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Groggy: Therese Ritchie, Todd Williams
Northern Territory Centre for Contemporary Art (NCCA), Darwin 13 September – 12 October 2013
JamFactory Icon 2013, Stephen Bowers: Beyond Bravura
JamFactory Gallery, Adelaide, 8 August – 28 September 2013
Tony Woods: An Archive
Art Information, 2013
Editor: Andrew Gaynor; Introduction: Tony Woods; Essays: Lesley Chow, Phil Edwards, Sheridan Palmer, Alex Selenisch, Gary Willis, Jake Wilson
Editor: Andrew Gaynor; Introduction: Tony Woods; Essays: Lesley Chow, Phil Edwards, Sheridan Palmer, Alex Selenisch, Gary Willis, Jake Wilson
Letter from a young woman artist (after Janine Burke)
Diana Smith writes back to Burke questioning how much has changed.
55th Venice Biennale: The Encylopedic Palace
55th International Art Exhibition, Venice
1 June – 24 November 2013
1 June – 24 November 2013
Heartland: Contemporary art from South Australia
Art Gallery of South Australia
21 June – 8 September 2013
21 June – 8 September 2013
5th Auckland Triennial: “If you were to live here …”
The Auckland Art Gallery
10 May – 11 August 2013
10 May – 11 August 2013
Roy Ananda: The Devourer; Sandra Uray-Kennett: A Knights Tour through a Rent in the Wall
Contemporary Art Centre of South Australia Gallery and Project Space, Adelaide
26 April – 26 May 2013
26 April – 26 May 2013
19th International Symposium of Electronic Arts: Resistance is Futile
19th International Symposium of Electronic Arts
7 – 16 June 2013
7 – 16 June 2013
My Country, I Still Call Australia Home: Contemporary Art from Black Australia
Gallery of Modern Art, Brisbane
1 June – 7 October 2013
1 June – 7 October 2013
Good Medicine
Being Aboriginal doesn’t make you wise, spiritual or even good at art. Being Aboriginal is historical just like being any other nationality or ethnicity. All art can be examined ethnographically, all people can be examined ethnographically.
The dearth of criticism
Some artists are often heard to complain about the lack of honest criticism of Aboriginal art. But in such a limited sphere, criticising an Aboriginal artist in formal or aesthetic terms, or at a deeper level, is a bit like shooting fish in a barrel. Too often, critics play the man and not the ball. Can we handle the truth?
The (white) elephant in the room: Criticising Aboriginal art
Does Aboriginal art exist in a critical vacuum?
Let's be polite
Editor Daniel Browning interviews artist Vernon Ah Kee who discusses the lack of criticism of Aboriginal art and the abundance of 'mass production' Aboriginal art emanating from remote communities seen by some as 'real Aboriginal art' but in the eyes of Ah Kee simply and uncritically playing into false romantic notions of the lives of Aboriginal people.
Toward Indigenous Criticism: The Ah Kee paradox
Métis artist, curator and academic David Garneau explores the current situation of indigenous art through increasing global links and connections.
Ich Bin Ein Aratjara: 20 years later
Aboriginal super-curator Djon Mundine, who travelled to Europe in 1994 as touring curator with the significant exhibition Aratjara: art of the first Australians, looks back at the genesis and reception of that exhibition. He asks where is the political impetus evident in Aratjara today and where is the Aboriginal input into the development of national survey exhibitions.
The limits of criticism
Anthropologist John Carty casts his eyes over the last ten years of writing on Desert art, mostly in newspapers, and finds many cliches and inconsistencies. He asks: "Where are the fine-grained localised art histories, the rich biographies of our most interesting and important individual artists? Where are their voices?" And replies: "They are still waiting in the Desert."
My Country, I Still Call Australia Home: Interview with Bruce McLean
On curating My Country, I Still Call Australia Home: Contemporary Art from Black Australia, opening at the Gallery of Modern Art in Brisbane on 1 June 2013.
The archive in the contemporary
The artworks of Danie Mellor, Brian Robinson and Christian Thompson each draw on archival material for subject matter, for inspiration, and to develop new work that harks back and forward at the same time.
