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Contributors
Artlink
Various
Aaron Seeto
Adam Jasper
Adele Hann
Agatha Gothe Snape
Alasdair Foster
Alex Martinis Roe
Alison Carroll
Allan W. Synder
Amanda McDonald Crowley
Andrew Zheluk
Anita Aarons
Anna Eglitis
Anna Epstein
Anna Zagala
Anne Kirker
Anne Marsh
Anusha Kenny
Barry Craig
Bec Dean
Belinda MacGill
Beryl Mckenzie
Betty Milonas
Bill Gregory
Brenda Goggs
Bridget Currie
Briony Downes
Brook Andrew
Bryony Nainby
Cameron Stelzer
Carmen Ansaldo
Caroline Turner
Caroline Williams
Cath Bowdler
Cath Kenneally
Catherine Bull
Catherine Speck
Catriona Moore
Cecelia Cmielewski
Chris Limmer
Chris Nobbs
Chris Reid
Chris Ryan
Christine Clark
Clarissa Ball
Colin Koch
Craig Bremner
Craig Douglas
Craig Judd
Daniel Thomas
Darren Jorgensen
Dianne Longley
Dominique Angeloro
Donald Brook
Doreen Mellor
Dorothy Erickson
Douglas Kahn
Dylan Rainforth
Effemera Phaxx
Eliza Garnesy
Elizabeth Ruinard
Elizabeth Ann Macgregor
Emily Potter
Emma Lindsay
Eve Sullivan
F.Marion Lee
Felicity Fenner
Felicity Wright
Frank Bauer
Gavin Malone
Geoffrey Batchen
Georgy Downey
Gerald Raunig
Gert Biesta
Gillian Rainer
Graeme Sullivan
Greg Lehman
Gregory Pryor
Haema Sivanesan
Hannah Mathews
Heather Croall
Helen Ross
Helen Vivian
Henry Ward
Holly Arden
Holly Story
Ian Hamilton
Ian Howard
Ian McFadyen
Ian McLean
Ian North
Ilaria Vanni
Jacqui Durrant
James Strickland
Jane Williams
Janet de Boos
Janet Maughan
Jemima Kemp
Jen Webb
Issues
New Futures in Art Education
Issue 39:3 | September 2019
After the Missionaries
Issue 29:2 | June 2009
Curating : Creating
Issue 28:4 | December 2008
Art History: Go Figure
Issue 26:1 | March 2006
Adelaide and Beyond
Issue 24:1 | March 2004
Art and Childhood
Issue 21:2 | June 2001
The Future of Art
Issue 19:2 | June 1999
Australian Design
Issue 17:1 | March 1997
Art in the Electronic Landscape
Issue 16:2&3 | September 1996
Art & Education
Issue 11:3 | September 1991
Articles
Agatha Gothe‑Snape: On art and education
Eve Sullivan___How did you become the creative lead for the Kaldor Public Art Project Symposium on Art Education? What did this entail?
Agatha Gothe‑Snape___I was invited by Kaldor Public Art Projects to participate (or intervene) in the program as an artist. Throughout the development and planning of the event I spent time “in residency” in the KPAP office as a kind of “participant–observer.” I also did research into the current discourses around art and education, reflecting upon my own experiences and those of others, and spoke to primary and secondary school teachers about their approaches to teaching art.
Falling in love (Or is the curatorial a methodology?)
What is curatorial research? And what is a curatorial methodology? I founded the Curatorial Practice PhD at Monash University in 2014. Though new and at the time unprecedented in Australia, it is entirely modelled on the Fine Art PhD, which is now offered by more than two dozen courses in this country. And so these questions were put to me repeatedly. They often felt bewildering, the result of putting the square peg of curating into the round hole of academia. Curating’s entry into academia was an awkward and artificial event, but I believe this event continues to have tremendous potential, and I hope to tease out its implications and possible paths forward in the essay that follows.
Transforming East and West dialogues
Haema Sivanesan, Curator and Executive Director of SAVAC ( South Asian Visual Arts Centre) in Toronto Canada, analyses the current situation of Asian contemporary art by looking at work that is not only cross-cultural but concerned with bridging cultures and being a form of social action rather than simply engaging with commodity culture.
