Issue 40:2 | June 2020 | INDIGENOUS_Kin Constellations
INDIGENOUS_Kin Constellations
Issue 40:2 | June 2020
Issue 39:3 | September 2019 | New Futures in Art Education
New Futures in Art Education
Issue 39:3 | September 2019
Issue 36:3 | September 2016 | Art Land
Art Land
Issue 36:3 | September 2016
Issue 30:4 | December 2010 | Stirring II
Stirring II
Issue 30:4 | December 2010
Issue 28:3 | September 2008 | Currents III
Currents III
Issue 28:3 | September 2008
Issue 18:3 | September 1998 | Art, Pornography & Censorship
Art, Pornography & Censorship
Issue 18:3 | September 1998
Issue 18:1 | March 1998 | Art & the Spirit
Art & the Spirit
Issue 18:1 | March 1998
Issue 10:3 | September 1990 | Community Arts
Community Arts
Issue 10:3 | September 1990


Knowledge positions in Aotearoa and Turtle Island art museums
Interview with First Nations curators Kathleen Ash-Milby, Maia Nuku and Nigel Borell.
Losing the big picture: Surviving the Art Hunger Games
Joanna Mendelssohn on the changing landscape for arts funding in Australia
Looking for art in all the wrong places; Repositioning art in a regional context
The evolution of the Spaced residency program in Western Australia
Solastalgia and its cure
Ann Finegan on a restorative role for art in re-finding the commons and our relationship to the land
The Palmer Sculpture Biennial
Tracy Lock on an artist-run environmental art project in the Mount Lofty Ranges
Trevor Flinn: In the Mallee
Trevor Flinn on developing the rural outreach project TWIG
Edge of Elsewhere
Campbelltown Arts Centre 15 January - 13 March 2011
Interpreting Portraits
Macquarie 1810 - 2010 Hawkesbury Regional Gallery 10 December - 6 February 2011
Designing with the Neighbours in Mind: Unlimited Asia Pacific
'Unlimited Asia Pacific' is a platform for the Queensland state government to join Victoria as a leading force in Australia’s emergent design economy. It coincides with the birth of the Australian Design Alliance as a lobbying group to promote design as a capacity across government.
Patronage of the Passionate
Stephanie Britton was very impressed by her visit to the country's only art gallery devoted to contemporary art made by Chinese artists - White Rabbit Gallery and its third six monthly hang titled 'The Big Bang'.
Resistance to Change: Art in the university environment
Novelist and former Director of Research and Postgraduate Studies in the College of Arts at the University of Western Sydney Jane Goodall responds to the new collection of essays edited by Brad Buckley and John Conomos called 'Rethinking the Contemporary Art School'. Goodall analyses the complexity and often dire times engendered by the incorporation of art schools into universities. However she is optimistic and suggests a first step to be a well-designed retreat system.
Art and Sport
Artist and art critic Peter Hill reflects on the boredom factor of sport and how the Basil Sellers Prize has got it right.
Art as a Catalyst of Change: Sydney's HotHouse International Symposium
Chief Curator at the National Institute for Experimental Arts (NIEA) at the College of Fine Arts, Uni of NSW, Felicity Fenner discusses the HotHouse Symposium the launch event of a longer-term research project called 'Curating Cities' being conducted by NIEA in association with Object: Australian Centre for Craft and Design and the City of Sydney. Other research partners include the Melbourne-based group, Carbon Arts, which facilitates opportunities for artists to generate awareness and action on climate change. The central premise of the project is that we can no longer simply curate art, but need to think more holistically, instead curating space in ways that are environmentally sustainable.
Shen Shaomin's Bonsai
University of Chicago Professor Wu Hung analyses Sydney and Beijing-based Shen Shaomin's Bonsai series as seen at the MCA for the 2010 Biennale of Sydney as "uncovering secrets".
Confluent Forms: Ariel Hassan recent work
Biotech artist Niki Sperou unpacks at the curious art practice of Adelaide and Berlin-based Ariel Hassan who uses science, philosophy and politics as well as paint, canvas and polyurethane foam to make work embodying action, reaction and the connectivity between all things.
100KM Artworks: Fiona MacDonald's Local Studies
Senior Lecturer at the Power Institute, University of Sydney, Catriona Moore writes bout the recent work of Fiona MacDonald in terms of its connections to locality and history.
Stop the Moats: Recent work by Cecile Williams and Nick Mangan
Adjunct Professor at RMIT Kevin Murray contrasts the idea of Australians as xenophobic 'moat' people with the idea of 'poor craft' which uses detritus to alchemically create a new preciousness.
Is it Sacred? The Collarenebri Files

Senior curator Djon Mundine reflects on his experiences in the past of consultation with Aboriginal people about artefacts, in particular carved trees in NSW that he wanted to include in 'Spirit and Place' at the MCA in 1997.

