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Looking to Origins: Mastura Abdul Rahman
Mastura Abdul Rahman is a Malaysian Islamic woman artist and draws on the tradition of SE Asian woven textiles in the very precise ordering of her compositions which depict the arrangement of traditional Malay houses seen from above. Traditional head and breast cloths are ritual objects of great potency with the power to kill the weaver who makes a mistake in the design. To the initiated the paintings embody some of the same aura.
Contemporary Arts of the Region: SE Asia & Australia
Culture of Silence: A Reading of Three Malaysian Artists
An overview of the history of Malaysian modernism and the work of three artists who rebelled against their Islamic-style training at the Institute of Teknologi Mara. Riaz Jamil Ahmad, Ahmad Shukri Elias and Tengku Sabri. Riaz and Ahmad paint in a neo-expressionist figurative mode, Tengku makes carved wood sculptures which have echoes of old Malay motifs. After some years of dissent the three have adopted a stratgic self-imposed culture of silence.
Contemporary Arts of the Region: SE Asia & Australia
Fauzan Omar - Layers of Meaning
Malaysian artist Fauzan B Haji Omar has worked in collage and mixed media since the eighties when Malaysa was freeing itself of British influence. For some time he used strips of torn canvas heavily encrusted with paint, followed by work which draws inspiration from rotting jungle vegetation, reflecting the changing landscape where the natural world gives way first to rubber plantations and now to golf courses and industrial estates.
Contemporary Arts of the Region: SE Asia & Australia
David Castle's Journeys into Asia
David Castle's jewellery has been influenced by over 15 journeys to Indonesia since 1972, particularly the islands between Darwin and Bali. He finds the ceremonial activities of the Balinese attractive and this is evident in his body adornment pieces. He was an artist in residence in Kuala Lumpur in 1991 creating links with the University of Tasmania in his home base Launceston where his current exhibition Journeys was held.
Contemporary Arts of the Region: SE Asia & Australia
Support for Art in Malaysia
A critique of a culture of self-congratulation where there is no place for critical feedback, institutions are not scrutinised and standards are low, where criticism is greeted with hostility. The major art school is lavishly funded but authoritarian and there are no checks and balances on lecturing staff. Art museum shows are poor, corruption is evident in some places. Artists suffer from neglect and have little support for their practice.
Contemporary Arts of the Region: SE Asia & Australia
Women Breaking Taboos
Women artists in Malaysia have a lot to deal with - pressures to give priority to family duties over art practice, and oppression of women while the Islamic prescription against representation makes it hard to make political statements. Hamidah Rahman, Shu-Li, Norma Abba, Eng Hwee Chu and Mastura Abdul Rahman are breaking taboos including that of including sexual content in their work. However the price they pay is marginalisation.
Contemporary Arts of the Region: SE Asia & Australia
An Australian on the Road to Shah Alam
An account of an artist in residency in 1993 at the Institut Teknologi Mara (ITM) at Shah Alam outside Kuala Lumpur. The spatial excitement of the building was not matched by its usability or enlightened curriculum. She produced an installation using local materials and learned about ITM's positive discrimination in favour of bumi putera students (local Malay) and how the school fits into the Islamic State.
Contemporary Arts of the Region: SE Asia & Australia
"Current Issues" in Singaporean Art
A brief history of 20th Century art movements in Singapore and the state of art and art debate in the 1990s. In terms of how non-Singaporeans view and understand current art, the politically motivated performance art of Tang Da Wu and Amanda Heng in 1991-2 appears very similar to performance art in other countries but due to different cultural background it can be misread and those elements which are different are often ignored.
Contemporary Arts of the Region: SE Asia & Australia
New Models for Survival
Problems of survival of new art without subsidy have created two groups: The Artists' Village, a loose collective of artists who occupied two buildings scheduled for redevelopment, ending up in the Substation near the National Art Gallery. 5th Passage was allowed to occupy an area in a shopping centre where they made performances on environmental themes and ran very popular school holiday art programs for children.
Contemporary Arts of the Region: SE Asia & Australia
Artists' Regional Exchange: The Next Wave
The third edition of ARX, the biennial artists' exchange project between Australian and Asian artists, put much energy into promotion, andtravelling the visiting artists around Australia to give lectures and workshops in an effort to create more opportunities for Asian artists. ARX is constantly shifting its focus and is an evolving event but a continuing interest is cultural nuances and the visual manifestations of these.
