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Is there an Artist in the Museum?
Examines two multi-site exhibitions Archives and the Everyday, Canberra Contemporary Art Space September/October 1997 curated by Trevor Smith: and Collected, Photographer's Gallery London June 1997 curated by Neil Cummings. The museological urge in artists has for some time been a part of contemporary practice...leading to the new museology.
The TMAG Commissions 1998
Here at the end of the twentieth century, the world is having to come to terms with the socio-political, economic and environmental legacies of nineteenth century imperialism. Contemporary art participates in this post colonial discourse: issues of ancestry and inheritance, relations between indigenous and settler peoples, national and imperial mythology, mapping and borders, migration and language, ecology and exploitation - these are increasingly familiar themes.
Mining the Archive
Fabricating Archives: Six New Zealand Artists confuse the system
In New Zealand, conceptual and post conceptual artists from the 1970s to the present have incorporated various references to the archive; its contents, classificatory systems and its institutional adjuncts, the library, the art gallery and the museum.
Mining the Archive
Wunderkammern: Actual and Virtual
The notion of the Wunderkammern is discussed in the work of Shiralee Saul (an on-line hypertextual essay for the World Wide Web WWW) and Luke Roberts ( a series of exhibitions from 1990 onwards).
Mining the Archive
Market Mark-Art: Forgotten Fruit
In the final stages of the demolition of the old Adelaide fruit and vegetable markets, Margaret Dodd and Jennifer Hughes collaborate to produce an installation which caught the echoes of the history displayed in situ at the markets.
Mining the Archive
Photosynthesis: Two approaches
The photograph as a source and subject for photographic practice iteself is characteristic of the work of a great many artists today. Tracey Moffatt and Margaret Dawson's works are considered. Each draws on photographs which precede their own, but work in markedly different ways.
Mining the Archive
Debra Phillips: List
'List' examines Phillips recent investigations into issues of memory, history and renown, and the structuring of such through systems of language representation and communication. The work traverses the worlds of royalty, theatre, film, science, politics, literature and fashion. The images range across a period of 150 years.
Mining the Archive
Elizabeth Gertsakis: Tampering with the Archive
Elizabeth Gertsakis has excavated her family histories and Greek/Slavic heritage as part of understanding difference as a critical space of knowing. It is not an attempt to 'position' or 'locate' herself in Anglo Australian culture or in the art world, but to understand the mechanisms that produce dominant cultural histories and resultant exclusions.
Mining the Archive
Psychology of Retrieval: Personal and Fictional Archives
How can (traumatic) memories be excavated? Many visual artists use records and material objects as documentation with which to resurrect their past experience and those of their families. Often using literary means, visual artists who archive their past employ text as well as images in poetic and haunting ways. Quotation and citation form the kernel of this pychology of retrieval and act of preservation.
Mining the Archive
Parallax Error
Working within the context of the Percy Grainger (1882-1961) collection, artists Louise Weaver and Carolyn Eskdale created an installationwithin the architecture and material culture of the building. In 1998 composer and sound artist Ros Bandt created an installation for the Museum's courtyard.
Mining the Archive
History and Memory
History and meaning are very much at the centre of an important exhibition in WA of Aboriginal art. Many of the artists draw on personal or family memory, while others use documentary evidence of the past. Parallel to these individual histories is the history of government policy and its impact on groups and individuals.
Mining the Archive
Time Traveller: An Interview with Kim Donaldson
Explores three exhibitions by Kim Donaldson. 'From the Lecture: A reminder of life', 'From the Museum: Supplementary files' and 'It's about time'. These exhibitions reflect the artist's continuing obsession with time, absence and mortality.
Mining the Archive
Archives After the Seventies and After
Brown and Green are well known for their meticulously produced paintings, often involving the layering and juxtaposition of competing forms and histories. They continue to paint though photography has now assumed a major position in their practice. These photographs function as archives without narrative: scrambled mythology.
Mining the Archive
Going Over Old Ground
The artist discusses the research for her exhibition entitled 'The Private Eye- a foreigner's power of observation'. Held in regional Victoria 1998.
Mining the Archive
A Dream of Earthly Organisation
Not only are artists fascinated with images and objects - it has been estimated that half the adult world population has been a collector at some point in their life. A number of different projects have been instigated by artists considering what it means to collect and archive.
