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New displays at Pitt Rivers Museum
In 2009 eight new case displays were added to the legendary 1884 Pitt Rivers Museum in Oxford. Indigenous art scholar and lecturer Susan Lowish examines how Aboriginal art fared in this rejig of history.
Rising Queensland Indigenous artists
As leaders of unique working partnerships between the Indigenous art industry and the Queensland Government, pioneers like Judy Watson, Dennis Nona, Vernon Ah Kee, Richard Bell and Sally Gabori have established strong international reputations.
Donning Oxford
Christian Thompson who is one of the two inaugural Charlie Perkins Scholars at Oxford University writes about this experience and how it makes him think of his upbringing and the responsibility it entails. "...it is our arrival at Oxford that reminds me of how much work we still have ahead of us as young Aboriginal people and future leaders of our communities. This is something you feel as an inherent responsibility when you meet people daily from all around the world, whose communities are facing similar hardships and the symptoms of the ravages of colonisation; time is of the essence."
Action at Canopy Artspace in Cairns
Canopy Artspace first opened for the 2009 Cairns Art Fair. It houses the Australian Art Print Network, New Flames Foundation and Editions Tremblay NFP (no Fixed Press). Paloma Ramos who works at Editions Tremblay vividly decribes the intense and fertile work in printmaking and sculpture that happens at Canopy.
Euraba Paper Company, Boggabilla
Associate Lecturer at the College of Fine Art in Sydney Tess Allas writes about when she was NSW Regional Indigenous Cultural Officer and first met the women of Boggabilla who formed the Euraba Paper Company which won the Parliament of NSW Aboriginal Art Prize in 2010.
Working in Indigenous Art Centres
Felicity Wright speaks from long experience, as a worker and as a reviewer of art centres on Aboriginal lands. Her thoughtful article teases out many do's and don'ts in this highly contested field.
Tracey Moffatt / Stop(the)Gap / <BR>tall man
Tracey Moffatt: Narratives Curators: Stephen Zagala, Maria Zagala Art Gallery of South Australia 26 February - 20 March 2011 Stop (the) Gap: International Indigenous art in motion Curator: Brenda Croft Samstag Museum of Art 24 February - 21 April 2011 Vernon Ah Kee: tall man Australian Experimental Art Foundation 23 February - 26 March 2011
Dialogues with Landscape
Exhibition Co-ordinator: Katie Lenanton University of Western Australia Cultural Precinct 15 February – 6 March 2011
Landscapes and Horses: Ivan Durrant
Curator: Rodney James Mornington Peninsula Regional Gallery 16 February - 26 April 2011
Space Antics: Sue Henderson, David Marsden, Penny Mason
Burnie Regional Art Gallery 19 March - 8 May 2011
Ken and Julia Yonetani / Janet Tavener
Still Life: The Food Bowl: Ken and Julia Yonetani Artereal Gallery, Sydney, June 2011 Mildura Palimpsest #8, 9-11 Sept 2011 GV Art, London, October 2011 Melting moments: Janet Tavener Incinerator Art Space, Willoughby 2 -27 March 2011
Networks (cells & silos)
Monash University Museum of Art
1 February – 16 April 2011
Curator: Geraldine Barlow
1 February – 16 April 2011
Curator: Geraldine Barlow
Dis-covery
Long Gallery, Salamanca Arts Centre, Hobart 25 March - 1 May 2011 Curator: Colin Langridge
Ulli Beier
Ulli Beier (1922-2011) I remember a Yoruba saying that Ulli often quoted: “If an old man dies, you shall not weep but congratulate his family for that his life has come full circle.”
John Barbour
John Barbour (1954-2011), a complex, intelligent and much loved South Australian artist and academic, was in the prime of his life and at the height of his career when he died on Sunday 17 April 2011.
Victorian Indigenous Art Awards 2011
Article on VIAA, Indigenous arts in Victoria – from the VIAA Curator.