Contemporary Arts of the Region: SE Asia & Australia
Curtin University Connects with Singapore
Curtin University developed ties with Indonesia, Singapore and Thailand since its foundation in the sixties, initially through Engineering and Business and then through the Design School spearheaded by artist-lecturers Nola Farman, Paum Gaunt and Head of Design John Teschendorff. Frequent visits and exchanges and enrolling Asian students have all helped the School of Art there to identify as a South East Asian art school.
Contemporary Arts of the Region: SE Asia & Australia
Polemic: From the 21st Century and Through the Telescope
Polemic: There has been a paradigm shift in Australia with the development of Aboriginal art, which may be as consequential as that of the Impressionists. Over the last 30 years Aboriginal artists have been making their voices heard and now make up at least 25% of the country's working visual artists though they are only 1.7% of the population. Their art will go down in history as providing new perspectives with which to view the world
New insight into old North Australian Rock-Art
The rich rock art of Australia, especially of Arnhem Land and the Kimberly continues to be the subject of research, as well as fierce debate about their meaning and age, with obvious implications for Aboriginal cultural history. Three signficant styles are identified : the 'Bradshaws', (named after explorer Joseph Bradshaw who discovered them in the 1800s) the 'Dynamic' and the 'Wanjina' paintings. Most of the more than 100,000 ancient sites are not effectively protected but are of great importance to living Aboriginal people.
Homeland: Sacred Visions and the Settler State
In spite of supporting a vast artworld of curators, critics and collectors, the 'otherness' of Aboriginal art in the Western canon persists, fuelled by white settler reluctance to acknowledge history. The valorisation of the life and work of Emily Kame Kngwarray is one of the great imponderables of our time. Her extreme age, traditional origins, style of painting and prodigious output were the causes. Most significantly she demonstrated the possibility of human intimacy with landscapes.
The 'Aboriginal Art Scandals' Scandal
A chronicle of a spate of so-called 'Aboriginal art scandals' which happened in the late 1990s, some of which involved white artists passing off work as Aboriginal. The custom amongst indigenous artists of family members working with an artist on paintings creates problems for the western art market and leads to claims of fraud. The media is often guilty of distorting and sensationalising events. The newly launched Label of Authenticity enters the scene.
Black Glory: Erotica Old and New
The exhibition 'Love Magic' explored Aboriginal male erotica and reveals a little-known dimension in traditional spirituality which has been echoed by contemporary artists. Images of phalluses, couples embracing and testicles going walkabout refer to legends and stories of the Old People. This very large exhibition was a life-affirming spectacle with humour and poignancy as well as some powerful eroticism.
Looking at the Stolen Generation
The government policy of separating Indigenous children from their parents was still in force until the 1970s in some states. Indigenous artists who have recently begun depicting these events include Julie Dowling, Gordon Syron, John Packham, Rea and Brenda Croft. Their work has been part of the uncovering of the hidden history of these children of which many non-indigenous Australians were quite ignorant until the mid 1990s.
Good Brother Working with our Kids
Ron Gidgup was the first Aboriginal fashion designer in WA. Since getting the Aboriginal of the Year Award in 1997 he began to turn his skills towards helping Aboriginal youth in crisis. He runs workshops in textile and clothing design and brought many young people back from the brink of death from substance abuse. He has worked in urban and rural settings, with schools and other groups.
Charting Co-existence
Mapping Our Countries was an exhibition at the short-lived Djamu Gallery in Sydney, curated by artist Judy Watson and archaeologist Dr Paul Ta'on. They collected objects and works of art to illustrate how they relate to the idea of mapping land or sea. Mapping is done for a huge variety of reasons, for exploiting resources, for proving theories, for simply finding one's way.
Health and Art: Can art make people (feel) well?
Art can function in a wide range of ways beyond what is normally regarded as its arena. It can empower by raising confidence, providing income which can be used to improve diet and living conditions, it can be therapeutic, liberating and provide an emotional and intellectual outlet, while posters and TV ads can convey important messages about health issues. When a culture is strong the people are healthy.
Photography with Intent
Various indigenous artists began to use photography to express ideas about their social and political position in the 1980s; the 1988 Bicentennial celebrations were a strong catalyst. Formerly they were always on the other side of the lens, as anthropological subjects. The exception was Mervyn Bishop, employed as a press photographer in the 1960s, and pioneer in the medium and role model for younger artists including Fiona Foley, Ricky Maynard, Peter McKenzie.
