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Beyond Mertz and Whitechapel: 'contemporary' Australian Modernism
Furby raises the issues of women artists role in Australian society and the considerable lack of recognition for this minority. The radical art group, the Contemporary Art Society (CAS), which was founded in Victoria in 1938 to counter attack academic art and to foster original and creative contemporary art, had its majority as women artists. The works of Mirka Mora, Erica McGilchrist, Nancy Borlase, Elsa Russell, Jacqueline Hick and Barbara Robertson are included in this discussion.
The Art of Living Dangerously: Victor Meertens
Documents the life and work of Victor Meertens: his journey to Europe where he became inspired by the work of the early Flemish painters and Grunewalds Isenheim Altarpiece (c.1505-1510), his involvement with the Third Australian Sculpture Triennial and the Australian Biennale 1988, his various solo shows and other notable achievements within the contemporary Australian art scene of the late 20th century.
Public Art Boom in Western Australia: It is the edges that make it interesting
The difficulties of public art are universally acknowledged - they are the same across state and national borders and usually result in compromised solutions - however if they are to be considered more as collaborative efforts between artist and community rather than works of 'art' the outcomes become interesting. Millers article addresses this notion through a discussion of recent Western Australian public art programs and in particular the achievements of ArtSource, an employment agency for visual artists. Key figures in this text are Brian McKay, Ahmad Abas, Tony McClure, Jon Tarry, John Elkington, Linnea Glatt and Michael Singer.
Space adventures: Collaborations in public art and urban design in Victoria
Local government bodies in Victoria are demonstrating a range of approaches to the development of public art in urban design with recent project examples indicating new possibilities between artists, residents, designers, architects, business and even neighbouring councils. The Skewed Arch example in the City of Yarra is one discussed along with the works of Inge King, Chris Perk, Diane Mantzaris, David Davies, Alistair Knox, Ian Sinclair and Jackie Straude.
Heroism in the Public Domain
The two most heroic commitments to public art in Australia since Parliament House, Canberra, are for the refurbishment of the Sydney International Airport and the Olympic 2000 Homebush Bay site. These aspirations are eloquently expressed in forms and structures that are surprising , beautiful and of varying quality. The Airport Project features the work of Michael Riley, Robyn Backen, Ron Smith, Kerry Clare, Lindsay Clare, Brook Andrew and Fiona McDonald. Those included in the Homebush Bay Project are Peter Cripps, Terri Bird, Ari Purhonen, Neil Dawson, Paul Carter, Ruark Lewis, Janet Laurence, James Carpenter, Elizabeth Gower and Robert Owen.
Interview with Peter Sellars: Architecture, Adelaide Festival and Organic Oranges
Urban ecologist and architect Paul Downton interviewed 2002 Telstra Adelaide Festival Director Peter Sellars and Associate Director Cathy Woolcock about urban design and ecology and the attempts to create a shift from the idea of 'ownership' to 'participation' between people and the urban and natural environments. This feature also weaves in comments by Bert Flugelman, Judith Brine and Francesco Bonarto about the way they are prepared to express their feelings about their city and the way it looks and feels.
Will we get real artist's moral rights?
With the recent boom being enjoyed by public art in Australia, the issue of moral rights legislation has become more pressing. It was in recognition of the power differential between most artists and the users of their work that Australia became a signatory to an international agreement, the Berne Convention for the Protection of Literary and Artistic Works designed to redress the imbalance. Some of the clauses and conditions of this legislation are briefly discussed.
Gateway to Adelaide: The Process, The Result
Undertaken by Transport SA from 1996 until 2000, the Adelaide-Crafers Highway project resulted in major route reconstruction along a 10 km section of the Prince Highway. This has resulted in artist/ designer/ architect collaborations for the production of three major walls, elements of paving, bus stops and two bus shelters, a water feature and a freestanding sculptural piece. Artists and architects included in the project are George Popperwell, Greg Healey, Tony Bishop, Marijana Tadic, Neil Cranney, Mark Butcher and Rob Williams.
A far cry from waiting room wallpaper: Ian North's The Intelligence of Blood
Adelaides newest art commission has recently been installed in the Department of Surgery at the Queen Elizabeth Hospital: The Intelligence of Blood, a challenging work by Ian North. The painting is large, about six metres wide and almost two metres high and abounds with references to surgery, blood, medicine and much more.