A rusty sign at the end of a bloody empire
At Magnet Gallery in Quezon City Filipino artist Norberto Roldans exhibition Oil goes beyond the local situation and deals with the theme of peak oil as the root of all geopolitical evil, with the United States of America as the primary agent of ill intent. Lourd de Vera vividly describes it as a deliberate exercise in propaganda and sloganeering. Roldan takes a broad historical view and reflects on US policy in the Philippines over time while the rusting Caltex sign embedded in the exhibition asserts a warning: no empire lasts forever.
Conducting Mobility
Artists thinking and making work about fuel span the globe and delve into a wide range of ramifications. UK-based PLATFORM have done a multi-pronged report called Unraveling the Carbon Web on four oil-producing hot spots, Iraq, Nigeria, Russia and the Caucasus. Chicago-based Laurie Palmers Notions of Expenditure solicits renderings of exercise equipment and gyms redesigned for the production of electricity. Brian Collier wanders the edges of Illinois highways to locate thriving non-human life forms. kanarinka documented her running of the official evacuation route out of Boston while collaborators Kim Stringfellow, Amy Balkin, Tim Halbur, Pond and Greenaction made an audio guide for a Californian highway drawing its military, residential and agricultural stories together.
Watching as the enchanted land meets its end: Qiu Anxiong
With traditional Chinese brush painting skills Qiu Anxiong's three screen video animation New Book of Mountains and Seas, Part 1 shows the history of the world from its genesis as a vast sea to cities on the edge of destruction. It shows cycles of animal, bird and human life, oil drums and pipes, trees, mountains, the last ten yeas in China and the Great Wall of China. A modern version of the Shanhai Jing (The Classic of Mountains and Sea) the two thousand year old Chinese fanciful geography, Qiu Anxiong's animations brilliantly use scale to combine drawing with political comments.
Hyperlexic, desalinated but not scary
Separate performance works by The Collective (Alana Hunt, Sylvia Schwenk, Ingrid Dernee, Megan Brewster, Susie Fraser, Anna Williams), Tony Schwensen and Zina Kaye confront the complexity of the interlinked flashpoints of oil, energy, human rights, global warming, rampant flows of predatory capital and the war on terror with notions of resistance and how individuals can act. Schwensen was at Artspace, The Collective in Trajectories of Dissent at Little Fish Gallery and Mori Gallery while Zina Kaye in a Terminus Project at Westfield Bondi Junction broadcast her own comments on the massive LED signs hanging in the atrium of the mall.
Obscure dimensions of conflict
Lyndell Brown and Charles Green travelled in early 2007 for five weeks to the Middle East, Afghanistan and the Persian Gulf as the Australian War Memorials official war artists. The artists will make a series of oil paintings for the War Memorial from some of the many photos they took as well as developing a series of photos outside the official commission. The photos show an abstracted ruined world, shadows, machinery, stockpiles of weapons behind barbed wire, aircraft, campsites and deserts. The Ziggurat of Ur is evident in two photographs of Iraq and eloquently symbolises the rise and fall of cultures and armies across the land.
Power and art in East Timor
Recent art made by East Timorese artists is contrasted with work by Australian war artists Wendy Sharpe and Rick Amor. Artworks made by artists from the Arte Moris Free Art School in Dili are full of passion and deep knowledge of the incongruities of war and the poverty of their lives while the artworks made by Sharpe and Amor seem remote and generalised.
The winding way
Cairns-based artist Tijn Meulendijks considers the plant world as his medium. His exhibition, Natura est ars, held at Umbrella Studio in Townsville in 2007, was concentrated around a single plant community gathered while walking in a coastal Melaleuca swamp after fire had affected the environment.
The error of our ways: Madeleine Kelly
Brisbane-based artist Madeleine Kelly's oil paintings approach big issues through precise depictions of incongruous narratives which draw on both personal and mythological sources. Her comments on global issues like oil and pollution, human folly and its consequences, are framed like dream scenarios that touch us all. Kelly came to Australia from Germany when she was two and the celebrated 19th century German childrens story Struwwelpeter written and vividly illustrated by Heinrich Hoffmann echoes in her imaginative paintings of cautionary tales and surreal spaces.
