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Steampunk: gunpowder and cups of tea
Between 13 October 2009 and 21 February 2010, the Museum of the History of Science in Oxford held the world's first museum exhibition of Steampunk art. Writer, artist, emerging, networked and distributed culture geek Melinda Rackham was there.
Renew Adelaide pilot: 2 wheels good
Zine publisher and educator Dr Ianto Ware is the Project Manager of Renew Adelaide, an urban renewal clone of Marcus Westbury's Renew Newcastle, in which the 'definition of creativity has to be broad enough to encompass the wide fields of socially innovative activity that simply doesn't fit elsewhere.'
Remembering Judith Hoffberg 1934-2009
Expert on Len Lye, editor of Umbrella Magazine Judith Hoffberg died on January 16, 2009. Tributes to her life and work continue with a memorial exhibition planned for late 2010. Judith Hoffberg wrote of her last visit to Adelaide in 2002 as one of ‘’Paradise regained’...
Remembering Judith Hoffberg BA, MA, MLS, 1934-2009
Before and After Science: 2010 Adelaide Biennial of Australian Art
Curators: Charlotte Day and Sarah Tutton Art Gallery of South Australia 27 February – 2 May 2010
Adelaide International 2010: Apart, We are Together
Raeda Saadeh, Praneet Soi Contemporary Art Centre of South Australia Rosella Biscotti Australian Experimental Art Foundation Nina Fisher & Maroan el Sani, Donghee Koo, Li Mu, Tara Donovan, Imma Issa, Apichatpong Weerasethakul Anne & Gordon Samstag Art Museum Lucy and Jorge Orta JamFactory Gallery Julian Hooper Flinders University Art Museum Curator: Victoria Lynn 26 February – 14 March 2010
Local Studies: Fiona MacDonald
Curator: Jo Holder Artspace Mackay 18 December 2009 – 31 January 2010
Hall of Mirrors: Anne Zahalka Portraits 1987-2007; Aehee Park: Caring for Aehee
Hall of Mirrors: Anne Zahalka Portraits 1987 – 2007 Gippsland Art Gallery, Sale Curator: Karra Rees 30 January - 28 February 2010 Aehee Park: Caring for Aehee Gippsland Art Gallery, Sale 6 February - 14 March 2010
The City of Fremantle Festival of Photography: FotoFreo 2010
The City of Fremantle Festival of Photography: FotoFreo 2010 Silence – The West Australian Wheatbelt : Brad Rimmer Fremantle Prison 20 March – 16 May 2010 The Clubs: David Dare Parker The Fremantle Club 20 March – 18 April 2010 FotoFreo 2010 Fringe Festival Paradise Lost: Rebecca Dagnall Studio Red Dust, Mount Hawthorn 20 March – 10 April 2010
Cubism and Australian Art
Curators: Leslie Harding, Sue Cramer Heide Museum of Modern Art, Melbourne 24 November 2009 – 8 April 2010
Sylvie Blocher: What is Missing?
Penrith Regional Gallery and The Lewers Bequest 13 February 2010 - 4 April 2010 Museum of Contemporary Art 17 February 2010 - 25 April 2010
Feminism Never Happened
Del Kathryn Barton, Pat Brassington, Kirsty Bruce, Jacqueline Fraser, Anastasia Klose, Fiona Lowry, Fiona Pardington, Yvonne Todd, Jemima Wyman Curator: Robert Leonard IMA (Institute of Modern Art), Brisbane 30 January - 20 March 2010
Ruth Waller: A 30 Year Survey
Curator: Deborah Clark Canberra Museum and Gallery 6 February - 6 June 2010
Everything's Alright: Hossein Ghaemi, Andrew Liversidge, Yasmin Smith
Curator: Amanda Rowell Roslyn Oxley9 Gallery, Sydney March 4 - 27 2010
A rusty sign at the end of a bloody empire
At Magnet Gallery in Quezon City Filipino artist Norberto Roldans exhibition Oil goes beyond the local situation and deals with the theme of peak oil as the root of all geopolitical evil, with the United States of America as the primary agent of ill intent. Lourd de Vera vividly describes it as a deliberate exercise in propaganda and sloganeering. Roldan takes a broad historical view and reflects on US policy in the Philippines over time while the rusting Caltex sign embedded in the exhibition asserts a warning: no empire lasts forever.