Challenging boundaries: Indigenous Art in Three Dimensions
Recent Indigenous 3-D work is regarded as both art and craft. The materials range from shell and rushes to scrap steel, grass, ceramic, glass and bull kelp; the works may be vessels, installations, necklaces, small figures etc. The works often contain explicit references to cultural or historical truths eg the figures by WA artist Joyce Winsley which recall characters from her youth in the country, or Lola Greeno's water containers made in the traditional way from bull kelp .
Printmaking Gains Momentum
The first Aboriginal prints were linocuts made in jail by Kevin Gilbert. By the late 1970s Aboriginal printmaking in collaboration with print studios had begun. The Canberra School of Art, Port Jackson Press and now Northern Editions have been catalysts for the many enthusiasts at the Yirrkala, Papunya, Tiwi, Munupi, Oenpelli, Ernabella etc communities and workshops are run in remote centres at their request. Some like Lockhart River are now setting up their own facilities.
Political Theatre in Beyond the Pale
The Adelaide Biennial of Australian Artin 2000 was a survey of new indigenous art titled Beyond the Pale. This attempt to show the best of new work was staged as a series of rooms each with a different mood from baskets and shimmering paintings to rooms of confrontation where works invited viewers to be shocked by figures of authority seen in very unflattering mode.
Bush Toys
Bush Toys was an exhibition of toys made from scraps of metal and copper wire by the male members of the Eastern Arrente tribe of Central Australia in the late 1990s. These recall the era when Aboriginal people were the backbone of the pastoral industry, as stockmen and horse trainers. There are miniature horses and riders, windmills and stockyards, and wooden 'cars' for children to push along or ride in. The toys are a source of great pride for the men who make them.
Art in Warmun community
A new art centre at Warmun in the Kimberly of WA is a showcase for the talents of the artists of the area, some of whom used to work on big pastoral stations in this remote area. Celebrated founders of the centre were Rover Thomas and Queenie Mckenzie. There are tensions between their interests and those of white landowners in relation to access to 'country' being denied. Young people are unable to have a traditional education and are becoming westernised through videos.
New Ways With Clay: Tiwi Pottery
The Tiwi people on Melville and Bathurst Islands just north of Darwin have a 30-year tradition of pottery. They have absorbed a range of influences from the British Michael Cardew to visiting potters from Australia or via annual workshops with a Swiss potter Claude Presset. Some pots were collaboratively done - thrown by experienced potters and decorated by local artists. Slab and coil pieces drew on artists' experience in wood carving and painting.
Tandanya: One City and a Festival
3SPACE -C21st Indigenous Explorers was an exhibition by Darryl Pfitzner Millika, Mark Blackman and David Pearce for the 2000 Adelaide Festival. In common is their shared history as contemporary indigenous artists in Adelaide, the city which had the first indigenous art centre Tandanya, a powerful catalyst for many enterprises which without it would not have been so well presented or widely seen.
Boomalli: Fact or Fantasy: you decide!
Boomalli, founded in 1987, enters an unlikely future where anonymous benefactors help them to buy premises in an inner city suburb, to employ curators and become independent of funding bodies. Tax-free havens are set up for indigenous artists in NSW and Boomalli members exhibit regularly at MOMA in New York.
Judy Watson's etched zinc wall at Bunjilaka
Queensland artist Judy Watson spent three months in Melbourne on a commission for a zinc wall around 50 metres long for the Bunjilaka gallery at the new Museum Melbourne. Watson used motifs relating to Aboriginal material culture in the etched panels of this work.
Contemporary Voices: Australian Aboriginal Cultures Gallery in the SA Museum
The new Aboriginal Cultures Gallery at the SA Museum has set a new standard of excellence in interpretation of historical material. The use of film, video and computer terminals carrying extensive information from songs and interviews to historical documentation adds to the rich texture of the displays. Contemporary Voices is a set of filmed interviews conducted by museum staff in the six months before the opening of the new Gallery
Labelled - Buyer Be Aware
The introduction of a Label of Authenticity has some problems for contemporary urban Aboriginal artists who feel once again that they are being asked to confirm their status. Another issue is that any indigenous person can apply for the Label regardless of the integrity of their art practice. Is the Label too blunt an instrument to be useful to most artists?
The Indigenous Visual Arts Industry: Issues and Prospects for the Next Decade
The economics of indigenous art is analysed in detail in relation to production, collection and distribution, consumption, developments in the 1990s, prospects for the next decade, tourist art, protection of intellectual property, quality control, authenticity and leadership.
