Issue 24:2 | June 2004 | Shopping & Extreme Pleasures
Shopping & Extreme Pleasures
Issue 24:2 | June 2004
Issue 14:4 | December 1994 | Art & Death: Facing Mortality
Art & Death: Facing Mortality
Issue 14:4 | December 1994


Joan Kerr, Art Historian: February 1938 - February 2004
Joan Kerr, Art Historian, February 1938 - February 2004
News from the Front

Its less than a centimetre long, but the weapon of mass distraction on Artlinks March cover was deemed unacceptable for US audiences. For those who missed the media frenzy, our US distributors refused to put the Adelaide & Beyond issue of Artlink on the shelves of Barnes and Noble. The reason given was the completely nude male on the cover (would a hat have rendered it incompletely nude? Would it have mattered if it was a female nude, neatly packaged away?).

Artlink on the Road: a China Diary
March saw a little bit of history being made in Sino-Australian cultural relations with Artlink being the first Australian art magazine to be launched as well as offered for sale in China. Perversely we were not offering the Chinese an issue of the magazine about Australia, our normal subject area, but about China, a subject area we have only visited occasionally. In the manner of all human vanities that may have been one of the reasons we received such a warm reception. Imagining the reverse - reading an issue of a Chinese art magazine about Australian art is in the current state of art writing in China unlikely.
Tokyo Shopping Mix: An Email Saga*
It is not hard to shop given the entire city of Tokyo seems to be premised on the activity. Tokyo is a space as complex and flowing as the most convoluted natural system. One may be in a train station but it is filled with shops. Above ground, below ground, on the ground - shops. Haley documents his activities over a period of a couple of months in what is most likely the worlds largest consumer oriented city. He discusses the somewhat surreal and absurdist nature of this environment and paints a picture of the plethora of advertisements, signs, extreme fashion trends and other visual paraphernalia that consume the city.
Flatness Packed
While the idea of modern and contemporary art are located in a fairly nebulous discursive realm, the notion of modern or contemporary lifestyle (the two seem, in fact, interchangeable) are very much a part of the familiar rhetoric of consumer spending. No Nonsense Return Policy (2003), Pat Foster and Jen Bereans installation at BUS Gallery, documented six miss-assembled items of IKEA furniture and dissect the curious aesthetic cycles that drive the commercial products in both realms. Taylor looks at this work and others which are focused on drawing attention to the formal and ideological intersections between modernism and the stuff of homes and home decoration.
One or Two Things about Art and Shopping
This article explores the relationship between art and shopping, in particular the contemporary alignment of the two as one and the way feminist identity is largely constructed through the media and consumption. Wilson looks at the work of Barbara Kruger and her critique of Western consumer habits, in particular the way Kruger explores the different shopping patterns of men and women to reflect some inherent gender traits.
How Much is that Artwork in the Window? Notes on Shops and Art
Through reference to Walter Benjamin's writings, Peers suggests that it has become commonplace to describe the city in terms of the progress of the flaneur, the middle class bohemian who strolled through the city, moving in the ephemeral sphere of impressions and images. This article looks at shopping as a central feature to the manner in which Australian art and culture has developed. The artist is a shopper and collector, moving through the materiality of things. Australian culture has itself become flaneur-ised over the past decade in the expansion of new museums and cultural precincts inviting discovery and added pleasure to the experiences of viewing and consuming art.
Food Slut > Manifesto
Food increasingly became alienated from the body over the latter half of the twentieth century. Its material, its preparation, its distribution and its consumption became hostage to the banal aesthetics of the food stylist, the aridity of cultural studies and the repressive partnership of the public health zealot and the liability lawyer. Paul van Reyk here presents a manifesto on the food slut, a model for the examination of current food consumption trends in our society. As he states, a food slut is never indifferent to food, any more than a sex slut is indifferent to sex.
Pornography and Photography
A series of three exhibitions which appeared to erase or at least redraw the boundaries between art photography and pornography was seen at the Australian Centre for Photography in Sydney in 2003. Helen Grace talked to Alasdair Foster, Director of the ACP and curator of one of the exhibitions, about this timely and challenging project.
The Perverted Gaze of the Artist: Recent Work of James Guppy
James Guppy has a curiously ambiguous place in contemporary art. This is not because of his subject matter, but rather because of his technique. For the most part Guppys recent work is not about fun, nor is it even really about sex. Rather he argues it is about the nature of exploitation. He argues that artists by their nature are voyeurs who see the world around them and all its objects as items to be used as visual product. His recent Peeping Box series taps into this idea where images of sexual activity with a particular sadistic overlay are presented behind thick glass to incite some vain attempt on the part of the viewer to engage in such voyeuristic acts.
Chaotic Attractors: Jake Chapman Lecture Tour 04
The two hours of Jake Chapmans lecture at the Capitol Theatre in Melbourne in March 2004 were in many ways a homage to Modernism and the aesthetic of industry - albeit back-handed. The hierarchies of art history, the possibility of the poetic and the tradition of humanism all came under attack. The core issue circled around throughout the discussion was the degree to which art was simply a diversion for the middle-class: a market-responsive product or cathartic moment in which people could be and even pay for the privilege of being shocked.
