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Vaka - Only the Brave
Looks at the contemporary art and the cultural and economic pressures faced by the people of the Cook Islands.
Indigenous Arts of the Pacific
Fiji: Artists Carve Out Their Own Future
Looks at issues in contemporary art practice in Fiji anticipating the construction of the new Fiji National Art School.
Indigenous Arts of the Pacific
Asia and Oceania Influences - Sydney
Exhibition review Asian and Oceania Influence
Curated by Nick Waterlow
Ivan Dougherty Gallery, Sydney
2-30 September 1995
Indigenous Arts of the Pacific
The World Over - Wellington
Exhibition review The World Over
City Gallery Wellington, New Zealand
June 8 - August 11, 1995
Indigenous Arts of the Pacific
Darwin Festival - A Glimpse
Overview of the Festival of Darwin with its temporary visual art installations 'art head land' by 18 artists. For the summer of 1996.
Indigenous Arts of the Pacific
Australia Goes to Samoa: 7th Pacific Festival of the Arts
Overview of the 7th Pacific Festival of Arts which is held in a different country every 4 years. 1996 the festival was held in Apia in Western Samoa. Previous hosts 1992 Raratonga, Cook Islands 1988 Townsville Queensland Australia Lists the communities of Aboriginal Australians who were in attendance at the festival.
Indigenous Arts of the Pacific
Alternative Festival in Samoa
An alternative festival celebrating the people of the Pacific was held on one of the outer islands (Manono) in Western Samoa at the same time as the official Pacific Festival of the Arts in Apia. The festival was conducted from 8-23 September 1996.
Indigenous Arts of the Pacific
Collaboration - Zhou Xiaoping and Jimmy Pike
Chinese Australian artist Zhou Xiaoping and Aboriginal artist Jimmy Pike exhibit collaborative works in China later in 1996. The author discusses Zhou's new work and his collaboration with Jimmy Pike.
Indigenous Arts of the Pacific
The Necessity of Craft ed Lorna Kaino
Book review The Necessity of Craft: Development and Women's Craft Practice in the Asian Pacific Region
Edited by Lorna Kaino
University of Western Australia Press 1995
RRP $24.95
Indigenous Arts of the Pacific
Encyclopaedia of Aboriginal Australia ed David Horton
Book review Encyclopaedia of Aboriginal Australia with companion CD Rom
Edited by David Horton
Aboriginal Studies Press for AIATSIS
RRP $150
Indigenous Arts of the Pacific
Doin' the Limbo
Exhibition review White Hysteria
Curated by Susan Treister
Contemporary Art Centre, Adelaide South Australia
7 - 30 June 1996
Indigenous Arts of the Pacific
Whetting the Appetite
Exhibition review State of the Art 4 Biennial survey exhibition
curated by Stephanie Radok
New Land Gallery, Port Adelaide South Australia
21 April - 12 May 1996
Indigenous Arts of the Pacific
The Silence which Howls
Exhibition review Second Look: Prospect Textile Biennial
Prospect Gallery
14 April - 5 May 1996
Indigenous Arts of the Pacific
Funk Junk
Exhibition review Junk Bonds
New Land Gallery, Port Adelaide South Australia
Touring South Australia and interstate with Visions of Australia
28 June - 28 July 1996.
Indigenous Arts of the Pacific
Truth, Whose Truth?
Exhibition review Peter Dailey: Prime Time
Lawrence Wilson Art Gallery
University of Western Australia
17 May - 30 June 1996
Indigenous Arts of the Pacific
Memories - Macabre and Magic
Exhibition review Aadje Bruce: Domestic Bliss
Artplace Claremont Western Australia
9 May -1 June 1996
Indigenous Arts of the Pacific
Resilient Modernism
Exhibition review Miriam Stannage and Tom Gibbons
Goddard de Fiddes
Contemporary Art Perth, Western Australia
2- 22 June 1996
Indigenous Arts of the Pacific
From the Back Shed
Exhibition review House and Home
Anne Neil and Steve Tepper
Fremantle Art Centre galleries,
grounds and craft shop
25 May - 16 June 1996
Indigenous Arts of the Pacific
Neo-colonialist Precipice
Exhibition review Secret Places
Sieglinde Karl, Hazel Smith, Kate Hamilton, Ron Nagorka
Queen Victoria Museum and Art Gallery,
Touring regional Australia through Contemporary Art Services Tasmania and the national Exhibitions Touring Scheme.