Fair Trade in Central Australia
Without regulation in a market there will always be carpetbaggers. Warlukurlangu Artists was set up by a group of artists to protect them from this. DESART, the peak body for Central Australian art producers, in 2000 has initiated a Central Australian Indigenous Art Label which aims to educate consumers and lead the way by example rather than police a market.
The House of Aboriginality
The House of Aboriginality is an evolving multimedia project about the merchandising of Indigenous imageries. A CD-rom sets out the story of the circulation of this in mainstream culture through the metaphor of a house entirely furnished with products bearing Aboriginal art designs.
Snapshot of a Culture
A conference about Indigenous arts and crafts was held in 1999 and was a useful sounding board for issues from the new Label of Authenticity and copyright, to the new Goods and Services Tax and art in cyberspace.
Nomad to TV star in three years: Walala Tjapaltjarri meets the world
In late 1984 Walala Tjapaltjarri and other Pintupi tribespeople walked out of the Gibson desert in WA and met Europeans for the first time. Within a few years Walala adapted his traditional ground and body painting to painting on canvas and was filmed by Robert Hughes for his TV series Beyond the Fatal Shore.
Remote Area Computer Art: Multi-Media Talent Emerges in Yuendumu
Donovan Rice is a young Warlpiri man who has virtually taught himself to make computer art in the remote community of Yuendumu. He is making digital images and animations which relate to his own cultural situation against the backdrop of a chronically disfunctional society. He works under the aegis of Warlpiri Media, a community-run media resource centre and TV production house.
Snapshots of Contemporary Sound, Movement and Words from Broome
Broome is a town in WA with a long history of many cultures living and working together. It is the home of a vibrant Indigenous music industry, its most famous sons being the Pigram brothers and Jimmy Chi, author of the musicals Bran Nue Day and Corrugation Road . Magabala Books is flourishing, and the Stompen' Ground Festival is gaining in strength and reputation.
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.
The Art of Gift Giving...
The magnificent donations made to museums, galleries and libraries in the last 12 months were made possible by the Commonwealth's Cultural Gifts Program, an initiative that encourages Australian patronageof the arts by offering attractive tax incentives to donors. Wallace here presents a short expression of appreciation.
XSProject: From the (Dirty) River
Artist Ann Wizer has been on a mission to protect the environment and reduce poverty in South-East Asia for many years. She has battled against indifference of the most callous variety. Undaunted she continues to find creative solutions to make a difference. Here she shares the trials and tribulations of working long-term and hands-on with consumer waste in Jakarta - complete with the stench of landfill.
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.
Simulating the Flow
Alfred Deakin was not a man to muck about. As well as being a major player in the long campaign to establish an Australian Federation, he was an indefatigable crusader for irrigation, pushing hard to establish a pioneer industry. As President of a Royal Commission on Water Supply & Irrigation, Deakin visited and studied Californian irrigation schemes in 1885.
Reading the Waters
Norman has based this article around Terry White's concept of 'land literacy', a notion he defines as 'the ability to read and appreciate the signs of health [and ill-health] in a landscape'. From a cultural perspective, the land literacy idea quickly compounds itself into a multi-dimensional concept and perhaps a new discipline 'Landliteracy' that calls into question interdisciplinary demarcations, understandings of home, perceptions of the land and how we might experience place. Furthermore, Norman has used this concept as a way of discussing artmaking operations in relation to the landscape and the idea of 'waterliteracy'. Britain's Common Ground Movement, the work of Craig Andrae and the art project website redreadwater.com are here referred to.
Wild Art at the World's End
During the 1970s and 1980s conservation battles were fought over the meaning of wild places such as Tasmania - previously regarded as Australia's deep south - a pioneering place where the normal rules hardly seemed to apply. Grant looks at some of conservation battles both lost and saved during this time, and at one of the key agents for change, a wilderness photographer, the late Peter Dombrovskis. As a result of Dombrovskis' important work, the Tasmanian arts community and two government bodies have come together to try and ensure that this arts/environment symbiosis continues. Some other key artists discussed in this article are Julie Gough, David Martin, Tim Pugh, Anthony Curtis and Kim Kerze.
