Search
You searched for articles tagged with Landscape ...
Bridging Art and Ecology
Over the past decade there has been a significant increase in the number of public art projects directed at the improvement of the quality of public environments. Looks at two projects 'Restoring the Waters' in Fairfield (NSW) involving the artists Michaelie Crawford and Jennifer Turpin and the East Perth Greenway Project by artist Nola Farman. Both projects involve urban waterways and are to do with connecting people to place.
Public Art in Australia
Marking the 2000 Moment: Sydney Pulls Out the Stops
Sculpture is often considered a difficult medium. Public art is frequently controversial. Yet, public sculptural art offers the widest possible audience and the greatest opportunity (by far) to experience, within the increasingly intense landscape of our cities, the humanising and deeply satisfying impact of art and culture.
Public Art in Australia
Commissioning Public Art: A Consultant Speaks
"I am looking at the final design and thought 'what went wrong?' Weeks earlier the Arts Committee had selected an exciting concept design. Why did the artist change the concept design so dramatically?"
Public Art in Australia
Public Art can Kill
Looks at issues of the law and public art with references to Richard Serra's 'Sculpture No.3' and Christo's 'The Umbrellas: a joing project for Japan and USA'.
Public Art in Australia
For Arts Sake a Fair Go
The status quo of moral rights of artists in Australia today in respect of site specific works.
Public Art in Australia
The Vision not so Splendid
Prominent gallerist Paul Greenaway and influential educator Pamela J Zeplin speculated recently about the depths to which confidence in the management of Adelaide's Public Domain has sunk. Who is to blame for the rash of mediocrity -- consultants, governments, artists themselves. Interview.
Public Art in Australia
Fire Rituals for Multicultural Times
Describes the public art event for the 1998 opening ceremony of the Adelaide Festival of Arts -- Flamma, Flamma held at the Torrens River, Elder Park Adelaide SA on 27th February 1998.
Public Art in Australia
A Moment of Reflection
Public Art, the Art for Public Places (APP) program, models for commissions and the matter of percent for art in South Australia. "Processes of development can be as important as the final products when trying to stimulate the field of public art."
Public Art in Australia
An Artist Speaks Out
Challenging work, work that made some form of investigative observation about where we stand at this point in time was virtually not appearing anymore....In Adelaide and other cities, decorative design work, which is often very literal and subservient to conservative briefs, commercial interests, political agendas and restrictive models has appeared everywhere under the name of sculpture.
Public Art in Australia
Local Government and Public Art
Increasingly, local governments at the cutting edge are recognising the need to carefully define their role in public art and more broadly cultural development.
Public Art in Australia
Public Art at the Canberra Museum and Gallery
In a city with so many cultural institutions focused upon the national agenda, the new Canberra Museum and Gallery is a significant symbol of the ACTs (Australian Capital Territory) increasing confidence in a local identity, interdependent with its national role.
Public Art in Australia
Entrepreneurs and Public Art: Private Sponsorship for Public Art Begins to Bloom in WA
Although the history of the west militated against private sponsorship, it began to blossom in the 1990s. This was assisted by the State Government sponsored Percent for Art Scheme. Looks at various examples of public art in Western Australia.
Public Art in Australia
Good or Bad Idea: The Community as Public Art Practitioner
If art in community places isn't for the community using those places, then who is it for? Should all art in public places have immediate community appeal, or reflect those communities in some way, or even have community contributions? And if the answer to any of these is yes, need this impinge on the quality of the art?
Public Art in Australia
Percent for Art in the West
The Percent for Art Scheme in Western Australia uses an allocation of a percentage of the construction cost, usually one percent, of State Capital Works projects to commission artworks. The artist's role is to create works that are integrated with the building or the landscape.
Public Art in Australia
Specific Times and Particular Places: Recent Public Art in Tasmania
Recently there has been a surge of vigorous and challenging public art produced in Tasmania. As well as creating their own opportunities, Tasmanian artists have participated in a wide range of projects facilitated by local and State Governments, festival organisers, corporate entities and private benefactors...engaging with diverse audiences, specific times and particular places.
Public Art in Australia
Need an Artist? Call ArtSource
ArtsWA created 'ArtSource' as an artist's and art consultants register as a means of facilitating best practice in project development and management.
