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Beaver Lennon: painting country
Trainee curator of Indigenous Australian Art at the Art Gallery of South Australia Nici Cumpston writes about the new art of Beaver Lennon a young emerging artist of Mirning and Antikirinjara people who lives in Ceduna on the far west coast of South Australia. His great-grandmother was the author of the memoir 'I’m the one that know this country, the story of Jessie Lennon and Coober Pedy'.
Nowhere Boy
Emeritus Curator Djon Mundine OAM, currently Indigenous Curator of Contemporary Art at Campbelltown Arts Centre, Western Sydney, spills his guts on the current state of play as he sees it in Australian Aboriginal art where fashion has overtaken activism and some artists are just so hot right now.
Look good feel good: the art of healing
Murri woman Jenny Fraser has recently completed a Masters in Indigenous Wellbeing at Southern Cross University in Lismore. She writes about different avenues for wellbeing for all Australians through practices known by Indigenous Australians.
New Creations in Aurukun: Ceremonial Art
For the Adelaide Festival, Aptos Cruz Gallery in the Adelaide Hills is showcasing an extensive range of art from senior and emerging Aurukun artists, with about 35 works representing all artists using the art centre. This is a great opportunity to see new creations coming from the community. The exhibition continues to 4 April 2010.
Queensland Indigenous Artists Creating More than Great Art!
The Queensland Indigenous Arts Marketing and Export Agency (QIAMEA) was established in 2003 to promote the export of quality Queensland Indigenous art globally and nationally. A focal point for Queensland Indigenous art will be the 2nd Cairns Indigenous Art Fair (CIAF) to be held from 20 to 22 August 2010.
6th Asia Pacific Triennial
Queensland Art Gallery Gallery of Modern Art 5 December 2009 - 5 April 2010
Culture Warriors
Culture Warriors Curator: Brenda L. Croft Katzen Arts Center, American University, Washington D.C. 10 September – 6 December 2009
Menagerie
Menagerie Object Gallery and Australian Museum, Sydney 5 September - 2 November 2009 travelling till 2012
To hear the language of birds: Paul Uhlmann
Fremantle Arts Centre 26 September – 22 November 2009 Curator: Jasmin Stephens
Critical Generosity
Morgan Allender, Christopher Boha, Thom Buchanan, Annika Evans, Talitha Kennedy, Chloe Langford, Julian Lucas, Mary-Jean Richardson, Sam Songalio, Tomasz Talaj, Billie Justice Thomson, Reed Young Curator: Brigid Noone FELTspace ARI, Adelaide 5 - 21 November 2009
White Picket Fences in the Clear Light of Day Cast Black Lines: Sangeeta Sandrasegar
Gallery 4A, Sydney 7 November - 12 December, 2009
The Ramingining Megaphone
Distinguished pioneer Indigenous Curator, activist and writer, Curator of Contemporary Art at Campbelltown Arts Centre Djon Mundine tells a very funny and intriguing story about how modern communication technology came to Ramingining and how it intersected with 'community consultation' by government departments.
Lean, mean and living dangerously
Associate Professor of Fine Art at the College of Fine Arts, Uni of NSW, Joanna Mendelssohn analyses a slice of the current state of art publishing in Australia from reviews in newspapers to the DAAO (Dictionary of Australian Artists Online - now rechristened Design and Art of Australasia Online).
From here to everywhere: the evolution of blogging
'The Art Life' blogmeister Andrew Frost spills the beans on the genesis of that infamous and lively blog in 2004 and its ongoing evolution in the context of new technologies and their uptake by publishing and by readers.
Artists want catalogues
Campbelltown Arts Centre Director Lisa Havilah writes about the crucial importance of catalogues to artists. Famous Chinese artist Ai Weiwei had his first international survey exhibition at Campbelltown in partnership with Sherman Contemporary Art Foundation. The incentive for Ai Weiwei was that a 2,000 print run book on his art would be published.
Environmental costs of going digital
Director of the Media and Communications Program at the University of Melbourne Professor Sean Cubitt asks: what is the weight of the internet, is it green, clean and immaterial with no environmental costs? The answer is a scary and resounding no.
