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Artlink
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Anatolitis Esther
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Anne Marsh
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Christen Cornell
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Clare Lewis
Cliff Burtt
Cotterell Scot
Craig Judd
Damien Quilliam
Daniel Palmer
Daniel Mudie Cunningham
Danni Zuvela
Deeksha Nath
Destiny Deacon
Djon Mundine
Donald Brook
Edward Hanfling
Emma Bugden
Emma Velde
Eugenia Lim
Eva Franzidis
Geoffrey Batchen
Gordon Foulds
Gwynneth Porter
Haydn Keenan
Helen Grace
Helen McDonald
Ian Hamilton
Jane Button
Jessica Hemmings
Jessica Reid
Joanna Mendelssohn
John Neylon
Jon Cattapan
Josephine Wilson
Judy Annear
Judy Darragh
Julianne Pierce
Juliette Peers
Kate Fulton
Kate Montgomery
Kieran Finnane
Kit Wise
Lara Strongman
Lisa Harms
Louise Morrison
Margaret Farmer
Margaret Moore
Maria Bilske
Maria Miranda
Mireille Astore
Naomi Gall
Natalie King
Natasha Conland
Neil Evans
Nicholas Spratt
Nusra Qureshi
Nyanda Smith
Pat Hoffie
Paul Van Ryke
Penny Craswell
Peter Drew
Phillip Watkins
Pirrie Sarah
Regan Forrest
Sally Butler
Sarah Farrar
Shihoko Iida
Simon Blond
Simon Denny
Sophie Knezic
Stephanie Britton
Stephanie Radok
Stephen Haley
Susan Cochrane
Susan Ostling
Tahi Moore
Ted Snell
Tessa Laird
Thelma John
Timothy Morrell
Tory Shepherd
Tracey Clement
Virginia Fraser
Issues
Art & Surveillance
Issue 31:3 | September 2011
New Zealand Contemporary Art Turangawaewae A Place to Stand
Issue 26:2 | June 2006
Shopping & Extreme Pleasures
Issue 24:2 | June 2004
Articles
Jon Cattapan: Night vision goggles
Jon Cattapan is a painter who lives in Melbourne. In 2008 he was commissioned by the Australian War memorial as an official artist auspiced by the Australian Army in Timor Leste. He is represented by Milani Gallery and KALLIMANRAWLINS.
Contemporary Chinese Art
Christen Cornell manages Local Consumption Publications and 'Artspace China' a blog on contemporary Chinese culture. Currently undertaking a PhD at the University of Sydney on China's contemporary art districts her article outlines the very latest developments in this volatile field.
Surreptitious Pictures
Professor of Art History at Victoria University, Wellington, NZ and author of 'Photography Degree Zero' Geoffrey Batchen writes about the secret history of secret cameras.
Clinical and critical: From Von Trier to Haneke
Legendary film critic Adrian Martin examines the inclusion of low tech digital footage in many recent films including the 'Paranormal Activity' horror-thrillers by Oren Peli and 'The Video Diary of Ricardo Lopez' by Sami Saif.
Braided Rivers: Regionalism in New Zealand Art
Andrew Paul Wood focuses on some of the issues pertaining to New Zealands regionalist tensions, particularly the obvious division of the North and South Islands. Furthermore he looks at some of the opposing aesthetic qualities to have come from artists of the North and the South regions. This is here discussed through reference to artists Colin McCahon, Don Binney, Pat Hanly, Bill Sutton, Rita Angus, Gordon Walters, Milan Mrkusich, Gretchen Albrecht, Ronnie van Hout, Bill Hammond, John Pule, Elizabeth Allan, Dorothy Irvine, Sandy Gibb, Billy Apple, Sofia Tekela-Smith, Ani ONeil, Niki Hastings-McFall, Shigeyuki Kihara, Peter Robinson, Shane Cotton, Ralph Hotere, Robyn Kahukiwa, Tony de Latour, Seraphine Pick, Saskia Leek, Grant Takle, Peter Wheeler and James Robinson.
New Arrival: Brian Butler, Director of Artspace
Interview with Brian Butler, the new Director of Artspace, Auckland. Questions are raised regarding Butler's decision to leave his position at the Los Angeles cutting edge art gallery 1301PE in order to direct a publicly funded space in Auckland and his visions for the future of Artspace.