Dinoflagellates and Art: Jane Quon's Marine Installations
Jane Quon has evolved from printmaker to multi-media installation artist - though she much prefers the descriptor 'ecological artist'. Her installations make strong use of 'ephemeral' media - light, sound - and her focus is the quality of the marine environment, within that the threat to vulnerable aquatic ecosystems posed by the dumping of ship ballast water. Quon has been involved in a number of ecological projects, including installations at the new headquarters of the Centre for Living Aquatic Resources Management in Penang, the International Maritime Organisation building on the Thames Embankment in London and was part of the CSIRO's Metis exhibition in Canberra. Hay here pays particular attention to her installation devised for the Bass Strait Forum in Launceston in December 2000.
Nola Farman's Wind Tree
Nola Farman's The Wind Tree is one of a series of three permanent public artworks commissioned in 1998 by Griffith Artworks, Queensland College of Art, and installed at the new Logan Campus of Griffith University south of Brisbane. The Wind Tree stands on a site that was once occupied by indigenous inhabitants and from the time of white settlement until the recent sixties, the homestead site of the dairy cattle stud Ellerslie. The Wind Tree has been christened according to a traditional pedagogical symbol: the Tree of Knowledge. Ross examines Farman's site specific work in relation to its complex functional and aesthetic qualities.
Reflections on the Noosa River
In early 1999, Gregory Pryor spent 28 days in meditative reflection on the Noosa River. The resulting work and exhibition, Wearing Clothes on the Noosa River, presented the complete drawing cycle of 224 parts at the Noosa Regional Gallery. In this personal intervention in Noosa, Pryor has produced a record of cyclical flow and the passing of time. The artist's written and visual observations encompass minute details of daily life - its sights, smells and sounds - juxtaposed with ruminations on the metaphysical, the power of nature and the interconnectedness of life. Other artists who have been involved with the 'river residencies' at Noosa and the creative documenting of other important water ways include Christine James, Scott Avery and Britt Knudsen-Owens.
Water and Dust: Coongie Lakes
To non-indigenous people, Australia has often seemed a paradoxical, even perverse country. It is indeed the most climatically unpredictable of all continents - a land where seasonal cycles are overwhelmed by unpredictable drought and flood. Dr Puckridge examines this fact about Australia, with a particular focus on the Lake Eyre Basin and Coongie Lake. This article includes text by artists Peter Richards and Erika Calder who work extensively alongside Dr Puckridge in their ongoing pursuit to inform and educate the wider community on the importance of working co-operatively with all the different and varied users of the Lake Eyre Basin.
Karra: River Red Gum
Karra was a visual arts project devised for the 2000 Adelaide Festival. Its focus was the River Red Gum, once the most widespread tree in south eastern Australia and quite justifiably an Australian icon. The project comprised an installation by three artists Chris De Rosa, Agnes Love and Jo Crawford in the Artspace Gallery, Adelaide Festival Centre, from 1 March to 20 April, and a 40 page publication with essays and visual material from many contributors. As curator, Thwaites' intention for Karra was for people to consider their connection with the tree as well as the urgent problems facing this ecosystem, such as salinity, diminished water flow and environmental degradation.
The Waterworks Project
Culturally, spiritually, intellectually, water runs through our lives creating and suggesting connection and renewal. All life depends on water. Like those European explorers who encountered this land so recently, the artists who worked on the Waterworks project searched to make sense of the many manifestations and meanings that water has. It is no real surprise that survival was the thread that connected most of the thinking of the artists. The project saw the work of artists Cameron Robbins, Malcolm McKinnon, Lisa Philip-Harbutt, Jo Crawford, James Darling, Catherine Truman, Graeme Hopkins, Jonathon Novick and Elena Gallegos.
Staring at the sea, staring at the sand: the work of Matthew Dalziel and Louise Scullion
Humanity's universal relationship to the environment has always been at the heart of Matthew Dalziel and Louise Scullion's work, and in large part stems from their own working and living proximity to the ocean on the coastline of Scotland in the fishing village of St Combs. Kubler conducts an examination of some of Dalziel and Scullion's installations, many of which offer that most magical and rare thing in art, the miraculous. Kubler looks at their collaborative works General Release, Sargassum, Rain and Melt and the various ways they have explored the Nature/Culture dichotomy. In particular cyclical weather patterns and mankind's evolving interaction with Nature.
A Water or a Light
Water figures in Australian art and Australian history as a vital thread binding together many narratives and imageries. Art that concerns itself with some manifestation of water demonstrates what can be considered a new phase in Australian art about the land. David Keeling, Nicole Ellis, Ruby Davies, Peter James Smith, Patricia Picinnini, Judy Holding and Danielle Thompson are all Australian artists whose work is manifested by this notion of the land and of water.
