Access - Search

All struggles are essentially power struggles. Who will rule, who will lead, who will define, refine, confine, design, who will dominate. – Octavia E. Butler. Some struggles are invisible simply because a single word is missing from public discussion. I find that this is particularly the case with words that carry life-giving concepts and that challenge social hierarchies. Their absence can give clues to who might be excluded and what is considered of less value within a given society. One such word is ‘neurodiversity’, and it is missing from exhibition records within some of Aotearoa New Zealand’s leading public art galleries.

Bruce E. Phillips

Artists at work: Lorna Kantilla, Alfonso Puautjimi and Jane Tipuamantumirri

Joy Naden

What do you do at Studio A?

Emily Crockford, Guy Fredericks, Emma Johnston, Daniel Kim, Jaycee Kim, Adam Mandarano, Catherine McGuiness, Gabrielle Mordy, Meagan Pelham, Skye Saxon, Lisa Scott, Damian Showyin, Philip Sidney, Thom Roberts and Chloe Watfern

Other Body Knowledge: Sophie Cassar, Lara Chamas, Fayen d’Evie, Sam Petersen, Jane Trengove

Olga Bennett and Jane Trengove

Exquisite interplay: Accessible art workshops for emerging artists

M. Sunflower

Staying the distance, closing the distance: Graeae Theatre UK and DADAA, WA

Jenny Sealey

Arts Project Australia: Raising the bar through collaborative partnerships

Sim Luttin

Editorial ART & SENSORIA: Whose disability?

Una Rey

Vast spaces/Uneven terrain: Interpreting the politics of space from a place of impairment

In a sparse gallery space, a detached hydraulic door closer lies splayed on a white panel. This unassuming readymade by Belgian artist Steve Van den Bosch provides a subtle topographical deviation on the dull cement floor. Titled Assistant (2021), the closer was relocated from the gallery director’s office for the duration of Round About or Inside (30 September 2021 – 20 November 2021) at Griffith University Art Museum, Brisbane. Appropriately placed on the ground—the anti-art/anti-functional gesture par excellence—the artwork suffices as a miniature monument to technologies of access, reflecting on how we move through spaces and what mechanisms exist to ensure our safe and comfortable journey, to welcome us, or to deny us entry.

Tara Heffernan

Thinking without fear: Ruark Lewis

Marielle Soni

The SubMerge Project: Autistic embodiment and the extended bodymind

Alison Bennett and Dean Walsh

QUEER: Stories from the NGV Collection

Callum McGrath

The Future of Art

Editorial for the issue -- not the definitive answer but a series of clues as to what direction the visual arts might be following. The issue picks up ideas addressed in the forum 'Art of Sight, Art of Mind: Speculations on the Future of the Visual Arts and Crafts in Australia' organised by the National Association of Visual Arts. NAVA

Stephanie Britton

The Future of Art

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.

Ian Howard

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.

Trevor Smith

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.

Dorothy Erickson

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.

Pat Hoffie

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.

Rose Lang

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.

Ian McLean

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'.

Chris Reid

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,

Donald Brook

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....?

Ian North

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.

Rodney Crackers

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.' ?

Graeme Sullivan

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.

Dianne Longley

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.

Mitchell Whitelaw

The Future of Art

Forget the White Gloves: Plug-ins Rule OK ANAT National School for New Media Curation

ANAT Australian Network for Art and Technology devised its 1999 National School, me.d.ia.te, to assist curators and arts workers in gaining a technical and theoretical understanding of new media art exhibition practice. It aimed to provide a 'world's best practice' model.

Adele Hann

The Future of Art

A Country Practice...

The Northern Rivers Region of NSW has more practising artists per head of population than any other region of Australia. Issues such as surviving as a country artist, traditional art practice, commercial considerations, prescribed political and gender issues are raised. Critiques the project 'Beyond the Basin' funded by the NSW Ministry for the Arts and its resultant exhibition 'A Country Practice'.