Indigenous Arts of the Pacific
Touch Don't Touch
Exhibition review Tangibility
Claire Barclay, John R Neeson, Stephen Bush & Jan Nelson Plimsoll Gallery and Powder Magazine, Hobart
10 - 31 May 1996
Indigenous Arts of the Pacific
Counting Digits: Electronic Art will not go away
A witty and wise approach to issues confronting electronic arts by celebrated art theorist and philosopher. He starts by speculating on a contemporary analysis of the first stonecarvings that were not useful directly as tools, but indirectly as symbolic substitutes or stand-ins for some other thing....
Art in the Electronic Landscape
Negotiating Artistic Practice in Late Capitalist Techno-Culture
Whatever art is to become in the realm of consumer electronic culture, it is critical that some sort of autonomy be maintained from the pressures of the technological imperative. Otherwise the politic implicit in the technological manifestation will override the necessary anarchic liberty of art.
Art in the Electronic Landscape
Emergent Behaviours: Towards computational aesthetics
Overview of the electronic arts moving from the 1960s to the creation of artificial intelligences. Discusses various artists and their projects.
Art in the Electronic Landscape
Holography permeates art and commerce? A question of time
One of the strange novelties of running a large format holography business is the regular telephone calls one receives from inspired and inventive people who clearly see holography as representing some kind of magical solution to often relatively ordinary problems.
Art in the Electronic Landscape
Spectres of Cyberspace
A new spectre is haunting Western culture- the spectre of virtual reality. For if we are to properly characterise cyberspace as a postmodern phenomenon, it must be as part of a postmodernism that does not come after the modern so much as assertively re-enacts modernismÕs desire to fold back on itself...
Art in the Electronic Landscape
Is there art on the Web?
The Web is unknowingly large and diverse. Lists web sites
Art in the Electronic Landscape
The Artists Interface 1/0
The interface paradigm is at the core of current work by artists in the area of interactive multimedia. All the works in the exhibition Burning the Interface at the Museum of Contemporary Art, Sydney, approach the issues of interface design and interaction with the audience or user or interactor in different ways.
Art in the Electronic Landscape
Landmark Exhibition: Burning the interface
Exhibition review Burning the interface International Artists CD Rom Museum of Contemporary Art Sydney NSW March - July 1996
Art in the Electronic Landscape
Interactive Phantasmagoria: Pre-Cinema to Virtuality
Exhibition review Phantasmagoria Curated by Peter Callas and David Watson
Art in the Electronic Landscape
Virtual Topographics: an interview with Peter Callas
It is now well accepted that what has been variously dubbed the Ònew mediaÓ, Òelectronic artsÓ, ÒmultimediaÓ, or Òhybrid artsÓ are rapidly changing how we engage with issues of subjectivity, identity, nationality and interactivity.
Art in the Electronic Landscape
Living in Second-Natureland: the role of obsession in Technology-based Art.
From a confession of context, the author looks at new definitions where ÔlifeÕ and ÔexperienceÕ are defined as time spent engaging with technology, where ÔspaceÕ and ÔtimeÕ are primary sources for experience; the necessity of obsession and the work of Adrienne Jenik
Art in the Electronic Landscape
The Planetary Collegium: art and education in the post biological era
We live in deeply cynical, distrusting and despairing times...The author calls for a Planetary Collegium to advance the electronic media and its related educational process.
Art in the Electronic Landscape
I couldnÕt do my homework: the cat ate my mouse
The role of computers in the education of young people looking at examples from student in schools in South Australia.
Art in the Electronic Landscape
A Magic Toyshop: an interview with John Bird
John Bird is Associate Professor at the Centre for Animation and Interactive Multi Media at RMIT Melbourne Victoria. Looks at developing technologies and entertainment from a background of this centre for the new media arts.
