Issue 41:2 | August 2021 | In Public / Inside
In Public / Inside
Issue 41:2 | August 2021
Issue 34:1 | March 2014 | Wall to Wall: Graffiti Art
Wall to Wall: Graffiti Art
Issue 34:1 | March 2014
Issue 32:1 | March 2012 | Pattern & Complexity
Pattern & Complexity
Issue 32:1 | March 2012
Issue 30:3 | September 2010 | Art in the Public Arena
Art in the Public Arena
Issue 30:3 | September 2010
Issue 30:2 | June 2010 | The Underground
The Underground
Issue 30:2 | June 2010
Issue 20:4 | December 2000 | Sculpture and Cities
Sculpture and Cities
Issue 20:4 | December 2000
Issue 18:2 | June 1998 | Public Art in Australia
Public Art in Australia
Issue 18:2 | June 1998


Choreography of the elements: Janet Echelman
American artist Janet Echelman reshapes urban airspace with monumental, fluidly moving sculpture that responds to environmental forces including wind, water, and sunlight. The artist’s ongoing series of aerial net sculptures started in 1997 when she was in India as a Fulbright Scholar and became fascinated with the beauty and movement of traditional fishing nets. In 2011 her installation 'Tsunami 1.26' hung over the Town Hall traffic intersection in Sydney as a joint initiative of the Powerhouse Museum and Art and About Sydney.
A close-up of Amazon Acres: Helen Grace

‘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

Transformative communities: Curation and care

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.

Sideways, always
Co-Guest Editor of WALL TO WALL Annemarie Kohn writes about how the seed for a graffiti issue of Artlink was sown, back in 1991 at the Metro nightclub in Adelaide. Twenty-three years later, this edition of Artlink is thought to be the first time an Australian art journal has been devoted to exploring graffiti as a contemporary artform.
The legitimate semantics of a subcultural Artform
Guest co-editor of WALL TO WALL Charity Bramwell explores the way culture acquires credibility through museums, publications, and the formation and deformation of art history canons.
Melbourne Now: The defining moment for a century of art schools?
Juliette Peers looks at the big picture of the NGV homegrown blockbuster Melbourne Now and finds its origins reach back in time.
Sakahàn: International Indigenous Art
17 May - 2 September 2013 National Gallery of Canada, Ottawa Curators: Greg Hill, Candice Hopkins, Christine Lalonde
Daniel Crooks
Anne & Gordon Samstag Museum of Art 10 October – 20 December 2013
On Men
Curator: Eleanor Scicchitano FELTspace, Adelaide 4 September – 21 September 2013
Alltervatn: Jarrad Seng
The MYRE Project, Fremantle October 9 – November 3 2013
Falling Back to Earth: Cai Guo-Qiang
GOMA, Gallery of Modern Art, Brisbane 23 November 2013 – 11 May 2014
Tatton @ RTBG
Curator: Peter Lundberg Royal Tasmanian Botanic Gardens, Hobart 24 March 2013 – 23 March 2014
Feral: Sylvia Ross; Paintings 2011-2013: Emanuel Raft
Mary Place Gallery, Sydney 13 – 23 November 2013
Melbourne Now
National Gallery of Victoria 22 November 2013 – 23 March 2014
Legendary Ladies
Patti Astor, who co-founded the FUN Gallery in NYC in 1981, interviews the first and most well-known female graffiti artist Lady Pink, her friend of 30 years.
Double-dare ya
Author and broadcaster Craig Schuftan looks at the perennial issue of the co-option of anti-establishment culture as seen in the different approaches of Kurt Cobain and the band started by his friend Kathleen Hanna - Riot Grrrl.
Reko Rennie
Reko Rennie is an interdisciplinary artist who explores his Aboriginal identity through contemporary mediums. He explores his artistic beginnings and early influences such as the work of Howard Arkley.
Dash88 is an Australian artist of Chinese Malay ancestry, living and working in Melbourne. He writes about how he began doing grafffiti and what it means to him.
Nish Cash
Nish Cash is a graffiti artist based in Melbourne. She talks about how she got started writing graffiti and about the support offered by Ladie Killerz, (a national female graffiti event that happens annually with a wall jam, exhibitions, and performances).
New Histories
Artist and writer Stephanie Radok reviews three big new books that point towards new histories of art in the Southern hemisphere - Art in Oceania: A New History; Hotsprings: the Northern Territory and contemporary Australian artists and Mapping South: journeys in South-South Cultural Relations.
21st Century Portraits
Foreword by Andrew Graham-Dixon National Portrait Gallery, London, 2013 Freelance curator and scholar Margot Osborne reviews a new book on portraiture published by the National Portrait Gallery of London and featuring three Australian artists among others from around the world.
“This is [not] for everyone” – forewarning the end of a free and open web
Digital nomad Fee Plumley reviews the state of the internet and Facebook's new algorithm that wants to tell you what you want to know.
Melbourne When?

Din Heagney saw Melbourne Now at the NGV and found both maturity and parochialism.

How the demographic got screwed

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?

Back to the future: contemporary or alternative?

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.