State of the Art New Zealand
This essay draws on some of the themes and issues raised by the 1997 report 'New Vision: A Critical View of the Visual Arts Infrastructure', commissioned by Creative New Zealand and the Chartwell Trust to document the state of New Zealand's visual arts infrastructure of the time. It is here used in reference to offer a series of (partial, personal and biased) snapshots that consider the state of the visual arts scene in New Zealand. Some key figures here referred to include Gordon H. Brown, Lee Weng Choy, Greg Burke, John Maynard, Cheryll Sotheran, Priscilla Pitts, John McCormack, Pae White, Sam Durant, Lee Bul, Peter Robinson, Ann Shelton, Fiona Clark, Giovanni Intra, Fumio Nanjo, Jonathan Watkins, Mercedes Vicente, Tyler Cann, Robert Leonard, David Hatcher, Louise Garrett, Simon Rees, Michael Stevenson, Ronnie van Hout, Francis Upritchard, Denise Kum, Yuk King Tan, Joyce Campbell, Hamish McKay, Andrew Jenson, John Gow, Gary Langsford, Michael Lett, Heather Galbraith, Jenny Todd, Brian Butler and others.
You And Me And Everyone We Know: Photography
This article looks at the controversy that surrounded Ans Westra's pictorial essay Washday at the Pa, published during the 1960's, as a way of addressing the current trends in New Zealand photography. Emma Bugden uses this example to raise issues of Maori and Pekeha representations in New Zealand art and the renewed interest in social realism among New Zealand photographers in recent years. Artists included in this discussion are Edith Amituana, Andrew Ross, Marti Friedlander, Peter Black, Peter Peryer, Anne Noble, Laurence Aberhart, Greg O'Brien, Justin Paton, Ava Seymour, Joel Peter Witkin, Fiona Amundsen and Neil Pardington.
Don't Misbehave! SCAPE 2006 Public Art Biennial
This article looks at the argument for public art in Christchurch subsequent to the phenomenal public debate sparked when Michael Parekowhai's 5m high fibreglass bunnies became the centrepiece of the SCAPE 2002 Biennial. Velde further examines some of the recent aims for SCAPE 2006 by curators Natasha Conland and Susanne Jaschko who are looking to embrace contemporary art's exploration of different media channels.
Visions and Revisions: Recent Work by Shane Cotton
Strongman here looks at the recent works of New Zealand artist Shane Cotton. Issues of transformation - of an ebb and flow of changes in form and meaning over time, of visions and revisions of and between cultures - have been central concerns of Cotton's work for more than a decade. Through extensive reference to Maori and Christian culture, Cotton explores what he describes as the 'collision and collusion' of New Zealand's two official cultures.
An Artist's Economy: Madden, Stevenson, Upritchard
New Zealand artists Peter Madden, Michael Stevenson and Francis Upritchard have each worked within disparate environments and local economies for some years, in Auckland, Berlin and London respectively. Each of them self-consciously explores alternative economies available to them through the production of art. Between them Madden, Stevenson and Upritchard have participated in such art events as the Venice Biennale and exhibited at the Tate Gallery, Darren Knight Gallery, the Museum of New Zealand, Herbert Read Gallery and the Bart Wells Institute.
Of New Zealand Art and Letters
When it comes to New Zealand publications, the excitement generated by each forthcoming issue is as good a yardstick as any to judge by.
Special (Auckland)
Special Gallery is an activity centre at Level 1, 26 Customs St East, Auckland. Exhibiting artists have included Jason Lindsay, Tahi Moore, Fiona Conner, Seung Yul Oh, Nick Austin, Tao Wells, Daniel Du Bern, Helga Fassonaki, Alex Vivian, Chris Cudby, Dave King, Julian Dyne, Fraser Munro, Eddie Clemens, Richard Bryant, Patrick Lundberg, Simon Denny, Jennifer Mason, Robin Kydd, Fin Ferrier, Ben Tankard, Chris Fitzgerald, Stephan Neville, Lou Darlington and Nate Williamson.
Enjoy (Wellington)
Enjoy was born out of transparency and openness and a focus on critical dialogue combined with some utopian ideals such as being 'Liberated from Commercial Constraints' and has been a place for dissent and discussion. Artists Ciaran Begley and Ros Cameron with administrator Rachel Smithies established enjoy in 2000. Exhibiting artists have included Caroline Johnston, Eve Armstrong and Violet Faigan.
Cuckoo
Cuckoo was formed in January 2001 by dreamers Ani O'neill, Daniel Malone, Judy Darragh (artists), Jon Bywater and Gwyneth Porter (writers). Collectively they created this space as a means for discussing ways to present artist's projects outside the traditional method of running a gallery space. Some of the artists involved with cuckoo are Dan Arps, Kate Newby, Sriwana Spong, Ben Tankard, Janet Lilo, Fiona Connor, Seung Yul Oh and Nick Austin.
RM103 (Auckland)
In 1997 a tiny office overlooking a record store in Auckland was turned into a gallery space called 'rm3'. Directors of the now 'rm103' include Andrew Barber, Kylie Duncan, Kirsten Dryburgh and Nicholas Spratt. Previously exhibiting artists include Bjorn Houtman, Sarah Gruiters, Finn Ferrier, Gaelen Macdonald and Erica van Zon.