The whistleblower of Discovery Bay
Carmel Wallace makes artworks with flotsam and jetsam. They comment on the immense amount of human debris she finds on the shoreline as well as on the scarred ecologies of the sea and the land. She also instigated the Great Southern West Walk project (a NETS Victoria exhibition touring throughout 2008) that brought a diverse range of artists to the chain of beaches, national parks and state forests located to the west of Portland near the Victoria-South Australian border. The project was driven by her need to develop her own knowledge and affinity for the land, to explore how art might contribute to environmental solutions and to explore walking as an all-encompassing method of experiencing the environment.
World tree: sounds of a bigger picture. Alison Clouston and Boyd
Alison Clouston and Boyd use sound and sculpture in layered and immersive installations that draw attention to delicate and complex systems in nature and what humans have made of them. 2007 is the first year they have made an artwork with a formal carbon audit and offset. Their recent art-making has caused them to become vegetarian. They believe that Today we humans need to relinquish this deeply embedded sense that we will be saved by some force beyond us, we alone have to sort out the mess we have made of this planet Earth, our only home.
Chance encounters: Pamela Kouwenhoven and Peter McKay
Two South Australian writers work with discarded materials to make strong commentaries on contemporary life. Pamela Kouwenhoven uses old empty plastic car battery cases to make Rosalie Gascoigne-like collages of faded colour and worn histories. Like her signature works using malthoid taken from beneath rainwater tanks, they have a strong environmental agenda, drawing attention to beauty as well as responsibility. Peter McKay makes playful works with serious messages. At night he makes patterns in oil stains on the road with glitter and photographs them. These works collapse the infinite into the accidental as galaxies appear on the ground.
Writing images with words: an inheritance of ambiguous faces
Beirut-based artist and writer Walid Salek's book of essays, called Jane-Loyse Tissier, deals with stereotyping in art. He is concerned with the way the Third World is often treated as a cliche of constant emergency and crisis and not as a subjective and historical space. His essays reinterpret some canonical works of Western art by artists like Titian, Courbet, Ensor, Giotto and David. His claim is that all pictures and all interpretations are contingent and thus in defending the Third World's right to its own interpretations based on its own values the entire world is being defended.
Rabih Mroué and Lina Saneh interview
Rabih Mrou and Lina Saneh are Lebanese performance artists. In their work called Whos Afraid of Representation?, currently touring Europe, they describe the work of over fifteen well-known performance artists from Chris Burden and Marina Abramovic to Stelarc and Rudolf Scwharzkogler whose violence occurs within the safe and sanctioned space of the art world. They contrast this symbolic violence with descriptions of violent murders in Beirut. The work draws attention to the way violent deaths in Beirut are as ephemeral as the newspapers they are reported in while the violence practiced by the performance artists becomes history and the artists gain authority.
The revolution will not be televised: the changing landscape of film and video production in the Arab world
The situation of Arab cinema today, while it varies from Morocco to Abu Dhabi, is at an interesting turning point due to digital technology and political and economic events. In spite of censorship there are increasingly more film festivals and a burgeoning audience of cinephiles. The 2007 Cinema East Film Festival in New York celebrated independent film production: At a moment when mainstream news seems helplessly captive to global conflicts, the war on terror and the clash of fundamentalisms, independent cinema has come to be regarded as a substitute for representing people, places and their stories. Filmmakers from the region are the most enchanting human rights activists, the most playful analysts, the most imaginative historians but first and foremost, the most generous and emboldening artists.
Handling the Adelaide Biennial
Stephanie Britton interviewed Felicity Fenner, curator of the 2008 Adelaide Biennial of Australian Art, to find out what Handle with Care really means in the twenty-first century.
