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Contributors
Issues
![Issue 41:2 | August 2021 | In Public / Inside Issue 41:2 | August 2021 | In Public / Inside](/images/issues/4120_600w.jpg)
![Issue 34:1 | March 2014 | Wall to Wall: Graffiti Art Issue 34:1 | March 2014 | Wall to Wall: Graffiti Art](/images/issues/3410_600w.jpg)
![Issue 32:1 | March 2012 | Pattern & Complexity Issue 32:1 | March 2012 | Pattern & Complexity](/images/issues/3210_600w.jpg)
![Issue 30:3 | September 2010 | Art in the Public Arena Issue 30:3 | September 2010 | Art in the Public Arena](/images/issues/3030_600w.jpg)
![Issue 30:2 | June 2010 | The Underground Issue 30:2 | June 2010 | The Underground](/images/issues/3020_600w.jpg)
![Issue 26:2 | June 2006 | New Zealand Contemporary Art Turangawaewae A Place to Stand Issue 26:2 | June 2006 | New Zealand Contemporary Art Turangawaewae A Place to Stand](/images/issues/2620_600w.jpg)
![Issue 20:4 | December 2000 | Sculpture and Cities Issue 20:4 | December 2000 | Sculpture and Cities](/images/issues/2040_600w.jpg)
![Issue 18:2 | June 1998 | Public Art in Australia Issue 18:2 | June 1998 | Public Art in Australia](/images/issues/1820_600w.jpg)
Articles
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‘How did it begin?’
‘Desire. Sex. Lesbianism.’
In 1978, Helen Grace visited Amazon Acres, a women’s commune in the mid-north coast hinterland near Wauchope, NSW. She packed her new Olympus camera and brought home several rolls of film. Returning two years in a row, Grace unintentionally collated an archive of one of Australia’s most audacious experiments in utopian living. There are eleven proofsheets: hundreds of photos in all, mostly black and white. For Friendship as a Way of Life (2020), curated by José Da Silva and Kelly Doley at UNSW Galleries, Grace edited these photos down with the assistance of Da Silva to twelve images for a series entitled And awe was all that we could feel.
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Group exhibitions are ideological texts which make private intentions public.
In May 2021 the Turner Art Prize announced five artist collectives as their nominees. It was the first time the premier British internationally recognised award did not include an individual artist, reflecting a changing landscape. The prize’s intention is to ‘capture the mood and moment’ of contemporary visual art, and with this year’s nominees, Tate Britain make a bold public statement to the collectivisation of artistic practice. However soon after the announcement, nominee Black Obsidian Sound System released a statement on Instagram criticising the institution:
Although we believe collective organising is at the heart of transformation, it is evident that arts institutions, whilst enamoured by collective and social practices, are not properly equipped or resourced to deal with the realities that shape our lives and work.
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Associate Professor Joanna Mendelssohn looks over the last twenty-five years of tertiary art education and wonders where the intake of students from a broad socio-economic spectrum has gone and where the subsequent shrinking cultural conversation leaves Australia?
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Professor Pat Hoffie of Griffith University, interviews the two new Directors of the IMA, Aileen Burns and Johan Lundh, and contextualises their appointment in the Contemporary Art Space context of 2014.
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Pantjiti Lionel, Mel Robson, Pip McManus, Patsy Morton, Suzi Lyon, Amanda McMillan Co-curators: Jo Herbig and Franca Barraclough Araluen Arts Centre, Alice Springs 19 November 2011 - 22 January 2012
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