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The Child Guides Program
One of the challenges facing galleries dealing with contemporary art is to persuade visitors to be open-minded about whats on display. All too often it's not the art that's the problem, but the context in which it is placed. Macgregor is here responding to an issue she feels strongly about, especially as it relates to the viewing of art amongst children. The Child Guides program was an initiative at the Ikon Gallery in Birmingham which Macgregor was involved with. The program recruited children from local schools to guide visitors informally around the exhibition, and helped to enhance the childrens communicative skills, gain knowledge of a range of contemporary art practices and to develop a sense of self-importance.
Primary Non-Producers: The Arts in Crisis in Public Education
In this article Orchard is looking at the nature of art teaching in primary schools rather than focusing on the debate surrounding the value of arts learning and education. Although art has in the past decade become a formal part of the curriculum across Australia there is still a huge dearth of support material for teachers, particularly those in isolated areas. Orchard introduces some of the support programs which have been implemented in various schools, including the Department of Education & Training & Employment (DETE) and South Australian Living Artists (SALA) programs.
Polemic: Two Myths about Blue Poles
By now - fifty years after the painting was made and thirty years after if was acquired by the National Gallery of Australia - there are two well-established myths about Jackson Pollack's Blue Poles. Brook here outlines and discusses these, but draws particular attention to the myth that the celebrated museum exhibit called Blue Poles is intrinsically, and not merely by fleeting reputation, a great work of art.
Unchain my Art: Notes on the role of myths and preconceptions in shaping perceptions of women's art
This article notes the role of myths and preconceptions in shaping perceptions of womens art. In framing art reputations in Australia, the most disputed and uneasy component is gender. Peers looks at the 1970s feminist art movement which was important for providing the blueprint for an ongoing understanding of art as an interrogative gesture and the works of women artists such as Grace Cossington-Smith, Stella Bowen, Joy Hester, Clarice Beckett, Janine Burke, Kiffy Rubbo, Margaret Preston, Hilda Rix Nicholas, A.M.E. Bale, Margaret Olley, Meg Benwell, Judy Perrey and Anne Marie Graham.
Frank Bauer Goes Public
German born artist Frank Bauer was raised on the philosophy that art, design and industry could work together to achieve a more visually coherent and democratic society. Over the past thirty years he has produced a huge body of work in metal, which includes jewellery, hollow ware, furniture and lighting. Through this text Fairlamb focuses on Bauers wind sculptures, exhibited at the Powerhouse Museum and JamFactory, which stand over four metres high and bring together his considerable knowledge of balance, precision engineering and sculptural metal work.
Asher Bilu: Doing Business with the Cosmic
From the beginning, Asher Bilus work has had two loci of concentration: the mystery of matter, its structures, boundaries and possibilities, and Mystery itself, space, sound, reverberations of the invisible, the very universe. Bilu takes on the physical demands of his experiments like a workman, he manipulates them like a technician. This article examines Bilus art practice from his early days as a migrant in Australia and winner of the prestigious Blake Prize to his recent work the Infinity Series.
Beyond Mertz and Whitechapel: 'contemporary' Australian Modernism
Furby raises the issues of women artists role in Australian society and the considerable lack of recognition for this minority. The radical art group, the Contemporary Art Society (CAS), which was founded in Victoria in 1938 to counter attack academic art and to foster original and creative contemporary art, had its majority as women artists. The works of Mirka Mora, Erica McGilchrist, Nancy Borlase, Elsa Russell, Jacqueline Hick and Barbara Robertson are included in this discussion.
The Art of Living Dangerously: Victor Meertens
Documents the life and work of Victor Meertens: his journey to Europe where he became inspired by the work of the early Flemish painters and Grunewalds Isenheim Altarpiece (c.1505-1510), his involvement with the Third Australian Sculpture Triennial and the Australian Biennale 1988, his various solo shows and other notable achievements within the contemporary Australian art scene of the late 20th century.
Public Art Boom in Western Australia: It is the edges that make it interesting
The difficulties of public art are universally acknowledged - they are the same across state and national borders and usually result in compromised solutions - however if they are to be considered more as collaborative efforts between artist and community rather than works of 'art' the outcomes become interesting. Millers article addresses this notion through a discussion of recent Western Australian public art programs and in particular the achievements of ArtSource, an employment agency for visual artists. Key figures in this text are Brian McKay, Ahmad Abas, Tony McClure, Jon Tarry, John Elkington, Linnea Glatt and Michael Singer.