Art in the Electronic Landscape
The Tasmanian Connection
The electronic landscape in Tasmania is only just beginning to be visibly integrated into the exhibition culture...largely influenced by a young generation of artists recently graduated or arrived at the Art School and Conservatorium in Tasmania.
Art in the Electronic Landscape
In Search of a Continuum
An article curated by the author whereby four artists were invited to select two of their documentation images and write captions for these images after considering issues of control, motion, space and trigger - issues that span old and new technologies in order to discover whether a sense of a continuum of approach and practice may emerge.
Art in the Electronic Landscape
Cyb(erotic) transformations
If the human body is disappearing into technology, then technology too is disappearing into flesh. Not just literally integrating into human skin and bone, but incorporated into our psychology and body imagery, creating a body as cyborg.
Art in the Electronic Landscape
Fax me your head (in 3D)
Collaborative article by Dorothy Erickson, Jill Smith, Stephanie Britton and Phil Dench. The process of scanning in 2D images of manipulating and combining them in electronic paintboxes and of printing the results is familiar to many artists. Techniques are now being developed that will allow us to do the same thing with three dimensional objects.
Art in the Electronic Landscape
Computers, machines, mathematics.
There are 2 specific problems attached to creating 3D computer art. One is funding and the other is often the need for expert and professional assistance. Examines the issues faced by artists working in the area of 3D computer art.
Art in the Electronic Landscape
Nigel HelyerÕs Silent Forest
An installation by Nigel Helyer at the Walter McBean Gallery San Francisco Art Institute as part of Soundculture, San Francisco, April 1996.
Art in the Electronic Landscape
Skadada@pica
Skadada at the Perth Institute of Contemporary Art was an instant success when it was performed in September 1995. It is a dance, music and computer hybrid art performance with works by Katie Lavers, Jon Burtt and John Patterson using innovative MIDI technology with computer graphics, video and manipulated sound keyed in by a live performer.
Art in the Electronic Landscape
Waiting for the CyberMuse
Moral: Having the tools available doesnÕt necessarily generate artistic ideas but when the idea is there, the artist will move heaven and earth to execute it.
Art in the Electronic Landscape
Bursting with opinions
Book review Critical issues in electronic media Edited by Simon Penny State University of New York Press, USA 1995
Art in the Electronic Landscape
CMCs Open for business
Looks at the role of CMCs Cooperative Multimedia Centres which are rapidly spreading across Australia. CMCs are government seeded consortia of a range of share holders and stake holders, designed to develop and support local and national multimedia industries. They all have a tripartite brief: education and training; research and development; and industry support...
Art in the Electronic Landscape
Electronic art in Australia: do we have critical mass?
Looks at art practice as it has developed since 1987 using the ARTLINK issue in 1987 of ÔArt and TechnologyÕ-(Vol 7 Nos 2 & 3, 1987) as the starting point for what was at that time the mostly unrecognised relationship between art and technology.
Art in the Electronic Landscape
Cyber Cultures in Western Sydney
Article with co-curator David Cranswick , Cyber Cultures at the Performance Space Gallery is an on-going exhibition and performance project initiated by Street Level an artist run initiative in Western Sydney.
Art in the Electronic Landscape
Electronic Media Collections
Looks at the collection of electronic artworks held by the Griffith University Queensland.
Art in the Electronic Landscape
Perth Science Centre employs artists
Opened in August 1988, Perths Scitech Discovery Centre aimed to add a ÔfunÕ environment to the physical and human sciences, with hands-on interactions and experiences. From its inception it employed design graduates to design and make many of its displays.
Art in the Electronic Landscape
Playing with the Planet
Digital Arts Film and Television is developing an interactive game based around the filme Epsilon, which award winning director Rolf de Heer produced with Digital Arts in 1995. Producer Sean Caddy previews this most unusual computer game, which has no violence and is a chilling scenario of the crisis in the ecology of planet Earth.
Art in the Electronic Landscape
The Virtual Museum
Looks at Compact Disc Interactive or CDi which allows people to chart their own personal pathways through material.
Art in the Electronic Landscape
Negotiating the Museum of Sydney
Review of the new Museum of Sydney whose challenge it was to compose a cultural metaphor for Sydney. It was conceived as a site that lets the visitor experience the jostling versions of what was going on, what it looked, sounded and behaved like.
