Brief article outlining Pacific Wave, a celebration and investigation of contemporary trends in art and cultural life of the Pacific taking place across Sydney November 2-17 1996.
What do a traditional Maori canoe (waka) and a cattle truck have in common?...In both these cases these vehicles were conveyors of culture. These images are central to two collaborative works at the second Asia Pacific Triennial of Pacific Art at the Queensland Art Gallery.
The market must acknowledge its role in the commidification of indigenous cultures through cultural objects....What the market must acknowledge is the relationship of interdependency which exists between itself and the artists that it promotes and as such, the market must ensure that its actions do not prove detrimental to the artist and the community in the long run.
Overview of the 7th Pacific Festival of Arts which is held in a different country every 4 years. 1996 the festival was held in Apia in Western Samoa. Previous hosts 1992 Raratonga, Cook Islands 1988 Townsville Queensland Australia Lists the communities of Aboriginal Australians who were in attendance at the festival.
An alternative festival celebrating the people of the Pacific was held on one of the outer islands (Manono) in Western Samoa at the same time as the official Pacific Festival of the Arts in Apia. The festival was conducted from 8-23 September 1996.
April 1996 at the Pouebo Town Hall northern New Caledonia. A sculptural tradition has always been alive in this area so a workshop was held to explore the use of soapstone sculpture.
Exhibition review Junk Bonds
New Land Gallery, Port Adelaide South Australia
Touring South Australia and interstate with Visions of Australia
28 June - 28 July 1996.
Exhibition review State of the Art 4 Biennial survey exhibition
curated by Stephanie Radok
New Land Gallery, Port Adelaide South Australia
21 April - 12 May 1996
The artist writes of the issues facing her as a citizen of Papua New Guinea, a descendant of the Motu Koita people, being female and an artist/textile designer. Her traditional grass skirts were included in the Asia-Pacific Triennial.
As Judy Watson was about the commence her residency in France, the French Government announced they would be conducting nuclear tests in the Pacific. As an Australian, an Aboriginal, a conservationist, a woman and an artist, she felt compromised. Discusses her work in this context.