Space adventures: Collaborations in public art and urban design in Victoria
Local government bodies in Victoria are demonstrating a range of approaches to the development of public art in urban design with recent project examples indicating new possibilities between artists, residents, designers, architects, business and even neighbouring councils. The Skewed Arch example in the City of Yarra is one discussed along with the works of Inge King, Chris Perk, Diane Mantzaris, David Davies, Alistair Knox, Ian Sinclair and Jackie Straude.
Heroism in the Public Domain
The two most heroic commitments to public art in Australia since Parliament House, Canberra, are for the refurbishment of the Sydney International Airport and the Olympic 2000 Homebush Bay site. These aspirations are eloquently expressed in forms and structures that are surprising , beautiful and of varying quality. The Airport Project features the work of Michael Riley, Robyn Backen, Ron Smith, Kerry Clare, Lindsay Clare, Brook Andrew and Fiona McDonald. Those included in the Homebush Bay Project are Peter Cripps, Terri Bird, Ari Purhonen, Neil Dawson, Paul Carter, Ruark Lewis, Janet Laurence, James Carpenter, Elizabeth Gower and Robert Owen.
Will we get real artist's moral rights?
With the recent boom being enjoyed by public art in Australia, the issue of moral rights legislation has become more pressing. It was in recognition of the power differential between most artists and the users of their work that Australia became a signatory to an international agreement, the Berne Convention for the Protection of Literary and Artistic Works designed to redress the imbalance. Some of the clauses and conditions of this legislation are briefly discussed.
Gateway to Adelaide: The Process, The Result
Undertaken by Transport SA from 1996 until 2000, the Adelaide-Crafers Highway project resulted in major route reconstruction along a 10 km section of the Prince Highway. This has resulted in artist/ designer/ architect collaborations for the production of three major walls, elements of paving, bus stops and two bus shelters, a water feature and a freestanding sculptural piece. Artists and architects included in the project are George Popperwell, Greg Healey, Tony Bishop, Marijana Tadic, Neil Cranney, Mark Butcher and Rob Williams.
A far cry from waiting room wallpaper: Ian North's The Intelligence of Blood
Adelaides newest art commission has recently been installed in the Department of Surgery at the Queen Elizabeth Hospital: The Intelligence of Blood, a challenging work by Ian North. The painting is large, about six metres wide and almost two metres high and abounds with references to surgery, blood, medicine and much more.
Texas: Artists Move in on Project Row House
A tidy little row of identical white houses, glowing in the Texas sun, has become the unlikely home of a cutting-edge experiment in public art. Seven houses are for artists installations, while another seven of the houses have been modernized and furnished for young, single mothers and their children. This text discusses the works of artists Vicki Meeks, Tracy Hicks, Radcliffe Bailey, Pat Ward Williams, Natalie Lovejoy, Joseph Havel, Fred Wilson, Shahzia Sikander, Nari Ward, Chen Zhen, Jens Haaning, Annette Lawrence, Deborah Grotfeldt and Rick Lowe.
Melbourne's Public Art goes Temporary
The City of Melbourne has made some sweeping changes to its public art strategy that focus on the town hall as a place where public and government meet; an essentially civic space open to the scrutiny of its citizenry. Examples of such change are indicated by Fiona Foleys Lie of the Land installation, Town Hall Transformed by Melbourne artist Ian de Gruchy, a collaborative piece by construction / performance group Bambuco which created a stage for two performances by the Five Angry Men collective entitled Bells. Holt discusses.
Wendy Mills in the Mall: The 'Water Table'
Wendy Mills was invited in November 1998 to design an artwork that would engage, intrigue, amuse or challenge but not intentionally outrage members of the public . This article discusses Mills piece On This Auspicious Occasion and the ongoing challenges faced during its creation and thereafter.
Stafford and Staff: Queensland's Public Art Agency
Morrell examines the recent structural developments which have taken place at and around the precinct of Brisbanes Roma Street Transit Centre. Under Queenslands Art Built-in policy approximately $1.4 million was proposed to be spent on works of art to feature in the new precinct. Morrell was the public art curator for the Roma Street project and this article developed out of conversations held with the Public Art Agencys Executive Program Officer John Stafford.
Signage to Confuse and Amuse
Richard Tippings installation Signs Signed was in Munichs Salvatorplatz during August 1999. Twenty two reflective signs were placed in the square and streets around the Literaturhaus as a part of the Piazza installation art project, curated by Art Circolo. This feature includes images of Tippings Signs with accompanying text.