Public Art in Australia
Public Art Practical Guidelines
Book review Public Art Practical Guidelines
Authors Pip Sawyer, Malcolm McGregor, Robyn Taylor
Published by the Ministry for Culture and the Arts
September 1997
$40.00 + $5.00 p&h from the
Artists Foundation of WA
Public Art in Australia
Video
Video review "Talking to Strangers: Public art in Western Australia" Duration approx 40 mins
Produced by the Media Production Unit,
Edith Cowan University,
Western Australia, 1997
Price: $127.00, $99.00 tax exempt
Public Art in Australia
All this and Heaven too
Exhibition review All this and Heaven too Curated by Juliana Engberg The Adelaide Biennial of Australian Art
Art Gallery of South Australia
28 February - 13 April 1998
Public Art in Australia
1998 Adelaide Festival Visual Arts Program
Review of the 1998 Adelaide Festival Visual Arts Program
February - March 1998
Public Art in Australia
Artists' Week... Walk that Walk
Review of Artists week for the Adelaide Festival of Arts
1998
Public Art in Australia
Coming Round the Mountain: Excursive Sight
Exhibtion Review Coming Round the Mountain: Excursive Sight
Plimsoll Gallery,
Centre for the Arts University of Tasmania Hobart
17 January - 1 February 1998
Public Art in Australia
Pillow Songs: Poonkhin Khut
Exhibition Review Pillow Songs: Poonkhin Khut
Sidespace Gallery
Salamanca Arts Centre Hobart Tasmania
January 1 - 30 1998
Public Art in Australia
Visual Arts Program: Festival of Perth
Exhibition review Visual Arts Program: Festival of Perth
February 1998
Public Art in Australia
Contemporary Art in Asia: Traditions/Tensions
Exhibition Review Contemporary Art in Asia: Traditions/Tensions Organised by the Asia Society New York
Art Gallery of Western Australia
6 February - 29 March 1998
Public Art in Australia
The Tate goes modern
The Tate Modern opened in May 2000 to great fanfare and applause. The refurbished power station on the Thames now houses the international post-1900 art of the Tate collection. The public has rushed to visit with huge crowds enjoying the experience, but putting pressure on the facility. Critics have questioned the way the work has been arranged by theme rather than by school, chronology or geography.
Australia and Asia: Friends and Family
The past 10 years have seen the building of ties between Australians and Asians through the interactions occasioned by the three Asia-Pacific Triennial exhibitions in Brisbane. There are now many personal and binding friendships across the region which did not exist before. This changes our concept of 'region' significantly.
Geography, Indigeneity and Dissonance
Some of the many complex questions raised by the Asia-Pacific Triennials relate to where artists originate from, how they relate to indigenous issues of their country, and the possibility of dissonant voices being heard through the exhibition which would not be tolerated in their country of origin. This is increasingly important in an Australian political climate which has downplayed our relations with the Asian region.
Myths and Histories: A Vietnamese Story
The inside story of the first selection of a Vietnamese artist for the Asia-Pacific Triennial. Vietnamese artists in the early 1990s were free to make art of their choice, as the grip of state-run culture began to relax. The significance of the resulting elegiac romantic paintings was lost on some critics of the Triennial who did not appreciate this history. The curatorial structuring of the Triennial helped to go beyond the official line of ministries of culture.
Asian Engagements: Tubes of Bamboo
In this brief article Turner focuses on the Queensland Art Gallerys Asia-Pacific Triennial. From the beginning, the Asia-Pacific Triennial was conceived as more than an art exhibition. It was equally about creating a network of contacts with artists and art institutions, a research base and permanent collection of contemporary Asian art and a forum for discussion of the art of the region. Artists discussed include Geeta Kapur, Marian Pastor Roces, Xu Bing, Santiago Bose, John Frank Sabado and Dadang Christanto.
Dragon seeds and flea circuses: some moments and movements in contemporary Chinese art
Post-revolutionary China was a time of testing boundaries of official tolerance and experimentation with the newly accessible Western art ideas. The first art exhibitions were held and groups formed, as artists started to realise they were not, as Mao said, just the hair on the skin of socialism. Resistance to the old political order and a deliberate courting of Western buyers with post-Mao imagery has to give way to finding an original voice.
My Hands are tied
Performance/Installation by Brigita Ozolins Foyer Installation Space, Hobart 10 - 25 March 2000
Kimono as Canvas
Gallery East or 2000 Perth International Arts Festival 12 February - 5 March and touring for two years
25 Songs on 25 Lines or Words on Art Statement for Seven Voices and Dance...
Joe Felber, Elliot Gyger and Lucy Guerin University of South Australia Art Museum 6 April - 6 May 2000
Polemic: Why did they Cancel Sensation?
Brook discusses what he believes to be the two main problems with the cancellation of the Sensation exhibition at the National Gallery - to locate the issue and to restore some gravity, so that instead of the noise increasing with distance from the issue, it diminishes. The key figure discussed is the Director of the NGA, Dr Kennedy with the notion of Quality dominating the content of the article.