Art in the Electronic Landscape
Open Market: Computer art in China
ÒFrom herbs and opium to Amway and Coca-cola. The market opens and the game starts.Ó
Art in the Electronic Landscape
Loudscreen: Animation network
In an expressive sense animation is as personal a medium as writing. New technologies have the potential to build on this trend...
Art in the Electronic Landscape
MM in Queensland education
Multi media education requires a wide range of resources. In Queensland the Bachelor of Multimedia at Griffith University draws on the expertise of 5 faculties and colleges
Art in the Electronic Landscape
Arts Queensland
In March 1996, Arts Queensland presented Giles Consulting report on the state of play in multi media to a packed public forum at the Museum of Modern Art. Outlines the recommendations.
Art in the Electronic Landscape
Men
What boys give up to become men is all contained in this photograph...
Men's Business: Masculinities Reflected
Masculinities Reflected
Guest editors of 'Masculinities Reflected' Noel Sanders and Kurt Brereton reflect on the nature of masculinity.
Men's Business: Masculinities Reflected
Observing Father's Day in a Good Weekend
Analysis of maleness from a semiotic approach in the context of the lifestyle magazine 'Good Weekend' published as a supplement to both The Age in Melbourne and The Sydney Morning Herald.
Men's Business: Masculinities Reflected
Fathers and/or Sons
Musings on the man who was the author's father from a multicultural perspective.
Men's Business: Masculinities Reflected
I've Written a Letter to Daddy
Social documenter Maxx Image is obsessed with the colour purple. Black leather is the costume of rebellion and the thrill and valour expounded by such an ideal could be seen as enticing accessories to the passion and zeal of leather sexuality.
Men's Business: Masculinities Reflected
Art and Masculinity after Auschwitz after Bosnia: The work of Dennis Del Favero, 1995
Masculinity continues its argument with itself, quizzical at its self-propelled self-assertion. But in asserting aggression the pain is not just experienced in the victim. For even in the crudest acts of coitus, for a moment, the raper becomes the raped, he is tied by his penis and his balls into an abomination.
Men's Business: Masculinities Reflected
Men and Mettle: Recent Portraits by Rox De Luca
Rox de Luca's exhibition of 19 men portrayed in 'All Meat No Veg' were all of men known to her. What did the portraits reveal about the sitters?
Men's Business: Masculinities Reflected
Demystifying Masculinity: The Photography of Krystyna Petryk
Polish born Krystyna Petryk has long been fascinated with portraiture and representations of the nude in photography. Her own investigations began in Warsaw by photographing her pregnant friends and continued after her arrival in Western Australia in 1982. Once here she broadened her explorations to include both male and female subjects before shifting to photograph and research representations of men exclusively.
Men's Business: Masculinities Reflected
Exquisite Corpses
We collage, genderbend, cross dress and polymorph exquisite corpses out of media and advertising personalities, then use them as fantasy aids in the cause of our mundane desires.
Men's Business: Masculinities Reflected
Image Bank: Works by Various Artists
Series of works by Tyrone Townsend, Victoria Straub, Polixeni Papapetrou, Phil George and Simon Cardwell. Large format and mainly colour images.
Men's Business: Masculinities Reflected
They Are Not Photographs: Natalie Lowrie
The images are selections from a body of work called flamingharlots@trashed, created by Sydney based photographer Natalie Lowrie. The images, digitally retouched photos of Natalie's circle of friends and acquaintances were exhibited at the Polymorph Gallery at Newtown.
Men's Business: Masculinities Reflected
Figures of Elongation
Using illustrations from a technical manual of the 1940s `the author examines the working male figure in popular iconography focusing on masculine representation in the visual arts and its link to the means of production.
Men's Business: Masculinities Reflected
Saviour and Sportsman
Vigilantly looking out to sea, the two manifestations of the life saver, the saviour and the sportsman, are combined in this 'gay greeting card' in such a way as to draw on the history of surf club masculinity and create an erotic pose.
Men's Business: Masculinities Reflected
Symbolic Identities: Masculinity and the Motor Cycle
Since 1927, the idea that the motor cycle is synonymous with assertive and unmediated masculinity has been enlarged and expanded through a broad range of visual, literal and cinematic imagery to the point where a machine which was once acclaimed as a means of transport has been transformed into a gendered cultural icon, an object of and for masculine display.
