunification of North and South Korea
Cultural conversations: An oral history project
Paul McGillick on an online archive generating a unique cultural exchange between Australia and South Korea
Are we engaged or just hanging out? Korea–Australia arts exchange
Sarah Bond on the act of giving and taking as cultural exchange
Three Korean artists at the 8th Asia Pacific Triennial of Contemporary Art
Yeon Shim Chung on artists Choi Jeong-Hwa, Haegue Yang, and Siren eun young jung
Video and performance art in Korea: A force majeure
Yoo Jin Sang on the evolving forms of performative practice in contemporary Korean art
The world of Dansaekhwa: Spirit, tactility and performance
Yoon Jin Sup, the acknowledged authority on the 20th-century movement of Dansaekhwa, traces its resurgence today as an expression of the enduring presence of ancient culture in this outwardly most material of societies
An interview with BG Muhn on the art of North Korea
Yvonne Boag interviews BG Muhn about his forthcoming book on the Passion, Propaganda and Paradox of North Korean Art to be published by Seoul Selections, and an exhibition at the American University Museum in Washington in 2016
Recalling history to duty: 100 years of Australian war art
Ryan Johnston on Australia's official war art scheme.
True fairytales of violence: Art and the Holocaust in Hungary
Adam Geczy on art, history and identity politics
Good Medicine
Being Aboriginal doesn’t make you wise, spiritual or even good at art. Being Aboriginal is historical just like being any other nationality or ethnicity. All art can be examined ethnographically, all people can be examined ethnographically.
The dearth of criticism
Some artists are often heard to complain about the lack of honest criticism of Aboriginal art. But in such a limited sphere, criticising an Aboriginal artist in formal or aesthetic terms, or at a deeper level, is a bit like shooting fish in a barrel. Too often, critics play the man and not the ball. Can we handle the truth?
The (white) elephant in the room: Criticising Aboriginal art
Does Aboriginal art exist in a critical vacuum?
Let's be polite
Editor Daniel Browning interviews artist Vernon Ah Kee who discusses the lack of criticism of Aboriginal art and the abundance of 'mass production' Aboriginal art emanating from remote communities seen by some as 'real Aboriginal art' but in the eyes of Ah Kee simply and uncritically playing into false romantic notions of the lives of Aboriginal people.
Toward Indigenous Criticism: The Ah Kee paradox
Métis artist, curator and academic David Garneau explores the current situation of indigenous art through increasing global links and connections.
Ich Bin Ein Aratjara: 20 years later
Aboriginal super-curator Djon Mundine, who travelled to Europe in 1994 as touring curator with the significant exhibition Aratjara: art of the first Australians, looks back at the genesis and reception of that exhibition. He asks where is the political impetus evident in Aratjara today and where is the Aboriginal input into the development of national survey exhibitions.
The limits of criticism
Anthropologist John Carty casts his eyes over the last ten years of writing on Desert art, mostly in newspapers, and finds many cliches and inconsistencies. He asks: "Where are the fine-grained localised art histories, the rich biographies of our most interesting and important individual artists? Where are their voices?" And replies: "They are still waiting in the Desert."
My Country, I Still Call Australia Home: Interview with Bruce McLean
On curating My Country, I Still Call Australia Home: Contemporary Art from Black Australia, opening at the Gallery of Modern Art in Brisbane on 1 June 2013.
The archive in the contemporary
The artworks of Danie Mellor, Brian Robinson and Christian Thompson each draw on archival material for subject matter, for inspiration, and to develop new work that harks back and forward at the same time.
Spirits beyond borders: Shadowlife
Curator and Associate Director of Taiwan Culture and Creative Platform Foundation Antoanetta Ivanovna, resident in Taiwan since 2011, discusses the travelling exhibition Shadowlife curated by Djon Mundine and Natalie King, and its impact in Taiwan where consciousness of their indigenous people is not as developed as it is in Australia.
Ghostnets go global, and local
Ghost nets are fishing nets that have been abandoned at sea, lost accidentally, or deliberately discarded. The GhostNet Project, which began on islands and in communities around the top of Australia, uses the nets to make artworks, to raise awareness of marine pollution, to be creative. Awareness of Ghostnets is on the rise both nationally and internationally.
Disquiet and resistance in the art of Julie Gough
Senior Curator of Indigenous Art at the National Gallery of Victoria Judith Ryan surveys the complex and inventive art practice of Julie Gough who is concerned with "developing a visual language to engage with the unsettling space between conflicting and subsumed Australian histories."
Ken Thaiday Senior, Darnley Man
Exhibitions Manager at Cairns Regional Gallery Justin Bishop tells the rich story of how Ken Thaiday Sr. came to be a major Torres Strait Islander artist. In August 2013, Cairns Regional Gallery, in partnership with Cairns Indigenous Art Fair (CIAF), will be presenting a survey exhibition of Ken Thaiday Sr.’s work.
Rekospective
Yorta Yorta and Wiradjuri curator and lecturer Jirra Harvey traces the career of self-taught graffiti and studio artist Reko Rennie. He uses a traditional Kamilaroi patterning in neon and in graffiti as a contemporary statement of sovereignity. Harvey says: "The subtext to such works is a running narrative on government practices that work to control and restrain Aboriginal communities and the subsequent rebellion of the people."
Jimmy Pike: there is more
Curator and writer Karen Dayman fills in the background of the development of the work and broadens the profile of Great Sandy Desert artist Jimmy Pike whose skills took him around the world and into collaborations with Desert Designs, with his partner Pat Lowe and with the theatre.
The road to Pormpuraaw
Filmmaker Peter Hylands writes about a recent visit to the remote Pormpuraaw Art Centre in Far North Queensland. Here he talks with artist Sid Bruce Short Joe who speaks nine languages, the ninth is English.
Rainforest identity (past and future)
Napolean Oui is a Cairns-based, mid-career, Djabugay artist and a proud advocate of the rainforest art style unique to Far North Queensland. 2012 was a breakthrough year for him, he did a residency at Studio PM with Paul Machnik and others in Montreal, developed new work at Djumbunji Press for a solo show at Kickarts Contemporary Arts in Cairns during the Art Fair, AND sold work to the National Gallery of Australia.
String theory: Karen Mills
Michelle Culpitt examines the work practice of Northern Territory artist Karen Mills whose paintings are inspired by the string bags made by the women weavers of Arnhem Land. Culpitt writes: "The articulation of her painterly vision is only possible at the nexus of her experience and influences as an Aboriginal woman in contemporary Australia, a place of both deep connection and belonging to country, and also disjuncture and dislocation from a nation in denial of its own history."
Black prints* @ Cicada Press
Cicada Press is a research group within the School of Art at the College of Fine Arts, University of New South Wales (COFA UNSW). For the past six years Cicada Press, with Tess Allas from the School of Art History and Art Education, have been working closely with a number of Aboriginal artists from across the country.