Collapsing the Bilateral: creating consciousness
The Long March Project founded by Lu Jie is an ongoing art project that began with a philosophical evaluation of the complex role and meaning of art and selfhood, in all its political, economic, cultural, and social guises. It is critical that new opportunities are found for artistic reciprocity that exist beyond the presumed centres of art validation (ie. America and Europe). The Long March directs the gaze of Chinese cultural producers to re-assess how art can be a tool through which ideas of making – self, thought, object – can be critically empowered and conceived.
China welcomes Australian ceramics
Potter and Head of Ceramics at ANU School of Art Janet de Boos writes about her journeys to China since 1996 and her current collaborations in bone china tableware. She writes : 'Rather than just a place where we can appropriate techniques and technologies and source cheap labour, China becomes a place for Australians to work and research collaboratively with fellow artists.'
Resuscitation through paper
On a residency at the Taipei Artists Village in Taiwan in 2007 Gregory Pryor researched a plant from which tongcao or pith paper was traditionally made. The complex collaborative journey to find the plant and the way its pith is removed forms a celebratory echo to his previous work Black Solander 2005 about endangered plants in Western Australia.
Hired hands: the Filipino collaborations of David Griggs
Neil Fettling asks; 'Why does an Australian-based artist like David Griggs, living and working in the first world, have such strong connections with a third world community, and how do these linkages affect his work?' and answers this question through an analysis of Griggs' recent art as well as comparing it to the work of Pat Hoffie and Wim Delvoye.
Jelek in East Timor
*(jelek means ugly in Indonesian) Artist Ruth Hadlow lives and works in East Timor. Her thoughts about it question notions of beauty and ugliness.
Contemporary Art in the Hermit Kingdom
Artists who have created fascinating works within the DMZ (Korean Demilitarized Zones) include the Spanish artist Santiago Sierra, the Italian artist Armin Linke and the Australian artist Lyndal Jones.
New climate for an old world: Paul Carter's Nearamnew
Paul Carter's Nearamnew, a public art work which is embedded in the 7,500 square metres of paving at Federation Square, asks for multiple, inclusive and open-ended responses.
Old Gods new lives: Exhibiting traditional Cook Islander art
In late 2008, the National Gallery of Australia (NGA) established its first Pacific Arts department. From the opening of the controversial Musée du quai Branly in Paris in 2006, to the New York Metropolitan Museum of Art’s creation of permanent new galleries for Oceanic art in 2007, there has been an international surge of interest in Pacific art, accompanied by hot debate surrounding exhibition protocols. Among the many works exhibited at these institutions are rare carvings of traditional gods from the Cook Islands: works that are still of great cultural significance to many Islanders today. Jacqui Durrant asked artists, curators and cultural professionals in the largest of the Cook Islands, Rarotonga, their opinions as to how images of their ‘old gods’ might be best exhibited, to see what a Western art gallery might take on board.
Bilum breakout: fashion, artworld, national pride
In the past decade bilum fashion has really taken off in Papua New Guinea and is now getting wider exposure through a few PNG gallery and designer websites like Pasifik Nau and Lava Lava Innovations. Since the late 1990s, local trendsetters of high fashion, including Cathy Kata and Florence Jaukae, have made a name for their original bilum outfits.
An Unlandscape of words and painting: from Meenamatta to paradise
This article explores new territory opened up by a cross-cultural collaboration between Indigenous poet Jim Everett and visual artist Jonathan Kimberley.
Threads, traces and legacies of the mission
Artist Kylie Waters works with the history of her own family and the way it is embedded in South Australian history. Specifically she explores the space between negative and positive evaluations of Lutheran missions in Central and South Australia.
Island improvisations: Nathan Gray
In 2008 Nathan Gray spent two months on Itaparica, a Brazilian island in the Bahia region, as part of an exchange initiated by The South Project Inc. At the end of the year the exhibition Tudo Que Acho was held to show the work created and produced as a result of the residency. The title in English means ‘everything I think’. In Portuguese the phrase also denotes discovery, as ‘to think’ and ‘to find’ signify the same act. Tudo Que Acho: Nathan Gray was shown 4 – 20 December 2008 at The Narrows, Melbourne.
Talking about my g-g-g-generation: Mark Siebert
Mark Siebert: Forever 27 is at the Experimental Art Foundation, 15 May – 13 June 2009.
The sound of many hands clapping: Ten Days on the Island
Ten days on the island 24 March - 5 April 2009
Nam Bang!
