Search
You searched for articles ...
Tina Gonsalves: Unleashing emotion
Tina Gonsalves is currently honorary artist in residence at the Wellcome Department of Imaging Neuroscience and visiting artist at the MIT Media Lab in the US. Her recent work is interested in adaptive, rather than expressive approaches to mental and emotional states. Gonsalves situates emotional states as rhizomorphic and emergent. In her new works, she has given the media art world a new concept, the emotional algorithm. Feel: Chameleon (2007/2008) introduces multiple subjects, both projected images and people, into a panoramic installation. It is a complex exploration of ideas drawn from the emerging discipline of social neuroscience which is interested in the ways in which people connect with the emotional state of others.
Ellen Dissanyake: homo aestheticus
In this phone interview conducted by Margot Osborne with North American ethologist Ellen Dissanyake in her home in Seattle her case for a species-centric approach to art is explored through the ideas in her books Homo Aestheticus (1992) and Art and Intimacy (2000). She states that some form of art as an activity has existed in all societies across all times and is innate in human nature. The core of this innate activity is making special, or elaboration. From this species-centric perspective, many recent developments in art are seen by Dissanayake as unfortunate aberrations and a denial of the positive life-enhancing qualities of art.
Blubberland: the dangers of happiness, Elizabeth Farrelly
University of New South Wales Press, 2007 RRP $29.95
The Formalesque: a guide to modern art and its history, Bernard Smith
Macmillan Australia 2007, RRP $135.
Aesthetics and material beauty: aesthetics naturalized, Jennifer A. McMahon
New York and London, Routledge 2007, RRP US$135
The realities of power
This is the third chapter of an unpublished autobiography by art theorist and national treasure Donald Brook. Previous chapters were published in 2005 in Artlink Vol 25#3 and in 2006 in Vol 26#4. In The Realities of Power Brook recapitulates what happened in terms of teaching and policy at the Power Institute, University of Sydney, in the late sixties when he first arrived in Australia from the UK. His long and detailed account explores why, in his opinion, the early Power Institute had so little impact on Australian visual culture. The rest of Brooks autobiography waits in the wings.
The 32nd congress of the international committee of the history of art (CIHA)
A brief description on the 32nd CIHA and its relevance in relation to art history and practices.
Insights and a conversation
A brief but notable account of the 2008 CIHA from the perspective of Anne Kirker describing the key speakers and their topical lectures in relation to art history. Kirker further elaborates on her experiences at the CIHA and what she deemed intellectually stimulating and intriguing. Kirker also summarises the general relevance and opportunities the CIHA provides.
One night only project
Curators: Kate Kelly and Pip Stafford Artists: Lindsay Arnold, Braddock, Lisa Campbell-Smith, Lachlan Conn, Moira Corby, Scot Cotterell, Lindsay Cox, Empire, Ghostpatrol, Andrew Harper, Jamin, Kate Kelly, Kirsty Madden, Noble, Michael Prior, Pip Stafford, Andy Vagg. Sound Artists: Chrysalis, Cycle, Global Ethnic, Matt Neidra. 29 March 2008
Chaos and revelry: Neo-Baroque and camp aesthetics
Curator: Edwina Bartlem 18 January 10 February 2008 Counihan Gallery, Brunswick
Papunya Painting: out of the desert
Curator: Vivien Johnson National Museum of Australia 28 November 2007 3 February 2008
The Ship of fools: recent paintings, Bill Brown
Wilson Street Gallery, Newtown 29 March - 20 April 2008
Now that I am a man I can go to war: Angela Lynkushka
Monash Gallery of Art 29 February - 27 April 2008
In response to conversations with a therapist as a narrative device: Martin Smith
Ryan Renshaw Gallery April 22 - May 10, 2008
Liminal
Curator: Colin Langridge Thomas Bachler, Andrew Dewhurst, Richard Giblett, David Martin, Todd McMillan, Ali Sanderson, Richard Wastell Carnegie Gallery, Hobart March 6 April 13 2008
A rusty sign at the end of a bloody empire
At Magnet Gallery in Quezon City Filipino artist Norberto Roldans exhibition Oil goes beyond the local situation and deals with the theme of peak oil as the root of all geopolitical evil, with the United States of America as the primary agent of ill intent. Lourd de Vera vividly describes it as a deliberate exercise in propaganda and sloganeering. Roldan takes a broad historical view and reflects on US policy in the Philippines over time while the rusting Caltex sign embedded in the exhibition asserts a warning: no empire lasts forever.
