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Contributors

Artlink

Araya Rasdjarmrearnsook

Issues

Local Colour

Issue 39:1 | March 2019

Considering the Animals

Issue 38:1 | March 2018

Art Land

Issue 36:3 | September 2016

Indigenous Global

Issue 35:2 | June 2015

Sustainable?

Issue 34:4 | December 2014

Mining: Gouging the Country

Issue 33:4 | December 2013

Disaster & Fortitude

Issue 32:4 | December 2012

Diaspora

Issue 31:1 | March 2011

Changing Climates in Arts Publishing

Issue 29:4 | December 2009

Time

Issue 29:1 | March 2009

Ecology: Everyone's Business

Issue 25:4 | December 2005

Remote

Issue 25:2 | June 2005

Currents I

Issue 24:3 | September 2004

Adelaide and Beyond

Issue 24:1 | March 2004

Place

Issue 22:2 | June 2002

Taking in Water

Issue 21:1 | March 2001

The Long Stare: Seeing Contemporary Asian art Now

Issue 20:2 | June 2000

Art, Architecture & the Environment

Issue 11:4 | December 1991

Articles

Culturally ambitious: Moving with the times

Joanna Mendelssohn on the Australia Council’s latest strategic plan.

Joanna Mendelssohn

Love among the ruins: The ends of art in the Anthropocene

Ian Milliss

The aesthetics and ethics of landscape design

Margot Osborne on the practice of Taylor Cullity Lethlean

Margot Osborne

Red mud: Art and the post-mining landscape

Amelia Hine, Philipp Kirsch and Iris Amizlev on building sustainable landscapes and land shapes from post-mining space

Amelia Hine, Philipp Kirsch and Iris Amizlev

Sarah Goffman: Trash converter

Andrew Frost

Nola Farman: Art, environment and technologies

Keri Glastonbury

Asha Bee Abraham: Human ecologist and artist

Asha Bee Abraham

Relational acts: Art, commoning and sustainability

Linda Carroli on creative practices that contribute to ‘the commons’

Linda Carroli

Valediction for a gallery: Following the art money

In 2001, the Damien Minton Gallery opened in Newcastle, moving to the inner Sydney suburb of Redfern in 2005. In August 2014, the gallery closed its doors for the last time. Here, Damien Minton reflects on the changing role of the commercial art dealer and the power of art money

Damien Minton

Jennifer Phipps: 1944–2014

Juliette Peers

Richard Larter: 1929–2014

Jeremy Eccles

Elizabeth Newman: Unsustainable

Elizabeth Newman

David Sequeira: Fugue

David Sequeira and Eve Sullivan

Editorial: Local colour

Eve Sullivan

Queer uses of colour: A tinted hermeneutics

Abbra Kotlarczyk

Revisiting colour problems: Emily Vanderpoel, Hilma af Klint, Becca Albee, Clare Milledge

Amelia Wallin

Vincent Namatjira: Colourful optimism

Wes Hill

Gerry Wedd: My blue and white china

Gerry Wedd

Hi-vis commodities: A body corporate’s toxic economy

Tessa Laird and Debris Facility

Local colour: Dyeing and women’s wealth

Julie Ewington

Wardlipari Homeriver: Vulnerable observations

Uncle Lewis Yarluburka O’Brien and Ali Gumillya Baker

Jane Skeer: True blue

Serena Wong and Eve Sullivan

Jacky Redgate’s patch of yellow (and blue)

Shaune Lakin

James Turrell: Night life in Brisbane

Diana Young

Donald Brook 1927–2018

Stephanie Britton and Janet Maughan

Editorial: Considering the animals

Eve Sullivan

Heading for trouble: Non‑human futures in recent art

Susan Ballard

Becoming-horse: Jenny Watson, Art Orienté Objet and Berlinde De Bruyckere

Georgina Downey

In the beginning there was the worm: Animal voices beyond the verbal

Tessa Laird

Surreal conjunctions in sartorial contexts: A testing ground for human–animal relations

Ann Finegan

From god‑head to bin chook: Ibis in the Australian cultural imagination

Paul Allatson and Andrea Connor

Madison Bycroft’s mollusc worlds

Matt Barlow

Entangled looking: The crisis of the animal

Barbara Creed

Trevor “Turbo” Brown and company

Christine Morrow

Losing the big picture: Surviving the Art Hunger Games

Joanna Mendelssohn on the changing landscape for arts funding in Australia

Joanna Mendelssohn

Looking for art in all the wrong places; Repositioning art in a regional context

The evolution of the Spaced residency program in Western Australia

Marco Marcon

Solastalgia and its cure

Ann Finegan on a restorative role for art in re-finding the commons and our relationship to the land

Ann Finegan

Lucas Ihlein: 1:1 scale art and the Yeomans Project in North Queensland

Max Andrews and Mariana Cánepa Luna

The Derwent Project

David Stephenson and Martin Walch

Josephine Starrs and Leon Cmielewski: And the earth sighed

Julianne Pierce

The Palmer Sculpture Biennial

Tracy Lock on an artist-run environmental art project in the Mount Lofty Ranges

Tracey Lock

Trevor Flinn: In the Mallee

Trevor Flinn on developing the rural outreach project TWIG

Trevor Flint

Henry Jock Walker: Surfer, artist, localist

Jessie Lumb

Dani Marti: New York, Sydney, Cessnock

Kit Messham-Muir

Editorial

Eve Sullivan

Catherine Truman: Touching distance

Julianne Pierce

Fieldwork: Artist encounters

Ann Finegan

Tempest

Sean Kelly

Perceiving the distant

Daniel Browning

I’m not sure that I exist (after Borges)

Editorial essay

Djon Mundine

Catherine Croll: Picanniny’s pool is down the road

Djon Mundine

Fiona Foley: Woman on the Dunes

Djon Mundine

Jenny Fraser: The cyberTribe odyssey

Djon Mundine

Lindy Lee: Asia link

Djon Mundine

Maria Fernanda Cardoso: Mestizaje

Djon Mundine and Maria Fernanda Cardoso

Emily Kame Kngwarreye in Japan

Gay McDonald and Laura Fisher on staging Utopia: The Genius of Emily Kame Kngwarreye at the National Museum of Art in Osaka

Gay McDonald and Laura Fisher

Fragrant Lands: There’s all our country

An exhibition and artist exchange program between Desart and the Shanghai International Culture Association

Philip Watkins

Globalising teaching and learning in Indigenous Studies

Bronwyn Carlson

Grassroots cultural exchange between western New South Wales and the Philippines

Two case studies involving Indigenous artists from the Philippines and the politics of transnational cultural exchange

Ruben Allas

Georgia MacGuire: In her skin

Laura Skerlj

Karla Dickens: It’s not bloody art, it’s work!

Yiorgos Zafiriou

Lena Nyadbi: Dayiwul in Paris

Jonathan Kimberley

Tarnanthi: Festival of Contemporary Aboriginal and Torres Strait Islander Art

Nici Cumpston

Towards an outward-looking Indigeneity

On leadership and self-determination in Indigenous arts

Michelle Evans

Unmapping the End of the World

Unmapping the End of the World is an intercultural, durational and experimental contemporary art project

Jonathan Kimberley and Yhonnie Scarce

We are born of the Fanua: Moananui arts practice in Australia

Artist and curator Léuli Eshraghi maps the diaspora and reconsolidation of Pacific or Moananui peoples in Australia through the art of Taloi Havini, Kirsten Lyttle and Jasmine Togo-Brisby

Léuli Eshraghi