NAM BANG! Curator: Boitran Huynh-Beattie Casula Powerhouse Arts Centre 4 April - 21 June 2009
Yellow Vest Syndrome
The Yellow Vest Syndrome: recent West Australian art Curator: Jasmin Stephens Fremantle Arts Centre 31 January – 29 March 2009
The China Project
The China Project: Three Decades; William Yang; Zhang Xiaogang GOMA, Brisbane 28 March – 28 June 2009
Artroom5
Three artists – in the world: Anne Kay, Irmina Van Niele, Sera Waters artroom5, Adelaide 4 – 21 March 2009
Paul Zika
Paul Zika: Home and Away – reconstructing artifice Curator: Philip Watkins Carnegie Gallery, Hobart 26 March – 3 May 2009
The Enchanted Forest
The enchanted forest: new gothic storytellers Curator: Jazmina Cininas Geelong Gallery, 12 April - 9 June 2008; Bendigo Art Gallery, 19 July – 17 August 2008; Shepparton Art Gallery, 1 November – 14 December 2008; Latrobe Regional Gallery, 21 February – 19 April 2009; Swan Hill Regional Art Gallery, 1 May – 7 June 2009; Dubbo Regional Gallery , 4 July – 13 September 2009; Tweed River Art Gallery, 1 October – 15 November 2009
Temperature
Temperature 2 : New Queensland Art Museum of Brisbane 6 February – 8 June 2009 Curator: Frank McBride
Anne Ferran
Anne Ferran: The Ground, The Air Curator: Craig Judd Wollongong City Art Gallery 21 March - 17 May 2009
Caitlin Yardley
spill, the insistent body Caitlin Yardley 6 March – Sunday 12 April 2009 Heathcote Museum and Gallery, WA
Little Red Riding Hood
Little Red Riding Hood Curator: Victor Medrano Inflight ARI, Hobart 11 April - 2 May 2009
Gosia Wlodarczak
Gosia Wlodarczak: Conversation Helen Maxwell Gallery, ACT 22 February – 28 March 2009
The Secret Life of Plants
A Secret Life of Plants Curator: Andrew Gaynor Linden Centre for Contemporary Arts 4 April – 17 May 2009 Fremantle Arts Centre 30 May – 19 July 2009
What would you do?
A number of practising artists were invited to respond to a scenario in which a local council asked them to organise an exhibition featuring local artists from a sister city in a third world country. It seems a noble gesture, but one fraught with potential missteps. How would they proceed?
NAVA Now
Timothy Morrell provides the reader with a keen description in relation to the role that the art organisation NAVA (National Association for the Visual Arts) has within Australia's government but also the empowerment they claim to provide practicing artists. Morrell also includes some insight towards the rights of the common artworker by presenting some examples as to where they stand within Australian society but also how they operate in co-relation with the governments guidelines and in particular the controversial portrayal of nudity in art. A conclusive article articulating the importance of government organisations such as NAVA, Morrell provides an insightful discussion towards the role of the artist within Australian society but also the co-operation needed from the government to enable a sufficient means of expression from artists.
Catherine David's Transmission
Renowned French curator Catherine David visited Auckland to judge the Walters Prize; she awarded the $50,000 prize to Peter Robinson. John Hurrell artist, curator and blogger of NZ art reviews and critical discussion site eyeCONTACT spoke to Catherine about her curating of the Lyon Biennial which touches down in late 2009, and the relationship between artists and curators.
Curators, creators and catalysts
Marcus Westbury, former director of Noise, Next Wave, TINA (This Is Not Art) festivals, and writer and presenter of Not Quite Art on ABC TV, writes about the need for art to get away from reflecting too hard on gatekeepers and their requirements. He looks at the Biennale of Sydney at Cockatoo Island, the Next Wave's The Containers Village and the Melbourne Laneways projects as good examples of stepping outside the cube. He concludes that: 'Artists are best to invest their energy in finding their audiences and their communities.'
Right now I am unravelling: notes on the 2008 Next Wave Festival
A lively coverage of the exciting 2008 Next Wave Festival directed by Jeff Khan. Next Wave began 24 years ago and in 2008 presented the work of around 400 artist over 61 projects.
Curating a psycho-geography Campbelltown Arts Centre and the genius of Lisa Havilah
Campbelltown Arts Centre's chief curator and director Lisa Havilah creates challenging and confronting exhibitions like For Matthew and Others (2006), News from Islands (2007) and Ai Weiwei: Under Construction (2008). She believes that: 'contemporary art centres that sit outside of the metropolitan centres provide the highest level of opportunity for the development and application of new forms of curatorial practice.'