The inchworm revisited
Artist, writer and honorary visiting Professor at the Centre for Computational Neuroscience and Robotics at the University of Sussex in England Paul Brown sketches out the long intertwining history of the relationship between C.P. Snow's two cultures - art and science, design and mathematics, beauty and computation, and extrapolates upon Lady Ada Lovelace's famous words: "We may say most aptly that the Analytical Engine weaves algebraical patterns just as the Jacquard-loom weaves flowers and leaves."
Fractal food
John Walker is the founder of Autodesk, Inc. and co-author of AutoCAD. In Fractal Food he discusses the marvel of fractal forms (complex shapes which look more or less the same at a wide variety of scale factors) as they are seen in a rather wonderful vegetable - the chou Romanesco.
Openwork patterns: Love Lace
Powerhouse Museum Curator of Textiles Lindie Ward discusses the groundbreaking 'Love Lace' exhibition on show at the Powerhouse until April 2013. A globally sourced series of works it showcases 130 designs for openwork structures from 20 countries.
A Meme is born
Adelaide writer and artist Peter Drew looks at various examples of recent street art and the many ways it is circulated and reproduced as a meme in a wired and globally connected world. "As it turns out," he says, "memetics can be very useful in understanding the patterns of street art."
Not just black and white
Scholar and inaugural director of the new Godinymayin Yijard Rivers Arts and Culture Centre in Katherine Cath Bowdler discusses the work of two indigenous artists Brook Andrew and Gunybi Ganambarr and suggests that they are both operating at a conceptual level as bricoleurs in a globalised world, inventing new juxtapositions of materials and revealing new ways of seeing the world through the prism of local histories and traditions.
Caroline Durré: Reforming the earth
Drawing Studio and Program Co-ordinator at Monash University Stephen Garrett examines the optically challenging artworks of Caroline Durré which blend patterns and perspectives.
The Poliness wall drawings: not quite right
Artist Kerrie Poliness writes about her wall drawing projects, one of which appears in the exhibition 'Art, Pattern and Complexity' at RiAus, Adelaide from 16 February to 16 May 2012. The wall drawings begin with the artist's instructions but are produced with intuition rather than rulers.
Mesne: Stitches in the Air: computational craft
Media artist, techno-evangelist and digital nomad Fee Plumley responds to Mesne Design Studio's lacemaking environment 'Pricking Version 2.0' which is their answer to the question “what happens if you apply computational processes to the historical notion of craft?”.
Shape of the wind: pattern & chaos in Sue Lovegrove's island art
Head of Environmental Studies at the University of Tasmania and writer Peter Hay describes the recent paintings of Sue Lovegrove made from her experience of different islands off the coast of Tasmania - Maatsuyker Island, Egg Island and most recently Tasman Island. Lovegrove began with painting clouds but has moved on to paint the shape of the wind.
Mesne: Pattern In(formation)
Tim Schork and Paul Nicholas founded MESNE Design Studio, an innovative architecture and urban design studio working globally as one office from London and Melbourne, to explore the relationship between architecture and divergent domains of knowledge through the use of computation in order to create innovative design strategies for novel spatial structures. They write about the back story of the project "Pricking', an interdisciplinary collaborative project between MESNE Design Studio, Ian Maxwell (supermanoeuvre) and Indae Hwang, which involves an interactive lace-making table with an infra-red based multi-touch interface.
Pipilotti Rist I Packed the Postcard in my Suitcase
Australian Centre for Contemporary Art, Melbourne 21 December 2011 – 4 March 2012
Tooth and Nail
Grand Opening Exhibition Adelaide December 2011
Medi(t)ation - 2011 Asian Art Biennial
1 October 2011 – 1 January 2012 Curator: Iris Shu-Ping Huang National Taiwan Museum of Fine Arts?(NTMoFA)
Everyday the possible
Sonia Donnellan, Anna Hughes & Sonja Porcaro South Australian School of Art (SASA) Gallery 14 August - 16 September 2011
Sequences and Cycles: contemporary ceramics from the desert

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

Revealed: Emerging Aboriginal Artists from Western Australia
Curator: Thelma John Gallery Central, Perth 24 October - 12 November 2011
In Action, Inaction: Dara Gill
MOP Projects Gallery 1 1 December - 17 December 2011
The James C. Sourris A.M. Collection
Gallery of Modern Art, Brisbane 12 November 2011 – 19 February 2012
2112: Imagining the Future
Curator: Linda Williams RMIT Gallery, Melbourne 2 December 2011 - 28 January 2012
Andre Lipscombe: BOO!
Nyisztor Studio 1 - 23 October 2011
Threads: Contemporary Textiles and the Social Fabric
Curator: Ruth McDougall with Maud Page and Russell Storer Gallery of Modern Art, Brisbane 1 October 2011 – 5 February 2012
Shadowbox: The Desert Paintings
Liverpool Street Gallery 3 – 23 December 2011
Elizabeth Woods: There is going to be a wedding and you are all invited
Elizabeth Woods' art practice has for many years revolved around the relationship between place, artist and community and what arises from their connection to each other. Marrying a tree is its latest manifestation.
The Fourth Plinth
In Antony Gormley’s living portrait 'One and Other' for 100 days, from 6 July to 14 October 2009, 2400 randomly selected, otherwise unextraordinary, individuals continuously occupied the empty plinth in Trafalgar Square for an hour at a time.
The Meandering River: Slowing Down and Keeping Going
The notion of public art has been shifting over the years to include hopeful new models for change in a time of uncertainty - festivals, the temporal, the long term developmental and experimental thinking about how art can modify and influence the public realm.
Echigo-Tsumari: Public Art as Regenerating Force
Janet Maughan travelled to the Echigo-Tsumari Triennial in September 2009. With Stephanie Britton she interviewed the indefatigable Fram Kitagawa, Director of both the Echigo-Tsumari Art Triennial [ETAT] and of the new Niigata Water and Land Art Festival in the seaport of Niigata, and wove his words around the experience of seeing outstanding art in the unusual and delightful surroundings of the Japanese countryside.
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