Biennale of Sydney 2008: Carolyn Christov-Bakargiev
Tracey Clement interviews Carolyn Christov-Bakargiev, curator of the 2008 Biennale of Sydney, and finds out what she thinks about the Stendhal Syndrome, Biennale Syndrome and the politics of language.
Fierce or Friendly: Humans in the Animal World
Curators: Craig Judd, Kathryn Medlock, Peter J. Hughes, Vicky Farmery Tasmanian Museum and Art Gallery (TMAG) 14 December 20076 April 2008
Migratory Projects: The Drive Out Cinema
Andrew Sunley Smith Perth Institute of Contemporary Arts (PICA) 6 December 2007 - 27 January 2008
Economy
Anthony Kelly, Pilar Mata Dupont & Tarryn Gill, Bennett Miller, Tom Muller, Anna Nazzari, Mark Parfitt, Ric Spencer, Brendan van Hek (WA) Curator: Consuelo Cavaniglia PICA 1 - 25th November 2007
[the space in between] Book project
Curated by Tara Gilbee VCA Margaret Lawrence Gallery, Melbourne 13 July -4 August 2007 Sidney Myer Work on Paper Gallery, Bendigo Art Gallery 15 March - 13 April 2008 Umbrella Studio Contemporary Arts 8 August - 14 September 2008
Our Lucky Country - (Still Different)
Nuha Saad, Soda_Jerk, Ron Adams, Mimi Tong, Nana Ohnesorge, Liam Benson, George Tillianakis, Huseyin Sami, Adam Norton, Ruark Lewis, Maria Cruz, Elizabeth Day, Michelle Hanlin, Sarah Goffman, Anna Peters Hazelhurst Regional Gallery 8 December 2007 - 3 February 2008
Making it Modern The Watercolours of Kenneth McQueen
Curator: Samantha Littley Queensland Art Gallery 10 November 2007 5 May 2008
from time to time one talks to the moon: Aldo Iacobelli
Curator: Linda Marie Walker Experimental Art Foundation, Adelaide 15 November - 15 December 2007
Robert MacPherson, Vernon Ah Kee and Jeremy Hynes
Institute of Modern Art, Brisbane 8 December 2007 - 2 February 2008
Replay: Christian Marclay
Australian Centre for the Moving Image (ACMI) Melbourrne 19 November 2007 - 2 February 2008
Border Zones: An Eye on the World from Sydney
According to Chapman, the contemporary understanding of a globalised world is the result of the understanding that we all share a finite physical realm: this planet. The world is no longer understood purely in terms of geographic boundaries, but cultural ones. This article looks at some of the utopian values imparted upon some of the major cities in the western world and discusses concepts of globalism and localism as they contribute to a new perception of the world around us.
A contested place: Film and land
The importance of place depends on what it means to us, what we make of it and our understanding of how it shapes us. In 2001 in the Australian film industry there was an avalanche of films, both documentaries and features, addressing issues surrounding place in the context of the relationship between black and white Australians. Six features which Hann values for their portrayal of this relationship are One Night the Moon, Rabbit Proof Fence, The Tracker, Beneath Clouds, Kabbarli-A Film About Daisy Bates and Australian Rules.
Places Not Forgotten: In Rural South Australia
The Flinders Ranges in South Australia where Malcolm McKinnon lives is a place of diminishing population, sparse landscapes and resilient social memory. It's a place that reveals itself only over time, as the stories, names and explanations for particular places and people become gradually apparent. It's a place where most of the people of the land carry memories and maps of special places around in their heads. McKinnon's aim in writing this article is to use these places and the claims attached to them by many non-indigenous people to show that they are just as legitimate as those of indigenous people.
Postcards from Victoria: Fertility from the Air
To celebrate the Centenary of Federation, Regional Arts Victoria undertook a series of art projects across Victoria. '...such fertile ground...' unfolded in two stages during the years 1999-2000, involved twelve different locations, fourteen different artists and produced some stunning images which reflected unique aspects of the places which inspired them. Participation was open to anyone going through the local affiliate Arts Council and a local artist would be appointed the task of creating an image. Artists included Maxine Salvatore, Mark Selkrip, Jenny Munday, Ken Raff and Anton Vardy.