Conducting Mobility
Artists thinking and making work about fuel span the globe and delve into a wide range of ramifications. UK-based PLATFORM have done a multi-pronged report called Unraveling the Carbon Web on four oil-producing hot spots, Iraq, Nigeria, Russia and the Caucasus. Chicago-based Laurie Palmers Notions of Expenditure solicits renderings of exercise equipment and gyms redesigned for the production of electricity. Brian Collier wanders the edges of Illinois highways to locate thriving non-human life forms. kanarinka documented her running of the official evacuation route out of Boston while collaborators Kim Stringfellow, Amy Balkin, Tim Halbur, Pond and Greenaction made an audio guide for a Californian highway drawing its military, residential and agricultural stories together.
Watching as the enchanted land meets its end: Qiu Anxiong
With traditional Chinese brush painting skills Qiu Anxiong's three screen video animation New Book of Mountains and Seas, Part 1 shows the history of the world from its genesis as a vast sea to cities on the edge of destruction. It shows cycles of animal, bird and human life, oil drums and pipes, trees, mountains, the last ten yeas in China and the Great Wall of China. A modern version of the Shanhai Jing (The Classic of Mountains and Sea) the two thousand year old Chinese fanciful geography, Qiu Anxiong's animations brilliantly use scale to combine drawing with political comments.
Hyperlexic, desalinated but not scary
Separate performance works by The Collective (Alana Hunt, Sylvia Schwenk, Ingrid Dernee, Megan Brewster, Susie Fraser, Anna Williams), Tony Schwensen and Zina Kaye confront the complexity of the interlinked flashpoints of oil, energy, human rights, global warming, rampant flows of predatory capital and the war on terror with notions of resistance and how individuals can act. Schwensen was at Artspace, The Collective in Trajectories of Dissent at Little Fish Gallery and Mori Gallery while Zina Kaye in a Terminus Project at Westfield Bondi Junction broadcast her own comments on the massive LED signs hanging in the atrium of the mall.
Obscure dimensions of conflict
Lyndell Brown and Charles Green travelled in early 2007 for five weeks to the Middle East, Afghanistan and the Persian Gulf as the Australian War Memorials official war artists. The artists will make a series of oil paintings for the War Memorial from some of the many photos they took as well as developing a series of photos outside the official commission. The photos show an abstracted ruined world, shadows, machinery, stockpiles of weapons behind barbed wire, aircraft, campsites and deserts. The Ziggurat of Ur is evident in two photographs of Iraq and eloquently symbolises the rise and fall of cultures and armies across the land.
Power and art in East Timor
Recent art made by East Timorese artists is contrasted with work by Australian war artists Wendy Sharpe and Rick Amor. Artworks made by artists from the Arte Moris Free Art School in Dili are full of passion and deep knowledge of the incongruities of war and the poverty of their lives while the artworks made by Sharpe and Amor seem remote and generalised.
The winding way
Cairns-based artist Tijn Meulendijks considers the plant world as his medium. His exhibition, Natura est ars, held at Umbrella Studio in Townsville in 2007, was concentrated around a single plant community gathered while walking in a coastal Melaleuca swamp after fire had affected the environment.
The error of our ways: Madeleine Kelly
Brisbane-based artist Madeleine Kelly's oil paintings approach big issues through precise depictions of incongruous narratives which draw on both personal and mythological sources. Her comments on global issues like oil and pollution, human folly and its consequences, are framed like dream scenarios that touch us all. Kelly came to Australia from Germany when she was two and the celebrated 19th century German childrens story Struwwelpeter written and vividly illustrated by Heinrich Hoffmann echoes in her imaginative paintings of cautionary tales and surreal spaces.
The whistleblower of Discovery Bay
Carmel Wallace makes artworks with flotsam and jetsam. They comment on the immense amount of human debris she finds on the shoreline as well as on the scarred ecologies of the sea and the land. She also instigated the Great Southern West Walk project (a NETS Victoria exhibition touring throughout 2008) that brought a diverse range of artists to the chain of beaches, national parks and state forests located to the west of Portland near the Victoria-South Australian border. The project was driven by her need to develop her own knowledge and affinity for the land, to explore how art might contribute to environmental solutions and to explore walking as an all-encompassing method of experiencing the environment.
