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Go figure: contemporary Chinese portraiture
Curator: Claire Roberts
National Portrait Gallery, Canberra
National Portrait Gallery, Canberra
7th Asia Pacific Triennial of contemporary art
Queensland Art Gallery, Gallery of Modern Art, Brisbane
7th Asia Pacific Triennial of Contemporary Art
Queensland Art Gallery, Gallery of Modern Art, Brisbane
We don’t need a map: a Martu experience of the Western Desert
Fremantle Arts Centre
17 November 2012 – 20 January 2013
Curators, Erin Coates, Kathleen Sorensen and Gabrielle Sullivan
17 November 2012 – 20 January 2013
Curators, Erin Coates, Kathleen Sorensen and Gabrielle Sullivan
A world between: a survey of prints by Milan Milojevic
Curators: Maria Kunda, Paul Zika Plimsoll Gallery
Tasmanian School of Art, University of Tasmania
Tasmanian School of Art, University of Tasmania
Build me a city
Curators: Vivonne Thwaites with Christine Garnaut, Julie Collins
Australian Experimental Art Foundation
Adelaide
Australian Experimental Art Foundation
Adelaide
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
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
Transforming East and West dialogues
Haema Sivanesan, Curator and Executive Director of SAVAC ( South Asian Visual Arts Centre) in Toronto Canada, analyses the current situation of Asian contemporary art by looking at work that is not only cross-cultural but concerned with bridging cultures and being a form of social action rather than simply engaging with commodity culture.
Collapsing the Bilateral: creating consciousness
The Long March Project founded by Lu Jie is an ongoing art project that began with a philosophical evaluation of the complex role and meaning of art and selfhood, in all its political, economic, cultural, and social guises. It is critical that new opportunities are found for artistic reciprocity that exist beyond the presumed centres of art validation (ie. America and Europe). The Long March directs the gaze of Chinese cultural producers to re-assess how art can be a tool through which ideas of making – self, thought, object – can be critically empowered and conceived.
China welcomes Australian ceramics
Potter and Head of Ceramics at ANU School of Art Janet de Boos writes about her journeys to China since 1996 and her current collaborations in bone china tableware. She writes : 'Rather than just a place where we can appropriate techniques and technologies and source cheap labour, China becomes a place for Australians to work and research collaboratively with fellow artists.'
Resuscitation through paper
On a residency at the Taipei Artists Village in Taiwan in 2007 Gregory Pryor researched a plant from which tongcao or pith paper was traditionally made. The complex collaborative journey to find the plant and the way its pith is removed forms a celebratory echo to his previous work Black Solander 2005 about endangered plants in Western Australia.
Hired hands: the Filipino collaborations of David Griggs
Neil Fettling asks; 'Why does an Australian-based artist like David Griggs, living and working in the first world, have such strong connections with a third world community, and how do these linkages affect his work?' and answers this question through an analysis of Griggs' recent art as well as comparing it to the work of Pat Hoffie and Wim Delvoye.
Jelek in East Timor
*(jelek means ugly in Indonesian) Artist Ruth Hadlow lives and works in East Timor. Her thoughts about it question notions of beauty and ugliness.
Contemporary Art in the Hermit Kingdom
Artists who have created fascinating works within the DMZ (Korean Demilitarized Zones) include the Spanish artist Santiago Sierra, the Italian artist Armin Linke and the Australian artist Lyndal Jones.
New climate for an old world: Paul Carter's Nearamnew
Paul Carter's Nearamnew, a public art work which is embedded in the 7,500 square metres of paving at Federation Square, asks for multiple, inclusive and open-ended responses.
Old Gods new lives: Exhibiting traditional Cook Islander art
In late 2008, the National Gallery of Australia (NGA) established its first Pacific Arts department. From the opening of the controversial Musée du quai Branly in Paris in 2006, to the New York Metropolitan Museum of Art’s creation of permanent new galleries for Oceanic art in 2007, there has been an international surge of interest in Pacific art, accompanied by hot debate surrounding exhibition protocols. Among the many works exhibited at these institutions are rare carvings of traditional gods from the Cook Islands: works that are still of great cultural significance to many Islanders today. Jacqui Durrant asked artists, curators and cultural professionals in the largest of the Cook Islands, Rarotonga, their opinions as to how images of their ‘old gods’ might be best exhibited, to see what a Western art gallery might take on board.