Mining the Archive
Vault: A Collaborative Installation Cluster
Ian North and Helen Fuller
12 November - 6 December 1998
Experimental Art Foundation
Mining the Archive
Recollections of Memory: Akio Makigawa
Jewellery by Carlier Makigawa
Galerie Dusseldorf
October 1998
Mining the Archive
Juliet Stone Paintings and Pastels
Juliet Stone paintings and pastels
Gomboc Gallery
Perth
1-22 November 1998
Mining the Archive
A Revolutionary Digital Summer in the UK
Digital technology is driving the revolution in visual culture and consciousness. Exploring the ninth International Symposium of the Electronic Arts [ISEA98].
The Big Pond: Australian Artists Overseas
Sydney Biennale Every Day
Exploration of the 11th Biennale of Sydney curated by Jonathon Watkins.
The Big Pond: Australian Artists Overseas
Tracey Moffatt's Lost Highway
Tracey Moffatt has since the end of 1997 had two solo exhibtions overseas -- 'Freefalling' at the Dia Center for the Arts in New York and 'Tracey Moffatt' at the Kunsthalle Vienna touring 16 galleries in Europe. She was included in the 10th Biennale of Sydney in 1996, followed in 1997 by the Venice Biennale, the Basel Art Fair and the Sao Paulo Bienal in Brazil. Adrian Martin looks at her show at the Arnolfini Gallery in Bristol.
The Big Pond: Australian Artists Overseas
Passion, Rich Collectors and the Export Dollar: The Selling of Aboriginal Art Overseas
The author with Djon Mundine explore the paradox which is faced by Aboriginal dealers and curators who take Aboriginal art to the world. Issues of viability to ethnocentricity and notions of the primitive as well as the role of art in educating audiences and promoting the culture of indigenous Australians are discussed.
The Big Pond: Australian Artists Overseas
To Go Abroad: Australians-in-residence
Explores the issues of residencies overseas for Australian artists: Jeffrey Smart, Justin O'Brien, Norma Redpath, Clement Meadmore and Colin Lanceley.
The Big Pond: Australian Artists Overseas
Residencies in Asia
Examines Asialink's artist in residency program. Complete with a list of Visual Arts/Crafts Residency destinations.
The Big Pond: Australian Artists Overseas
Seven Little Australians
Artists Louise Paramor, Yenda Carson, Damon Moon, Jayne Dyer, Matthew Calvert, David Jensz and Helga Groves write about their experiences in residencies throughout Asia: India, South Korea, Indonesia, Beijing, Malaysia, Thailand and Vietnam respectively.
The Big Pond: Australian Artists Overseas
The Culture of Exporting Art-cargo
How does Australia export its visual culture overseas? What have been the positive achievements and the low points of this process? Looks at the role of the Australia Council and the Visual Arts/Crafts Board.
The Big Pond: Australian Artists Overseas
Export What! Where!
Looks at the issues facing the export of the Australian visual art product overseas.
The Big Pond: Australian Artists Overseas
Narelle Jubelin at the Tate: Case No T961301
Looks at the international career and art practice of Narelle Jubelin.
The Big Pond: Australian Artists Overseas
Enjoin to the Philippines
Profiles the exhibition 'Enjoin' which opened in November 1998 at the Museo ng Sining (CSIS Museum) in Manila as part of the centenary celebrations of the Philippines' independence from colonial rule.
The Big Pond: Australian Artists Overseas
Asialink's Exhibition Program: A Sampling
Describes Asialink's exhibition program which commenced in 1991 at the same time as the residency program with funding from the VACB and the Department of Foreign Affairs and Trade.
The Big Pond: Australian Artists Overseas
Telling Tales to Austria
Telling Tales an exhibition curated by Jill Bennett and Jackie Dunn about trauma, subjectivity and memory began an international tour in March 1999 as part of the SOCOG Cultural Olympiad 'Reaching the World' . Opened at the Ivan Dougherty Gallery at the College of Fine Arts Sydney in conjunction with a major conference 'Trauma and Memory--Cross Cultural Perspectives'.
The Big Pond: Australian Artists Overseas
Larrikins in London to London
An exhibtion curated by Nick Waterlow and Felicity Fenner which examines the extensive and multifarious nature of the cultural exchange which took place between London and Australia in the 1960s. OZ magazine and activists and writers such as Germaine Greer, Juno Gemes, Robert Hughes, Clive James, Richard Neville, Robert Whitaker and Wendy Whiteley provide a vehicle of narration for the exhibition. Part of the Olympiad theme of 'Australia to the World' 1999/2000
The Big Pond: Australian Artists Overseas
Parachuting Postponed: Birmingham
Claire Doherty is a curator at the Ikon Gallery in Birmingham, England's second city. The 'Art into Action' program supports artists working in process based or research based ways over extended periods of time in direct communication with groups and individuals in Birmingham. The exploration of 'home' suggested itself as a universal metaphor as the 'sacred place' from which all else could be mapped.