World tree: sounds of a bigger picture. Alison Clouston and Boyd
Alison Clouston and Boyd use sound and sculpture in layered and immersive installations that draw attention to delicate and complex systems in nature and what humans have made of them. 2007 is the first year they have made an artwork with a formal carbon audit and offset. Their recent art-making has caused them to become vegetarian. They believe that Today we humans need to relinquish this deeply embedded sense that we will be saved by some force beyond us, we alone have to sort out the mess we have made of this planet Earth, our only home.
Chance encounters: Pamela Kouwenhoven and Peter McKay
Two South Australian writers work with discarded materials to make strong commentaries on contemporary life. Pamela Kouwenhoven uses old empty plastic car battery cases to make Rosalie Gascoigne-like collages of faded colour and worn histories. Like her signature works using malthoid taken from beneath rainwater tanks, they have a strong environmental agenda, drawing attention to beauty as well as responsibility. Peter McKay makes playful works with serious messages. At night he makes patterns in oil stains on the road with glitter and photographs them. These works collapse the infinite into the accidental as galaxies appear on the ground.
Writing images with words: an inheritance of ambiguous faces
Beirut-based artist and writer Walid Salek's book of essays, called Jane-Loyse Tissier, deals with stereotyping in art. He is concerned with the way the Third World is often treated as a cliche of constant emergency and crisis and not as a subjective and historical space. His essays reinterpret some canonical works of Western art by artists like Titian, Courbet, Ensor, Giotto and David. His claim is that all pictures and all interpretations are contingent and thus in defending the Third World's right to its own interpretations based on its own values the entire world is being defended.
Rabih Mroué and Lina Saneh interview
Rabih Mrou and Lina Saneh are Lebanese performance artists. In their work called Whos Afraid of Representation?, currently touring Europe, they describe the work of over fifteen well-known performance artists from Chris Burden and Marina Abramovic to Stelarc and Rudolf Scwharzkogler whose violence occurs within the safe and sanctioned space of the art world. They contrast this symbolic violence with descriptions of violent murders in Beirut. The work draws attention to the way violent deaths in Beirut are as ephemeral as the newspapers they are reported in while the violence practiced by the performance artists becomes history and the artists gain authority.
The revolution will not be televised: the changing landscape of film and video production in the Arab world
The situation of Arab cinema today, while it varies from Morocco to Abu Dhabi, is at an interesting turning point due to digital technology and political and economic events. In spite of censorship there are increasingly more film festivals and a burgeoning audience of cinephiles. The 2007 Cinema East Film Festival in New York celebrated independent film production: At a moment when mainstream news seems helplessly captive to global conflicts, the war on terror and the clash of fundamentalisms, independent cinema has come to be regarded as a substitute for representing people, places and their stories. Filmmakers from the region are the most enchanting human rights activists, the most playful analysts, the most imaginative historians but first and foremost, the most generous and emboldening artists.
Handling the Adelaide Biennial
Stephanie Britton interviewed Felicity Fenner, curator of the 2008 Adelaide Biennial of Australian Art, to find out what Handle with Care really means in the twenty-first century.
Biennale of Sydney 2008: Carolyn Christov-Bakargiev
Tracey Clement interviews Carolyn Christov-Bakargiev, curator of the 2008 Biennale of Sydney, and finds out what she thinks about the Stendhal Syndrome, Biennale Syndrome and the politics of language.