Texas: Artists Move in on Project Row House
A tidy little row of identical white houses, glowing in the Texas sun, has become the unlikely home of a cutting-edge experiment in public art. Seven houses are for artists installations, while another seven of the houses have been modernized and furnished for young, single mothers and their children. This text discusses the works of artists Vicki Meeks, Tracy Hicks, Radcliffe Bailey, Pat Ward Williams, Natalie Lovejoy, Joseph Havel, Fred Wilson, Shahzia Sikander, Nari Ward, Chen Zhen, Jens Haaning, Annette Lawrence, Deborah Grotfeldt and Rick Lowe.
Melbourne's Public Art goes Temporary
The City of Melbourne has made some sweeping changes to its public art strategy that focus on the town hall as a place where public and government meet; an essentially civic space open to the scrutiny of its citizenry. Examples of such change are indicated by Fiona Foleys Lie of the Land installation, Town Hall Transformed by Melbourne artist Ian de Gruchy, a collaborative piece by construction / performance group Bambuco which created a stage for two performances by the Five Angry Men collective entitled Bells. Holt discusses.
Wendy Mills in the Mall: The 'Water Table'
Wendy Mills was invited in November 1998 to design an artwork that would engage, intrigue, amuse or challenge but not intentionally outrage members of the public . This article discusses Mills piece On This Auspicious Occasion and the ongoing challenges faced during its creation and thereafter.
Stafford and Staff: Queensland's Public Art Agency
Morrell examines the recent structural developments which have taken place at and around the precinct of Brisbanes Roma Street Transit Centre. Under Queenslands Art Built-in policy approximately $1.4 million was proposed to be spent on works of art to feature in the new precinct. Morrell was the public art curator for the Roma Street project and this article developed out of conversations held with the Public Art Agencys Executive Program Officer John Stafford.
Signage to Confuse and Amuse
Richard Tippings installation Signs Signed was in Munichs Salvatorplatz during August 1999. Twenty two reflective signs were placed in the square and streets around the Literaturhaus as a part of the Piazza installation art project, curated by Art Circolo. This feature includes images of Tippings Signs with accompanying text.
Polemic: GO BACK You Are Going the Wrong Way
Brook breaks this argument down into sub categories: The rationale of the art history museum, The cabinet of curiosities, Evolution, Cultural evolution, Art as the source of memetic variation and The cultural museum.
Why You Should Join VISCOPY Now!
While the eyes of many artists glaze over at the mention of copyright, the explosion in use of visuals in communication means that artists creating those images need to be well-informed and well-represented in copyright issues. Mark Ferguson spoke with VISCOPYs new Chairman, Adelaide photographer Mark Fitz-Gerald, about the role of VISCOPY and the developing awareness amongst visual arts and craftspeople of the importance of copyright royalties.
Auctions and Copyright: Moratorium
Recent auctions held by Christie's, Sotherby's and Deutscher-Menzies have clearly demonstrated that the market is now looking towards artists in their fifties and even younger. The relationship between artists and auction houses is here discussed with reference to artists Juan Davila, Charles Blackman, Imants Tillers, Mandy Martin, John Wolseley, Howard Arkley, Lloyd Rees, Emily Kngwarray, Lin Onus and groups Desart, Balgo Artists and Utopia Arts.
How the 'Art in Public Places' Debate Shackles Creative Genius
Buckle your seatbelts for a wild, multi-disciplinary ride to explore why all urban space is art... why every individual entering public space is an artist.... how the design of public space either feeds or inhibits this artist.... how professional artists involved in the production of 'public art' should therefore respond.
Public Art in Australia
The Public Interest: Is There Any?
"Living a few hundred metres away from a community arts project has clarified my doubts about the standard and the value of such projects and what they achieve for their supposed audience." Peers explores the current issues facing the production of community and public art looking at 'The Bridge, Construction in Process' an event and exhibition which took place in Melbourne over March- April 1998.
Public Art in Australia
What do THEY make of it?
Jenny Holzer shared some thoughts with Tamara Winikoff during Artist's Week in Adelaide in March 1998 about her relationship with the public, who over the years and in various countries, has been the audience for her artworks in the public arena.
Public Art in Australia
Shelf life, Use by Date and Other Related Issues
Isn't it about time we showed artists and our public artworks a little more respect? We coaxed artists out of their studios to put their creative souls on public display, and now many of those life enhancing objects are looking unloved, forlorn and neglected.
Public Art in Australia
Politics/Poetics: Reflections Documenta
'documenta X' curated by Catherine David from France, opened in Kassel Germany on 21 June 1997 and ran for 100 days. This colossal international event could not be simply understood as an art exhibition and it defied many of the expected ingredients of large scale block busters.
