Issue 21:4 | December 2001 | Best Practice: Export Quality
Best Practice: Export Quality
Issue 21:4 | December 2001


Light Years: William Robinson and the Creation Story
Art for William Robinson has always been an intensely personal exercise, from the early domestic interiors, suffused with love for his family, to the hard-won intimacy of his relationship with the wilderness in which he now lives. Yet the animating principle of his work in its ever changing fashion is its expression of faith. Robinsons landscape is unquestionably a God-revealed world; what is in question is the relation of man to that universe. As much as Robinson's art is a faithful reflection of his immediate environment, it is drawn from the memory of an experience in a landscape.
Post Natural Nature: Rosemary Laing
Brisbane born Rosemary Laing is one artist who is fully up to speed with the photographic and technological changes in supermodernity. Her work conveys better than most the strange double life we lead today: one half viscerally embodied, the other half immaterial and virtual. Like an aviation physicist Laing tries to push the envelope of what can be represented in photography. Works such as Natural Disasters (1988), Flight Research (2000) and Groundspeed are here examined.
Gordon Bennett's Art: The Aura of Origin
With a directness and clarity born from genuine insight, Gordon Bennetts art gives form to the structure of an invisible repetitive history haunting the psyches of non-Indigenous and Indigenous Australians alike. This text gives rise to Bennett's fierce artistic practice - including an examination of the works Outsider, Am I scared? and the Notes to Basquiat and Home Decor series. These works are looked at to reveal his recent concerns with the mechanisms of doubling, moving beyond the fatal powers of representation and indeed beyond a primary concern with Australian heritage to take on the world.
Ginger Riley Munduwalawala: A Seeing Artist
Ginger Rileys superlative colour sense sets him apart from other Indigenous Australian artists. His unique landscape manner, studded with icons of identity and place, is instantly recognisable yet it has attracted both passionate acclaim and vitriolic criticism. Riley has forged his own way of encapsulating and celebrating the grand sweep and detailed minutiae of a particular tract of land in Southeast Arnhem Land, over which he now holds native title through his role as djungkayi (caretaker). In order to understand why Riley stands alone as an Indigenous painter, Ryan looks at his personal life history and the wellsprings of his art: his intimate connection to his mother's country.
Imants Tillers and Positive Value
Artlink asked Ian North to interview Imants Tillers for this issue, in view of North's longstanding interest in both Tiller's work and the landscape genre generally. North introduces the artist from his early recognition as a leading conceptual artist in the 1970's and pre-eminent postmodernist thereafter, working consistently according to strategies he evolved during the 1980's. This interview examines some of the key works and local concerns of Tiller's ongoing artistic practice.
Rosslynd Piggott: Perfect/Sense
In the context of Melbourne art, Rosslynd Piggott could be linked to a significant movement of young artists who emerged in the 1980's. Her earlier works were figurative compositions which presented painterly/philosophical essays upon the nature of water, clouds and impermanence through surrealistic juxtapositions. This article follows her career from the early painting days through to her current concerns with mediums such as sculpture, installation and more recently performance.
Fiona Foley: Knowing Where to Look
Fiona Foley's career as an artist has resulted in a diverse practice united by a dedication to indigenous issues that are of relevance to all Australians. Her presence as an artist, advocate, activist and identity in the Australian cultural scene has remained poised and proud for over two decades. From her involvement in the formation of the Boomalli Ko-operative to her often hard-hitting presence as a public speaker and the lyrical and enchanting nature of her images, Foley has continued to disturb assumptions and challenge clichés about the way Australians think of themselves and the place we inhabit. Ephemeral Landscapes (1990), Ya Kari - speak for (2001), Kunmarin - wooden shield (2001) and other works are here discussed.
Polemic: The Undoing of Art History (Part I)

In this part 1, the viability of the subject called Art History is challenged, using the terms art and work of art in a conventional way. The nature of histories as they are ascribed to kinds, especially art as a kindcultural kinds, the problems associated with generalisations and the dilemma for the Macho art historianare ideas addressed through this text.

Jeffrey Smart Drawings and Studies 1942-2001
Australian Galleries Works on Paper, Melbourne 13 October - 4 November 2001
Nicholas Folland
Greenaway Art Gallery 39 Rundle Street, Adelaide 1 - 26 August 2001
Green Line: Pip McManus
Watch this Space, Alice Springs June 23 - July 7 24 HR Art, Darwin July 20 - August 11
Ivan Dougherty Gallery, Sydney 4 October - 3 November 2001 

Queensland College of Art Gallery, Griffith University, 25 Jan - 24 Feb 2002
18th National Aboriginal Torres Strait Islander Art Award
Museum & Art Gallery of the Northern Territory 15 September 2001 - 6 January, 2002
Sculptural works by Ricky Swallow and Erick Swenson Museum of Contemporary Art, Sydney 1 August - 4 November 2001
Wakefield Press in association with the National Aboriginal Cultural Institute - Tandanya Softcover 170pp 
LOUNGE - Daniel Gottin & Jurek Wybraniec
8 - 29 September 2001 Goddard de Fiddes Gallery, Perth
Compulsion: Stewart MacFarlane
Brisbane City Gallery 25 October - 9 December
Wide Open
Lawrence Wilson Gallery, Perth 14 September - 21 October 2001
Paul Hoban
Greenaway Art Gallery, Adelaide 1-26 August 2001
Too Strange, Matt Calvert
CAST Gallery, Hobart 7 - 29 July 2001
Blighted Paradise: Colonial Visions of Northern Australia
Rockhampton Art Gallery 12 October - 25 November 2001
Home is where the heart is
University of South Australia Art Museum, 13 September - 20 October, 2001
Kathleen Petyarre: Genius of Place

Essays by Christine Nicholls and Ian North, Wakefield Press in assoc with SALA Week