Beyond the temples: the way of idiosyncracy
Professor and artist Pat Hoffie interviewed highly creative, innovative and idiosyncratic curator Kevin Wilson, once Director of Linden, Director at Noosa Gallery where he devised The Floating Land project and most recently Program Director with the Queensland Artworkers Alliance and their ARC Biennial that opens in October 2009.
To curate or not to curate, 2008 in Europe: urban BB5 and post-industrial Manifesta 7
London-based Macedonian artist and writer Nadja Prlja compares the urban and modern 5th Berlin Biennial BB5: When Things Cast No Shadow (5 April - 15 June 2008) with Manifesta 7 (19 July - 2 November 2008) which occupied the whole arae of Trentoni in Italy. Prlja pays particular attention to the differences in the ways the projects were curated.
Curatorial Asia a twenty year perspective
As Director of Asialink Arts Alison Carroll has had twenty years of experience curating and facilitating the curation of exhibitions in or connected to Asia. Her analysis emphasises the complexity and cultural differences experienced by Asian curators in their home countries and looks forward to a more glocal future as they increase their international presence.
Places and contexts in two Singapore Biennales: curating courtrooms, containers and camps
Curator of the 2008 Adelaide Biennale Felicity Fenner discriminates between site-specific and site-responsive art practices in an analysis of the last two Singapore Biennales. She suggests that responding to the site may be the best way for a biennale to become more than an expo.
Curating Chinese themes: cheap labour, migration and capital, Shanghai Biennale and Guangzhou Triennial
In September 2008 Dylan Rainforth went to both the 7th Shanghai Biennale (Translocalmotion) and the 3rd Guangzhou Triennial (Farewell to Post-Colonialism). While he found mixed messages in Shanghai which was curated by artistic director Zhang Qing assisted by Julian Heynen and Henk Slager, it was Guangzhou curated by Gao Shiming, Sarat Maharaj and Johnson Chang that hit the sweet spot with 'witty, people-powered ways forward.'
Manray Hsu taking a political position
Prominent Australian curator Victoria Lynn interviewed Berlin and Taipei-based independent curator Manray Hsu about his notions of decentralised cosmopolitanism and Archipuncture (a sort of acupunture that artists do to cities)..
Hello Tokyo! Good to see you again
Artspace curator Reuben Keehan reflects on the Australia-Japan Visual Art Forum convened by Asialink in June 2008 as the Biennale of Sydney opened. The thirty delegates concluded the stimulating forum with recommendations about ongoing collaborations between curators using a variety of models, as well as the new ideas to be pursued of audience-in-residence programs and an Asian version of Manifesta.
Hello Tokyo! Process is all
Diorama of the City: Between Site & Space 13 September - 13 October 2008 Tokyo Wonder Site Artists: Alex Gawronski, Gail Priest, Tim Silver, Hiraku Suzuki, exonemo, Paramodel
Hello Tokyo! Flagging it
Some Material Flags, MOT Tokyo, 22 October - 12 January 2009. Louisa Bufardeci
Throwing voices
Senior Curator at Christchurch Art Gallery Justin Paton reflects on curating the exhibition that he remembers most fondly and that speaks to him of the magic of curating - the show of wall paintings called Big Talk by US word- artist Kay Rosen in 2004 at the Dunedin Public Art Gallery.
Back from the brink: culture in Timor-Leste
The Museum and Art Gallery of the Northern Territory (MAGNT)'s Curator of Southeast Asian Art and Material Culture Joanna Barrkman curated Husi Bei Ala Timor Sira Nia Liman /From the Hands of Our Ancestors which is on at MAGNT in Darwin from 21 November 2008 to 12 July 2009. The show celebrates the survival of Timor-Leste's cultural inheritance and asks whether traditional art forms and techniques have a role to play in the formation and assertion of Timor-Leste's national and cultural identity.
Firing across the gaps
In May 2008 Wagga Wagga Art Gallery's new Director Cath Bowdler curated Crossfire, an exhibition of resonating artworks from the Gallery's two major collections, the National Art Glass Collection and the Margaret Carnegie Print Collection, as a way of introducing herself to both the space and the place. Bowdler was initially inspired by the glass work Salt on Mina Mina by Dorothy Napangardi.