Men's Business: Masculinities Reflected
Sorely Tried Men: The Male Body in World War Two Australia
During World War Two, the Australian government's Department of Information represented the male body in at least two distinct ways. The photographer Edward Cranstone photographed a heroically active, phallicised body and the cameraman Damien Parer filmed a heroically suffering abject body.
Men's Business: Masculinities Reflected
Unwanted Shadow Man
Photos and essay by the author on a relationship between men.
Men's Business: Masculinities Reflected
Public Objects and Private Parts in Harry Hummerston's Recent Assemblages
Harry's work immediately identifies the object as a site of meaning. It is fair to say that Harry is strongly opposed to any restriction or taboo upon what he may represent, particularly from the arena of representing the female object or gender.
Men's Business: Masculinities Reflected
Men Without Toilets
Let's speak about nomads and farmers... The acrid vapours that fill the cast iron nooks and crannies by day: the trickles on metal that appear in my black and white slides each night like blood from a more visible crime: this evidence of the distillation of men: these signs are signs enough of the collapsing consequences of 'farming'.
Men's Business: Masculinities Reflected
Soap: A Letter to Sam Schoenbaum on Not Writing an Essay on a Show Called Phallus and its Funtions
What is the phallus?
Men's Business: Masculinities Reflected
Blokes and Sheds
Images and text by Mark Thomson from his recent book 'Blokes and Sheds'.
Men's Business: Masculinities Reflected
The Back Yard Shed
In 1992, Helen Moyes made a documentary 'The Back Yard Shed' which set out to look at the lives of a cross-section of Australian households through the phenomenon of the back-yard shed.
Men's Business: Masculinities Reflected
Like a Chant
Exhibition review Recent Work: Hossein Valamanesh
4-29 October 1995,
Greenaway Gallery, Adelaide SA
Men's Business: Masculinities Reflected
Perverse Desire?
Exhibition review Mail Order (for Women): Di Barrett
14 Sept - 8 October 1995,
EAF [Experimental Art Foundation]
Adelaide, South Australia
Men's Business: Masculinities Reflected
Light Works
Exhibition review Some Pictures from a Somniloquist's Diary
Tony Trembath
1 November - 26 November 1995
Greenaway Gallery Adelaide SA
Men's Business: Masculinities Reflected
The Virtual in Hand
Exhibition review Armorial: Dianne Longley
8 September - 3 October 1995
Adelaide Central Gallery, SA
Men's Business: Masculinities Reflected
Obsession
Exhibition review Emergence: Arthur Russell
15 October - 12 November 1995
Greenhill Galleries, Perth, WA
Men's Business: Masculinities Reflected
Distilling Poetry
Exhibition review Fremantle Print Awards
8 September - 15 October 1995
Fremantle Arts Centre, WA
Men's Business: Masculinities Reflected
Everchanging Vindication
Exhibition review I won't wish I will: Pippin Drysdale
28 September - 8 October 1995
The Door Exhibition Space Fremantle, WA
Men's Business: Masculinities Reflected
When You Get Behind Closed Doors
Exhibition review Home: Body
Pat Brassington, Kathryn Faludi, Mary Scott, Heather B Swann, Jennifer Spinks
21 September - 13 October 1995
Carnegie Room Town Hall Hobart, Tasmania
Men's Business: Masculinities Reflected
The Many Tongues of Textiles
Exhibition review Tradition, Cloth, Meaning: Contemporary Textiles Curated by Sara Lindsay
17 September - 7 October 1995
Long Gallery Salamanca Arts Centre, Hobart, Tasmania
Men's Business: Masculinities Reflected
Wer ist Unschuldig?
This issue of Artlink meanders (with kitschy loucheness rather than formalist stringency) around 'taste' bad and good, the workings of taste and various permutations of cultural expression in present day Australia. Kitsch is scrutinised.
