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Mightier than the Sword: Arabic Script, Beauty and Meaning
Arabic Script, Beauty and Meaning Ian Potter Museum of Art University of Melbourne 22 March - 23 May 2003 A touring exhibition from the British Museum in association with the Aitajir World of Islam Trust Guest Curator, Venetia Porter
Modern Australian Women: paintings & prints 1925-1945 and In Context: Australian Women Modernists
Curator: Jane Hylton Art Gallery of South Australia 24 November 2000 - 25 February 2001 Curator: Paula Furby Flinders University Art Museum 8 December 2000 - 17 February 2001
Bias
An exhibition of contemporary embroidery Moonah Arts Centre. Hobart 17 November - 22 November 2000
Looking at Yourself Looking at Yourself
Martin Smith, Sharon Green and Annie Hogan Stratton Gallery, Brisbane 15 - 23 December 2000
Time, Gentlemen, Please
Art Association of Australia and New Zealand Conference Queensland University of Technology, Brisbane 7-10 December 2000
Mining the Imagination
Old Mine Management Office Queenstown Martin Walch, Richard Bladel, Leisa Tyler, Poonkhin Khut 1 December 2000 - open-ended
World Without End: Photography and the 20th Century
Art Gallery of New South Wales 2 December 2000 - 25 February 2001
Another Look: Six Women Artists of the 1950s
Inge King, Erica McGilchrist, Helen Maudsley, Mirka Mora, Norma Redpath, Dawn Sime Heide Museum of Modern Art 18 November -7 January 2001
7th Havana Biennial Uno mas cerca al otro
La Cabaña and El Moro (the old fort) and multiple city venues 17 November 2000 - 1 January 2001
CHEMISTRY: Art in South Australia 1990-2000: The Faulding Exhibition
Art Gallery of South Australia 16 September to 5 November 2000
Rhopography
photographs by Joachim Froese SOApBOx Gallery, Brisbane 6-27 September Queensland regional tour 2000-2001
Watermarks: Crossings, Carolyn Lewens and Neil Stanyer and Illuminating Evidence, Felicity Spear and Sarah Winfrey
Geelong Art Gallery 11 August - 13 September 2000
Talking Together
Lola Greeno (curator), Amanda Baxter (Pilakui), Michelle Brown, Destiny Deacon, Dulcie Greeno, Len Maynard, Nennerpertenenner (Sammy Howard), Francesca Puruntatameri, Thecla Bernadette Puruntatameri University Gallery, University of Tasmania, Launceston September 2000
Allan Baker, A Survey
Lawrence Wilson Art Gallery University of Western Australia, Perth 8 September to 20 October 2000
Chiasm; An Enduring Symbol; Objectum; Core
Chiasm - Donna Fulton, Richard Giblet, glamorama, Bevan Honey, Andrew Smith, Ric Spencer An Enduring Symbol - Mark Hummerston Objectum - Mark Cypher Core - Matthew Hunt Perth Institute of Contemporary Arts 29 September - 29 October
Celebrating The Exquisite Corpse
Bendigo Art Gallery 10 June - 3 September 2000 and touring other public artspaces in Victoria throughout 2001
Private Rooms: 10 years of painting by Anne Wallace
Brisbane City Gallery 28 July - 28 September 2000
Designing Minds
JamFactory Craft & Design Centre 24 June - 23 July Object Galleries 5 August - 1 October Symposium: University of SA, 21-22 July
Drive-By, Fourteen Artists
Sarah Dawson & Bec Dean, Cam & Yvette Merton, Rick Mason & Malcolm Riddoch, Jo Law & Redmond Bridgeman, Marcus Canning & Emily Murray, Vikki Wilson & Erin Heffron, Sam Landels & Sohan Arial Hayes. Each work rotated between locations nightly around the city of Perth during 15-28 April 2000
Little Rippers: Australian Fringe Pop
Outre Gallery, Melbourne to July 15 Fluxus in Germany 1962-1994: A Long Story With Many Knots RMIT Gallery to July 15th
Rosemary Laing: Gradience and Flight Research
Australian Centre for Photography 27 May - 25 June 2000 flight research Gitte Weise Gallery 25 May - 17 June 2000
Artists in Focus - Iconography: Traditions and Influence
Holmes à Court Gallery East Perth 9 June - 16 July 2000
Place and Identity: Contemporary South Australian Ceramicists
University of SA Art Collection University of South Australia Art Museum 3 August - 9 September 2000
Milan Milojevic Intervention 6 - 'Index of Possibilities'
Zoology Room, Tasmanian Museum and Art Gallery, Hobart curated by David Hansen 4 June -17 July 2000
My Hands are tied
Performance/Installation by Brigita Ozolins Foyer Installation Space, Hobart 10 - 25 March 2000
Kimono as Canvas
Gallery East or 2000 Perth International Arts Festival 12 February - 5 March and touring for two years
