Search
You searched for contributors, issues and articles tagged with Regions ...
Contributors
Artlink
Adele Hann
Adrian Jones
Alison Carroll
Alison Gray
Andrew Paul Wood
Angela Gardner
Anita Aarons
Anita Angel
Anna Ward
Anne Kirker
Anne Marsh
Anne Ooms
Anne Marie Brody
Bec Dean
Bert Flugelman
Brian Tucker
Briony Downes
Briony Lee Downes
Bryony Nainby
Cameron Stelzer
Carol Schwarzman
Caroline Farmer
Caroline Williams
Caroline Wilson
Cath Bowdler
Cath Kenneally
Catherine Lumby
Catherine Speck
Catherine Wilson
Catriona Moore
Chang Seung-yeon
Chantelle Woods
Charity Bramwell
Chris Handran
Chris Limmer
Chris Reid
Christina Barton
Christine Nicholls
Clare Lewis
Daena Murray
Damien Quilliam
Daniel Thomas
Darren Jorgensen
David Pledger
Dianne Longley
Dominique Angeloro
Donald Brook
Dorothy Broom
Dorothy Erickson
Dylan Rainforth
Emma Bugden
Emma Velde
Erica Izett
Eve Sullivan
Gary Lee
Geoffrey Legge
George Petelin
Georgy Downey
Gim Jong-gil
Graeme Sullivan
Greg McCarthy
Gregory Kwok-Keung Leong
Gwynneth Porter
Hye Jin Mun
Ian Howard
Ian McLean
Ian North
Ilaria Vanni
Jane Deeth
Jessica Reid
Jo Higgins
Jo Holder
Joanna Mendelssohn
John Neylon
Jonathan Holmes
Jude Adams
Judith Elliston
Judith McGrath
Judy Darragh
Julie Payne
Juliette Peers
Jung Hyun
Justine Khamara
Karen Brown
Karen Dayman
Kate Montgomery
Kelli Rowe
Kieran Finnane
Kim Hae-gon
Kim Inhye
Kim Mahood
Kim Yi-soon
Lara Strongman
Lee Sun Young
Lisa Gye
Louise Dauth
Malcolm Smith
Margaret Moore
Margie West
Issues
Korea
Issue 35:4 | December 2015
Currents III
Issue 28:3 | September 2008
New Zealand Contemporary Art Turangawaewae A Place to Stand
Issue 26:2 | June 2006
Art History: Go Figure
Issue 26:1 | March 2006
Remote
Issue 25:2 | June 2005
The Future of Art
Issue 19:2 | June 1999
Art and the Economy
Issue 12:3 | September 1992
Articles
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
Lynette Wallworth: shared moments of revelation
Lynette Wallworth's New Media Art is subtle and complex. Empathy is the emotion at the heart of all her works such as Invisible by Night in which the viewer activates the work by reaching out to make contact with a grieving woman and Hold in which viewers catch imagery in glass bowls. Wallworths international profile is rising. She has exhibitions planned for France (Aix en Provence Festival), the Melbourne Festival in 2008 and the Adelaide Film Festival 2009 and with each new project she is striking an emotional chord in her audiences that resonates long after the physical engagement with the work is over.
Rose Farrell and George Parkin: home (operating) theatre
Rose Farrell and George Parkin's art consist of photographs of tableaux involving the artists in sets that they build in their home. They frequently copy old medical illustrations in which the reality of the past is both made to live and to seem ever more mythical. Dylan Rainforth takes an informative and affectionate approach to the complexity of Farrell and Parkin's modus operandi and their newest photographic series called Restoration.
Deborah Kelly's gods, monsters and probable histories
Each of Deborah Kelly's projects has multiple identities and is cut to fit a certain idea. They are 'both nomadic and site-specific, traversing worlds from art institutions to supermarket shelves and creating multifarious audiences along the way'. Her best known work 'Beware of the God' was first projected over the MCA in 2005 and was last seen at the 2008 Singapore Biennale.