Float or Sink: A New Direction for Art in Regional Australia
When it comes to the interpretation of place, whether it be through the language of art, economy or social relations, we are always doing so through a culturally constructed lens and at a culturally constructed moment in time. The way we represent the land affects how we use the land and our land use in terms affects the way we represent it. Wilson looks at art that is made outside the context of the art gallery or computer screen and the ongoing categorisation and separation of institutionalised art from public art. The Artists Working in Nature movement and The Floating Land project are here used in reference.
Place Works: India Flint
India Flint's textile practice seeks to articulate the cyclical connection between human existence and the patterns of nature. She researches traditional dye practices with old approaches being re-examined to generate more ecologically sustainable methods of production and uses indigenous plant forms and declared noxious weed. As the cloth absorbs colour from materials extracted from the landscape, so it becomes steeped in the landscape itself.
Place Works: Martin Walch
Over the last five years Martin Walch has been working on the Mt Lyell Project as an artist in residence with Copper Mines of Tasmania. The project is ongoing, and now consists of a number of sound recordings, animations in 2D and 3D, stereoscopic pairs in travelling cases, as well as large re-photographic works based on J.W.Beatties' Mt Lyell photographs from 1893-6.
Place Works: Bette Mifsud
The body of work shown as The Living Room (RMIT Gallery 2001) continues Bette Misfud's studies of the emotive and emblematic power of landscape imagery. The Living Room represents, in part, the cultural segregation and physical isolation Misfud experiences in rural life as a second-generation migrant. The land is continually transformed by the marking and scarring of our habitation. Thus both land and identity are in a continual state of flux.
Place Works: Bronwyn Wright
Bronwyn Wright's work has closer links to the stealth associated with graffiti artists and the flamboyant play of the theatre than to large scale earthworks. It is based on intimacy with the site, daily visits, observations of seasonal variations and an anonymous interaction of dialogue with a young sub-culture. The ruined cars which adorn the site of 'The Swamp' where Wright works are symbolic mediators between earth and technological man. The car bodies wear away, crumple and disintegrate as the land itself is torn and worn and as our own bodies tire and retire.
International Artists Space Kellerberrin Australia: WA Wheatbelt Artzone
Two hours drive from Perth is the small regional town of Kellerberrin. With a population of nine hundred people and appearing just like many other municipalities in the region, the incongruity of this town lies in the presence of the grandly named International Art Space Kellerberrin Australia (IASKA), a gallery and residency centre for international contemporary artists. IASKA was established in 1998, developing from a collaboration between two wheatbelt farmers, Tony York and Donna Dransfield, and two art professionals from Perth, artist Rodney Glick and Marco Marcon. The intention behind this double displacement is to offer both artist and communities a kind of shock treatment that will force them out of their respective comfort zones and encourage the development of new ways of approaching both art practice and notions of local identity. Visiting artists have included Salvatore Falci and Cathy Barber.
Terror Australis: Fear and Loathing in Open Spaces
When European explorers first discovered Australia, it was generally referred to as Terra Australia Incognita literally translated as Unknown Southern Land. Marshall looks at the physical terrain of this equally beautiful and dramatic region of the world via a selection of prolific Australian films which give shocking portrayals of our lifestyle here in the lucky country. Terror based films such as Dead Calm, Razorback, The Cars that ate Paris and Kiss or Kill.
Making Place in an Urban Sense
Our sense of who and where we are is continually mediated by images of the wilderness and the outback, but the real home of our species is the city. Downton is an architect determined to work through processes of ecology and community and is excited by the challenges of the city. He here examines the connections between humans and nature within the domain of a civic built environment.