Polemic: GO BACK You Are Going the Wrong Way
Brook breaks this argument down into sub categories: The rationale of the art history museum, The cabinet of curiosities, Evolution, Cultural evolution, Art as the source of memetic variation and The cultural museum.
Why You Should Join VISCOPY Now!
While the eyes of many artists glaze over at the mention of copyright, the explosion in use of visuals in communication means that artists creating those images need to be well-informed and well-represented in copyright issues. Mark Ferguson spoke with VISCOPYs new Chairman, Adelaide photographer Mark Fitz-Gerald, about the role of VISCOPY and the developing awareness amongst visual arts and craftspeople of the importance of copyright royalties.
Auctions and Copyright: Moratorium
Recent auctions held by Christie's, Sotherby's and Deutscher-Menzies have clearly demonstrated that the market is now looking towards artists in their fifties and even younger. The relationship between artists and auction houses is here discussed with reference to artists Juan Davila, Charles Blackman, Imants Tillers, Mandy Martin, John Wolseley, Howard Arkley, Lloyd Rees, Emily Kngwarray, Lin Onus and groups Desart, Balgo Artists and Utopia Arts.
Modern Machine Art
Information processing technology influences our notions about creativity, perception, and the limits of art ... It is probably not the province of computers and other telecommunication devices to produce works of art as we know it; but they will, in fact be instrumental in redefining the entire area of esthetic awareness.
Artlink - The Second Decade 1991-2000
Britton recaps on the decade that was and discusses some of the significant challenges she and her team at Artlink faced such as marketing, distributing, staffing, staying solvent and avoiding terminal burnout. Also looks at some of Artlinks major achievement over the past ten years.
Artlink and Museums, Past and Present
The issues raised by revisiting in some degree the past within Artlink touch upon a more general invocation to the authority and precedent of history in an Australian context. Some of these issues are here discussed with reference to key figures such as the Papunya Tula movement, David Kerr, Jude Adams, Drusilla Modjeska, Joan Kerr, Anne McClintock, Louise Dauth, Penny White, Zara Stanhope, Stuart Hall, Nicholas Rothwell, Paul Carter and Donald Brook.
Australian Aboriginal Cultures Gallery
The new Australian Aboriginal Cultures Gallery, the spearhead of the new and improved South Australian Museum development program, set out to unlocked one of the great ethnographic collections of the world and give insight into one of the worlds oldest, most continuous living cultures. Some of the artefacts on display included totem poles from Elcho Island, headdresses from Central Australia, Darwin area and Mornington Island and wooden shields from across Australia.
The Link Exhibition
The Link Exhibitions were a series of contemporary art exhibitions run on a very low budget by the Art Gallery of South Australia between 1974-1979 to increase communication and understanding between Australian artists . This article is a retrospective account of the events and responses to the Link Exhibitions. Key figures discussed are Imants Tillers, Jim Cowley, Bob Ramsay, Brian Medlin, Terry Smith, John Baily, Noel Sheridan, Donald Brook, Hank Vischedyk, John Kaldor, Charlotte Moorman, Nam June Paik, Ann Newmarch, Hossein Valamanesh, Aleks Danko, Tony Coleing, Marcus Beresford, Alison Carroll, Ian Maidment, Dick Richards and Barry Pearce.
Craft Theory
The twentieth anniversary of Artlink has provided an occasion for an article on the current state of craft theory and its ramifications. This article gathers and presents a knowledge that eddies around craft and engages in the ontology of craft theory. Its aspirations: for craft theory to be not only approached from the point of view of the useful, instrumental or skilful but as offering new ways of moving and thinking. William Morris, Adolf Loos, David Walker, Sue Rowley, Grace Cochrane, Justin Clemens, Mark Pennings, Kevin Murray, Gilles Deleuze, Nicole Tomlinson, John Rajchman, Felix Guattari, Tony Fry, Frances Lindsay and Paul Carter are discussed through this text.
Design Practice: Trawling the Speculative Field
This article is a response to a renewed interest by design practice into the cultural and natural environment for inspiration, and a renewed focus of design education and practice on investigations in the field. The recent installation works of two architectural practices - Lyons: City of Fiction inspired by the Museum of Contemporary Art, Sydney and Shop:Dunescape by PSI New York - are here described.
