Issue 37:1| March 2017 | Data Visual
Data Visual
Issue 37:1| March 2017
Issue 34:4 | December 2014 | Sustainable?
Issue 34:4 | December 2014
Issue 33:4 | December 2013 | Mining: Gouging the Country
Mining: Gouging the Country
Issue 33:4 | December 2013
Issue 23:3 | September 2003 | Rich & Strange
Rich & Strange
Issue 23:3 | September 2003


Culturally ambitious: Moving with the times
Joanna Mendelssohn on the Australia Council’s latest strategic plan.
The aesthetics and ethics of landscape design
Margot Osborne on the practice of Taylor Cullity Lethlean
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
Relational acts: Art, commoning and sustainability
Linda Carroli on creative practices that contribute to ‘the commons’
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
Groggy: Therese Ritchie, Todd Williams
Northern Territory Centre for Contemporary Art (NCCA), Darwin 13 September – 12 October 2013
JamFactory Icon 2013, Stephen Bowers: Beyond Bravura
JamFactory Gallery, Adelaide, 8 August – 28 September 2013
Tony Woods: An Archive
Art Information, 2013
Editor: Andrew Gaynor; Introduction: Tony Woods; Essays: Lesley Chow, Phil Edwards, Sheridan Palmer, Alex Selenisch, Gary Willis, Jake Wilson
Vocal Folds
Curator: Jacqueline Doughty Gertrude Contemporary, Melbourne 22 June – 20 July 2013
The Red Queen
MONA (Museum of Old and New Art), Hobart 18 June 2013 – 21 April 2014
The Meaning of Aboriginal Art
This essay is not about interpreting Aboriginal art rather it is about the wider issues raised by Aboriginal art, issues that tear through the discrete context of contemporary art and connect it to history, to the everyday, to politics and to the future.
Loop-Back: New Australian Art to Berlin
Engberg writes about FACE UP, a large museum exhibition curated for the Hamburger Bahnhof Museum in Berlin in October 2003. Britta Schmitz who curated FACE UP was intent on extending the discussion surrounding conceptualism and modernism that is reflected backwards with a sideways glance created by a slow burn effect. Photography was delivered in the works of Rosmary Laing, Simryn Gill and Darren Siwes. Installation, in a variety of manifestations, was offered in works by Patricia Piccinini, Mikala Dywer and Fiona Hall.
Why Correggio Jones is not The Hero of the 2004 Biennale of Sydney
The title of the 2004 Sydney Biennale was Biennale Of Reason and Emotion, the curator was Isabel Carlos, a Portuguese woman who will stress her cultural links with the New World, but in her case it is South America rather than North. One of the ideas she wished to explore through the Biennale was the concept of 'south' in a world dominated by the culture of the 'north'. As she states - "what I really want is to create a Biennale that works on the borders of the perception and on artworks that change our way of seeing the world around us."
A Leaf May Become a Forest
Like nature itself, Hossein Valamanesh's artistic oeuvre is inextricably articulated as an evolution which is cyclical. Following his emigration to Australia in 1973, the diverse, but thematically unified art practice of Valamanesh has come to encompass installation, sculpture and works on linen and paper in addition to substantial public artworks. The intricate patternings of Islamic architecture play out in his work which are consistently fragile and subtle in both appearance and approach.
The Entire Life Behind Things: David Keeling's Little Epiphanies
Timms paints a vivid picture of one of David Keeling's paintings, simultaneously posing questions surrounding how we as audiences deconstruct, interpret and therefore place values on certain images. His argument clearly lies in the appreciating of a process, a journey over the final image, especially when the image is as seemingly banal as that which typifies Keeling's practice. Keeling's previous works tended to acknowledge the traps of both the dewy-eyed romantic and the coldly rationalist approach. With his recent shift from a surreal satirical atmosphere to the common everyday, though the subject matter may be different, the locating of meaning is still the same.
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