Measuring the footprint: dead trees vs live text
Freelance writer, author of True Green @ Work and editor Tim Wallace discusses the conflict between new technologies making everything available for free and writers and content creators needing to be paid. He quotes from on a book by Kevin Kelly called New Rules for the New Economy: 10 Radical Strategies for a Connected World: 'The only factor becoming scarce in a world of abundance is human attention.'
Zine publishing and the long tail
Adelaide-based Zinemeister Dr Ianto Ware discusses how prophecies of digital dominance are colosally wrong with regard to zine publishing a genre which remains exclusively hardcopy. He finds zines to be quintessential examples of Editor of Wired Magazine Chris Anderson's Long Tail in which tiny niches multiply and thrive.
Finding the right balance: print + online
Managing editor of RealTime Keith Gallasch describes what the web means to print journalism and how RealTime manages its website and its hardcopy in a careful adaptation to a changing and unpredictable publishing ecology.
Copyright: Copyleft
Copyright lawyer Zoe Rodriguez discusses the implications of digitising works of literature and the contentious Google Book Settlement of 2009.
Libraries, creators and Google
The University of Sydney Librarian John Shipp describes the changing world of university libraries and the way they handle information in a digital age. He has nightmares about the Google settlement and his mantra is that 'creators should retain their rights.'
Communicating and the law
Bill Morrow, artist and legal expert in copyright law, sets out the current state of play. He says that some form of copyright is here to stay but it is in flux with regard to digital rights and the upcoming introduction of laws providing greater privacy protection.
Creative commons: fair to share?
Research Assistant at the Australian Research Council Centre of Excellence for Creative Industries Elliott Bledsoe throws light on (rants about) the wide-ranging implications of Creative Commons - the way of the future for copyright?
Artistic intention, branding and value
Artist Zina Kaye of www.laudanum.net writes about the importance of branding for artists and how artists play with copyright and fair use. She examines the artwork of Deborah Kelly, Soda_Jerk and Shepard Fairey to show variants on artist's intentions and outcomes.
Writing in the age of graphomania
Novelist and sinologist Linda Jaivin rejects the excess writing and publishing that the internet affords every person with a keyboard and compares it to Milan Kundera's definition of graphomania(an obsession with writing books). She would rather have fewer readers than more scanners believing that a 'long form' like a novel or book-length non-fiction needs slow writing and carefully crafted prose.
Copyright materials in university teaching
Art History Librarian at the Barr Smith Library, University of Adelaide Margaret Hosking explains the way fees and access are currently worked out for copyright materials in teaching at universities in Australia.
Mix and mash, take it, change it
Writer and curator Danni Zuvela celebrates remix or mashup culture and traces its history back through the Dadaists, Futurists, Max Ernst, Esther Shub, Arthur Lipsett, Joseph Cornell, Bruce Conner and Stan VanDerBeek. In a remix culture people valorise appropriation and talk about being copyfighters who believe the idea of text as property is a joke.
Collaborative Practice
Amanda Matulick is the managing editor of the Australian Network for Art and Technology (ANAT)'s publication Filter magazine, which is hardcopy as well as online at http://filter.anat.org.au. Filter uses open source Creative Commons licensing for its contributors. This means free sharing of information and ideas or as she puts it: "creation for creation's sake".
Don't look it might bite: censoring the visual arts
Executive Director of the National Association for the Visual Art (NAVA) Tamara Winikoff looks at the recent situation in Australia regarding censorship, art, politics and the law.
Freedom of expression and the mode of detachment
Art theorist, philosopher and Emeritus Professor at Flinders University Donald Brook advocates 'detached contemplation' as the most desirable, appropriate and potentially rewarding response to art.
Netting the big and the little fish: monographs and biographies
Emeritus Director of the Art Gallery of South Australia and highly respected investigative curator and writer Daniel Thomas pulls out the stops in a far-ranging appraisal of art book publishing in Australia. He writes: "Once the artist is well dead, even if the book is 'only' a monograph, disregard the family and friends; we need to know everything."