Conducting Mobility
Artists thinking and making work about fuel span the globe and delve into a wide range of ramifications. UK-based PLATFORM have done a multi-pronged report called Unraveling the Carbon Web on four oil-producing hot spots, Iraq, Nigeria, Russia and the Caucasus. Chicago-based Laurie Palmers Notions of Expenditure solicits renderings of exercise equipment and gyms redesigned for the production of electricity. Brian Collier wanders the edges of Illinois highways to locate thriving non-human life forms. kanarinka documented her running of the official evacuation route out of Boston while collaborators Kim Stringfellow, Amy Balkin, Tim Halbur, Pond and Greenaction made an audio guide for a Californian highway drawing its military, residential and agricultural stories together.
Watching as the enchanted land meets its end: Qiu Anxiong
With traditional Chinese brush painting skills Qiu Anxiong's three screen video animation New Book of Mountains and Seas, Part 1 shows the history of the world from its genesis as a vast sea to cities on the edge of destruction. It shows cycles of animal, bird and human life, oil drums and pipes, trees, mountains, the last ten yeas in China and the Great Wall of China. A modern version of the Shanhai Jing (The Classic of Mountains and Sea) the two thousand year old Chinese fanciful geography, Qiu Anxiong's animations brilliantly use scale to combine drawing with political comments.
Hyperlexic, desalinated but not scary
Separate performance works by The Collective (Alana Hunt, Sylvia Schwenk, Ingrid Dernee, Megan Brewster, Susie Fraser, Anna Williams), Tony Schwensen and Zina Kaye confront the complexity of the interlinked flashpoints of oil, energy, human rights, global warming, rampant flows of predatory capital and the war on terror with notions of resistance and how individuals can act. Schwensen was at Artspace, The Collective in Trajectories of Dissent at Little Fish Gallery and Mori Gallery while Zina Kaye in a Terminus Project at Westfield Bondi Junction broadcast her own comments on the massive LED signs hanging in the atrium of the mall.
Obscure dimensions of conflict
Lyndell Brown and Charles Green travelled in early 2007 for five weeks to the Middle East, Afghanistan and the Persian Gulf as the Australian War Memorials official war artists. The artists will make a series of oil paintings for the War Memorial from some of the many photos they took as well as developing a series of photos outside the official commission. The photos show an abstracted ruined world, shadows, machinery, stockpiles of weapons behind barbed wire, aircraft, campsites and deserts. The Ziggurat of Ur is evident in two photographs of Iraq and eloquently symbolises the rise and fall of cultures and armies across the land.
Power and art in East Timor
Recent art made by East Timorese artists is contrasted with work by Australian war artists Wendy Sharpe and Rick Amor. Artworks made by artists from the Arte Moris Free Art School in Dili are full of passion and deep knowledge of the incongruities of war and the poverty of their lives while the artworks made by Sharpe and Amor seem remote and generalised.
The winding way
Cairns-based artist Tijn Meulendijks considers the plant world as his medium. His exhibition, Natura est ars, held at Umbrella Studio in Townsville in 2007, was concentrated around a single plant community gathered while walking in a coastal Melaleuca swamp after fire had affected the environment.
The error of our ways: Madeleine Kelly
Brisbane-based artist Madeleine Kelly's oil paintings approach big issues through precise depictions of incongruous narratives which draw on both personal and mythological sources. Her comments on global issues like oil and pollution, human folly and its consequences, are framed like dream scenarios that touch us all. Kelly came to Australia from Germany when she was two and the celebrated 19th century German childrens story Struwwelpeter written and vividly illustrated by Heinrich Hoffmann echoes in her imaginative paintings of cautionary tales and surreal spaces.
The whistleblower of Discovery Bay
Carmel Wallace makes artworks with flotsam and jetsam. They comment on the immense amount of human debris she finds on the shoreline as well as on the scarred ecologies of the sea and the land. She also instigated the Great Southern West Walk project (a NETS Victoria exhibition touring throughout 2008) that brought a diverse range of artists to the chain of beaches, national parks and state forests located to the west of Portland near the Victoria-South Australian border. The project was driven by her need to develop her own knowledge and affinity for the land, to explore how art might contribute to environmental solutions and to explore walking as an all-encompassing method of experiencing the environment.