The Big Pond: Australian Artists Overseas
International Programs
Discusses the cultural policy of the Victorian Government Arts 21 promulgated in 1994 which aimed to reinforce the government's agenda to promote Melbourne and Victoria as an international centre of excellence.
The Big Pond: Australian Artists Overseas
Kultural Kommuting
Kultural Kommuting is a collaboration between 18 artists resulting in installations in public locations in Melbourne and Berlin during 1998. Initiated by Claudia Luenig and Maggie McCormick, Kultural Kommuting is a 'cityartpublicspace' project run in association with Galerie Trepenhaus and the Public Office and is a project of the City of Melbourne's public art program.
The Big Pond: Australian Artists Overseas
John Kelly: London to Brighton
John Kelly was the recipient of a Samstag Scholarship in 1996 to study at the Slade for a year. The article looks at Kelly's current work and the tensions between working in London and Australia.
The Big Pond: Australian Artists Overseas
Steven Holland: Game Over
Steven Holland was awarded a Samstag scholarship in 1997 which allowed him to enrol in Natural History Illustration and Sculpture at the Royal College of Art in London and to travel to Europe.
The Big Pond: Australian Artists Overseas
Zhong Chen: Adelaide - London - Adelaide
Zhong Chen as a relatively recent graduate of the SA School of Art won a Samstag Scholarship to travel to the Chelsea College of Art in late 1997.
The Big Pond: Australian Artists Overseas
Nike Savvas: Joining the Inner Circle
Nike Savvas was awarded a Samstag Scholarship in 1996 ans was accepted into Goldsmiths College as an Associate Research Student. She has instigated a number of one day exhibitions with artists from Australia and Europe along with fellow students from Goldsmiths.
The Big Pond: Australian Artists Overseas
Simon Mangos in Berlin
Explores the work of Simone Mangos who left Australia in 1988 to spend a year as an artist in residence at the Kunstlerhaus Bethanien in Berlin. During the past 10 years she has maintained a profile in Sydney and Adelaide. Mangos creates site specific installations as well as discrete objects that can be exhibited in art galleries and art fairs.
The Big Pond: Australian Artists Overseas
An Australian or Two in Paris Nineties-style
On four Australian artists working in Paris: Marion Borgelt, Tim Maguire, Helen Kennedy and Heidi Woods
The Big Pond: Australian Artists Overseas
Annette Bezor in Paris
Since 1986 Annette Bezor has been working in both the Cite Internationale des Arts and private studios in Paris. The Adelaide Paris connection, seemingly so contemporary is very much a part of South Australian visual art history. Conducted as an interview with the artist.
The Big Pond: Australian Artists Overseas
Jill Scott: Zurich, Weimar and Sydney
Jill Scott writes about her experiences in Europe particularly Germany. Short biographical details of the artist are also included.
The Big Pond: Australian Artists Overseas
Aldo Iacobelli in Valencia
Explores the artistic tension in the work of Aldo Iacobelli --- between Australia where the lack of tradition may be seen to allow greater movement of ideas and Europe where the cultural territory is much more established.
The Big Pond: Australian Artists Overseas
Anne Pincus in Munich
'Ask the dust' the exhibition of Anne Pincus at Access Gallery in Sydney explores the contrast between the light and sand and dust of Australia and Israel and the darkness of Europe.
The Big Pond: Australian Artists Overseas
Dorothy Erickson: Jetset Jeweller
The strength of the Australian jewellery practice may be attributed to the jewellery departments in Australian universities and art schools as well as to the influence and impact of leading jewellery artists who have arrived from other countries to live, teach or practice in Australia. Looks at the work of Dorothy Erikson.
The Big Pond: Australian Artists Overseas
Get Out There and $ell
Explores the international art market for serious contemporary art, looking at the Australian Visual Art Export Strategy.
The Big Pond: Australian Artists Overseas
Who's Selling What to Whom: Australian Dealers Taking Australian Art Overseas
Although the US is often cited as the holy grail for export, with its huge art-aware public and wealthy collectors, and although it is true to say that many Australian art dealers have links with US dealers and sales are made on a fairly regular basis, Japan, Germany and Spain are the countries to which Australian commercial galleries have exported Australian art since the early nineties.
