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Sideways, always
Co-Guest Editor of WALL TO WALL Annemarie Kohn writes about how the seed for a graffiti issue of Artlink was sown, back in 1991 at the Metro nightclub in Adelaide. Twenty-three years later, this edition of Artlink is thought to be the first time an Australian art journal has been devoted to exploring graffiti as a contemporary artform.
The legitimate semantics of a subcultural Artform
Guest co-editor of WALL TO WALL Charity Bramwell explores the way culture acquires credibility through museums, publications, and the formation and deformation of art history canons.
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?
Editorial: Art in the face of disaster
Humanity seems to be on the brink of annihilating the natural world on which we depend. Our quarrelsome species has built a gigantic web of capitalism, connecting global corporations, consumerism, the markets, the military, rhetoric machines called politicians and the organisations and institutions that now include, tragically, the universities.
Editorial
This country is broader than our accents and older than almost any other place on the planet, yet there is a great untruth at its heart that we are still not confronting as a people.
Editorial: ®ECLAIMED closing the gap of radical apathy
Daniel Browning takes a long hard look at the gap of apathy in Australia.
Editorial: Making history
Stephanie Radok takes the temperature of Aboriginal art and history in 2012.
Rewriting the Labels
Indigenous culture is moving out of dedicated spaces and into the mainstream. Ultimately all Indigenous culture is claiming the space for experiences that have not been widely told and this broadens the space for the stories of everyone whose stories are untold.
Editorial: Diaspora
Last week, I was standing in front of a man called Daryl who has lived in the Campbelltown suburb of Minto for 20 years. I saw him dance some of the story of his life.
The Meandering River: Slowing Down and Keeping Going
The notion of public art has been shifting over the years to include hopeful new models for change in a time of uncertainty - festivals, the temporal, the long term developmental and experimental thinking about how art can modify and influence the public realm.
Editorial
Richard Tipping looks at the role of text and language from an historical and contemporary context, covering areas of interest such as recent technological advancements, graffiti culture and going as far back as 46,000 years to briefly discuss some of the oldest found examples of Indigenous cave art in the south of Australia. Along the way he looks to medieval and ancient Phoenician developments, Clement Greenbergs promotion of painting as a purely optical experience, one in which text has no place except as another kind of surface, the role of Dada in claiming the relationship between word and image and discusses other important figures such as Duchamp, Brancusi, Stephane Mallarme, Christopher Brennan, Picasso, Braque, Kurt Schwitters, Charles Olson, Alex Selenitsch, Allan Riddell, Rosalie Gascoigne and many others.
Eldertorial
Dr Pat Hoffie worked with Stephanie Britton to realise this themed issue. They networked across the nation to collect together a set of fascinating interviews and tributes to a dynamic and charismatic group of elders who helped create the identity of Australian art today. They wish to thank all the talented and dedicated interviewers some of whom travelled great distances to do face to face interviews with artists, curators and gallerists.
Currents II
People involved in the arts and education might have difficulty recognising the Australia that the Treasurer has been talking up recently: the one with the record 4% low unemployment. But the Treasurers spin fails to mention that to be counted as employed you only have to work one hour per week, which bears out the reality of a life in the arts.
Ecology: Everyone's Business
What does the onset of climate change mean to an artist today? We have known about species extinction for decades, and the death of ecosystems; artists whose work evolved around these issues first emerged during the sixties.