World tree: sounds of a bigger picture. Alison Clouston and Boyd
Alison Clouston and Boyd use sound and sculpture in layered and immersive installations that draw attention to delicate and complex systems in nature and what humans have made of them. 2007 is the first year they have made an artwork with a formal carbon audit and offset. Their recent art-making has caused them to become vegetarian. They believe that Today we humans need to relinquish this deeply embedded sense that we will be saved by some force beyond us, we alone have to sort out the mess we have made of this planet Earth, our only home.
Chance encounters: Pamela Kouwenhoven and Peter McKay
Two South Australian writers work with discarded materials to make strong commentaries on contemporary life. Pamela Kouwenhoven uses old empty plastic car battery cases to make Rosalie Gascoigne-like collages of faded colour and worn histories. Like her signature works using malthoid taken from beneath rainwater tanks, they have a strong environmental agenda, drawing attention to beauty as well as responsibility. Peter McKay makes playful works with serious messages. At night he makes patterns in oil stains on the road with glitter and photographs them. These works collapse the infinite into the accidental as galaxies appear on the ground.
Writing images with words: an inheritance of ambiguous faces
Beirut-based artist and writer Walid Salek's book of essays, called Jane-Loyse Tissier, deals with stereotyping in art. He is concerned with the way the Third World is often treated as a cliche of constant emergency and crisis and not as a subjective and historical space. His essays reinterpret some canonical works of Western art by artists like Titian, Courbet, Ensor, Giotto and David. His claim is that all pictures and all interpretations are contingent and thus in defending the Third World's right to its own interpretations based on its own values the entire world is being defended.
Rabih Mroué and Lina Saneh interview
Rabih Mrou and Lina Saneh are Lebanese performance artists. In their work called Whos Afraid of Representation?, currently touring Europe, they describe the work of over fifteen well-known performance artists from Chris Burden and Marina Abramovic to Stelarc and Rudolf Scwharzkogler whose violence occurs within the safe and sanctioned space of the art world. They contrast this symbolic violence with descriptions of violent murders in Beirut. The work draws attention to the way violent deaths in Beirut are as ephemeral as the newspapers they are reported in while the violence practiced by the performance artists becomes history and the artists gain authority.
The revolution will not be televised: the changing landscape of film and video production in the Arab world
The situation of Arab cinema today, while it varies from Morocco to Abu Dhabi, is at an interesting turning point due to digital technology and political and economic events. In spite of censorship there are increasingly more film festivals and a burgeoning audience of cinephiles. The 2007 Cinema East Film Festival in New York celebrated independent film production: At a moment when mainstream news seems helplessly captive to global conflicts, the war on terror and the clash of fundamentalisms, independent cinema has come to be regarded as a substitute for representing people, places and their stories. Filmmakers from the region are the most enchanting human rights activists, the most playful analysts, the most imaginative historians but first and foremost, the most generous and emboldening artists.
Handling the Adelaide Biennial
Stephanie Britton interviewed Felicity Fenner, curator of the 2008 Adelaide Biennial of Australian Art, to find out what Handle with Care really means in the twenty-first century.
Biennale of Sydney 2008: Carolyn Christov-Bakargiev
Tracey Clement interviews Carolyn Christov-Bakargiev, curator of the 2008 Biennale of Sydney, and finds out what she thinks about the Stendhal Syndrome, Biennale Syndrome and the politics of language.