Lives of the 'settled' artists
Tess Allas is the Researcher of Storylines, an ARC funded project officially titled This Side of the Frontier: Indigenous Artists in Settled Australia. It focuses on biographies of Aboriginal artists from all over Australia except for the remote regions. Storylines can be found online at www.daao.org.au - the DAAO (Dictionary of Australian Artists Online - now rechristened Design and Art of Australasia Online).
Colour Country: Art from Roper River by Cath Bowdler and My Father, my brother: stories of Campbelltown's Aboriginal Men by Dvora Liberman
The exhibition is touring to Flinders University Art Museum 4 December 2009 – 14 February 2010, Drill Hall Gallery, Canberra 25 February – 11 April 2010 and Museum & Art Gallery of the Northern Territory, Darwin 22 May – 17 July 2010.
Possession
Theme Park: Brook Andrew AAMU, Utrecht, The Netherlands, 2008. 124pp, RRP $39.95 Between Indigenous Australia and Europe: John Mawurndjul Claus Volkenandt and Christian Kaufmann (eds) Dieter Reimer Verlag GmbH, Berlin, 2009. 350pp, RRP 45 Judy Watson: blood language by Judy Watson & Louise Martin-Chew, The Miegunyah Press, Melbourne, 2009. 240pp, RRP $39.95 New Beginnings: Classic Paintings from the Corrigan Collection of 21st Century Art McCulloch and McCulloch, Fitzroy, Victoria, 2008. 159pp, RRP $79.95 Icons of the Desert: Early Aboriginal paintings from Papunya Edited by Roger Benjamin with Andrew C. Weislogel, Herbert F. Johnson Museum of Art, Cornell University, 2009. 192pp, RRP $49.95
4th Fukuoka Asian Art Triennale, Japan
4th Fukuoka Asian Art Triennale (FT4), Japan 5 September – 23 November 2009
Floating Life: Contemporary Aboriginal Fibre Art
Floating Life: Contemporary Aboriginal Fibre Art Curator: Diane Moon Queensland Art Gallery 1 August – 18 October 2009
Simon Gilby: The Syndicate
Simon Gilby: The Syndicate Central TAFE Gallery, Perth 17 October – 14 November 2009
Kazuyo Sejima + Ryue Nishizawa / SANAA : an architectural intervention
Kazuyo Sejima + Ryue Nishizawa / SANAA : an architectural intervention Sherman Contemporary Art Foundation (SCAF), Sydney 3 July – 26 September 2009
Kathy Temin
Kathy Temin Curators: Jason Smith and Sue Cramer Heide Museum of Modern Art, Melbourne 1 August – 8 November 2009
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*some text missing* Lora Patterson , Fiona Lee, Cath Robinson, Callan Morgan, Grant Stevens Curator: Sarah Jones CAST Gallery, Hobart 18 July – 9 August 2009
BeginningMiddleEnd
BeginningMiddleEnd ANU School of Art Gallery, Canberra Curator: Lucien Leon 18 - 24 September 2009
Nyukana Baker : Retrospective
Nyukana Baker : Retrospective JamFactory Gallery, Adelaide Curator: Diana Young 1 August - 7 September 2009
Shelter: On Kindness
Shelter: On Kindness Curators: Suzanne Davies with Vanessa Gerrans and Sarah Morris RMIT Gallery, Melbourne 25 September – 25 October 2009
Western Australian Indigenous Art Awards
Western Australian Indigenous Art Awards Art Gallery Of Western Australia 25 July - 15 November 2009
Tim Burns: From the Garden
Tim Burns: From the Garden Bett Gallery, Hobart 9 October – 7 November 2009
Shih Chieh Huang : Cubozoa – L-09
Shih Chieh Huang : Cubozoa – L-09 Shed E @ Howard Smith Wharves, ARC Biennial of Art, Brisbane 9 October - 1 November 2009
Fiona Davies: Intangible Collection
Fiona Davies: Intangible Collection Maitland Regional Art Gallery, NSW 15 August - 18 November 2009
Milestones: Ken Orchard 1980-2009
Milestones: Ken Orchard 1980-2009 Red Poles Gallery, McLaren Vale, South Australia 29 August – 27 September 2009
The Underpass Motel
This project grew as an extension of a Fellowship awarded to Stuart Elliott in 2006 from ArtsWA – the major arts funding body of the WA Government. Artists involved: Stuart Elliott, Graham Taylor, Patrizia Tonello, Amanda Williams, Peter Dailey, Ben Jones, Richard Heath and Si Hummerston. The Underpass Motel, DVD premiere and gallery exhibition opens at Turner Galleries 9 October - 7 November 2009. www.turnergalleries.com.au Visit the website: http://members.iinet.net.au/~reuham/theunderpassmotel.html