Art/Body the Liminal Experiences of Indigeneity
Art from an indigenous context cannot be transferred wholly into another context for reading. This denies the fact that indigenous contexts do have ways of seeing and making sense of their art. Mel presents a discourse for alternate ways of viewing such indigenous artwith reference to terms such as postmodern, objectivity and subjectivity. The Mogei people of Mt Hagen area in Papua New Guinea are examined through this text.
Social Ecology
In March 2000, Stuart Hill attended the Mildura Palimpsest #3 Science and Art Symposium organised by Sunraysia TAFE and La Trobe University. One of the speakers was Stuart Hall, scientist and ecologist who, in his talk introduced the concept of social ecology, a cross-disciplinary field of which he is the inaugural professor at the University of Western Sydney, Hawkesbury Campus. Here is Hill's interview with Stephanie Radok.
Regional Art: Theorising the regions
This article seeks to challenge regional communities away from the self-prophesying defeatism of whingers from the bush towards a concept of growing communities . The arts have an intrinsic contribution to make within the chosen future. Fettling discusses this with reference to globalisation, de-centred cultural and ethnic hybridization and individuality. Featured artists include Megan Jones, Andrew McDonald, Janet Gallagher, Vicki Reynolds, Danielle Hobbs, Chris Booth, Craig Christie, Rodney Spooner, Michael Doneman, Motoyuki Niwa and Lee Salomone.
Art for Social Change: Footsteps from the Past to the Future
We have arrived at a point where we are constantly experimenting with and experiencing a new understanding of diversity in Australia. Art discovers new directions through the development of strategies that enable it to penetrate and interpret the unknown other in a more profound way. This sets up the topical discussion for this article with references to exhibitions Boghcheh (Bundle), Defiling the Object, Embellishing the Family Photograph and The City which showed at the Gabriel Gallery in 2000. Featured artists include Karen Lunn, Mehmet Adil, Peter Bok, Alan Cruickshank, Helen Fuller, Catherine K, Pramod Kumar, Michelle Nikou, Deborah Paauwe, Bronwyn Platten, Hossein Valamanesh, Zita Weelius, Mei Wong, Anthony Figallo, Fassih Keiso, Samia Mikhail, Yatzek Szmuc and John Tsiavis.
Unsentimental Experimental: The Experimental Art Foundation 25 years on
Bilske looks at the history of EAF: Experimental Art Foundation and some of the significant events which have contributed to its success since its inception in 1974. Discusses briefly Stephanie Brittons publication A Decade at the EAF written in 1984 and the role Donald Brook has played in tackling head-on the problem of just what the experimental in Experimental Art Foundation means. Some of the artists involved with EAF include Aleks Danko, Mike Parr, Michael Craig-Martin, John Barbour, George Popperwell, Shaun Kirby, Craige Andrae, Nic Folland, Hayley Arjona, Sam Wilde, Samantha Small, Jim Moss, Chris Chapman, Sally-Ann Rowland and Michael Newall.
Donald Brook's Art Theory
This text is a dedication to Donald Brooks literary contributions to Artlink magazine over the years. Different from his specifically theoretical writings on art, those featured in Artlink focus on temporal and local issues, and are often written in a wittily ironic style that leaves readers unsure whether they have understood his position.
Culture Without Limits: a reflection of art, politics, and shabby nationalism
In this article Kapetopoulos reflects on the watersheds which reinforce her attachment to multiculturalism. The watersheds are the works of certain artists involved with Multicultural Arts Victoria (MAV) and the rise of One Nation. The artists Kapetopoulos writes about are: Yumi Umiumare, Tina Yong and Sung Ping; Charito Saldana; Renato Cuocolo and his innovative theatre company IRAA; Emmanuel Santos and Sandor Matos.
Adelaide Studios
This article celebrates the diversity of some of the groupings whichlink artists within the city that is Artlink's birthplace, Adelaide. Gray Street Workshop, Central Studios, Experimental Art Foundation (EAF), Australian Network for Art and Technology (ANAT), Jam Factory Contemporary Craft and Design, Jamboree Ceramic Workshop, SAAW (South Australian Artists Workshop), Red Door Facing East, Butcher's Studio, Blythe Street Studios, Rice Art, Zu Design, SEAS Studios and the Electronic Writing Research Ensemble are all examined.
Art about farming, farming as an art
The daily experience of tending a tract of land in the south-east of South Australia is the raw material of artist–farmer James Darling. The land which comprises Duck Island is watercourse country where sand, water, salt and native vegetation are the elements from which, over decades of passionate attention, he and his partner Lesley Forwood have developed a farm which includes a special salt-tolerant grass for their cattle. His exhibition, Define the Country, at Riddoch Art Gallery in Mount Gambier is a response to this farmed landscape.