Fierce or Friendly: Humans in the Animal World
Curators: Craig Judd, Kathryn Medlock, Peter J. Hughes, Vicky Farmery Tasmanian Museum and Art Gallery (TMAG) 14 December 20076 April 2008
Migratory Projects: The Drive Out Cinema
Andrew Sunley Smith Perth Institute of Contemporary Arts (PICA) 6 December 2007 - 27 January 2008
Economy
Anthony Kelly, Pilar Mata Dupont & Tarryn Gill, Bennett Miller, Tom Muller, Anna Nazzari, Mark Parfitt, Ric Spencer, Brendan van Hek (WA) Curator: Consuelo Cavaniglia PICA 1 - 25th November 2007
[the space in between] Book project
Curated by Tara Gilbee VCA Margaret Lawrence Gallery, Melbourne 13 July -4 August 2007 Sidney Myer Work on Paper Gallery, Bendigo Art Gallery 15 March - 13 April 2008 Umbrella Studio Contemporary Arts 8 August - 14 September 2008
Our Lucky Country - (Still Different)
Nuha Saad, Soda_Jerk, Ron Adams, Mimi Tong, Nana Ohnesorge, Liam Benson, George Tillianakis, Huseyin Sami, Adam Norton, Ruark Lewis, Maria Cruz, Elizabeth Day, Michelle Hanlin, Sarah Goffman, Anna Peters Hazelhurst Regional Gallery 8 December 2007 - 3 February 2008
Making it Modern The Watercolours of Kenneth McQueen
Curator: Samantha Littley Queensland Art Gallery 10 November 2007 5 May 2008
from time to time one talks to the moon: Aldo Iacobelli
Curator: Linda Marie Walker Experimental Art Foundation, Adelaide 15 November - 15 December 2007
Robert MacPherson, Vernon Ah Kee and Jeremy Hynes
Institute of Modern Art, Brisbane 8 December 2007 - 2 February 2008
Replay: Christian Marclay
Australian Centre for the Moving Image (ACMI) Melbourrne 19 November 2007 - 2 February 2008
Editorial
Richard Tipping looks at the role of text and language from an historical and contemporary context, covering areas of interest such as recent technological advancements, graffiti culture and going as far back as 46,000 years to briefly discuss some of the oldest found examples of Indigenous cave art in the south of Australia. Along the way he looks to medieval and ancient Phoenician developments, Clement Greenbergs promotion of painting as a purely optical experience, one in which text has no place except as another kind of surface, the role of Dada in claiming the relationship between word and image and discusses other important figures such as Duchamp, Brancusi, Stephane Mallarme, Christopher Brennan, Picasso, Braque, Kurt Schwitters, Charles Olson, Alex Selenitsch, Allan Riddell, Rosalie Gascoigne and many others.
The virus and the oracle: words as signs
Jane Goodall explores the notion of text and the word as a kind of virus, something William Burroughs considers a parasitic organism , especially as is the case in contemporary visual and semantic culture. Words act as signifiers for semioticians, but their visual presence in art makes them work as spatial indicators, suggesting that they contain directions or instructions. Here Goodall poses the potential of words in revealing something else about themselves: a secret yearning not to give orders but rather to be oracles, channelling strange truths from who knows what sources. Artists discussed include: Suzann Victor, Susie Lingham, Joseph Ng, Tony Schwensen, Samuel Beckett, Cheo Chai-Hiang, Redza Piyadasa, Heather Ellyard, Barbara Campbell.
Fluxus and after
Fluxus is a phenomenon that defies ready classification. This article highlights some of the printed and published matter that Fluxus inspired, starting with Maciunas-directed productions, those of Dick Higgins and other examples of individuals working in Australia today. A common factor in the instances of all Fluxus activity is a passion for improvisation and experimentation, a conscious elevation of the mundane and over-looked, often an active zeal in the face of disturbing political events, and not least, a stress on producing unusual and visually arresting statements. Australian artists following the Fluxus tradition here discussed include Michael Phillips, Madonna Staunton, Alex Selenitsch and Richard Tipping.
In black & white: text in Indigenous Queensland art
Timothy Morrell examines the significance of words within the context of Australian Indigenous art subsequent to the efforts of colonisation in neutralising indigenous identity through assimilation. The point is made through this article that: Words give artists the opportunity to be more direct than they usually are with images . Morrell uses the case of a handful of Queensland based indigenous artists such as Gordon Bennett, Richard Bell, Ah Kee, Fiona Foley and Vanessa Fisher.
Playing with art & language: some personal memories
Peter Hill chooses here to examine a personal interest in the marriage of text and image in contemporary art. From the inextricable links between text and image made through magazine and advertising media to the mix of graffiti and gravitas achieved through the works of Jean Michael Basquiat, this article covers a wide range of avenues and artists paramount to this investigation. Other key figures mentioned include Joseph Kosuth, John A. Walker, Ed Ruscha, Peter Burgess, Bruce McLean, Lawrence Weiner, Douglas Gordon, Barbara Kruger, Jenny Holzer and Thyrza Nicholas Goodeve.