Beyond Language
Although often disguised as an innocent communication tool, language is defined, and, in turn, defines the parameters of all aspects of life, from the most personal and private to socio-political conditions and power structures. Giakoumi discusses this fact in relation to artist's experiences of living and working in countries where language barriers are apparent. Four works by artists Shigeaki Iwai, Xu Bing, Kim Young-Jin and Lee Mingwei are closely examined through this text.
The Arts of Diplomacy
Manton looks at the relationship between the Department of Foreign Affairs and Trade and the art world in Australia, one that seems to have been difficult, particularly since the 1970s when the Commonwealth Art Advisory Board gave way to a National Gallery and an Australian Council for the Arts. Furthermore this text examines the growing relations between Australian and Asian art communities during the second half of the 20th century.
Expanding Horizons: Art from Taiwan
This article looks at the recent history of cultural exchange between Australia and Taiwan and briefly examines the background of the shifts occuring within the Taiwanese art scene from an Australian context. Furthermore it examines some of the continuities and changes in the late 1990s with a particular emphasis on the works by artists Wu Tien-Chang and Wu Mali included in the Second and Third Asia-Pacific Triennial.
Korean Contemporary Art in the 1990s
Korean art in the nineties experienced an era of unprecedented freedom and a remarkable upsurge in visual expression. Ahn looks at the progression of Korean art and politics during the later years of the 20th century and at a few of the central art figures: Kim Myung-hye, Choi Jeong-hwa, Kim Jun, Kim Soo-ja, Han Myung-Ok, Choi Jae-eun, Kim Young-jin and Lee Bul.
Radicalising Tradition: Painting in Pakistan
The teaching of miniature painting has, since the 1980s when it became a part of the National College of Arts (NCA) in Lahore, become a highly respected and important traditional genre. The role of miniature painting also came to represent many of the anxieties that entangled this postcolonial society in search of its own identity. Hashmi examines the importance of this artistic form with reference to the works of Nahid Fakhruddin, Shahzia Sikander, Imran Qureshi, Tanzeen Qayyum, Talha Rathore, Aisha Khalid and Nusra Latif.
Shifts and Transitions in Indonesian Art and Society
This article looks at the East Timor crisis and the attempted boycott of the APT 3 at the Queensland Art Gallery subsequent to Indonesian artists participating in the event. Marianto examines this in relation to the shifting powers in Indonesia at the time from the ruling of President Habibie to the fourth leader Abdurrahman Wahid (Gus Dur) and presents a list of what could be considered seven strands of artistic concern within Indonesia: The critical group, alternative art, art for art's sake, conventional art, marginalised individuals, media-influenced art and feminist artists.
The Enigma of Japanese Contemporary Art
Japanese culture at the end of the twentieth century was at an intersection of past, present and future. Exhibitions including Against Nature at the Grey Art Gallery in New York (1989), Japanese Ways, Western Means at the Queensland Art Gallery in Brisbane (1989), A cabinet of Signs at the Tate Gallery Liverpool (1991) and Zones of Love at the MCA Sydney (1991) showed for the first time the complex and urban basis of Japanese art in the 1980s, a time of considerable transition in Japanese art practice. Featured artists included Shigeo Toya, Kimio Tsuchiya, Yasamasa Morimura, Takashi Murakami, Emiko Kasahara, Masato Nakamura, Yukinori Yanagi, Katsushige Nakahashi and Tatsuo Miyajima.
Pioneering Gallerists: Kym Bonython
While Kym Bonython AC, DFC, AFC is not in the league of the iconic art dealers Joseph Duveen or Ambroise Vollard, he was as important to the Australian art scene in the 60s as Leo Castelli was to New York. Born in Adelaide in 1920, he chronicled his unusual life in autobiography Ladies Legs and Lemonade in 1979 which describes his various careers to that point. When Paul Greenaway talked to him for Artlink recently he began by asking him about his collecting activities in the early days, who he bought art from and whether he followed their lead.
The artworld and the paradox of sustainability
Robert Nelson proposes poetic solutions to overcoming our carbon plinth print
Modern Asian Art
John Clark, Sydney: Craftsman House, 1998,
344 pp., 48 colour plates, hardcover, ISBN 90-5704-04-17, $85
344 pp., 48 colour plates, hardcover, ISBN 90-5704-04-17, $85
Anxious Nation: Australia and the Rise of Asia 1859-1939
David Walker, University of Queensland Press, 1999, 312pp, paperback RRP $29.95
Cheo Chai-Hiang Thoughts and Processes (Rethinking The Singapore River)
Cecily Briggs, Singapore art Museum & Nanyang Academy of Fine Art, 2000, 132pp RRP $40