Material Difference
Chandler looks at the practice of Paul Johnson and Elizabeth Frith Poole, two artists who both live in the same regional area, but convey contrasting views concerning the significance of place. For Frith Poole, time spent investigating her immediate environment has led to a more profound understanding of it, while Johnson utilises materials that are claimed as belonging to specific sites or cultures to confront assumptions concerning landscape and identity.
Spirit and Place Revisited
Spirit + Place, Art in Australia 1861 to 1996, an exhibition curated by Nick Waterlow and Ross Mellick at the Museum of Contemporary Art in 1996 in Sydney, is widely referred to as a landmark exhibition. The exhibition placed Indigenous Australian Art together with non-Indigenous Australian Art, as well as making honorary Australian artists of Joseph Beuys, Marina Abramovic, Christo and others. The exhibition encompassed ideas that were linked to issues involving the environment, ethnicity and human pain and pleasure, with relevance both locally and beyond these shores.
Living the Lie (of the land)
Due to the concentric nature of its revelations the exhibition The Lie of the Land deserved particular consideration in terms of the resonances that placement, grounding and the physical experience of the Australian landscape and environment can have on the issue of current art practice. Curator Carmen Grostal felt a personal and philosophical urgency behind the idea for the exhibition, with the title of the show responding to Paul Carter's text of the same name and was used as a way to enter into dialogue with the ideas raised in it.
Six Days in Boyd Country
When Arthur Boyd gifted his large Bundanon property to the nation in 1993, he imagined the creation of a place that would become a living arts centre where artists of all persuasions would come to find refreshment and renewed inspiration in the landscape. The Bundanon Artists Centre is housed in former farm buildings and has hosted writers, visual artists, musicians, choreographers and film-makers. Among the most celebrated are J.M. Coetzee, South African novelist, Peter Mumme, environmental composer and Dorothy Porter, Australian poet. Kronenberg also discusses the work of artist John R. Walker who was invited to participate as a senior-artist-in-residence in 2000.
Tjukurpa Wangapai - Story-Telling Place
In 1998 Margaret Worth was invited by a small group of Pitjantjatjara women to visit the Tjilbruke Gateway installation at Warriparinga on the banks of the Sturt River in Adelaide. Months later Worth visited the women to talk about making a place like the Tjilbruke Gateway. This article looks at Worth's role in helping to develop a built site which would signify as much as its natural environment did. In the process she learnt what was important to know about the land and developed her own understanding of place.
Place Works: Tim Maslen and Jennifer Mehra
Tim Maslen and Jennifer Mehra are Australians who live and work in the UK and have appropriately developed their body of work based on the experiences of disjunction one feels when removed from their familiar physical environment. Their artificial landscapes act as metaphors for the difficulty humans have in overcoming epistemological delusion and acknowledging the fact that life in the world is a unitary experience. We can see Maslen and Mehra's work as a kind of ritual to help us reconcile ourselves with our origins.
Traces of a Shared Memory
Julie Blyfield's recent work explores her family history and her own sense of place and identity through the objects that have been handed down to her from her grandparents. Her grandmothers embroidery was a specific reference point for this work, as she metaphorically 'unpicked' her designs and reinvented them through her own medium.
River Systems
The work in River Systems responds to the region Ian Tully lives in, the south western Riverina of New South Wales and the surrounding country. The intention of his work is to question the whole notion of sustainability. Tully is continually torn between the design and aesthetics of industry, and the fragility, beauty and sensitivity of our diminishing natural systems.
Your city is so ugly: Adelaide and the truth
'Your City is Ugly' was a 2002 Adelaide Fringe production devised by John Adley, Chris Barker, Julianne Pierce, Katrina Sedgwick and Daryl Watson. Page layout by Daryl Watson with text by Julianne Pierce. Architectural photographs by Daryl Watson assisted by Tim Fenton. Photographs of Madame Ivana, Vladimir and Sergei by Annette Tripodi.