Charles Merewether: Director of 15th Biennale of Sydney
It is always hard to characterise an exhibition as vast and sprawling as the Biennale of Sydney as it takes over the city, but every time the Biennale has taken place, it has taken on the flavour of its artistic director. Joanna Mendelssohn has conducted an interview with Charles Merewether - art historian, writer and curator - who has produced what could be the most confronting Biennale for many years. His take is at first glance the external world of war and conflict, of cultural difference and exchange but ultimately he wanted to do 'a show that tried to interfere in the way in which contemporary art was being seen'. Included in this article is the work of artists Akram Zaatari Saida, Elena Kovylina, Raeda Saadeh, Ghada Amer, Ruti Sela, Maayan Amir, Sejla Kameric, Mladen Stilinovic, Milica Tomic, Imants Tillers, Savanhdary Vongpoothorn, Julie Gough, Adrian Paci, Liza Ryan, Sharon Lockhart and Antony Gormley.
Steve Kurtz: Critical Art Ensemble
An interview between Mireille Astore and Steve Kurtz, member of the Critical Art Ensemble (CAE) and Professor of Art at University at Buffalo. Kurtz participated in Home Works III, a recurring production of Ashkal Alwan, the Lebanese Association for Plastic Arts. Lectures, discussion panels, video screenings, performances and book launches, all contributed to the wealth of ideas offered and generated during an intense week from 17-24 November 2005. Astore asked Kurtz about his practice and its relationship to Home Works III.
2006 Contemporary Commonwealth
Australian Centre for the Moving Image: 24 February - 21 May National Gallery of Victoria 24 February - 25 June Festival Melbourne 2006 Commonwealth Games
21st Century Modern: 2006 Adelaide Biennial of Australian Art
Curated by Linda Michael Art Gallery of South Australia 4 March - 7 March 2006
Colliding Worlds, First Contact in the Western Desert 1932-1984
Curated by Philip Batty Tandanya National Aboriginal Cultural Centre Adelaide Bank Festival of Arts 18 February - 28 May 2006
What Survives: Sonic Residues in Breathing Buildings
Performance Space, Sydney 25 March - 22 April 2006
The Late Sessions
Videos presented by 1/2 dozen Curated by the 'pixel pirates', Soda_Jerk George Street Cinema, Sydney 25 January 2006
Corrupting Youth
Curated by Tristan Stowards Contemporary Art Services Tasmania, Hobart 4 March - 2 April 2006
Joan Kerr, Art Historian: February 1938 - February 2004
Joan Kerr, Art Historian, February 1938 - February 2004
News from the Front
Its less than a centimetre long, but the weapon of mass distraction on Artlinks March cover was deemed unacceptable for US audiences. For those who missed the media frenzy, our US distributors refused to put the Adelaide & Beyond issue of Artlink on the shelves of Barnes and Noble. The reason given was the completely nude male on the cover (would a hat have rendered it incompletely nude? Would it have mattered if it was a female nude, neatly packaged away?).
Artlink on the Road: a China Diary
March saw a little bit of history being made in Sino-Australian cultural relations with Artlink being the first Australian art magazine to be launched as well as offered for sale in China. Perversely we were not offering the Chinese an issue of the magazine about Australia, our normal subject area, but about China, a subject area we have only visited occasionally. In the manner of all human vanities that may have been one of the reasons we received such a warm reception. Imagining the reverse - reading an issue of a Chinese art magazine about Australian art is in the current state of art writing in China unlikely.
Tokyo Shopping Mix: An Email Saga*
It is not hard to shop given the entire city of Tokyo seems to be premised on the activity. Tokyo is a space as complex and flowing as the most convoluted natural system. One may be in a train station but it is filled with shops. Above ground, below ground, on the ground - shops. Haley documents his activities over a period of a couple of months in what is most likely the worlds largest consumer oriented city. He discusses the somewhat surreal and absurdist nature of this environment and paints a picture of the plethora of advertisements, signs, extreme fashion trends and other visual paraphernalia that consume the city.
Flatness Packed
While the idea of modern and contemporary art are located in a fairly nebulous discursive realm, the notion of modern or contemporary lifestyle (the two seem, in fact, interchangeable) are very much a part of the familiar rhetoric of consumer spending. No Nonsense Return Policy (2003), Pat Foster and Jen Bereans installation at BUS Gallery, documented six miss-assembled items of IKEA furniture and dissect the curious aesthetic cycles that drive the commercial products in both realms. Taylor looks at this work and others which are focused on drawing attention to the formal and ideological intersections between modernism and the stuff of homes and home decoration.