Spirits beyond borders: Shadowlife
Curator and Associate Director of Taiwan Culture and Creative Platform Foundation Antoanetta Ivanovna, resident in Taiwan since 2011, discusses the travelling exhibition Shadowlife curated by Djon Mundine and Natalie King, and its impact in Taiwan where consciousness of their indigenous people is not as developed as it is in Australia.
Ghostnets go global, and local
Ghost nets are fishing nets that have been abandoned at sea, lost accidentally, or deliberately discarded. The GhostNet Project, which began on islands and in communities around the top of Australia, uses the nets to make artworks, to raise awareness of marine pollution, to be creative. Awareness of Ghostnets is on the rise both nationally and internationally.
Disquiet and resistance in the art of Julie Gough
Senior Curator of Indigenous Art at the National Gallery of Victoria Judith Ryan surveys the complex and inventive art practice of Julie Gough who is concerned with "developing a visual language to engage with the unsettling space between conflicting and subsumed Australian histories."
Ken Thaiday Senior, Darnley Man
Exhibitions Manager at Cairns Regional Gallery Justin Bishop tells the rich story of how Ken Thaiday Sr. came to be a major Torres Strait Islander artist. In August 2013, Cairns Regional Gallery, in partnership with Cairns Indigenous Art Fair (CIAF), will be presenting a survey exhibition of Ken Thaiday Sr.’s work.
Jimmy Pike: there is more
Curator and writer Karen Dayman fills in the background of the development of the work and broadens the profile of Great Sandy Desert artist Jimmy Pike whose skills took him around the world and into collaborations with Desert Designs, with his partner Pat Lowe and with the theatre.
Rekospective
Yorta Yorta and Wiradjuri curator and lecturer Jirra Harvey traces the career of self-taught graffiti and studio artist Reko Rennie. He uses a traditional Kamilaroi patterning in neon and in graffiti as a contemporary statement of sovereignity. Harvey says: "The subtext to such works is a running narrative on government practices that work to control and restrain Aboriginal communities and the subsequent rebellion of the people."
The road to Pormpuraaw
Filmmaker Peter Hylands writes about a recent visit to the remote Pormpuraaw Art Centre in Far North Queensland. Here he talks with artist Sid Bruce Short Joe who speaks nine languages, the ninth is English.
Rainforest identity (past and future)
Napolean Oui is a Cairns-based, mid-career, Djabugay artist and a proud advocate of the rainforest art style unique to Far North Queensland. 2012 was a breakthrough year for him, he did a residency at Studio PM with Paul Machnik and others in Montreal, developed new work at Djumbunji Press for a solo show at Kickarts Contemporary Arts in Cairns during the Art Fair, AND sold work to the National Gallery of Australia.
String theory: Karen Mills
Michelle Culpitt examines the work practice of Northern Territory artist Karen Mills whose paintings are inspired by the string bags made by the women weavers of Arnhem Land. Culpitt writes: "The articulation of her painterly vision is only possible at the nexus of her experience and influences as an Aboriginal woman in contemporary Australia, a place of both deep connection and belonging to country, and also disjuncture and dislocation from a nation in denial of its own history."
Black prints* @ Cicada Press
Cicada Press is a research group within the School of Art at the College of Fine Arts, University of New South Wales (COFA UNSW). For the past six years Cicada Press, with Tess Allas from the School of Art History and Art Education, have been working closely with a number of Aboriginal artists from across the country.
New currency: Ryan Presley
Ryan Presley's 2011 series 'Blood Money' is remarkable. These commemorative banknotes substitute the heroes of the white Australian monoculture (Banjo Patterson, Dame Mary Gilmore, Dame Nellie Melba and Sir Henry Parkes) with Aboriginal heroes, resistance fighters such as Pemulwuy, his son Tjedaberiyn (also known as Tedbury), Dundalli and Jandamarra and others such as the Gurindji stockman Vincent Lingiari who led the Wave Hill walk-off, and the late Wik elder Gladys Tybingoompa.