Culture/Agriculture
Gaytime in Sydney: Gay and Lesbian Mardi Gras Arts Festival
Once a very marginalised group, the gay and lesbian communities have now become a part of mainstream Sydney culture.
Sydney: The Big Shift
Sadomaschism, Art and the Lesbian Sexual revolution
Black leather, blood, piercing and tattooing, glamourised dominance and submission should be approached with political discernment and discrimination.
Art & the Feminist Project
Shedding Skins: Identity and 'Lesbian' Art Practice
What does it mean to present as a 'lesbian' artist? The very identity categories 'gay', 'lesbian', 'heterosexual' are extremely problematic. Now that 'I' am out, I find that I am in - inside a category that reduces rather than expands possibilities for me, not just as an artist, but as a person.
Art & the Feminist Project
A memorial for the dead: Commemorating 200 years of loss
In 1988 the artists of Ramingining, a remote Central Arnhem Land community, were responsible for perhaps the most-moving political statement made during Australia’s bicentenary year. Djon Mundine tells UK-based anthropologist Howard Morphy, how this extraordinary monument came to be made.
Contemporary Australian Aboriginal Art
Art Co-ordinator: No ordinary job
Howard Morphy interviews Djon Mundine at Ramingining in Arnhem Land, Northern Territory.
Contemporary Australian Aboriginal Art
An Artist's Project: Banduk Marika
Margie West talks to NE Arnhem Land artist Banduk Marika about artists working in Yirrkala, an Aboriginal community. She addresses traditional ceremonies today, the appropriate use of traditional designs, payment for work, copyright, and working to redress environmental damage to the beaches and lands by regenerating native trees and plants.
Contemporary Australian Aboriginal Art
East to West: Land in Papunya Tula Painting
Painting movement at Papunya 1971-75 one of the few positive offshoots of the Government's Assimilation Policy. Senior men began to paint on boards and made murals for the school, initially showing sacred secret material, later self-censored. Paintings use complex patterning and dotting to describe formation of land by Ancestors, natural features and travel.
Contemporary Australian Aboriginal Art
Decrepitude in Venice
Report about the 48th Venice Biennale 1999. Discusses works by various artists as the Millennium approaches: Sergei Bugarev, Thomas Hirschorn, Jean-Pierre Bertrand, Federica Thiene, Stephanie Mantovani, Dieter Roth and Louise Bourgeois. Focus on disintegration in the city of Venice.
Disintegration
The Future Breed: Creatures and Mad Science
Explores the links between film and computer generated games which emulate life. With the creation of artificial intelligence on the computer, complex questions of the nature of human behaviour are raised. Science fiction confronts issues of intelligence and sentience.
Disintegration
Who's Afraid of the Prosthetic?
Explores relationships between human participants and the machine. Describes two projects Fuzzylove Dating Data Base and The Brain Project which use their location in a technological matrix as a means of exploring inter-relationships between the user and the their sources of energy and fear, Discusses formulation of information --the computer and related technologies -- as an industry.
Disintegration
Things Falling Apart: The Work of Ian Howard
Discusses Professor Ian Howard's visit to Beijing - his earlier frottage works from the days of the Vietnam war and the Berlin Wall as well as the large computer painted image making. Howard's work represents direct encounters with the real world combining personal and esoteric images with public and popular ones.
Disintegration
A Contradiction in Time: Bleak Days After Meltdown
Independent film making is experiencing an exciting resurgence in the wake of great social and cultural change. Looks specifically at films and videos from Hong Kong, Taiwan, South Korea, Japan and Thailand screened at the 23rd Hong Kong International Film Festival.
Disintegration
Sorties into the City: The art of Elmer Borlongan and Emmanuel Garibay
Explores the works of two contemporary artists of the Philipines who paint the city -- Manila -- in expressionist style, depicting narratives of survival amid inhuman conditions. Borlongan as a resident and Garibay as a commuter express their views of the city in different ways.
Disintegration
Fashion for Civil Disturbance Bandung-Style
An interview by Damon Moon with Rifky Effendy, a curator and artist based in Bandung Indonesia. Effendy's curatorial project Wearable has been exhibited in Indonesia. The project explores some of the living conditions in Indonesia in the times leading up to the resignation of Suharto. The idea of clothing is used as a metaphor for identity --camouflage or exposure vulnerability or protection.