George Gittoes art and the war on terror
George Gittoes' latest film Miscreants was made in Pakistan and records the contradictions of life there with the polemic of Goya and the speed of an MTV music clip. This film follows his earlier cult films Soundtrack to War and Rampage. Gittoes is never a dispassionate observer, he continues to paint and to draw, making war art that is emotional as well as rich with the difficult truths of our time.
The dramatic tensions of some place: Mary Scott
Tasmania-based Mary Scott's art ranges across media from traditional to cutting edge. Sometimes she meticulously paints oil on linen from digitally devised imagery, at other times she uses multiple inkjet prints as the final work. Focusing on Scott's 2007 exhibition Some Place at Criterion Gallery in Hobart, Mary Knights describes her hallucinogenic and unheimlich works as depicting 'with detachment and clarity the spectrum of human fragility.'
Landscape and complexity: Raquel Ormella
Raquel Ormella's art is political and takes many circuitous approaches to complex issues. Her recent work Wild Rivers: Cairns, Brisbane, Sydney shown in the 2008 Sydney Biennale called up a political landscape of maddening complexity even as it emphasises the need for direct action. Bec Dean writes: 'Ormella is a kind of critical idealist who understands not only the effectiveness of lobbying and the power of the individual in bringing about change but also the slow-burn persistence of such change.'
Craig Walsh transfigured nights, surprising days
The artworks developed by Craig Walsh over the last sixteen years in Australia and around the world take the immediacy of the moving image and place it in unexpected places doing unexpected things. With a strong global profile he is increasingly being asked to participate in prestigious international events, most recently Drift 08 in London and Koganecho Bazaar in Yokohama.
Jun Nguyen-Hatsushiba seduction and imponderability
Jun Nguyen-Hatsushiba's best-known work is the video Memorial Project Nha Trang, Vietnam: Towards the Complex - For the Courageous, the Curious and the Cowards (2001)in which fishermen ride cyclos (cycle rickshaws) underwater across the seabed. An engaging retrospective of Nguyen-Hatsushiba's thought-provoking and challenging work was shown in 2007 at the Museum of Art Lucerne and in 2008 at the Manchester Art Gallery displayed the work. In his most recent and ongoing work he is running a global marathon, the diameter of the earth. The artist says: 'After developing various kinds of memorial projects, I needed to experience the nature of physical struggle myself.'
G.R.L. giving people opportunities to tear their city apart since 2005
In March 2008 James Powderly and Evan Roth of the New York-based Graffiti Research Lab (G.R.L.) spent time in Adelaide during the Festival as guests of Carclew Youth Arts. The Graffiti Research Lab is dedicated to outfitting graffiti writers, pranksters, artists and protestors with open source tools for urban communication. Today, an inventory of street artforms would include tagging, muralling, political sloganeering, stencils, stickers, paste-ups, installation, guerilla projection, culture jamming, and advertisement hacking. Powderly and Roth define graffiti as anything that happens outside in the city without permission. At the heart of all G.R.L. projects is the concept of open source , and perhaps it is this approach that has been their greatest area of influence.
Aboriginal art: it's a complicated thing
Tim Acker, an independent arts consultant working with Aboriginal artists in remote and regional Australia, writes about the current situation. Questions of ethics in the sale, and making, of Aboriginal art are under review and an Australian Indigenous Art Commercial Code of Conduct has been developed though the 2008 Federal budget failed to fund its roll-out. Acker suggests that consumers become more educated about the art and about the provenance of the works they buy.
Problematic artworks or my doctor told me to take up painting to help me cope with the panic attacks
Suzanne Spunner, a graduate of Melbourne University's Art Authentication Program at the Centre for Cultural Materials Conservation, writes about the successful landmark prosecution of Pamela and Ivan Liberto for forging Rover Thomas paintings in November 2007. Meanwhile in April 2008 artist Nat Thomas, half of the art duo Nat and Ali, in an exhibition entitled 'Appropriation: how appropriate is it?', made and showed fake Rover Thomas paintings as an art prank. 'My doctor told me to take up painting to help cope with the panic attacks' is a quote by Pamela Liberto from the transcript of the case, appropriated by Nat Thomas as the title for one of her fake Rover Thomas works.