Visual arts at OzAsia
The 2009 OzAsia Festival runs from 3 – 17 October, and also includes a fantastic family-friendly program of theatre, dance, film, food, as well as the free community opening event, the Moon Lantern Festival in Elder Park. See www.adelaidefestivalcentre.com.au Open from 29 September - 1 November at the Festival Centre Curious Screen: Festival Theatre (FT) Foyer The Sum of Cultures: Piano Bar Follow, Northern India: Faces and Words and Okami: FT Foyer Miss Taken: Space Theatre Foyer 'this reminds me of some place': FT Foyer 29 September - 8 November, Following Threads: Artspace Gallery (Upstairs, Dunstan Playhouse)
Living palely
The Stoics may have taken rationality too far in their resolute minimisation of all feeling. Are emotions no more than disturbances in the logical landscape? What of Pascal’s ‘the heart has its reasons that reason is not acquainted with’? Perhaps the rationality/emotion divide is overdrawn, risking battle lines forming around pure opposites never found in real life examples. Yet the issue has bite, relevance to intimate features of our life: our friendships, our sense of safety in the world, how much we give of ourselves and give up of ourselves to our working life and the living texture of what it feels like to be us: fugitive, or having the ‘warm antiquity of self’.
Speed of dark: Boris Eldagsen
Artist Boris Eldagsen and writer Robert Cook are both looking down the barrel of forty. Cook is fascinated by other members of his exact generation. In his words: 'They are alternative selves, part of my body. Mid-life is hard life, the life as lived not the life not lived, the other path, the no stepping back.' Cook and Boris did not meet.
Strange bedfellows
Why write or think about the work of Patricia Piccinini and Richard Billingham together? Because the work of each of them elicits a visceral response, a response characterised by emotion and gut feeling. Because the border between humans and animals and the relationships between us are examined by both Piccinini and Billingham in a manner that emphasises our relatedness. These are intensely moral artworks with a strong documentary flavour that ask us questions about responsibility and connection that go to the very heart of our lives.http://www.artlink.com.au/admin/article_edit.cfm?id=3280
Notes on melancholy and anxiety in the works of Sanja Pahoki
The artworks of Sanja Pahoki walk a zigzag between melancholy and its contemporary cousin, anxiety. Curator and writer Hannah Mathews interviewed Sanja Pahoki about her recent work while thinking about Daniel Birnbaum's comment about the relationship between melancholy and the arts: "The idea of the melancholic as someone not only passive and depressed but also creative is the basis for the Renaissance idea of the genius – the dialectic between darkness and light, destruction and creation."
Astra and the ventilation hypothesis
Astra Howard’s 'Action Research/Performances' necessarily require participation by members of the public. This makes them unpredictable. Astra’s presence is not about entertainment. It is not a show. There is no star. There is no attempt to expose any individual. There are simply sincere attempts to understand them. Astra acknowledges and responds sincerely to one of our deepest and most affective human needs – our need for emotional expression. Our need to have our voice heard. Our need to vent.
William Kentridge between chance and a programme
Pat Hoffie interviewed William Kentridge on the phone to 'draw' out some of his ideas about drawing and art. His work remains committed to a sense of the tactile, and to the slow grainy effort of drawing. In his words: ‘I would repeat my trust in the contingent, the inauthentic, the whim, the practical, as strategies for finding meaning. I would repeat my mistrust in the worth of Good Ideas.'