One or Two Things about Art and Shopping
This article explores the relationship between art and shopping, in particular the contemporary alignment of the two as one and the way feminist identity is largely constructed through the media and consumption. Wilson looks at the work of Barbara Kruger and her critique of Western consumer habits, in particular the way Kruger explores the different shopping patterns of men and women to reflect some inherent gender traits.
How Much is that Artwork in the Window? Notes on Shops and Art
Through reference to Walter Benjamin's writings, Peers suggests that it has become commonplace to describe the city in terms of the progress of the flaneur, the middle class bohemian who strolled through the city, moving in the ephemeral sphere of impressions and images. This article looks at shopping as a central feature to the manner in which Australian art and culture has developed. The artist is a shopper and collector, moving through the materiality of things. Australian culture has itself become flaneur-ised over the past decade in the expansion of new museums and cultural precincts inviting discovery and added pleasure to the experiences of viewing and consuming art.
Food Slut > Manifesto
Food increasingly became alienated from the body over the latter half of the twentieth century. Its material, its preparation, its distribution and its consumption became hostage to the banal aesthetics of the food stylist, the aridity of cultural studies and the repressive partnership of the public health zealot and the liability lawyer. Paul van Reyk here presents a manifesto on the food slut, a model for the examination of current food consumption trends in our society. As he states, a food slut is never indifferent to food, any more than a sex slut is indifferent to sex.
Pornography and Photography
A series of three exhibitions which appeared to erase or at least redraw the boundaries between art photography and pornography was seen at the Australian Centre for Photography in Sydney in 2003. Helen Grace talked to Alasdair Foster, Director of the ACP and curator of one of the exhibitions, about this timely and challenging project.
The Perverted Gaze of the Artist: Recent Work of James Guppy
James Guppy has a curiously ambiguous place in contemporary art. This is not because of his subject matter, but rather because of his technique. For the most part Guppys recent work is not about fun, nor is it even really about sex. Rather he argues it is about the nature of exploitation. He argues that artists by their nature are voyeurs who see the world around them and all its objects as items to be used as visual product. His recent Peeping Box series taps into this idea where images of sexual activity with a particular sadistic overlay are presented behind thick glass to incite some vain attempt on the part of the viewer to engage in such voyeuristic acts.
Chaotic Attractors: Jake Chapman Lecture Tour 04
The two hours of Jake Chapmans lecture at the Capitol Theatre in Melbourne in March 2004 were in many ways a homage to Modernism and the aesthetic of industry - albeit back-handed. The hierarchies of art history, the possibility of the poetic and the tradition of humanism all came under attack. The core issue circled around throughout the discussion was the degree to which art was simply a diversion for the middle-class: a market-responsive product or cathartic moment in which people could be and even pay for the privilege of being shocked.
Enchantment/Disenchantment: The 2nd Auckland Triennial
The generic theme for the 2nd Auckland Triennial Public/Private sought to address central issues concerned with the relationship of the visual art scene to that of the everyday life (to banality), the potential or otherwise of new technologies to engage with the conditions of modern society and the ability of art to deal in specific ideas of a social and political nature. Furthermore in bringing together artists projects that are cross-cultural and transgenerational, the curatorial aim was to make connections which would intensify the privacy debate. Edward Hanfling examines some of these works with regards to such issues and concerns.
Transmission and a Selection from 32 Cars for the 20th Century - Play Mozart's Requiem Quietly
Nam June Palik Sydney Opera House Forecourt 8 -26 January 2004 National Gallery of Australia, Canberra 26 February - April 2004
2004 Adelaide Biennial of Australian Art: Contemporary Photomedia
Art Gallery of South Australia, Adelaide 29 February - 30 May 2004
Repercussions: Individual and Collaborative Works
Peter Hennessey & Patricia Piccinimi Greenaway Gallery, Adelaide 28 February - 28 March 2004
Songs of Australia: Volume 16
Aleks Danko The Ian Potter Centre, NGV Australia Melbourne (and touring) 7 February - 18 April 2004
Group Material
Ben Booth, Neil Haddon, Anthony johnson, Anna Phillips, Lucia Usmiani and Kit Wise The Queen's Warehouse Gallery Tasmanaian museum and Art Gallery, Hobart 18 March - 2 May 2004
Allthatglitters: Contemporary Visions of the Gold Coast / Allthatglitters: 50 Years of Gold Coast Kitsch and Memory
7 February - 21 March 2004 The Gold Coast City Regional Art Gallery 14 February - 9 May 2004
Art of the Biotech Era: Art, Culture and Biotechnology
Experimental Art Foundation, Adelaide 27 February - 3 April 2004