Perils of the studio: inside the artistic affairs of bohemian Melbourne, Alex Taylor
Perils of the Studio: Inside the artistic affairs of bohemian Melbourne by Alex Taylor, Australian Scholarly Publishing in association with the State Library of Victoria, 2007, hardcover, 212 pages RRP $59.95
Jon Cattapan: possible histories
by Chris McAuliffe Melbourne: Miegunyah Press, 2008, RRP $49.95 Reviewed by Ian North
Aberhart
Photographs by Laurence Aberhart Essays by Gregory OBrien and Justin Paton Victoria University Press 2007 NZ $125
Biennale of Sydney 2008 Revolutions - Forms That Turn
Biennale of Sydney 2008 Revolutions - Forms That Turn Curator: Caroline Christov-Bakargiev 18 June 7 September 2008
Performances at Biennale of Sydney 2008 Revolutions - Forms That Turn
Performance at Biennale of Sydney 2008 Revolutions - Forms That Turn Curator: Caroline Christov-Bakargiev 18 June 7 September 2008
God-favoured, Rodney Glick: Surveyed
God-favoured, Rodney Glick: Surveyed Lawrence Wilson Art Gallery 13 June 10 August 2008
Companion Planting
Companion Planting Lucy Bleach, Michelle Cangiano, Dean Chatwin, Raef Sawford, Amanda Shone Curator: Jack Robins CAST Gallery, Hobart May 24 June 15 2008
Kate Rohde: flourish
Kate Rohde: flourish Curator: Jenna Blyth TarraWarra Museum of Art 20 April - 20 July 2008
Ian Friend: Thirty Years of Works on Paper 1977-2007
Ian Friend: Thirty Years of Works on Paper 1977-2007 Curators: Gordon Craig and Anne Kirker QUT Art Museum, Brisbane 24 April- 29 June 2008
Uneasy: Recent South Australian Art
Uneasy: Recent South Australian Art Curator: Timothy Morrell Samstag Museum of Art, University of South Australia 20 June - 17 August 2008
The Lovely Season, Enrique Martinez Celaya
The Lovely Season Enrique Martinez Celaya Liverpool Street Gallery 27 February 27 March 2008
Bal Tashchit: Thou Shalt Not Destroy
Bal Tashchit: Thou Shalt Not Destroy Curators: Melissa Amore and Ashley Crawford Jewish Museum of Australia, St Kilda 8 April 29 June 2008
III Performances (in white cube)
III PERFORMANCES [in white cube] Linda Lou Murphy Ana Wojak & Fiona McGregor Alison Currie Curator: Melentie Pandilovski Experimental Art Foundation, Adelaide 30 May 5 July 2008
Translating from the dead to the living, Karin Lettau
Translating from the dead to the living Karin Lettau Design Centre, Tasmania 24 April 20 June 2008
Xstrata Coal Emerging Indigenous Art Award 2008
Xstrata Coal Emerging Indigenous Art Award 2008 Gallery of Modern Art (GoMA), Brisbane 11 July 12 October 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
Braided Rivers: Regionalism in New Zealand Art
Andrew Paul Wood focuses on some of the issues pertaining to New Zealands regionalist tensions, particularly the obvious division of the North and South Islands. Furthermore he looks at some of the opposing aesthetic qualities to have come from artists of the North and the South regions. This is here discussed through reference to artists Colin McCahon, Don Binney, Pat Hanly, Bill Sutton, Rita Angus, Gordon Walters, Milan Mrkusich, Gretchen Albrecht, Ronnie van Hout, Bill Hammond, John Pule, Elizabeth Allan, Dorothy Irvine, Sandy Gibb, Billy Apple, Sofia Tekela-Smith, Ani ONeil, Niki Hastings-McFall, Shigeyuki Kihara, Peter Robinson, Shane Cotton, Ralph Hotere, Robyn Kahukiwa, Tony de Latour, Seraphine Pick, Saskia Leek, Grant Takle, Peter Wheeler and James Robinson.