Exposed: Voyeurism, Surveillance and the Camera
One of Artlink's London correspondents Jo Higgins visited EXPOSED : Voyeurism, Surveillance and the Camera at the Tate Modern, an exhibition of photography first developed at the San Francisco Museum of Modern Art, and found it overwhelmingly strong.
Liverpool Biennial 2010: Touched
Former Head of Asialink Alison Carroll visited Touched the Liverpool Biennial and found 870 artists showing in 400 exhibitions over the 10 weeks of the event.
Hijacked Volume 2: Australia / Germany
Joanna Mendelssohn examines a new book on photography, second in a series, this time juxtaposing German and Australian artists. Mendelssohn writes "What Germany and Australia have in common is a certain navel-gazing obsession about what it means to belong to their particular nationalities."
The Revolutionary Century. Art In Asia 1900 to 2000
Artist Pat Hoffie reviews Alison Carroll’s The Revolutionary Century: Art in Asia 1900 to 2000' and finds it both timely and prescient.
Eleven recent publications
Stephanie Radok reviews eleven recent publications in a long celebration of the book: Before Time Today: Reinventing Tradition in Aurukun Aboriginal Art; Once Upon a Time in Papunya; John Davis: Presence; Ingo Kleinert: Two Decades; Joachim Froese: Photographs 1999-2008; Renata Buziak: Afterimage; Substance of Shadows: Jutta Feddersen; Khai Liew; Rounds (PICA); Barbara Hanrahan: A Biography; and Ken Bolton's Art Writing.
The Push Pull Decade
Artlink began thirty years ago in a corner of an office in Adelaide. Today it is available in the Tate Modern Bookshop purveying its unique brand of attention to important issues in contemporary art, mostly Australian, often international, wherever the ideas are sharp and the ideals are idealistic.
CACSA Contemporary 2010: The New New
CACSA Contemporary 2010: The New New Curators: Alan Cruickshank and Peter McKay 12 venues around Adelaide 29 October - 21 November 2010
In the Balance: Art for a Changing World & The River Project
In the Balance: Art for a Changing World Museum of Contemporary Art 21 August – 31October 2010 The River Project Campbelltown Arts Centre 28 August – 24 October 2010
Djalkiri: We are standing on their names
Djalkiri: We are standing on their names 24HR ART NT Centre for Contemporary Art 31 July – 4 September 2010 Touring nationally 2011
Madeleine Kelly: The Crevice
Madeleine Kelly: The Crevice Milani Gallery, Brisbane 9 September – 25 September 2010
Laughter Stephen Bird, Ben Booth, Andrew Harper, Henri Papin, Roam & Loba, Nicole Robson Curator: Victor Medrano 14 August - 19 September 2010 CAST Gallery, Hobart
GW Bot: The long paddock: A 30 year survey
GW Bot: The long paddock: A 30 year survey Curator: Peter Haynes Goulburn Regional Gallery 9 October – 29 November 2010 Touring until 2013
Curious Colony: A twenty first century Wunderkammer
Curious Colony: A twenty first century Wunderkammer Curator: Lisa Slade Newcastle Region Art Gallery 11 July – 29 August 2010 Curious Colony will be touring to the SH Ervin Gallery, Sydney, 11 January – 20 February 2011.
Elisabeth Kruger: On Beauty
Elisabeth Kruger: On Beauty Curator: Jenny McFarlane Drill Hall Gallery, ANU, Canberra 30 September – 7 November 2010-10-26
Up Close
Up Close Carol Jerrems with Larry Clark, Nan Goldin and William Yang Curator: Natalie King Heide Museum of Modern Art 31 July - 31 October 2010
Unlacing Carnal Margins: Portraits by Angela Stewart
Unlacing Carnal Margins: Portraits by Angela Stewart John Curtin Gallery 16 September – 10 December 2010
Before Time Today: Reinventing Tradition in Aurukun Aboriginal Art
Before Time Today: Reinventing Tradition in Aurukun Aboriginal Art University of Queensland Art Museum 11 September – 28 November 2010
Beyond Garment
Beyond Garment Curator: Anne Farren West Australian Museum, Fremantle 3 Sept to 28 Nov 2010
En Pointe: Magda Matwiejew
En Pointe: Magda Matwiejew Karen Woodbury Gallery, Melbourne 28 July 28 – 21 August 2010
Abstract Nature
Abstract Nature Curator: Margot Osborne Anne & Gordon Samstag Museum of Art, University of South Australia 30 July – 8 October 2010
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
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
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