Disintegration
Bored with Polite Language: Dissidents and Reformasi
Currently in Indonesia there is a remarkable tendency to speak, write and create art works using critical, open, and sometimes vulgar language. The contemporary art scene is full of social and political intent. Describes works by Juni Wulandari, Iwan P Wijono, Toni Volunteero and Mella Jaarsma.
Disintegration
Marginalia: Photography of the Here, Now
Examination of the issues raised when documentary photographers represent the alienated margins of our society despite an openly dismissive and hostile critical environment. Examines the works of photographers working in Australia who use various strategies and methodologies to document the margins. Explores the difference between photojournalism and documentary.
Disintegration
Life and Death on Aboriginal Land with Anne Mosey
Exploration of the work of Anne Mosey who attempts with her installations and collaborations with indigenous artists to represent the tumultuous and often tragic events of life in Aboriginal communities, in particular Yuendumu, where death and grieving are ever present elements. Discusses collaboration with Dolly Nampijinpa Daniels which explore familial and cultural histories from a dual perspective.
Disintegration
Naming and Reclaiming: The Searching Eye of Pam Lofts
Central Australia remains at the post-colonial interface where issues such as reconciliation, cultural dislocation and otherness are daily issues. Examines the work of Pam Lofts and her relationship as a white artist working in such an environment. Explores the distinctions between the European concept of landscape and the indigenous focus on country.
Disintegration
Taking Control of the Grog: Yuendumu
Mosey who acted as consultant for a video project by Pat Fiske, Valerie Napaljarri Martin and Tom Kantor which documented the damaging impact of alcohol on indigenous communities tells of the making of this video. It documents the history of the Yuendumu Women's Night Patrol from 1991.
Disintegration
Traumatising States: Film Reflects Dysfunction
How dysfunction, abuse, drugs, gambling, war, suicide etc are depicted through the moving image. Argues that artists are able to tease out psychic and emotional states and present them in ways which are not spectacularised as entertainment for a consumerist culture. Examines particular examples to support his argument. Refer to artists list.
Disintegration
TV Docos and Realpolitik
The author Des Kootji Raymond as the director discusses with Jeffrey Bruer, co-writer, editor and associate producer, the production of a controversial television documentary ÒWrap me up in PaperbarkÓ. The documentary is about indigenous peoples right to reclaim the remains of their elders who were forcibly removed from their homelands as children. Discusses the repatriation of remains of Aboriginal people from museums.
Disintegration
Ethnicity and Excellence in the Arts
One of the leading debates in Cultural Studies around the world deals with the issues of cultural difference or ethnicity in relation to concepts of a national culture.
Arts in a Multicultural Australia
Living out the Abject/Subject
Larry Clark is a well known American photographer and film maker. The Experimental Art Foundation mounted an exhibiton of photographs from the 1960s through to the 1980s as well as a series from the film Kids. Clark's trademark is gritty realism and under age sexuality. Discussion of the boundaries of eroticism and pornography.
Disintegration
Laughing and Killing: The Guilty Pleasures of Anime
Anime (Japanese animation) is increasingly violent and yet the Japanese level of violence is much lower than in America. Viewed as an escapist form of entertainment with female characters idealised and existing in a male fantasy land runs counter to the Wests view of feminism. This form of popular culture is a useful vehicle to examine the country's psyche.
Disintegration
Reconstructing Identity in Post-Apartheid South Africa
Visual arts in South Africa since the 1970s have played an important role in the struggle for freedom. They have chronicled the country's history of political oppression, chaos and transformation. Artworks today investigate a highly individuated sense of the political self.
Disintegration
Disqualified Knowledges: Insight into Disturbance at Splash
Explores the positioning of artworks made by people with a mental disability looking specifically at the arts access program --Splash Art Studio. The studio encourages the voice of the participants each attempting to articulate their own knowledge. The studio operates between the dominant voices of the psychiatric and art institutions making possible a space for people to develop their own ways of working.
Disintegration
Faites Vos Jeux: Aesthetics and Dis/Order in Kennett's Victoria
Explores the idea that basic qualitative aesthetic lifestyle values in Australia are by no means neutral but highly coloured by political judgements. The mood and style of the governance of Victoria can be read as an issue of taste and lifestyle as well as political ability/responsibility.