25 Songs on 25 Lines or Words on Art Statement for Seven Voices and Dance...
Joe Felber, Elliot Gyger and Lucy Guerin University of South Australia Art Museum 6 April - 6 May 2000
Different Dreaming
Lap : an installation view Keitha Phelps
Five Different Homes: Louise Haselton
Contemporary Art Centre
19 November- 12 December 1993.
Looking at the Republic
Robin Best
Fleurieu Marine Forms: Engraved Porcelain JamFactory Craft & Design Centre Adelaide 19 May - 8 July 2001
Allure: The Feminine in Print and Memoryware
Allure: the Feminine in Print: Wendy Hutchison, Deborah Klein, Marion Manifold, Heather Shimmen
Memoryware: Ceramics by Pamela Irving Maroondah Art Gallery, Ringwood, Vic 29 March - 13 May 2001
Memoryware: Ceramics by Pamela Irving Maroondah Art Gallery, Ringwood, Vic 29 March - 13 May 2001
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.
Interceptions: Art, Science and Land in Sunraysia
Editor Helen Vivian Mildura Arts Centre and Artmoves, 2000
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.
Jeffrey Smart Drawings and Studies 1942-2001
Australian Galleries Works on Paper, Melbourne 13 October - 4 November 2001
Green Line: Pip McManus
Watch this Space, Alice Springs June 23 - July 7 24 HR Art, Darwin July 20 - August 11
NO MUTTERING
Ivan Dougherty Gallery, Sydney 4 October - 3 November 2001
Queensland College of Art Gallery, Griffith University, 25 Jan - 24 Feb 2002
Queensland College of Art Gallery, Griffith University, 25 Jan - 24 Feb 2002
18th National Aboriginal Torres Strait Islander Art Award
Museum & Art Gallery of the Northern Territory 15 September 2001 - 6 January, 2002
swallowswenson
Sculptural works by Ricky Swallow and Erick Swenson Museum of Contemporary Art, Sydney 1 August - 4 November 2001
KaltjaNOW
Wakefield Press in association with the National Aboriginal Cultural Institute - Tandanya Softcover 170pp
Blighted Paradise: Colonial Visions of Northern Australia
Rockhampton Art Gallery 12 October - 25 November 2001
Home is where the heart is
University of South Australia Art Museum, 13 September - 20 October, 2001
The Bank West Inaugural Contemporary Art Prize, Perth Institute of Contemporary Art
8 November 2001 - 26 January 2002
In correct syntax, Greg Leong, Mammad Aidani and Matthew Ngui,
Nexus Multicultural Art Centre Adelaide 6 September - 7 October 2001
Love and Death: Art in the Age of Queen Victoria
Art Gallery of South Australia, Adelaide 7 December 2001 - 3 February 2002
Petr Herel: Drawings, Prints and Artist's Books
holmes à court gallery, East Perth 11 October - 25 November 2001
Hema Upadhyay, The Nymph and the Adult, Sung Kwon Park, (un)real, Eugene Carchesio, On Contemporary $ilence
Institute of Modern Art, Brisbane 1 December - 26 January
Touching from a Distance
Katrina Virgona, John Vella, Bree Riseborough, Julie Gough, Maria Ainsley, Ian Blamey, Linda Vujcich, Brigita Ozolins, Hadass Schlagman, Andy Jones, Donna Ettrick and Rachel Guy. FOYeR Installation Space, Hobart 13 December - 12 January 2001 The Artists Foundation of Western Australia, Moore's Building, Perth 14 - 20 December 2001
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.