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YARN: The art of conversation
Coby Edgar interviews Warren Roberts, CEO of YARN Australia
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Knowledge positions in Aotearoa and Turtle Island art museums

An interview with First Nations curators Kathleen Ash-Milby, Maia Nuku and Nigel Borell.
 

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Agatha Gothe‑Snape: On art and education

Eve Sullivan___How did you become the creative lead for the Kaldor Public Art Project Symposium on Art Education? What did this entail?

Agatha Gothe‑Snape___I was invited by Kaldor Public Art Projects to participate (or intervene) in the program as an artist. Throughout the development and planning of the event I spent time “in residency” in the KPAP office as a kind of “participant–observer.” I also did research into the current discourses around art and education, reflecting upon my own experiences and those of others, and spoke to primary and secondary school teachers about their approaches to teaching art.

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Alana Hunt with Sanjay Kak: A conversation about Kashmir

Sanjay Kak  Tell me about that first cup of nun chai in Kashmir, that first conversation. Were you prepared for what you were to encounter?

Alana Hunt  My first cup of nun chai was actually in Delhi in the home of a Kashmiri artist friend. I initially came to Delhi, with the support of the Australia Council, as an artist in residence with the Sarai Programme, after which I pursued studies at Jawaharlal Nehru University. During my first few weeks in the city I came across a small flyer for a screening of a film about the Safar-i-Azadi (Journey to Freedom) campaign led by the pro-independence leader and former armed fighter Yasin Malik. SAR Geelani was also there, and I learnt that he had already spent several years on death row in connection with the attack on the Indian Parliament, for which he was eventually acquitted. At the same time, protesting in the streets outside were the Hindu group Roots in Kashmir, wholly opposed to the idea of Kashmiri self-determination. I was new to Delhi, but from that point confronted with the multilayered tensions surrounding India’s occupation of Kashmir. It led me to the book The Strange Case of the Attack on the Indian Parliament, and your film Jashn-e-Azadi (How we Celebrate Freedom).

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Return to the Wunderkammer

Eve Sullivan interviews Lisa Slade Curator of the 2016 Adelaide Biennial of Australian Art: Magic Object 

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On First Nations agency in our European-based cultural institutions

Art, performance, and spoken or now written text, all belong to the same register of cultural practice in the First Nations I am familiar with or belong to: ceremony. This ceremonial register takes place in a set of spaces created to enact cultural responsibilities to place, people and balance. Galleries and museums, as sites of cultural production and presentation, have the potential to nurture new ceremonies and new working methods.

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Artist-run initiative: Fontanelle moving to Port Adelaide

Eve Sullivan in conversation with Fontanelle directors Brigid Noone and Ben Leslie
 

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An interview with BG Muhn on the art of North Korea
Yvonne Boag interviews BG Muhn about his forthcoming book on the Passion, Propaganda and Paradox of North Korean Art to be published by Seoul Selections, and an exhibition at the American University Museum in Washington in 2016
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Regrette Etcetera: Werq the runway darling!
What drones taught me about being a better tranny ...
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Making Gaps: David Rosetzky’s collaborators
David Rosetzky’s collaborators in conversation
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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.
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Let's be polite

Editor Daniel Browning interviews artist Vernon Ah Kee who discusses the lack of criticism of Aboriginal art and the abundance of 'mass production' Aboriginal art emanating from remote communities seen by some as 'real Aboriginal art' but in the eyes of Ah Kee simply and uncritically playing into false romantic notions of the lives of Aboriginal people.

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My Country, I Still Call Australia Home: Interview with Bruce McLean
On curating My Country, I Still Call Australia Home: Contemporary Art from Black Australia, opening at the Gallery of Modern Art in Brisbane on 1 June 2013. 
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Why the Guerilla Girls don't have to be naked to get into the Met
Curator Laura Castagnini interviews Guerilla Girls founding members Frida Kahlo and Käthe Kollwitz on the past, the present, the legacy of feminist activism and the institutionalisation of experimental practices.
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Adelaide Biennale of Australian Art - Alexi Glass-Kantor & Natasha Bullock
Artlink Experiment Guest Editor, writer and critic Din Heagney probes the curators of the 2012 Adelaide Biennale of Australian Art and in particular their approach to the embedding of artworks in the colonial Elder Wing of the Gallery.
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A place of our own
This conversation between curator Hetti Perkins and co-editor Daniel Browning looks at Perkins call for a National Institution, or Centre, of Indigenous Art, which might become, as she puts it, “a living space that breathes culture”.
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Kate Shaw: Amping up the Magic Hour
In an interview format artist and academic Stephen Haley discusses the work of Kate Shaw the artist whose work features on the cover of the Phenomena issue of Artlink. Shaw talks about the way she uses colour, her techniques and goals from garnering attention to depicting an ambivalent relationship to the natural world.
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Street Talk with Mary Lou Pavlovic
Juliette Peers interviews Mary Lou Pavlovic Mary Lou Pavlovic to find out how one becomes a de facto public institution? MLP: Just do it. Don’t worry so much about acceptance into a very institutionalised dysfunctional system...Worry about being creative and alive on your own terms. Put yourself in any exhibition you feel you should be in. You may not get the institutional rewards but lets face it – they ain’t that great here in Aussie land anyway.
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How to make trouble and influence people: Pranks, hoaxes, graffiti and political mischef-making from across Australia
Iain McIntyre's book How To Make Trouble And Influence People describes the secret ludic history of creative troublemaking in Australia over two centuries. It began as a series of zines and is now published by Breakdown Press to impress new readers and inspire new acts of defiance.
Catherine David's Transmission

Renowned French curator Catherine David visited Auckland to judge the Walters Prize; she awarded the $50,000 prize to Peter Robinson. John Hurrell artist, curator and blogger of NZ art reviews and critical discussion site eyeCONTACT spoke to Catherine about her curating of the Lyon Biennial which touches down in late 2009, and the relationship between artists and curators.