Enchantment/Disenchantment: The 2nd Auckland Triennial
The generic theme for the 2nd Auckland Triennial Public/Private sought to address central issues concerned with the relationship of the visual art scene to that of the everyday life (to banality), the potential or otherwise of new technologies to engage with the conditions of modern society and the ability of art to deal in specific ideas of a social and political nature. Furthermore in bringing together artists projects that are cross-cultural and transgenerational, the curatorial aim was to make connections which would intensify the privacy debate. Edward Hanfling examines some of these works with regards to such issues and concerns.
Transmission and a Selection from 32 Cars for the 20th Century - Play Mozart's Requiem Quietly
Nam June Palik Sydney Opera House Forecourt 8 -26 January 2004 National Gallery of Australia, Canberra 26 February - April 2004
2004 Adelaide Biennial of Australian Art: Contemporary Photomedia
Art Gallery of South Australia, Adelaide 29 February - 30 May 2004
Holy, Holy, Holy
Flinders University Art Museum 20 February - 17 April 2004
Artists' Week
Adelaide Bank 2004 Festival of Arts 28 February - 4 March
Repercussions: Individual and Collaborative Works
Peter Hennessey & Patricia Piccinimi Greenaway Gallery, Adelaide 28 February - 28 March 2004
Songs of Australia: Volume 16
Aleks Danko The Ian Potter Centre, NGV Australia Melbourne (and touring) 7 February - 18 April 2004
Now, Beauty: Cover or Re-Mix
Perth Symposium, various venues 19 - 21 March 2004
The Space Between
John Curtin Gallery Curtin University of Technology, Perth 14 - 17 April 2004
Boogie, Jive and Bop
Plimsoil Gallery, Hobart 5 - 28 March 2004
Group Material
Ben Booth, Neil Haddon, Anthony johnson, Anna Phillips, Lucia Usmiani and Kit Wise The Queen's Warehouse Gallery Tasmanaian museum and Art Gallery, Hobart 18 March - 2 May 2004
Museum of Brisbane 11 March - 23 May 2004
Suburban Edge
Australian Centre for Photography, Sydney 5 March - 18 April 2004
New Home for University Art Museum
Mayne Centre, University of Queensland Opened 15 April 2004
Allthatglitters: Contemporary Visions of the Gold Coast / Allthatglitters: 50 Years of Gold Coast Kitsch and Memory
7 February - 21 March 2004 The Gold Coast City Regional Art Gallery 14 February - 9 May 2004
Place Made - Fifth Australian Print Symposium
National Gallery of Australia 2 - 4 April 2004
Art of the Biotech Era: Art, Culture and Biotechnology
Experimental Art Foundation, Adelaide 27 February - 3 April 2004
New 04
Guy Benfield, Nadine Christensen, Stephen Honegger & Anthony Hunt, Tom Nicholson, Sangeeta Sandrasegar, Parekohai Whakomoe Australian Centre for Contemporary Art, Melbourne 23 March - 16 May 2004
In The Vein
Gallery 25, Mildura April 18  June 6, 2004
Editorial: Australasian artists' responses to death
Art & Death: Facing Mortality
Mourning: Traditions, Symbols and Meaning
Art & Death: Facing Mortality
Grief and the Gay Community
While AIDS does indeed affect everyone in our society, at the moment in Australia we are seeing predominantly a gay and lesbian artistic response to the epidemic.
Art & Death: Facing Mortality
Learning to Understand: Art Helps to Dispel Ignorance
The artist looks at the paintings which were developed for the Health Commission on education, prevention and caring in the AIDS environment. Using an Aboriginal perspective these paintings were produced as a powerful series of posters.
Art & Death: Facing Mortality
Kumantji and the Contemporary Curator
Across much of Aboriginal Australia the announcement of a death is followed by profound communal mourning, the removal or destruction of the deceased's belongings and most significantly a prohibition on the use of the deceased's name.
Art & Death: Facing Mortality
Death's Artefact... Recent Art and War
Art & Death: Facing Mortality
A Cemetery for the Community: Enfield Memorial Park, South Australia
Thus we come full circle to view the cemetery not as a necessary inconvenience to be isolated on the edge of town and visited once every few years but as a resource that can make a positive contribution to the community.
Art & Death: Facing Mortality
Death in Excess: Nuclear Imagery
Nuclear conflagration - whether real or imagined - captivated the post war psyche. Endist images of one form or another were developed in response to what many foresaw as the likely outcome of a third world war.
Art & Death: Facing Mortality
In the Coil of Life's Hunger
Looks at the work of James K Baxter 1926 - 1972 (poet) Colin McCahon 1919 - 1987 (artist) both of whom found in travel through New Zealand recurrent metaphor's for life's journey. The principle referent in their work was death.