Taste Meets Kitsch
The Taste Factor
When I was an art critic, I quickly grew to dislike the word 'taste'. It was a convenient tool used to dismiss reviews by people who didn't like what I had to say. Whenever I delivered a negative crit upon a widely revered artist, or a positive crit on a very minor figure, they complained that I was allowing my taste to undermine my professionalism.
Taste Meets Kitsch
Kitschoprenia
Our affection for kitsch is a benign form of aesthetic hypocrisy. My generation, give or take 15 years, adores kitsch. We want to have some badness; it's fun: you laugh both at your dismay for an object and your perplexity over the delight that it brings. In a broad cultural sense, my generation is kitschophilic; and this means, I suppose, not that we love the kitschy object with innocence but that we love the contempt which the kitschy object arouses.
Taste Meets Kitsch
Kitsch or Kind: Representations of Aborigines in Popular Art
Much contemporary Aboriginal art functions in the inappropriate melding of two visual art traditions and is kitsch within the given meaning within the article.
Taste Meets Kitsch
Kitschville - The Sydney Gay and Lesbian Mardi Gras
...But the Mardi Gras will always be a child of the seventies. Remember that mantra 'the personal is political'. In spite of the co-option and mainstreaming of Lesbian and Gay culture this wonderful spectacularly amateurish display (of difference) cannot help but be a politicised intervention.
Taste Meets Kitsch
Mary MacKillop Kitsch
I confess to a feeling of great affection for Mary MacKillop (1842 - 1909), vernacular culture and kitsch, and great enthusiasm for the idea of an Australian Vatican - an extravagant museum which is also a major site of pilgrimage.
Taste Meets Kitsch
The Black Swan of Western Australian-ness
Since 1829, the inhabitants of the western third of Australia have identified more closely with the black swan than the kangaroo. The swan was and is to be found on a wide range of items from buildings to letterheads and furry toys. It crosses class boundaries...
Taste Meets Kitsch
Destiny Deacon: It's Been Ages Since We Last Marched
You can hear her on the radio and see her on the television and contemplate her in better State galleries. Pluralist par excellence, artist, writer and film-maker Destiny Deacon has been blazing away on visual and linguistic fronts since premiering 'Koori Rocks Gub Words' in 'Pitcha Mi Koori' (1990).
Taste Meets Kitsch
Worms and Roses
The first Australian garden books put vegetables first but by the mid 19th century the language of flowers was in vogue. Gardens, flowers and art...
Taste Meets Kitsch
Cakes for Show: The Last Great Undigested Art
That these same institutions have never seriously attempted to digest the great crafty, feminine art of traditional cake decoration is more regrettable. Icons, after all, are as valued as the most avant-garde compostion if made of oil paint and gold leaf on wood. When future generations visit our hallowed aesthetic halls, let them meet cake!
Taste Meets Kitsch
Made in WA: A Sculptor's Alternative Practice
Although well known in regional art histories, Western Australian sculptor Edward Kohler has a far wider importance. Economic survival led him to blend popular and high art long before it was standard practice. With the Piccadilly Theatre reliefs of 1938, the sheer exuberance and infectious quality of a positive (if unconscious) kitsch aesthetic entered professional Australian art 60 years ago: Hollywood meets Olympia.
Taste Meets Kitsch
If Aquarium Gravel Is So Bad For You, How Come It Tastes So Good?
In the trading card world there are collectors, dealers, curators, critics, interested observers, and of course various magazines. Does this world sound familiar? Looks at the role of collecting...
Taste Meets Kitsch
Delma's Collection
Collections of any kind require patience, luck, money, space, time and dedication.....
Taste Meets Kitsch
Image Bank
Collection of images with artists statements. Artists featured: Katanya Shanzy, Anne Graham, Geoffrey Seelander, Simon Duncan, Pierre Cavalan, Stefan Szonyi, Cliff Burt, Andrea McNamara, Karen Ferguson, Constanze Zikos, Jandee Amar Leddar, Leon Pericles, Meryn Jones, Annie Taylor, Ex de Medici and Ian Mowbray.
Taste Meets Kitsch
Pretty Baby
Collecting and making dolls grows in popularity in Australia, but members of Australia's arts industry are relatively under-represented in the ranks of doll collectors. Original dolls speak of the culture that produces them.
Taste Meets Kitsch