Words and things
Concrete Poetry is both a form and an attitude to poetry that emphasises the visual and material elements of letters and thus words in relation to their meaning. 'Words and Things' is a project Patrick Jones set out to produce to represent concrete poetry and text-based art in Australia. A project that took him four years and that has attempted to dissolve the traditional form boundaries between art and poetry. The material considerations of 'Words and Things', both environmental and aesthetic, lead the reader into a work that is more like a sequence of short films than a standard book. Contributors to the book included Richard Tipping, Aleks Danko, Alex Selenitsch, Peter Tyndall, Geoffrey Baxter, Peter OMara, Jeff Stewart and Marie Sierra.
Walking with letters: Michael Parekowhai, John Reynolds, John Pule
This article looks at the recent works of New Zealand artists Michael Parekowhai, John Pule and John Reynolds to explore notions of identity through text and image relations. Parekowhais sculptural piece The Indefinite Article spells out I AM HE in an ironic critique of Colin McCahon and goes further through wordplay to cement a link between the word, identity and the complexities of translation. Reynolds Cloud comprised of nearly 7,000 white canvases transcribed with words from Harry Orsmans Oxford Dictionary of New Zealand English and acts to illuminate New Zealands separate identity and regional diversity within a worldwide community of English speakers. Stories of migration, of dispossession, of alienation characterise the work of John Pule. Similar to Parekowhai and Reynolds, Pule deploys words to multiply meanings and confound interpretation or translation.
Words, words, words: Mike Brown, Ruark Lewis, Rose Nolan
On its own, a word points to both the sentence that it might end up in, and also to the thought that precedes it. This zone between thought and convention allows artists to foreground qualities that are normally ignored in linguistic acts. Alex Selenitsch looks at a number of post WW2 tendencies or art movements which have made use of words: Action Painting, Graffiti, Concrete Art, Conceptual Art, Fluxus and Pop Art. Selenitsch uses the examples of Mike Brown, Rose Nolan and Ruark Lewis to highlight specific functions of the word, whether it be the morphing of word and image into one, the iconic and formal aspects of words or the relationship between visual and aural language.
Sacred texts
Books hold a privileged place in our society as keepers of knowledge, spiritual truth and cultural heritage. Melinda Rankin examines the role of books in artistic practice and the robust relationship that exists between artist and book via a willingness to challenge some of the apparent conventions of structure and content. Simryn Gill, Ken Orchard, Alex Selenitsch and Gerard Genette are artists whose practice is deeply entrenched in the seemingly offensive act of fiddling with these sacred texts . For these artists, the slicing, tearing and unpicking of books is not an act of violence or irreverence. In subverting the original narrative to their own purpose, they reconsecrate the text into artworks creating contemporary objects of veneration and desire.
Text-art and interactive reading
James Stuart explores the spatial and interactive aspects of text-based artworks, leaping off the page and into the textual practices of Peter Lyssiotis and Franz Ehmann. Lyssiotis is a writer and photomedia/collage artist and creates books that generally combine his own artworks and writings in collaborations with others. Among the most impressive of his projects is the recent A Gardener at Midnight: Journey into the Holy Lands, developed as part of a Creative Fellowship at the State Library of Victoria in 2003 which is of particular focus in this text. Brisbane-based/Australian-born Ehmann is concerned with the physical reading environment of the gallery and in turn deploys a multi-disciplinary approach to the physical space and temporal duration of his exhibitions. Via the works of these two practitioners Staurt here wishes to posit the very real sense of bodily and not just intellectual interaction with language that reading entails.
Word as Image: Islamic calligraphy in contemporary art
In the broadest terms calligraphy can be seen as a prescriptive form of drawing and in this liberated sense an artist is free to investigate its role as both message and ornament. This article looks at the nature of Islamic calligraphy via the works of two very different artists working in Australia today Iranian born Hossein Valamanesh and Naeem Rana of Pakistan. With the significance of language and the written word in Islamic culture it is hardly surprising that visual artists have in recent decades turned to it as the source of cultural and political potency.