Bilum breakout: fashion, artworld, national pride
In the past decade bilum fashion has really taken off in Papua New Guinea and is now getting wider exposure through a few PNG gallery and designer websites like Pasifik Nau and Lava Lava Innovations. Since the late 1990s, local trendsetters of high fashion, including Cathy Kata and Florence Jaukae, have made a name for their original bilum outfits.
An Unlandscape of words and painting: from Meenamatta to paradise
This article explores new territory opened up by a cross-cultural collaboration between Indigenous poet Jim Everett and visual artist Jonathan Kimberley.
Threads, traces and legacies of the mission
Artist Kylie Waters works with the history of her own family and the way it is embedded in South Australian history. Specifically she explores the space between negative and positive evaluations of Lutheran missions in Central and South Australia.
Island improvisations: Nathan Gray
In 2008 Nathan Gray spent two months on Itaparica, a Brazilian island in the Bahia region, as part of an exchange initiated by The South Project Inc. At the end of the year the exhibition Tudo Que Acho was held to show the work created and produced as a result of the residency. The title in English means ‘everything I think’. In Portuguese the phrase also denotes discovery, as ‘to think’ and ‘to find’ signify the same act. Tudo Que Acho: Nathan Gray was shown 4 – 20 December 2008 at The Narrows, Melbourne.
Talking about my g-g-g-generation: Mark Siebert
Mark Siebert: Forever 27 is at the Experimental Art Foundation, 15 May – 13 June 2009.
The sound of many hands clapping: Ten Days on the Island
Ten days on the island 24 March - 5 April 2009
Nam Bang!
NAM BANG! Curator: Boitran Huynh-Beattie Casula Powerhouse Arts Centre 4 April - 21 June 2009
Yellow Vest Syndrome
The Yellow Vest Syndrome: recent West Australian art Curator: Jasmin Stephens Fremantle Arts Centre 31 January – 29 March 2009
The China Project
The China Project: Three Decades; William Yang; Zhang Xiaogang GOMA, Brisbane 28 March – 28 June 2009
Artroom5
Three artists – in the world: Anne Kay, Irmina Van Niele, Sera Waters artroom5, Adelaide 4 – 21 March 2009
Paul Zika
Paul Zika: Home and Away – reconstructing artifice Curator: Philip Watkins Carnegie Gallery, Hobart 26 March – 3 May 2009
The Enchanted Forest
The enchanted forest: new gothic storytellers Curator: Jazmina Cininas Geelong Gallery, 12 April - 9 June 2008; Bendigo Art Gallery, 19 July – 17 August 2008; Shepparton Art Gallery, 1 November – 14 December 2008; Latrobe Regional Gallery, 21 February – 19 April 2009; Swan Hill Regional Art Gallery, 1 May – 7 June 2009; Dubbo Regional Gallery , 4 July – 13 September 2009; Tweed River Art Gallery, 1 October – 15 November 2009
Temperature
Temperature 2 : New Queensland Art Museum of Brisbane 6 February – 8 June 2009 Curator: Frank McBride
Anne Ferran
Anne Ferran: The Ground, The Air Curator: Craig Judd Wollongong City Art Gallery 21 March - 17 May 2009
Caitlin Yardley
spill, the insistent body Caitlin Yardley 6 March – Sunday 12 April 2009 Heathcote Museum and Gallery, WA
Little Red Riding Hood
Little Red Riding Hood Curator: Victor Medrano Inflight ARI, Hobart 11 April - 2 May 2009
Gosia Wlodarczak
Gosia Wlodarczak: Conversation Helen Maxwell Gallery, ACT 22 February – 28 March 2009
The Secret Life of Plants
A Secret Life of Plants Curator: Andrew Gaynor Linden Centre for Contemporary Arts 4 April – 17 May 2009 Fremantle Arts Centre 30 May – 19 July 2009
What would you do?
A number of practising artists were invited to respond to a scenario in which a local council asked them to organise an exhibition featuring local artists from a sister city in a third world country. It seems a noble gesture, but one fraught with potential missteps. How would they proceed?
NAVA Now
Timothy Morrell provides the reader with a keen description in relation to the role that the art organisation NAVA (National Association for the Visual Arts) has within Australia's government but also the empowerment they claim to provide practicing artists. Morrell also includes some insight towards the rights of the common artworker by presenting some examples as to where they stand within Australian society but also how they operate in co-relation with the governments guidelines and in particular the controversial portrayal of nudity in art. A conclusive article articulating the importance of government organisations such as NAVA, Morrell provides an insightful discussion towards the role of the artist within Australian society but also the co-operation needed from the government to enable a sufficient means of expression from artists.