The Big Pond: Australian Artists Overseas
ODD: business, news, finance and weather
Andrew Petrusevics and Chris Gaston
Artspace, Adelaide Festival Centre
28 August to 24 October 1998
The Big Pond: Australian Artists Overseas
Entree: Emerging Adelaide Artists
Curated by Di Barrett
Nexus Gallery, Adelaide
September - October
The Big Pond: Australian Artists Overseas
Expanse: Aboriginalities, Spatialities and the Politics of Ecstasy
University of SA Art Museum
4 September - 3 October 1998
Curated by Ian North
The Big Pond: Australian Artists Overseas
Warka Irititja Munu Kuwari Kutu/Work from the Past and the Present
A celebration of fifty years of Ernabella Arts Tandanya National Aboriginal Cultural Institute, Adelaide
August - September 1998
The Big Pond: Australian Artists Overseas
Sit Up! and Nature as Object
Sit Up!: 100 Masterpieces from the Vitra Design Museum Collection
Nature as Object: Craft and Design from Japan, Finland and Australia
Art Gallery of Western Australia
2 July - 6 September 1998
The Big Pond: Australian Artists Overseas
Past Tense/Future Perfect
Craftwest Gallery, Perth and Moores Building, Fremantle
4 - 26 July 1998
Centre for Contemporary Craft, Customs House, Sydney
12 September - 11 October 1998
The Big Pond: Australian Artists Overseas
Divergent: Abstraction and the Photographic Object
Recent Works by Adam Bunny, Jane Burton, Penelope Davis, Gavin Hipkins, Brian Jefferies, David Martin, Jeffrey Sturges & Andrew Wilson
Curated by Simon Cuthbert
Plimsoll Gallery, Centre for the Arts, Hobart, September 11 - October 4
The Big Pond: Australian Artists Overseas
The Meeting of the Waters: The Australian Print Project
24 Hr Art, Darwin
September 1998
The Big Pond: Australian Artists Overseas
The Wild(e) Colonial Boy
Leigh Bowery
edited Robert Violette
published Editions Violette/distributed by Thames and Hudson
$89.00 238 pp colour and b&w illustrations
The Big Pond: Australian Artists Overseas
White Aborigines: Identity Politics in Australian Art
Ian McLeanWhite Aborigines:Identity Politics in Australian Art. Oakleigh, Vic, Cambridge University Press, 1998, 204 pp. RRP $39.95 hb.
The Big Pond: Australian Artists Overseas
The Prying Game
Explores the difficult issues surrounding artistic expression and censorship (both self censorship and public) with the associated threat of legal action.
Art, Pornography & Censorship
In the Middle of it All - A Personal Text
From the perspective of one who has worked on the SA Classification of Publications Board. Argues that censorship is becoming increasingly unmanageable due to two trends which are detailed in the article. Also argues that public debate (with the exception of child pornography) in the media has declined. In contrast there is rising debate about sacrilege.
Art, Pornography & Censorship
Censor and be Damned
Julie Robb is the executive director of the Arts Law Centre of Australia. The centre advises artists and those involved in exhibitions and publication of risky material of the cultural responsibilities to make efforts to find ways of exercising their privileges. Looks at the current practices.
Art, Pornography & Censorship
Dying Frightened: Gasps of Old Men in Suits
Explores the nature of censorship, how it is applied and the consequences of repression in artistic expression. Analyses the issues from a feminist perspective. "Censorship is about as effective as prohibition". Examines the censorship applied to the exhibition by Jasmine Hirst.
Art, Pornography & Censorship
Porn Again
Porn is a safety valve, big business, a cabinet of curiosities, a staging theatre for many contradictions and inversions: male submission, female dominance, intricate identity and gender crossings, and the validity of female desire. Pleasure is misunderstood in a society where is commodified, exchanged and consumed displaced into food, wine, cars....Discusses the works of Jane Burton, Mary Fallon, Catherine Mackinnon, Marcia Pally and W.H.Auden.
Art, Pornography & Censorship
Andy's Idol
Analysis of some of Andy Warhol's early works to demonstrate a direct link between his art and the homoerotic magazines which the author found in his Time Capsules in the archives of the Andy Warhol Museum in Pittsburgh, USA.
Art, Pornography & Censorship
In a Barbie World
Fictional Barbies (Mattel trademarked doll) are presented in the dark side of suburbia spinning a queer identity for Ken and Barbie.