Fierce or Friendly: Humans in the Animal World
Curators: Craig Judd, Kathryn Medlock, Peter J. Hughes, Vicky Farmery Tasmanian Museum and Art Gallery (TMAG) 14 December 20076 April 2008
Migratory Projects: The Drive Out Cinema
Andrew Sunley Smith Perth Institute of Contemporary Arts (PICA) 6 December 2007 - 27 January 2008
Economy
Anthony Kelly, Pilar Mata Dupont & Tarryn Gill, Bennett Miller, Tom Muller, Anna Nazzari, Mark Parfitt, Ric Spencer, Brendan van Hek (WA) Curator: Consuelo Cavaniglia PICA 1 - 25th November 2007
[the space in between] Book project
Curated by Tara Gilbee VCA Margaret Lawrence Gallery, Melbourne 13 July -4 August 2007 Sidney Myer Work on Paper Gallery, Bendigo Art Gallery 15 March - 13 April 2008 Umbrella Studio Contemporary Arts 8 August - 14 September 2008
Our Lucky Country - (Still Different)
Nuha Saad, Soda_Jerk, Ron Adams, Mimi Tong, Nana Ohnesorge, Liam Benson, George Tillianakis, Huseyin Sami, Adam Norton, Ruark Lewis, Maria Cruz, Elizabeth Day, Michelle Hanlin, Sarah Goffman, Anna Peters Hazelhurst Regional Gallery 8 December 2007 - 3 February 2008
Making it Modern The Watercolours of Kenneth McQueen
Curator: Samantha Littley Queensland Art Gallery 10 November 2007 5 May 2008
from time to time one talks to the moon: Aldo Iacobelli
Curator: Linda Marie Walker Experimental Art Foundation, Adelaide 15 November - 15 December 2007
Robert MacPherson, Vernon Ah Kee and Jeremy Hynes
Institute of Modern Art, Brisbane 8 December 2007 - 2 February 2008
Replay: Christian Marclay
Australian Centre for the Moving Image (ACMI) Melbourrne 19 November 2007 - 2 February 2008
The Hard Work
Michael Keighery, current Chair of Viscopy and past chair of NAVA and the Crafts Council of Australia reviews the apathy and ignorance of artist about their industrial, copyright and taxation rights. He draws attention to the hard worn, by NAVA and Artslaw, ruling by the Tax Office in 2005 that all kinds of artists can now claim their art business expenses against all forms of income.
The Work of Art
Art theorist and Emeritus Professor of Visual Arts, Flinders University, Donald Brook examines the art world and its strange ways. Art, he says, is not craft nor the consequence of any exercise of skill at all but the artworld is infallible in identifying art.
Throwing the Baby Out with the Bathwater
The CDEP (Community Development Employment Program) was axed by the Howard Federal Government throughout the Northern Territory though is still current in South Australia and Western Australia. The Program was launched in 1977 by the Fraser Government and has been a very valuable way of getting Aboriginal people to be engaged productive community memes in art centres and other activities. A number of key Aboriginal art centres rely on CDEP staff for printing, administration, preparators, artists and craftspeople. It is a vital component in building community self-reliance and pride.
The Obsessive Compulsive Worker
What does obsessive artwork mean? Is this a new compulsion among artists and what does it mean? The work of Hossein Valamanesh, Fiona Hall, Zhuang Hui, Zhang Huan, Shen Shaomin, Katsuhige Nakahashi are referenced.
A Relationship can't be Outsourced: Tracey Clement
The idea of slow art takes on a gripping intensity in Tracey Clements textile works which use ideas of duration and repetition to refer to womens traditional work and skills - a huge ball of wool, a giant button-covered blanket, full-size bodies made from thread and most recently a miniature city of salt and wire. The excessive though delicate relationship between the artist and the work becomes evident in the resulting artefacts. She admits to watching very bad DVDs while on the job.
Soft Power - Confession: Leung Mee Ping
Hong-Kong based Leung Mee Ping sees the artist as a craftperson able to fabricate intricate work that makes the viewer revision the everyday. Memorising the Future is an ongoing project of shoes made from felted human hair. It has been shown all over the world in major museums and now consists of more than 11,500 shoes.
Busy Work: Dreaming Time
Justine Khamara uses a scalpel to cut out tens of thousands of images from magazines. She then joins the often identical images to make very large assemblages. The artist sees the obsessive busywork that she does with her hands as providing her with space to dream and do the real work of sifting through the stuff in her head.
Process, Production and the Invisible Line: Carly Fischer
Carly Fischer's work is on the cover of the Work issue of Artlink. Her latest exhibition at Helen Gory Galerie of everyday cleaning items and broken fluorescent tubes made from blue paper is art that is almost invisible but critiques consumerism and the culture of waste.
Work Wanted: Keith Wong
An artist advertising art in the yellow pages as an artwork turns out not to be a light matter.
Everybody's Working for the Weekend
This article was written by a mysterious Australian creative labour collective possibly based in Western Australia. It humorously analyses the special characteristics of creative work as against the goals of capitalism while simultaneously possessing an intense work ethic through looking at recent artworks by Matthew Hunt, Tarryn Gill and Pilar Mata Dupont, Rodney Glick and Lynnette Voevodin, and pvi collective. It concludes that the creative task of showing how the nature of work is historically and geographically located is vital.