Species enhancement by international gene pool
Director of Wollongong City Gallery Craig Judd writes about the memorable experience of curating Wild Thang: post pop from the MCA, a show that combined works from the MCA's collection with corresponding pieces in the collections of the towns the exhibition visited: Bathurst, Armidale, Gold Coast and Albury.
Curating paths, musical chairs
Outgoing Director of the Experimental Art Foundation Melentie Pandilovksi spills the beans on the current state of play internationally in terms of powerful independent curators moving into important positions in museums. He puts forward the prevalence of a 'new institutionalism' seeking to redefine contemporary art institutions from within. The EAF is about to release a Futures paper on this topic.
So you want to be a curator?
Joanna Mendelssohn, author and Associate Professor at the College of Fine Art, University of New South Wales where she co-ordinates the Master of Art Administration, writes about the highly competitive and financially unrewarding realities of getting a position as a curator in an art musuem.
I've looked at love from both sides now: reflections on freelance / independent / guest curating
Juliette Peers, art historian and lecturer at RMIT, surveyed a number of freelance curators to find out how they work and why they embrace this insecure, interstitial existence. Hannah Mathews, Elizabeth Gertzakis, Vivonne Thwaites and Anne Kirker are among the freelance curators to whom she spoke.
Emerging, educating and unruly: Vivonne Thwaites
Hahndorf Academy Curator Melinda Rankin reflects on the recent work of legendary freelance curator Vivonne Thwaites who introduced Rankin to the deep levels of research, the surprises, the risks and the sheer hard work of being a curator.
Video loops and VIP dinners: 2008 Beijing and Hong Kong Art Fairs
Artlink Executive Editor Stephanie Britton 'did' two major art fairs in our region, the first ever in Hong Kong - ART HK08 and the fifth Beijing one - CIGE (China International Gallery Exposition). She found them both fascinating and especially enjoyed the Mapping Asia and Alternative Energy sections of CIGE and the symposium organised by Asia Art Archive at HK08.
25th National and Torres Strait Islander Art Award (NATSIAA)
25th National and Torres Strait Islander Art Award (NATSIAA) Museum and Art Gallery of the Northern Territory (MAGNT) 15 August 26 October 2008
It's time: Emily Floyd
Its Time : Emily Floyd Australian Print Workshop Gallery, Fitzroy, Melbourne 23 August - 18 October 2008
Spatsville: Memoirs of a failed painter: Alasdair Macintyre
Splatsville: Memoirs of a Failed Painter: Alasdair Macintyre Ryan Renshaw, Brisbane 23 September - October 11 2008
New social commentary 08
New Social Commentary 08 Warrnambool Art Gallery 6 September 2 November 2008
Shards: Judy Watson, Yhonnie Scarce, Nici Cumpston
Shards: Judy Watson, Yhonnie Scarce, Nici Cumpston Curator: Mary Knights South Australian School of Art Gallery (SASA) 30 September - 24 October 2008
Without Borders: Outsider Art in an antipodean context
Without Borders: Outsider Art in an Antipodean Context Curators: Glenn Barkley, Peter Fay Campbelltown Arts Centre, NSW 30 August 21 September 2008
Ornament: Anne MacDonald
Ornament : Anne MacDonald Carnegie Gallery, Hobart 19 September 26 October 2008
Warburtonta-latju Warntu Palyaranytja (We are doing Warntu work in Warburton)
Warburtonta-latju Warntu Palyaranytja (We are doing Warntu work in Warburton) Holmes à Court Gallery 1 August 14 September 2008
Fremantle Print Award 2008
Fremantle Print Award 2008 Fremantle Arts Centre 23 August - 5 October 2008
Exit music: a lake and a stand of trees: George Popperwell
exit music: a lake and a stand of trees: George Popperwell Contemporary Art Centre of South Australia (CACSA) 25 July 7 September 2008
Neo Goth: black in black
Neo Goth: Back in Black Curator: Alison Kubler UQ Art Museum, University of Queensland, Brisbane 25 July - 21 September 2008
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.
What Should Australian Art Historians Teach?
Grishin looks at the earliest teachings of Australian art history in Australian universities, commencing in the year 1946 with gradually diminishing staff and resources in more recent years. This text further examines some of the pressures against and valued roles of Australian art history in education institutions. Key figures referred to are Sidney Dickinson, Bernard Smith, James Mollison, Wally Caruana, Robyn Maxwell, Bea Maddock and William Morris.