Personal Political Emotional
Artist Megan Evans was for some years the partner of Aboriginal activist and artist Les Griggs who suicided in 1993. Fifteen years later she has begun to write his story - a story of reconciliation with herself and her country, through a relationship that undid her and put her back together again.
Ann Newmarch: Opening Pandora's box
In 2007 Ann Newmarch was represented in 'WACK, Art and the Feminist Revolution', a major exhibition in the Museum of Contemporary Art, Los Angeles. Newmarch embraced feminism in the early 1970s. Her art practice manifests the view that all representation is political. Her new work, reiterates a position that she adopted in 1972 : "I try to get onto the page visual images that combine to make memory: past memories incorporated in new sensations and new images related back to past experience. Contemplation ...of our environment that recalls other times, places and relationships."
The Second Life of Pye: Daniel Jay Mounsey
Social media is the new buzz word and trend - like it or not. Daniel Jay Mounsey is ahead of the pack in having Pyewacket Kazyanenko as his well-established alter-ego in Second Life, AND collaborating and performing online through an avatar with Stelarc and others, AND(!) performing onstage live as anime character Hell Girl. Curator and writer Charity Bramwell interviewed all she could find of him.
Art and occupation: Raeda Saadeh
Raeda Saadeh is a Palestinian artist who was born in Umm Al-Fahem, a Muslim village (now a city) in the northern region of Haifa. She completed art studies at the Bezalel Academy of Art and Design in Jerusalem, where she now lives. Her questioning of the forces of both political occupation of the Palestinian territories, and personal occupation by traditional cultural and social expectations, have inspired her to focus on her own body with performance and photography.
Choosing who will keep the stories strong
In early 2006, the renowned Liyagauwumirr painter Mickey Durrng Garrawurra died in his home on Milingimbi. For many years, Durrng (1940-2006) and his brother Tony Dhanyala (1935-2004) were the only people authorised to paint the Liyagauwumirr’s most important clan designs. Before his death, however, Durrng made the seemingly unorthodox decision to pass this knowledge and authority to his sister Ruth Nalmakarra (b.1954) and her family. What followed was a flowering of tradition, as Nalmakarra and her sisters used this broadened authority to instigate a cultural revival that united their community around these ancient designs.
Inside Sydney's new Outsider art centre
Outsider Art is enjoying increasing attention in Australia. STOARC – the Self-Taught and Outsider Art Research Collection – at the University of Sydney opened its public face at Callan Park Gallery in March 2009.
Len Lye: An Artist in Perpetual Motion
Len Lye: An Artist in Perpetual Motion Curators: Alessio Cavallaro and Tyler Cann ACMI, Melbourne 16 July – 11 October 2009
53rd Venice Biennale: Making Worlds
53rd Venice Biennale: Making Worlds Bantin Duniyan, Hacer Mundos Director: Daniel Birnbaum 7 June – 22 November 2009
Reconstruction Works: Paul Caporn
Reconstruction Works: Paul Caporn Turner Galleries, Perth 17 April – 16 May 2009
Nobody Likes a Show Off: Richard Lewer
Nobody Likes a Show Off: Richard Lewer Curator: Kirrily Hammond Monash University Museum of Art, Melbourne 1 July – 5 September 2009
Not Absolute
Not Absolute Curator: Janice Lally Flinders University Art Museum, Adelaide 24 July – 27 September 2009
SRL: Stigma Research Laboratory
SRL: Stigma Research Laboratory Philippa Steele, John Vella, Scot Cotterell Moonah Arts Centre 8 May – 21 May 2009
A New Truth to Materials
A New Truth to Materials Boxcopy (Miles Hall, Chris Handran, Chloe Cogle, and Ross Manning) Curator: Raymonde Rajkowski Level 3 Metro Arts, Brisbane April 30 - May 30 2009
Drifting in My Own Land: Nalda Searles
Drifting in My Own Land: Nalda Searles John Curtin Gallery, Curtin University of Technology, Perth Touring Australia 2009 – 2013 19 June - 30 August 2009