Labour of Love: Claire Healy and Sean Cordeiro
The latest work by Claire Healy and Sean Cordeiro, artists who have been fruitfully collaborating for over seven years was shown at the Art Gallery of New South Wales in 2007. Called The Paper Trail it explores Paul Virilios ideas about dromology (the science and logic of speed especially in relation to war) through thinking about the Mongolian Empire. A fantastic Mongolian Ger (a nomadic structure ordered on the internet), government archives, Johnson Solids and the Trailer of Death are some of the features of the installation which suggests complex and recurring layers to all globalisation.
Beyond the Parlour Games: We Refuse to Become Victims
Thresholds of Tolerance curated by Caroline Turner and David Williams, was shown at the ANU School of Art Gallery from 10 May to 5 June, 2007. We Refuse to Become Victims, an art work made by three artists collectives, Culture Kitchen in Canberra, Taring Padi in Jogyakarta and Gembel in Dili, Timor, a four part series of large works on fabric of small woodcuts, screenprints and painting struck Pat Hoffie as political art that really works as it is cross-disciplinary, cross cultural and seems to stretch out back to the fields of production rather than towards the empty field of the gallery.
Valuing Relationships: Concertina
Concertina is a group of seven artists, Katrina Weber, Ros Miller, Wendy Rushby, Kathryn Hill, Wendy Todd, Dana Kinter and Anny Gooden, who for six years have been working as a collective creating within self-prescribed boundaries. Once a year they set aside their own practices and embark upon a major collaborative project leading to an exhibition. Their latest venture meant one artist Anny Gooden stepping outside the group, she was overseas, and providing instructions to the others. The resulting exhibition, Text as Muse, was shown at Light Square Gallery from 27 June - 26 July 2007.
Reskin: Intensive Collaboration
A fascinating participant report on an exciting collaborative project of great vision and experimentation. Reskin 2007 was developed by the Australian Network for Art and Technology (ANAT), the Australian National University School of Art, the Centre for New Media Arts (CNMA) and Craft Australia. It brought twenty international and national artists, designers and technologists together under the guidance of seven professional wearable technology specialists at the forefront of their respective fields. The idea of Reskin, co-ordinated by Alexander Gillespie was to design wearable technologies for the body using the latest materials and methods.
Mirroring our Dialogue: Danielle Freakley as 'The Quote Generator'
The Quote Generator is a three year public art project where the artist only speaks in quotes which she instantly attributes. For the first year Danielle Freakley will quote from commercial products, the second year from friends and acquaintances and the last year from herself in the past.
Taking Care of Business: Ash Keating
Melbourne-based artist Ash Keatings art practice is based on an ethic and aesthetic of recycling. He reinvents waste often for site-specific interventions - before disposing of the relics by recycling them responsibly. For 'Press Release' (2005-ongoing) he cut 6,500 copies of the same bird from magazines and has thrown them skywards, letting them soar to the ground, in atriums and galleries from Sydney to Santiago. In his videos he is seen at work deconstructing free newspapers or wrestling with large discarded vinyl banners.
A Bush Camp in a Mysterious Land: Guan Wei
Chinese-Australian artist Guan Wei first visited Australia eighteen years ago but it was only in 2006 that he went bush for two weeks with nine other artists, on an artists camp organised by Darwin's contemporary art space 24 Hour Art in collaboration with Injalak Arts and Crafts in Western Arnhem Land. His vivid experiences of the great outdoors, its sounds, animals and birds, led to his A Mysterious Land series. He worked with local Aboriginal artists, was shown rock paintings and found similarities between Aboriginal culture and Taoist philosophy.
We Can Work it Out: New Style Residencies in Asia
Since the early nineties Asialink has helped to plunge 450 Australian artists into the proverbial deep end of arts practice, the overseas residency. Out of their comfort zones, far from friends and familiar comforts, the artists test their artwork and themselves in new cultural contexts. The recent experiences of Megan Keating in Taiwan, Danius Kesminas in Indonesia, Alwin Reamillo in the Philippines and Ben Morieson in Japan are described in all their variety and embrace of an increasingly Asia-literate world.
Witnessing: Transcending the Public-Private Divide in Photography
Reveries: Mortality and photography was curated for the National Portrait Gallery by Helen Ennis and shown from 27 April to 5 August 2007. This touring show will be at Mornington Peninsula Regional Gallery from 19 March to 18 May 2008. It includes a wide range of approaches from the harrowing to the humorous. It includes work by Axel Poignant a self-portrait with his last roll of film, Anne Ferran, Carol Jerrems, Craig Potton, William Yang, Anne Noble, Ruth Maddison, Bernie ORegan and Jonathon Delacour who stopped taking photographs after this series of babies and their carers in intensive care.