Good Taste: Food, Consumption & Pleasure
Pictures on Plates
Divided into subheadings 'The Parsley Garnish' 'La Nouvelle Cuisine' 'Transgressions' the author explores the role of food and decoration -- pictures on plates -- in Australian (and wider) cuisine from the 1950s through to the 1990s. Refers to Marinetti's The Futurist Cookbook of 1932. Examines photographs of food and the paradox of indulgence and self denial.
Good Taste: Food, Consumption & Pleasure
Mediterranean Paradise: artists and the kitchen: David Strachan and John Olsen
Examination of the work of David Strachan and John Olsen from the 1950s in Europe to Australia in the 1980s and the pleasures of painting and food. Linking of painting with the recipes and philosophies of Elizabeth David.
Good Taste: Food, Consumption & Pleasure
Breadline: Women and Food
Since the advent of 1970s feminism, the joining of women food and art has been about mixing a metaphoric concoction of consciousness raising, community and corporeality. Looks at women's art movement practice in South Australia
Good Taste: Food, Consumption & Pleasure
Cookbooks
Examines the relationship between food, cookbooks and the art of illustration. Cooking however elaborate is always about the assuaging of hunger but.....Looks at Elizabeth David's 'Italian Food' published in 1954 and illustrated by Renato Guttoso. John Minton had illustrated David's earlier books.
Good Taste: Food, Consumption & Pleasure
Bush Tucker: Some Food for Thought
Bush tucker (food and medicinal purposes) for indigenous communities is looked at in terms of commercial opportunities with traditional knowledge finding application in contemporary contexts. Examines the role of aboriginal people in scientific research and subsequent commercial exploitation. Also looks at issues of Aboriginal intellectual property.
Good Taste: Food, Consumption & Pleasure
Honey: It's Meaning in Aboriginal Art
Across the far north of Australia, honey is enshrined at the centre of life's meaning as a nourishing and creative presence in a landscape derived from the Ancestral Beings themselves. Looks at the visual representations of honey for the Dhuwa and Yirritja people. Discusses the creation myths and their contemporary expressions in bark paintings and sculptures.
Good Taste: Food, Consumption & Pleasure
Nostalgia, Nation and Gobstuff
Linking of food and memory == elements of nostalgia for other times and places. Proust and James Joyce and the role of food in their writing and the centrality of place or locality in food. The 'authentic' and the 'other' have been amalgamated.
Good Taste: Food, Consumption & Pleasure
Greek as a Souvlaki
Musings on seeds, weeds and the author's mother's cooking. An exploration of Greek food, issues of multiculturalism and history. Touches on genetically modified food and colonisation.
Good Taste: Food, Consumption & Pleasure
Fast Food: Don't spoil your appetite
Art and its relation to the museum may be seen in terms of the analogy of food passing along the intestinal tract. Looks at exhibitions like EAT 1998. Food is one kind of culture that is always in demand. Why not give the public what it wants. Eating in art galleries may break down the barriers of art as an exclusive kind of experience,
Good Taste: Food, Consumption & Pleasure
An Gotta Mor: A Sculpture for the Irish Famine
In 1999 The Australian Monument to the Great Irish Famine at Hyde Park Barracks was unveiled. Designed by Hossein and Angelea Valamanesh, it commemorates the arrival in Australia of young women many of whom were orphaned by the great hunger. National competition within the constraints of the Francis Greenway building and historic precincts.
Good Taste: Food, Consumption & Pleasure
Force-Fed: Food in the Art of Destiny Deacon.
Discusses 'Home Video' made in 1987, 'Welcome to my Koori World' (1992) and 'I don't want to be a Bludger' (1999). Food in these videos is the bearer of sly innuendo, misguided intentions, complicated emotions. In these invented worlds food is either inedible, unnourishing or unavailable or a lurid torrent of junk food.
Good Taste: Food, Consumption & Pleasure
Homemade: The Rosalind Brodsky Cookery Show
Looks at the CD Rom by Suzanne Treister 'No other symptoms - Time Travelling with Rosalind Brodsky'. There are two cooking segments on the CD. The cooking demonstrations are imbued with historical and cultural pain and prejudice.
Good Taste: Food, Consumption & Pleasure
My Millennium Dome: Domes Tripe and Teacups in the art of Donna Marcus
Donna Marcus series of Millennium Domes imagine the everyday aesthetic practices of living in houses and with objects in terms inflected by processess of memory, dream and the imagination. Reference to the geodesic domes of Buckminster Fuller organic materials and recycling.