Review: Visible Language magazine on Fluxus
Review of two special issues of Visible Language magazine Vol 39 no 3 'Fluxus and Legacy' (2005) and Vol 40 no 1 'Fluxus after Fluxus' (2006), guest- edited by Ken Friedman and Owen Smith. The publications evaluate the ongoing life of Fluxus as an idea including what Nicolas Bourriaud's Relational Aesthetics owes to it. Fluxus 'scores' by Alison Knowles, Yoko Ono, and Vuc Cosic.
Unreadable Writing
This brief article offers insight into a form of writing or drawing that Henri Michaux has termed asemic and which is the subject of interest for Tim Gaze, editor of Asemic magazine, published in Adelaide. As stated by Michaux Most people make asemic writing at some time, possibly when testing a new pen. They tend to have no fixed meaning. Their meaning is open . To explore the nature of asemic writing visit http://www. typisart.com.
A new alphabet? Guan Wei goes bush
A project coordinated by 24HR Art in Darwin brought artists of Chinese, European and Japanese origin to the township of Injalak in Gunbalanya, Western Arnhem Land. Ashley Crawford looks at the time Chinese-born, Sydney-based artist Guan Wei spent with three members of the local community and the stories he learnt to accompany the ancient rock art of this region. Subsequent to discovering the similarities between Indigenous Australian and Chinese visual narratives, Wei wanted to use the images as an alphabet to tell the story of his own encounters and experiences with the people and the landscape of Gunbalanya.
The book, the poet, the artist and the breakthrough
As a container of information in text form, the book is designed in a linear fashion to move the reader along line by line. Many artists seek to break this convention and direct the reader/viewer into a more exploratory realm, as is true of the work of Jan Davis. This article leads the reader (in a somewhat linear sense) through Davis seven-volume artist book simply titled SOLOMON a journey developed out of the artists concern with the operation of space in visual imagery and her interest in writing.
Emily Floyd against herself
Emily Floyd is attracted to texts that focus on identity and place and that offer new ways of thinking about these issues in the light of globalisation and post-colonialism. She is interested in the malleability of language and its connection to knowledge and power. The process Floyd employs to produce her numerous large-scale wooden letters mirrors the anxiety and obsessions with the various novels they are referencing Dostoevskys Crime and Punishment, Kafkas The Trial and Camus The Outsider. Sarah Tutton looks at Floyds practice, calling particular attention to her recent installation works its because I talk too much that I do nothing, Gen-existential Crisis and Compulsory for young intellectuals.
Skywriting
The idea of four-dimensional sculpture proposed by the Dimensionalist Manifesto of 1936 has found its realisation through the continuing use of skywriting as a medium in contemporary art. Here Richard Tipping briefly discusses the phenomenon looking at artists Mary Lou Pavlovic and Guy Warren who produced works in association with major public, sporting and political events within Australia. Tipping also raises the question of how such a temporal practice as this is to be considered within the realm of contemporary art.
Gwangju Biennale, South Korea
2006 marked the 6th Gwangju Biennale: Fever Variations in South Korea. Stephanie Britton sets the scene for what she describes as having been generous and daring, though not grand or pretentious and never (that kiss of death) magisterial. This event saw a definite shift from an international focus to look more intently at Asian preoccupations of the recent past as played out in the minds and hands of artists. Some of the simple headings at the recent Biennale were Myth and Fantasy; Nature and Body; Trace of Mind; Past in Present, as a way to initiate dialogue and illuminate the stories of how Asian artists began to work within an international context. Some of the artists showcased were Xu Bing (China), Kim Jong-ku (Korea), Miwa Yanagi (Japan) and Lee Sookyung (Korea).
Vivienne Binns survey at TMAG, curator: Merryn Gates
The Tasmanian School of Art in collaboration with the Tasmanian Museum and Art Gallery have created an exhibition focused on the phenomenon of the solo survey, using the work of Vivienne Binns to open a space for conversation about the personal aspirations of the artist and the broader role of curator and institution. Through the complex layering of this exhibition the artist and curator entice the viewer to engage more directly with the trials and joys of the artist's struggle. By engaging a museum-style presentation, Vivienne Binns becomes a contextual display marking milestones, thoughts, actions, protests, interactions, people, places, discisions and emotional responses that accumulate to give meaning to current choices.