Public Art in Australia
City Provoked: These Questions and More....
RMIT project 'City Provoked' asked questions about the nature of public art emphasising 'new genre public art' - flexibility and responsiveness, specificity and topicality, innovation, challenge, engagement, unregulated encounter. collaboration, temporality and process rather than closure.
Public Art in Australia
The Enduring Moment
It is arguable that temporary public art is a more valid response to the transitory, dynamic and complex nature of the city and public life, more available to be critical and exploratory, than its permanent counterpart.
Public Art in Australia
Five Hundred Sculptors in Melbourne!
Whether Melbourne can support 500 or more sculptors is yet to be proven, but the talent is there and architects, developers and city councils seem to be much more receptive to the concept of public art.
Public Art in Australia
Putting Art in the Landscape
Looks at Herring Island Environmental Sculpture Park, Victoria and the issues which surround putting art into parks and public spaces. Unlike the specialised designs of the contemporary art gallery, the 'environment' is a bundle of concepts distributed across the city and suburbs.
Public Art in Australia
Not Fence Sitting: The Art on Line Project
The 'Art on Line' project initially conceived by Craig Walsh, involved the work of three Brisbane based artists - Wendy Mills, Keith Armstrong and Craig Walsh - who are perhaps better known as working along the experimental edge of fine art, rather than as 'community artists'.
Public Art in Australia
Getting up to Speed in Queensland: The Learning Curve Levels Off
The Queenslanders Art Alliance was established in 1986, maintaining an artist register as well as project management programs collaborating with the Queensland government in the 'Designing Environments' strategy which is intended to consolidate the quality of the collaborative process in public art projects. Looks at the Kangaroo Cliffs Boardwalk project.
Public Art in Australia
The SCIP Project: The Making of Memories in Amnesia Land
Looks at the Sandgate Town Centre Improvement Project (Suburban Centre Improvement Projects) in South East Queensland.
Public Art in Australia
Against the
There's something about public art projects that seems to either bring out the best or the worst in artists. Looks at the 'loo with a view' on the beach front at Mooloolaba on the Sunshine Coast in Queensland. The project has not been without its tensions......
Public Art in Australia
Public Art in Sydney - Olympian Heights or More of the Same?
The Olympic Co-ordination Authority and the Sydney City Council, the two commissioning bodies, have the power to transform the capital with their curated programs of site specific public art, some of which will have a limited life span. Ironically, in these environments where relationship to site is one of the criteria for inclusion, it is left to the artist to reconstruct the histories, to illuminate the voices demolished to make way for Olympic progress.
Public Art in Australia
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
CHEMISTRY: Art in South Australia 1990-2000: The Faulding Exhibition
Art Gallery of South Australia 16 September to 5 November 2000
Rhopography
photographs by Joachim Froese SOApBOx Gallery, Brisbane 6-27 September Queensland regional tour 2000-2001
Watermarks: Crossings, Carolyn Lewens and Neil Stanyer and Illuminating Evidence, Felicity Spear and Sarah Winfrey
Geelong Art Gallery 11 August - 13 September 2000
Talking Together
Lola Greeno (curator), Amanda Baxter (Pilakui), Michelle Brown, Destiny Deacon, Dulcie Greeno, Len Maynard, Nennerpertenenner (Sammy Howard), Francesca Puruntatameri, Thecla Bernadette Puruntatameri University Gallery, University of Tasmania, Launceston September 2000
Allan Baker, A Survey
Lawrence Wilson Art Gallery University of Western Australia, Perth 8 September to 20 October 2000
Chiasm; An Enduring Symbol; Objectum; Core
Chiasm - Donna Fulton, Richard Giblet, glamorama, Bevan Honey, Andrew Smith, Ric Spencer An Enduring Symbol - Mark Hummerston Objectum - Mark Cypher Core - Matthew Hunt Perth Institute of Contemporary Arts 29 September - 29 October
Celebrating The Exquisite Corpse
Bendigo Art Gallery 10 June - 3 September 2000 and touring other public artspaces in Victoria throughout 2001
Private Rooms: 10 years of painting by Anne Wallace
Brisbane City Gallery 28 July - 28 September 2000
Reality-technicians: everyday sorcery in installation art in New Zealand
'There was a flash of light, a smell of laundry and the penetrating fumes of a powerful cleanser, then a neutral nothing-smell, not even the usual substituted forest glade or field of lavender or carnation, and all that remained of Tommy were two faded footprints on the floor.'