Good Taste: Food, Consumption & Pleasure
Nariphon: How to eat a bowl of noodles
Examines the series of paintings Nariphon I-III by Phaptawan Suwannakudt which deal with issues of change and consumption, absorption of multicultural practices into dominant cultures -- Prostitution (girl fruit) and survival in Thailand. Her work blurs the distinctions between meditation and revolution (east and west) and between tradition and modernity.
Good Taste: Food, Consumption & Pleasure
Polemic: The End of Art Schools as we know them?
Art and sport both attempt to construct value and meaning within our lives. For art this is a likely outcome. For media sport it is a contrived ingredient. Artists and art schools have perpetuated a myth about the importance and value of art objects. Suggests possible answers to the issues of teaching art in art and design schools.
The Future of Art
Polemic: Practice Makes Perfect: Art Museums, Audiences and the Future.
Examines how galleries, art spaces and arts infrastructure might evolve over the next 25 years to accommodate changes in interaction between artists and audiences. Focus is on the State Galleries and how we might present the multiplicity of view points from the last 30 + years. Resource issues are explored.
The Future of Art
A Worthwhile Investment: The Ceramics of Pippin Drysdale
Examination of the ceramic works of Pippin Drysdale of Western Australia from her early years through to the 1999 Festival of Perth. Looks at her national and international successes.
The Future of Art
The Rise and Rise of Michael Eather
Examines the work of Michael Eather as art maker, gallery director, educator, project promoter and consultant. He established Campfire Consultancy with others. Also established the Fireworks Gallery: Aboriginal Art and other Burning Issues in Brisbane, Queensland.
The Future of Art
Talking about Ethics: Marie Sierra takes on her audience
Examines the career of Marie Sierra from her arrival in Australia in 1984, her coming to Melbourne in 1986 and her Barcelona studio residency in the mid 1990s. Explores how the roles of academic and artist sustain and inform each other. Deals specifically with works 'Justice' 1992 , 'Do that Job' 1993, 'Knowledge is Power' 1994, 'Planning' 1995, 'Public Address' 1995, 'Separation and Growth' 1996.
The Future of Art
Striking a Chord: David Keeling's Postcolonial Tasmania
The measure of an artist's public success is the extent to which his or her art matters to a particular community. David Keeling aims to present a critical discourse that participates in existing social and political debates. His turning point was not completing his post-graduate degree, not moving to the big smoke or winning a grant or prize, or having a sell-out exhibition but a revelation.
The Future of Art
Hossein Valamanesh: Taking the Intuitive Path
Valamanesh has developed a unique and characteristic art vocabulary and his eloquent work occupies a distinct and prominent position in Australian art. Looks at 'the Untouchable' 1984, 'Pyramids with Light - Inside/Outside' 1980, 'Change of Seasons'.
The Future of Art
Deschooling Art
Education is the second most depressing non-subject in the entire catalogue of non-subjects, beginning with the Aardvark as Social Construct and ending with The Flagant Signifier in Finno-Ugric Zyrian,
The Future of Art
Thin Red Pocket Lining: A Note on the Value of University Art Schools
As it rushes headlong towards the stock exchange, lining its tattered pockets by devilishly offering students the educational stock of the deepest desire, university art schools shed its role under modernity of defining and transmitting cultural value. Mammon replaces machismo in the squeezing of art. And yet....?
The Future of Art
How the Tail Now Wags the Dog
One would have to be a marketing executive, or just extremely sanguine, to see much that is good in the current system for funding teaching and research in our universities. This is not to claim that the Dawkins reforms replaced something wonderful or fair. But we now have a system that is actively promoting mediocrity ona a national, even international scale. Let me explain, for the uninitiated how it works.
The Future of Art
An Identity Crisis for Art Education?
Examines recent reports by the Department of Employment, Education, Training and Youth Affairs [DEETYA] and Strand 1998 'Research in the Creative Arts'. Should our retort be 'If you don't know much about art I don't care what you like.' ?
The Future of Art
The Traditional and the New - Artists and Teachers Please Note
Explanation of the benefits to the artist and the environment of working with photopolymer plates (solar plates) in printmaking.
The Future of Art
Virtual Futures for New Media Art: A Report on dLux Media Arts' Immersive Conditions Forum
New media art has developed a close if troubled relationship with the figure of the future. Discusses Troy Innocent's ICONICA, Mousetrap by Ian Haig, RAPT by Justine Cooper, OSMOSE and EPHEMERE by Char Davies and Immersive Conditions a forum held at the Powerhouse Museum Sydney. Examines concepts of virtual reality and apparent reality.
The Future of Art