Glory, glory, glory curated by Elizabeth Gertsakis
Melbourne public culture, curator/artist Elizabeth Gertsakis assembled a visual arts project around the life and work of early twentieth century Melbourne entrepreneur, sports and entertainment manager John Wren1871-1953. Artmaking, curating, presentation and display in a broad not narrowly discipline-centric definition are explored and unpicked. His world is, as Gertsakis argues, a constructed, directed one of effect and presentation within which Wren emerges as exemplar and victim in a process of image creation and narrative spinning that is central to social life in a media age.
Tom Muller > Gold Standard Art
This article discusses the artistic practice of Tom Muller - one concerned with both elegance of appearance and versatility of application. It is argued here that his astringent imagery is surely the art of our times not only in terms of its subject matter but its ease of distribution. Two works closely examined are Mullers 2006 piece 'Gold Card' in which the artist offered an edition of 24 carat gold credit cards and 'World Passport' (2000 present), considered to be two of Mullers most accomplished works because of the tension between their formalist pleasures and their real time operation.
APT5
5th Asia Pacific Triennial of Contemporary Art (APT5) Queensland Art Gallery Gallery of Modern Art Brisbane 2 December - 27 May 2007
APT5
5th Asia Pacific Triennial of Contemporary Art (APT5) Queensland Art Gallery Gallery of Modern Art Brisbane 2 December - 27 May 2007
The Other APT
Raw Space Galleries
99 Melbourne St, South Brisbane
28 November 2006 - 23 January 2007
99 Melbourne St, South Brisbane
28 November 2006 - 23 January 2007
Northcliffe Sculpture Walk
The Southern Forest Sculpture Walk Northcliffe, Western Australia Permanent artworks, launched 25 November 2006
Michael Callaghan: a survey
Michael Callaghan: A survey 1967 -2006 1 December 2006 - 21 January 2007 Manly Art Gallery 2 - 24 March 2007 Tin Sheds, University of Sydney 5 May- 24 June 2007 Wollongong City Gallery
RAPT
Rapt! 20 Contemporary Artists from Japan Nobuya Hoki, Tomoaki Ishihara, Yuki Kimura Monash University Museum of Art (MUMA) Clayton, Victoria 6 Sept - 18 November 2006
Rodney Glick/Lynette Voevedin
24Hr Panoramas Rodney Glick and Lynnette Voevodin Curator: Gary Dufour Art Gallery of Western Australia Perth 16 November 2006 - 21 January 2007
Anton Hart
Thenatureofthings Anton Hart South Australian School of Art Gallery Adelaide 2 November - 23 November 2006
Hiraki Sawa
Hiraki Sawa New Media Gallery, Level 3 National Gallery of Victoria International Melbourne 7 July - 3 December 2006
Art History For Artists or For Others
Thomas looks at the role of Australian art history within many of the countries leading undergraduate art courses. Discussed in relation to art museums and globalised art practice. Artists featured in this text are Robert Macpherson, Rover Thomas, Sydney Long, David Hansen, Tommy McCrae, Howard Taylor, Hossein Valamanesh and Tony Tuckson.