Art & Death: Facing Mortality
Animal Death and an Artist's Culture: Brian Blanchflower's Tursiops Installation
Examination of the installation Tursiops by Brian Blanchflower which refers to the brutal heritage of Western Australia's first settlement at Albany which had a large whaling station until the late 1970s.
Art & Death: Facing Mortality
And Love a Fantasy: Breastfeeding our Sexuality
On 17 March 1993, the body of photographer Angelo Campana was discovered in the burnt out remains of the newly opened IEG Waste Recycling Plant in Corrimal. According to the coroner's report, his death had not been caused by this fire, but from fatal head injuries incurred by the deceased's head being repeatedly bashed with a theodolite. This is the immediate crime which is appears to be investigated in Dennis Del Favero's sleuthian compilation of words and images, objects and installations called 'Prima Facie'.
Art & Death: Facing Mortality
Guide to...Image Bank
Exploration of images and statements by artists on the theme of death. Artists include William Kelly, Ross Moore, Bette Mifsud and Dennis Del Favero.
Art & Death: Facing Mortality
Death, Pleasure and Gender in Film
The cinema's ability to represent death - the act of dying, bodily transformations, decay, the corpse - in astonishing realistic terms helps to explain why film, the moving rather than the static image, has become the central depository of death narratives (ancient and modern) in contemporary culture.
Art & Death: Facing Mortality
Cinema, Death and the Abject
Cinema is both dead and deathless. Cinema like this can take us to the great chasm in our lives and hold us over the edge.
Art & Death: Facing Mortality
Death: A Post-Mortem
Looks at the exhibition 'Death' co-curated by Felicity Fenner and Anne Loxley held at the Ivan Dougherty Gallery in April 1993. 'Death' was a mixed media survey covering more than 200 years of Australian art which directly addressed the theme of death.
Art & Death: Facing Mortality
600,000 HOURS (Mortality) Conference Day 21 October 2, 1994
Examination of the issues addressed at the conference which accompanied the exhibition 600,000 hours (mortality).
Art & Death: Facing Mortality
Images of Death 600,000 HOURS (Mortality) Experimental Art Foundation
Images of death explored in the context of the exhibition 600,000 hours (mortality) held at the Experimental Art Foundation, Adelaide South Australia October 1994.
Art & Death: Facing Mortality
No Drop City: Contemporary Australian Architecture
Book review Contemporary Australian Architecture Graham Jahn Photography by Scott Frances Basel/East Roseville: Gordon and Breach International/Craftsman House 1994 241 pp
Art & Death: Facing Mortality
Indecent Exposures and Dissonance: Two New Books from Catriona Moore
Book reviews Indecent Exposures: Twenty years of Australian Feminist Photography By Catriona Moore Allen & Unwin in association with the Power Institute of Fine Arts 206 pp $21.95 Dissonance: Feminism and the Arts 1970 -90 Edited by Catriona Moore Allen & Unwin in association with Artspace 308 pp $21.95
Art & Death: Facing Mortality
A Paradigm Exhibition
Exhibition review Perpetual Motion: Aboriginal Strategies for rejigging art and technology Curated by David Kerr and Doreen Mellor Tandanya National Aboriginal Cultural Institute, Adelaide South Australia 8 July - 14 August 1994
Art & Death: Facing Mortality
Symmetry: Craft Meets Kindred Trades and Professions
Exhibition review Symmetry: Crafts and Kindred Trades and Professions Curated by Kevin Murray University of South Australian Art Museum 8 September - 8 October 1994
Art & Death: Facing Mortality
Monstrous Gorgeous
Exhibition review Monstrous Gorgeous Curated by Virginia Barratt Contemporary Art Centre, Adelaide, South Australia 8 July - 7 August 1994
Art & Death: Facing Mortality
Exhibition review Fania Curated by Erica Green University of South Australia Art Museum 28 July - 27 August 1994
Art & Death: Facing Mortality
Chris Hopewell
Exhibition review Chris Hopewell: New works Lawrence Wilson Art Gallery at the University of Western Australia 2 September - 16 October 1994
Art & Death: Facing Mortality
19th Fremantle Print Award
Exhibition review The Nineteenth Fremantle Print Award Fremantle Arts Centre, Western Australia 9 September - 23 October 1994
Art & Death: Facing Mortality
Familiarity? Re-Examining Australian Suburbia
Exhibition review Familiarity? Re-examining Australian Suburbia Mikala Dwyer, Michele Beevors, Glen Clarke, Elizabeth Woods, Tony Schwenson and Aleks Danko Curated by Brian Parkes Plimsoll Gallery, University of Tasmania 23 September - 16 October 1994
Art & Death: Facing Mortality
Crossovers - Site Works and Symposium
Exhibition review Crossovers: Site works and symposium Tasmanian School of Art and various locations, Launceston, Tasmania 26 September - 2 October 1994
Art & Death: Facing Mortality