Peter Wynn-Moylan

The Future of Art

New Geographies of Knowledge

Explores the relationship between art making in the city and the regional areas. How much do curatorial strategies or templates order and determine what we see in State galleries and large exhibitions? Looks at the exhibition 'Palimpsest #2' to raise questions of curatorial control or whether it should continue without such controls.

Stephanie Radok

The Future of Art

One Pole Too Many? Learning to Speak the Language of a Successful Australian Arts Practitioner

Discusses the exhibition 'Diaphanous' at Span Galleries curated by Kirsten Rann, deconstructing and challenging the notion of multicultural artist.

Juliette Peers

The Future of Art

Unheard Voices: Asian Artists in Australia

Discussion of the issues for artists of Asian descent in the Australian milieu, exploring issues of identity and displacement. Unheard voices could also characterise emerging artists as well as those from a multicultural background.

Neil Manton

The Future of Art

Art Teachers Hampered by Lack of Training

Art teachers today are expected to have a greater proficiency in a broader range of art skills, yet due to the under funding of teacher training they are receiving less training and professional development to prepare them for the classroom. Discusses the 1999 International Society of Education through Art (InSEA) the theme being 'Cultures and Transitions' held in Brisbane. 1st conference held in 1951

Maria Whaley

The Future of Art

The Artist and the Critic

Fortunately not all critics are so urgently in need of friends that they write hymns of praise after every long lunch. Some even relish being labelled 'ungrateful'. I would argue that the only critic worth reading is an ungrateful critic. Looks at the role of visual art criticism in the newspaper columns of the daily press.

Joanna Mendelssohn

The Future of Art

Hypothetical Product

Critics rarely talk about money and art. How to price a work of art and how to make a living of about $35,000 per annum are discussed. Artist need to work out how to make a name for themselves to increase the base price of their artworks. And anyway if you have to think about the price, chances are you can't afford it.

Peter Anderson

The Future of Art

The Good the Bad and the GST

The role of the arts within the Federal Coalition portfolio. Proposed new tax arrangements suggest a contraction in support for new innovative work in favour of much more conservative, market driven high end focussed practice, and a drop overall in arts activity.

Tamara Winikoff

The Future of Art

Upping the Ante: SALA'99.Leter to the Editor

Describes the nature of SALA South Australian Living Artists Week to celebrate the talent and imagination of SA artists and aims to promote widespread recognition of their achievements by exposing their work to new audiences. There were 50 venues, 28 of which were outside the metropolitan area.

Paul Greenaway

The Future of Art

User-friendly Internet Options for the Arts

Dynamic interactive web-sites are becoming increasingly the norm. Lists the types of functions that are available using particular technology.

Chris Limmer

The Future of Art

Immediate

Exhbition Review Immediate 31 March- 11 April 1999 Plimsoll Gallery, Hobart Tasmania Curated by Leigh Hobba

Maria Kunda

The Future of Art

Emblematic

Exhibition review Emblematic 12-31 March 1999 Smith+Stonely, Queensland Curated by Amelia Gundelach

Cameron Stelzer

The Future of Art

Doll

Exhibition review Doll 19 March - 15May 1999 29 artists plus works from the SA Museum, Artspace, Adelaide Festival Centre South Australia Curated by Vivonne Thwaites

Vivonne Thwaites

The Future of Art

Blak Beauty and Images from the Sea

Exhibition reviews Blak Beauty February 6- May 2 1999 Curated by Brook Andrew Images from the Sea December 5 1998- June 27 1999 Djamu Gallery: Australian Museum at Customs House, Sydney NSW

Ilaria Vanni

The Future of Art

Butcher Cherel Janangoo, Julie Dowling, Julie Gough

Exhibition review Butcher Cherel Janangoo, Julie Dowling, Julie Gough 10 February - 7 March 1999 Artplace Western Australia

Judith McGrath

The Future of Art

Riding on the Edge: Art, Identity and the Motorcycle

Exhibition review Riding on the edge: Art Identity and the Motorcycle 7 February- 11 April 1999 Waverley City Gallery Curated by John Pigot

Robert Nelson

The Future of Art