Missing in the History Wars
This text presents thoughts on the near-death state of the public presentation of historical Australian art and art history missing in action in the history wars? Key figures discussed are Eugene von Guerard, Louis Buvelot, Judith Brett, John Howard, Desmond and Bettina MacCaulay, Frederick McCubbin, Ken Gelder and Jane Jacobs. Links to Your Gallery and My Virtual Gallery are provided. http://abc.net.au/rn/arts/deepend/features/gallery/gallery2005/gallery/default.htm http://www.artgallery.nsw.gov.au/ed
Judy Watson: Selected Works 1990 - 2005
University Art Museum University of Queensland, Brisbane 26 November 2005 - 5 February 2006
Strange Strolls
Strange Strolls Curator: Perdita Phillips Participating Artists: Begum Basdas (Istanbul), Paulo Bernardino and Maria Manuela Lopes (Lisbon), Viv Corringham (London), Robert Curgenven (Katherine), Lawrence English (Brisbane), Aaron Coates Hull (Wollongong), Minaxi May (Fremantle), Roxane Permar (Shetland Islands), Perdita Phillips (Fremantle), Virve Pulver and Aili Vahtrapuu (Estonia), Ric Spencer (Fremantle), Kieran Stewart (Perth), Dorothee von Rechenberg (Switzerland), and Walter van Rijn (Netherlands) 18 November - 18 December 2005 Moores Building, Fremantle
Adam Costenoble: The Chamber
Adam Costenoble: The Chamber 17 - 27 November, 2005 Pelt Gallery, Sydney
Tides Apart: Pippa Dickson and Justy Phillips
tides apart Pippa Dickson and Justy Phillips 3 - 23 December 2005 Inflight Gallery, Hobart
Plots from the Left
Plots from the Left A series of installations based on the notion of collecting and collections Penny Malone and Shaz Harrison-Williams Moonah Arts Centre, Moonah, Tasmania 1 - 14 December 2005
Round-tables and Square Holes: Recovering Ground
Examines the fragility of the cross-institutional and inter-disciplinary debate. Raises issues of political intervention, globalisation and indigenous and non-indigenous identity and aesthetic. Refers to key figures Joan Kerr, Daniel Thomas, Mary Eagle, Narelle Jubelin, Michael Riley, Ross Gibson, Ricky Swallow, Patricia Piccinini, Tracey Moffatt, Dawn Casey, Terry Eagleton, Ian Burn, Djon Mundine, Diane Moon, George Lambert, Will Dyson, Ruby Lindsay, Christobel Pankhurst, Clive Bell, Roger Fry, Barbara Campbell, Raquel Ormella, Regina Walters, Joanna Callaghan, Martin Mischkulnig and Esme Timbery.
Art History in a Post-Medium Age
Marshs article is largely in response to Bernard Smiths article In Defence of Art History (I&II) published in Art Monthly 2000. Smiths essays were part of a larger debate between art historians and those aligning themselves with either the new art history, or postmodern methodologies associated with cultural studies or virtual culture. Marsh refers to the works of key figures such as Rosalind Krauss, Hal Foster, Peter Greenaway, David Lynch, Caravaggio, Lyndal Walker, David Rosetzky, Versacci, Clement Greenberg, Roland Barthes, Michel Foucault, Louis Althusser, Jean Baudrillard, Walter Benjamin, Thomas Crow and Marcel Proust.
On Radical Revisionism
This text looks at two key paintings by Melbourne magic realist artist Julia Ciccarone, which come from a 1996 show at the Robert Lindsay Gallery called Fictitious Voyages. These works are illustrations of the text A New Discovery of Terra Australis, or, The Great Southern Land, originally published in 1676 by one Gabriel de Foigny. These images are deconstructed in relation to past and present histories and what Butler believes are two major attitudes concerning the way things are seen and valued. Other artists here referred to include Gordon Bennett, Colin McCahon, Mondrian, Michael Stevenson, Scott Redford and Mikala Dwyer.
The Necessity of (Un)Australian Art History for the New World
McLean examines the current state of art in Australia as both a positive force and one essentially unAustralian. As he states There may be plenty of interesting artists from Australia but few aspire to make Australian art. McLean looks at the work of artists Tracey Moffatt, Gordon Bennett, John Citizen, Henri Matisse, John Peter Russell, Tony Nathan and John Mawurndjul in an attempt to address some of the issues surrounding the case for unAustralian art.
Dictionary of Australian Artists Online 2006
Respected educators, artists and curators took part in a no-holds-barred workshop coordinated by Dr Vivien Johnson on the teaching of Indigenous art at tertiary level. Appropriation of imagery, bicultural education and the delicate balance between serving the market for overseas students and the need of local and indigenous students were among the issues discussed.
Indigenising Art Education
Far from being at the forefront of Art History/Theory curricula, Indigenous art is frequently missing or relegated to the margins. Kleinert explores this fact through looking at the results of a recent report by Gregory Leong, Bronwyn Power, Penny Mason and Belinda Wright into the percentage of indigenous art material taught in Australian art schools. Furthermore this text focuses on a few recent initiatives which have attempted to strengthen the content of local art education in Australia.