Light Years: William Robinson and the Creation Story
Art for William Robinson has always been an intensely personal exercise, from the early domestic interiors, suffused with love for his family, to the hard-won intimacy of his relationship with the wilderness in which he now lives. Yet the animating principle of his work in its ever changing fashion is its expression of faith. Robinsons landscape is unquestionably a God-revealed world; what is in question is the relation of man to that universe. As much as Robinson's art is a faithful reflection of his immediate environment, it is drawn from the memory of an experience in a landscape .
Post Natural Nature: Rosemary Laing
Brisbane born Rosemary Laing is one artist who is fully up to speed with the photographic and technological changes in supermodernity. Her work conveys better than most the strange double life we lead today: one half viscerally embodied, the other half immaterial and virtual. Like an aviation physicist Laing tries to push the envelope of what can be represented in photography. Works such as Natural Disasters (1988), Flight Research (2000) and Groundspeed are here examined.
Gordon Bennett's Art: The Aura of Origin
With a directness and clarity born from genuine insight, Gordon Bennetts art gives form to the structure of an invisible repetitive history haunting the psyches of non-Indigenous and Indigenous Australians alike. This text gives rise to Bennett's fierce artistic practice - including an examination of the works Outsider, Am I scared? and the Notes to Basquiat and Home Decor series. These works are looked at to reveal his recent concerns with the mechanisms of doubling, moving beyond the fatal powers of representation and indeed beyond a primary concern with Australian heritage to take on the world.
Ginger Riley Munduwalawala: A Seeing Artist
Ginger Rileys superlative colour sense sets him apart from other Indigenous Australian artists. His unique landscape manner, studded with icons of identity and place, is instantly recognisable yet it has attracted both passionate acclaim and vitriolic criticism. Riley has forged his own way of encapsulating and celebrating the grand sweep and detailed minutiae of a particular tract of land in Southeast Arnhem Land, over which he now holds native title through his role as djungkayi (caretaker). In order to understand why Riley stands alone as an Indigenous painter, Ryan looks at his personal life history and the wellsprings of his art: his intimate connection to his mother's country.
Imants Tillers and Positive Value
Artlink asked Ian North to interview Imants Tillers for this issue, in view of North's longstanding interest in both Tiller's work and the landscape genre generally. North introduces the artist from his early recognition as a leading conceptual artist in the 1970's and pre-eminent postmodernist thereafter, working consistently according to strategies he evolved during the 1980's. This interview examines some of the key works and local concerns of Tiller's ongoing artistic practice.
Rosslynd Piggott: Perfect/Sense
In the context of Melbourne art, Rosslynd Piggott could be linked to a significant movement of young artists who emerged in the 1980's. Her earlier works were figurative compositions which presented painterly/philosophical essays upon the nature of water, clouds and impermanence through surrealistic juxtapositions. This article follows her career from the early painting days through to her current concerns with mediums such as sculpture, installation and more recently performance.
Fiona Foley: Knowing Where to Look
Fiona Foley's career as an artist has resulted in a diverse practice united by a dedication to indigenous issues that are of relevance to all Australians. Her presence as an artist, advocate, activist and identity in the Australian cultural scene has remained poised and proud for over two decades. From her involvement in the formation of the Boomalli Ko-operative to her often hard-hitting presence as a public speaker and the lyrical and enchanting nature of her images, Foley has continued to disturb assumptions and challenge clichés about the way Australians think of themselves and the place we inhabit. Ephemeral Landscapes (1990), Ya Kari - speak for (2001), Kunmarin - wooden shield (2001) and other works are here discussed.
Polemic: The Undoing of Art History (Part I)
In this part 1, the viability of the subject called Art History is challenged, using the terms art and work of art in a conventional way. The nature of histories as they are ascribed to kinds, especially art as a kindcultural kinds, the problems associated with generalisations and the dilemma for the Macho art historianare ideas addressed through this text.
Australian Paper Art Awards 2001
Artspace, Adelaide Festival Centre, Adelaide December 2001 - February 9, 2002
ConVerge: Where Art Meets Science
2002 Adelaide Biennial of Australian Art Art Gallery of South Australia 1 March - 28 April 2002