Thirsty Work
This article tells the story of the Irish engineer CY O'Connor who was appointed to oversee the construction of the pipeline that would supply the Kalgoorlie goldfields with fresh water and whose suicide caused much controversy in the region. The O'Connor monuments throughout the south of Western Australia are now being joined by contemporary sculptures that tell the other side of the story and play on the anxieties buried below. Anne Neil and Adrian Jones have developed works such as Death by Water which acts as a thirsty allegory of CY's life and Water Carrier which encourages visitors to listen to the trickle of despair that is so ingrained in the history of Kalgoorlie.
Art and Landliteracy Forum
The Art and Landliteracy Forum (ALF) was established within the School of Contemporary Arts at Southern Cross University in 1996. It was convened as an ongoing forum for investigating ways in which contemporary arts practice can be pro-active in relation to environmental issues. The program evolved into a series of placemaking/placemarking projects that were focused on contributing to cultural sustainability.
Wasted
Metis is a remarkable fusion of art and science. The first of these biennial events, held in May 1999, was inspired by Rebecca Scott from the CSIRO and Canberra artist Jill Peck, and featured works which resulted from a range of collaborations between artists and scientists. Metis 2001 - Wasted focuses on environmental themes including detritus, recycling, toxic waste and land degradation.
Art and Landscape in Tasmania
Robyn Archer has moved from Adelaide to direct Tasmania's first international arts festival. 10 Days on the Island is a clever poem that steps around the customary wilderness branding of the state and links Tasmania into a productive global context.
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.
Hook's Mountain - The Environment as Theatre
Tasmanian theatre company Zootango's touring production Hook's Mountain.
Art, Architecture & the Environment
Against 'Neofuturism': Women Artists in Technological Media
In matters of technology, as in matters of sex, it is easy to assume one's own preferences are universal and normal, and to regard other's tastes as somehow debased or improper.
Film & Video
Bigs R Us
Australians have a natural thirst for objects of grand scale, however ridiculous their theme or location or context. From big sandfly, big axe to big oyster and beyond, we are the big desert island that experiences big wets and big dries, little wonder someone made a Big Tap to remind us...we are big drinkers.
Taste Meets Kitsch
Easy Access Hardware
The Raw Material Curatorial Development Program was designed to provide training opportunities for curators without experience, but with plenty of potential. Based at Gertrude Street Victoria. Featured artwork by Marie Sierra-Hughes.
The Art of Survival
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.'
Blackfella Time
Conversation between Stephen Wigg and a friend about 'Blackfella Time' at the Adelaide University Union Gallery
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.
Postcard from China: 900 years of kneeling - censored
In his work, Chinese artist Jin Feng maintains a continuing interest in 'problem people'. Concerned with socio-philosophical issues, he is testing the limits of tolerance. He is also interested in challenging public prejudices against the too easily condemned. Tamara Winikoff interviews Jin Feng about his sculptural piece 'We Want A Rest By Standing Up' depicting two infamous figures from China's history. This was the subject of much recent controversy and was censored by the authorities.
M/other love: the first relationship & the photography of Toni Wilkinson
Toni Wilkinson’s 'm/other' exhibition of photographs at Perth Galleries, North Fremantle earlier this year confronted the viewer with a series of atypical representations of the mother child relationship. She give a glimpse into the privacy, and reality, of a mother’s world by showing us mothers and their children at their most naked, physically and emotionally.
Transiting to a new self: Regendering
Ros Prosser and Vicki Crowley attend the 80th birthday of drag queen Rouge in Adelaide
The artworld and the paradox of sustainability
Robert Nelson proposes poetic solutions to overcoming our carbon plinth print
Mishka Henner and Jill Orr: Performing to the all-seeing eye
Jill Orr and Mishka Henner make new work for the Mildura Palimpsest Biennale #10.
Body, remember: Wrap me in a sister cloak
Tracey Moffatt’s series Body Remembers (2017) draws its title and responds to the poem by Constantine P. Cavafy (1918). In each of the series of large photographs we see a woman alone, in the ruins of colonial buildings, on the shadows of eroded stones. We see her looking out of windows, looking out into the distance. As the viewer, we see the back of the woman’s head, or the shadow of the woman, or her face that is covered by her hands as the Aboriginal woman maidservant looking out. The body in this title could be read as both our country and our flesh. The sovereign woman mourns. What do we mourn?