Art, Pornography & Censorship
Some Notes on Pornography, Contemporary Art and Social Politics
Explores the 'pornographic' in the public domain. Art isn't an excuse for pornography, because pornography simpy exists. Art has remained a realm within which a vast range of ideas can be explored and tested. There are no questions of ethics or morality in art. This starts to get more exciting as art gets closer to life.
Art, Pornography & Censorship
Subject Declined: Swap Mail with Francesca Da Rimini
Explores Francesca Da Rimini's web site 'Dollspace' - extracts of an email interview.
Art, Pornography & Censorship
Lollies and Legends
The artist writes about his work and his influences. Explores issues of self censorship.
Art, Pornography & Censorship
Masculinity Below the Surface: Pornography and Suppression in Images of Broken Hill Miners
Mines and mining provide underground settings for a sub-genre of gay male porn. Features the work of artists George Gittoes and Avis Smith.
Art, Pornography & Censorship
Fetish: So what's your Fetish?
The artist writes about her interest in feminism and much of what is written seems intrinsically fetishistic. Her aim was to try to create a democratic, woman friendly fetish language.
Art, Pornography & Censorship
Crossing the Fine Line: The Case of Concetta Petrillo
Photography has inspired more hysteria and censorship than paintings .... examines the situation in Perth Western Australia with child pornography and the photographs of Concetta Petrillo.
Art, Pornography & Censorship
Garden of Earthly Delights: Erotica at Carrick Hill
Gone from Carrick Hill before it became a public collection are three Stanley Spencer erotic paintings and William Dobell's 'The Duchess Disrobes' (two versions). Smith examines the nature of the collection of works by Sir Edward and Lady Ursula Haywood.
Art, Pornography & Censorship
The Spectre of Pedophilia and Dennis Del Favero's Parting Embrace
Dennis Del Favero's 'Parting Embrace' is a series of 10 Type C prints which attempt to investigate the subjectivity of sexual abuse in a way that not only engages with its inherent pornographic content but which refuses neat moral resolution.
Art, Pornography & Censorship
Political Pop-porn in Hong Kong
Much of the vibrancy of Hong Kong's contemporary culture manifests itself in unexpected new forms...explores how four artists construct images of sexuality within the compact (post?) colonial environment.
Art, Pornography & Censorship
An Accelerated Life: Lydia Lunch
Women need to fight for an alternative pornography. Women need a pornography that addresses all the alternatives of our sexuality, in every format, so that there's something for everyone....Farmer interviewed porn star Lydia Lunch on her visit to the MRC in Adelaide.
Art, Pornography & Censorship
The Museum, the Muslim and the Infidel: K L Revisited
Critically looks at the exhibition 'Kecurangan - Infidelity' curated by Dato Shahrum Yub in Kuala Lumpur where 90% of Malaysia's population is Muslim.
Art, Pornography & Censorship
8 X Tables by Steve Tepper
Moore's Building, Fremantle
May 14 - 28, 1998
Reviewed by Robyn Taylor
Art, Pornography & Censorship
Sustained Contemplative Images: Atlas Exhibition Cathy Blanchflower
Goddard de Fiddes Gallery, Perth
1 - 22 May 1998.
Reviewed by Mary Livesey
Art, Pornography & Censorship
The Promise of Fruit: Kirsty Darlaston, Brenda Goggs, Lucia Pichler, Karen Russell
North Adelaide School Of Art Gallery
13 May - 4 June 1998
Art, Pornography & Censorship
Black Humour
Curated by Neville John O'Neill for the Canberra Contemporary Art Space.
Tandanya, National Aboriginal Cultural Institute, Adelaide
10 July - 16 August 1998
Art, Pornography & Censorship
Cosie: She Decorated a House and Called it a Home
Annette McKee and Helen Fuller Jam Factory Gallery Adelaide SA
16 May- 5 July 1998
Art, Pornography & Censorship
The Painted Coast: Views of the Fleurieu Peninsula Coast of South Australia.
Art Gallery of SA
8 May to 16 August 1998
Curated by Jane Hylton
Art, Pornography & Censorship
Ecologies of Place and Memory and Time and Tide
Ecologies of Place and Memory (Lauren Berkowitz, Rosemary Burke, Torquil Canning, Lola Greeno, Ruth Hadlow, Sieglinde Karl and Louise Weaver)
Time & Tide (Rowena Gough, Gay Hawkes, Lin Li, Pilar Rojas and Catherine Truman)
Both curated by Bridget Sullivan
Plimsoll Gallery, Centre for the Arts, Hobart
May 22 - June 14 (Ecologies)
June 19 - July 12 (Time)
Art, Pornography & Censorship
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