New Arrival: Brian Butler, Director of Artspace
Interview with Brian Butler, the new Director of Artspace, Auckland. Questions are raised regarding Butler's decision to leave his position at the Los Angeles cutting edge art gallery 1301PE in order to direct a publicly funded space in Auckland and his visions for the future of Artspace.
State of the Art New Zealand
This essay draws on some of the themes and issues raised by the 1997 report 'New Vision: A Critical View of the Visual Arts Infrastructure', commissioned by Creative New Zealand and the Chartwell Trust to document the state of New Zealand's visual arts infrastructure of the time. It is here used in reference to offer a series of (partial, personal and biased) snapshots that consider the state of the visual arts scene in New Zealand. Some key figures here referred to include Gordon H. Brown, Lee Weng Choy, Greg Burke, John Maynard, Cheryll Sotheran, Priscilla Pitts, John McCormack, Pae White, Sam Durant, Lee Bul, Peter Robinson, Ann Shelton, Fiona Clark, Giovanni Intra, Fumio Nanjo, Jonathan Watkins, Mercedes Vicente, Tyler Cann, Robert Leonard, David Hatcher, Louise Garrett, Simon Rees, Michael Stevenson, Ronnie van Hout, Francis Upritchard, Denise Kum, Yuk King Tan, Joyce Campbell, Hamish McKay, Andrew Jenson, John Gow, Gary Langsford, Michael Lett, Heather Galbraith, Jenny Todd, Brian Butler and others.
You And Me And Everyone We Know: Photography
This article looks at the controversy that surrounded Ans Westra's pictorial essay Washday at the Pa, published during the 1960's, as a way of addressing the current trends in New Zealand photography. Emma Bugden uses this example to raise issues of Maori and Pekeha representations in New Zealand art and the renewed interest in social realism among New Zealand photographers in recent years. Artists included in this discussion are Edith Amituana, Andrew Ross, Marti Friedlander, Peter Black, Peter Peryer, Anne Noble, Laurence Aberhart, Greg O'Brien, Justin Paton, Ava Seymour, Joel Peter Witkin, Fiona Amundsen and Neil Pardington.
Don't Misbehave! SCAPE 2006 Public Art Biennial
This article looks at the argument for public art in Christchurch subsequent to the phenomenal public debate sparked when Michael Parekowhai's 5m high fibreglass bunnies became the centrepiece of the SCAPE 2002 Biennial. Velde further examines some of the recent aims for SCAPE 2006 by curators Natasha Conland and Susanne Jaschko who are looking to embrace contemporary art's exploration of different media channels.
Visions and Revisions: Recent Work by Shane Cotton
Strongman here looks at the recent works of New Zealand artist Shane Cotton. Issues of transformation - of an ebb and flow of changes in form and meaning over time, of visions and revisions of and between cultures - have been central concerns of Cotton's work for more than a decade. Through extensive reference to Maori and Christian culture, Cotton explores what he describes as the 'collision and collusion' of New Zealand's two official cultures.
An Artist's Economy: Madden, Stevenson, Upritchard
New Zealand artists Peter Madden, Michael Stevenson and Francis Upritchard have each worked within disparate environments and local economies for some years, in Auckland, Berlin and London respectively. Each of them self-consciously explores alternative economies available to them through the production of art. Between them Madden, Stevenson and Upritchard have participated in such art events as the Venice Biennale and exhibited at the Tate Gallery, Darren Knight Gallery, the Museum of New Zealand, Herbert Read Gallery and the Bart Wells Institute.
Of New Zealand Art and Letters
When it comes to New Zealand publications, the excitement generated by each forthcoming issue is as good a yardstick as any to judge by.
Special (Auckland)
Special Gallery is an activity centre at Level 1, 26 Customs St East, Auckland. Exhibiting artists have included Jason Lindsay, Tahi Moore, Fiona Conner, Seung Yul Oh, Nick Austin, Tao Wells, Daniel Du Bern, Helga Fassonaki, Alex Vivian, Chris Cudby, Dave King, Julian Dyne, Fraser Munro, Eddie Clemens, Richard Bryant, Patrick Lundberg, Simon Denny, Jennifer Mason, Robin Kydd, Fin Ferrier, Ben Tankard, Chris Fitzgerald, Stephan Neville, Lou Darlington and Nate Williamson.