The Creative Potential of the Awkward: Sarah crowEST
A look at roughly the last five years of 2007 Samstag scholar Sarah crowESTs art practice of objects, performances and videos. CrowESTs manifesto is to maintain flexibility in her thinking; to do or consider the opposite of that which is usual or customary and to make something very messy. Her work often explores the functions of the alter ego in contemporary visual arts practice.
Unknown Worker in Art: Alan Lukey
A retrospective survey of the work of Alan Lukey who died in 2003 aged 51 organised by fellow artist John Foubister with the help of Jill Lukey was shown at New Land Gallery in Port Adelaide, 21 April to 10 June 2007. Lukey was a South Australian artist who painted abstract and meditative works and lived on the Fleurieu Peninsula between 1977 and 2003. He also made public art works often in the shape of waves.
Artworks Out on the Beach Townsville
In September 2007 in Townsville Stephanie Radok attended the Perc Tucker Regional Gallerys Strand Ephemera, a biennial outdoor sculpture and installation exhibition first held in 2001. The Strand is a 2km landscaped beachfront park where local and interstate artists placed their site specific works which ranged from an Aeolian harp by Nameer Davis to a throne made of seasponges by Wendy Robertson. An enthusiastic audience of children and Strand-strollers made their way from work to work thinking about art and its myriad manifestations. Commissioned artists making work in shipping containers were Craig Walsh, Bonemap, Donna Marcus, Chris Fox and Richard Goodwin.
John Maitland's Energy Architecture
John Maitland is the sole director of Energy Architecture, an Adelaide architecture firm committed to environmentally sound and socially responsible architecture established in 1990.
Indigenous Triennial
Culture Warriors: National Indigenous Art Triennial 07 Curator: Brenda L. Croft. National Gallery of Australia, 13 October 2007 - 10 February 2008; touring to Art Gallery of South Australia, 20 June - 31 August 2008; Art Gallery of Western Australia, 20 September - 23 November 2008; Queensland Gallery of Modern Art, MarchMay 2009. (Note: The touring exhibition will be about 90 works rather than the 130 seen in Canberra.)
X Strata Indigenous Art Awards
Xstrata Coal Emerging Indigenous Art Award GoMA, Brisbane 4 August - 11 November 2007
The Hours
The Hours: Visual Arts of Contemporary Latin America Curator: Sebastian Lopez Museum of Contemporary Art, Sydney 21 June - 2 September 2007
Territorial
Territorial Canberra Contemporary Art Centre June 2007 24 hr Art, Darwin September October 2007 ACT Artists: Silvia Vélez, Bernie Slater, Raquel Ormella NT artists: Franck Gohier, Catriona Stanton, Gary Lee
ACCA
Almost Everywhere Apparent Sonia Leber and David Chesworth Australian Centre for Contemporary Art, Melbourne 11 August - 30 September 2007
Papunya Tjupi: A New Beginning
Papunya Tjupi: A New Beginning Ivan Dougherty Gallery 6 September - 6 October 2007
Strange Fruit
Strange Fruit: Testimony and Memory in Julie Dowlings Portraits Curator: Jeanette Hoorn Ian Potter Museum of Art, Melbourne 21 July - 14 October 2007
Painting at SALA
Shades of the Real: a selective survey of tonal painting Adelaide Central Gallery 20 July - 11 August 2007 artists: Morgan Allender, Nona Burden, Stephanie Crase, Kveta Deans, Louise Feneley, Mary-Jean Richardson, Chelsea Lehmann, Rachel Smyth, Deborah Trusson, Yve Thompson Christian Lock Greenaway Art Gallery 4 -29 July 2007 Kaylie Weir (in Noodle) Premier Art Gallery SALA exhibition 3 August 1 September 2007 Learning to Speak Simone Kennedy Artlab SALA Exhibition 3-19 August 2007
Sara Elson
Sarah Elson Anigozanthos (eudaimonia hybrid) 5 August - 2 September 2007 Galerie Desseldorf, Perth
Topsy
Topsy Eleanor Avery, Ray Cook, Kim Demuth, Alice Lang, David Spooner, Grubbanax Swinnasen. Curator Chris Comer Metro Arts Galleries, Brisbane 5 - 22 September 2007