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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.
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Charles Merewether: Director of 15th Biennale of Sydney
It is always hard to characterise an exhibition as vast and sprawling as the Biennale of Sydney as it takes over the city, but every time the Biennale has taken place, it has taken on the flavour of its artistic director. Joanna Mendelssohn has conducted an interview with Charles Merewether - art historian, writer and curator - who has produced what could be the most confronting Biennale for many years. His take is at first glance the external world of war and conflict, of cultural difference and exchange but ultimately he wanted to do 'a show that tried to interfere in the way in which contemporary art was being seen'. Included in this article is the work of artists Akram Zaatari Saida, Elena Kovylina, Raeda Saadeh, Ghada Amer, Ruti Sela, Maayan Amir, Sejla Kameric, Mladen Stilinovic, Milica Tomic, Imants Tillers, Savanhdary Vongpoothorn, Julie Gough, Adrian Paci, Liza Ryan, Sharon Lockhart and Antony Gormley.
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Steve Kurtz: Critical Art Ensemble
An interview between Mireille Astore and Steve Kurtz, member of the Critical Art Ensemble (CAE) and Professor of Art at University at Buffalo. Kurtz participated in Home Works III, a recurring production of Ashkal Alwan, the Lebanese Association for Plastic Arts. Lectures, discussion panels, video screenings, performances and book launches, all contributed to the wealth of ideas offered and generated during an intense week from 17-24 November 2005. Astore asked Kurtz about his practice and its relationship to Home Works III.
Interview with Peter Sellars: Architecture, Adelaide Festival and Organic Oranges

Urban ecologist and architect Paul Downton interviewed 2002 Telstra Adelaide Festival Director Peter Sellars and Associate Director Cathy Woolcock about urban design and ecology and the attempts to create a shift from the idea of 'ownership' to 'participation' between people and the urban and natural environments. This feature also weaves in comments by Bert Flugelman, Judith Brine and Francesco Bonarto about the way they are prepared to express their feelings about their city and the way it looks and feels.

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Screen Gallery
At the time of this article, Screen Gallery, the world's first gallery for the exhibition and research of digital media, was anticipated to open at Federation Square in Melbourne. Screen Gallery is located underground, on the site of a couple of old railway platforms 100 metres long, 15 metres wide and seven metres deep. Creative Director of the Screen Gallery, Ross Gibson spoke to Stephanie Radok over the internet.
Education & the art in architecture
Artlink 9:2
Grace at the South Australian School of Art: Louise Dauth interviews Helen Grace
Artlink 9:1
Visual arts beyond the city: An interview with David Hansen
Artlink 8:4
Changing spaces: An interview with Michael Snelling
Artlink 8:4
The Australian Biennale: An interview with Nick Waterlow
Artlink 8:2
Powerful emotional dangerous nature sculpture: Nikolaus Lang's recent work
Artlink 8:2
The cargo art flash and the tapestry of ignition: Bo Jones and Jenda Bucek
Artlink 7:4
At risk: Hazards for Arts workers
Art & Technology
From the earth: Nikolaus Lang talks with Rosemary Brooks
Artlink 7:1
Leaving the EAF: Louise Dauth talks to Donald Brook
Artlink 7:1
Two minds on the mantelpiece are worth a multitude of candelabra: Part II
Artlink 6:5
Bruce McLean: Creating new places for art
Interview Issue
Miriam Cahn: A female way and a male way
Interview Issue
Katsuhiko Hibino: Performance and everyday objects
Interview Issue
Bob Adrian: Appropriating found systems
Interview Issue
Two minds on the mantelpiece are worth a multitude of candelabra
Interview Issue
Stuart Sherman: Mouse and Hamlet: Ecstatic essentials and archetypes
Interview Issue
Ann Newmarch: A high status for art in Chinese society
Interview Issue
Ania Walwicz: Not a polite image
Interview Issue
Free hand packs punch: Visual arts in the Festival
Artlink 6:1
Kay Lawrence: A discussion with Jude Adams
Artlink 5:5
Ethics and interviews: Morality and art
Artlink 5:5
Music in Dunedin: Interview with Greg Fox
Art in New Zealand and Anzart
Making the School of Art profoundly self-respecting
Artlink 5:1
Political Performance Artist
Feminist Perspectives
An Interview with Paula Dawson
Artlink 4:1
I have to get my rocks off: An interview with Hans Haacke
Artlink 3:5
John Bannon: Justifying public money
Artlink 3:4
Wind, ice & fire: An exhibition of adventure
Artlink 3:4
It’s a Question of What Kinds of Arguments Remain the Most Visible: The Biennale Forum-A Decade of Feminist Art in Review
Artlink 2:3
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