Enjoy (Wellington)
Enjoy was born out of transparency and openness and a focus on critical dialogue combined with some utopian ideals such as being 'Liberated from Commercial Constraints' and has been a place for dissent and discussion. Artists Ciaran Begley and Ros Cameron with administrator Rachel Smithies established enjoy in 2000. Exhibiting artists have included Caroline Johnston, Eve Armstrong and Violet Faigan.
Cuckoo
Cuckoo was formed in January 2001 by dreamers Ani O'neill, Daniel Malone, Judy Darragh (artists), Jon Bywater and Gwyneth Porter (writers). Collectively they created this space as a means for discussing ways to present artist's projects outside the traditional method of running a gallery space. Some of the artists involved with cuckoo are Dan Arps, Kate Newby, Sriwana Spong, Ben Tankard, Janet Lilo, Fiona Connor, Seung Yul Oh and Nick Austin.
RM103 (Auckland)
In 1997 a tiny office overlooking a record store in Auckland was turned into a gallery space called 'rm3'. Directors of the now 'rm103' include Andrew Barber, Kylie Duncan, Kirsten Dryburgh and Nicholas Spratt. Previously exhibiting artists include Bjorn Houtman, Sarah Gruiters, Finn Ferrier, Gaelen Macdonald and Erica van Zon.
Charles Merewether: Director of 15th Biennale of Sydney
It is always hard to characterise an exhibition as vast and sprawling as the Biennale of Sydney as it takes over the city, but every time the Biennale has taken place, it has taken on the flavour of its artistic director. Joanna Mendelssohn has conducted an interview with Charles Merewether - art historian, writer and curator - who has produced what could be the most confronting Biennale for many years. His take is at first glance the external world of war and conflict, of cultural difference and exchange but ultimately he wanted to do 'a show that tried to interfere in the way in which contemporary art was being seen'. Included in this article is the work of artists Akram Zaatari Saida, Elena Kovylina, Raeda Saadeh, Ghada Amer, Ruti Sela, Maayan Amir, Sejla Kameric, Mladen Stilinovic, Milica Tomic, Imants Tillers, Savanhdary Vongpoothorn, Julie Gough, Adrian Paci, Liza Ryan, Sharon Lockhart and Antony Gormley.
Steve Kurtz: Critical Art Ensemble
An interview between Mireille Astore and Steve Kurtz, member of the Critical Art Ensemble (CAE) and Professor of Art at University at Buffalo. Kurtz participated in Home Works III, a recurring production of Ashkal Alwan, the Lebanese Association for Plastic Arts. Lectures, discussion panels, video screenings, performances and book launches, all contributed to the wealth of ideas offered and generated during an intense week from 17-24 November 2005. Astore asked Kurtz about his practice and its relationship to Home Works III.
2006 Contemporary Commonwealth
Australian Centre for the Moving Image: 24 February - 21 May National Gallery of Victoria 24 February - 25 June Festival Melbourne 2006 Commonwealth Games
21st Century Modern: 2006 Adelaide Biennial of Australian Art
Curated by Linda Michael Art Gallery of South Australia 4 March - 7 March 2006
Colliding Worlds, First Contact in the Western Desert 1932-1984
Curated by Philip Batty Tandanya National Aboriginal Cultural Centre Adelaide Bank Festival of Arts 18 February - 28 May 2006
What Survives: Sonic Residues in Breathing Buildings
Performance Space, Sydney 25 March - 22 April 2006
The Late Sessions
Videos presented by 1/2 dozen Curated by the 'pixel pirates', Soda_Jerk George Street Cinema, Sydney 25 January 2006
Corrupting Youth
Curated by Tristan Stowards Contemporary Art Services Tasmania, Hobart 4 March - 2 April 2006
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.