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Publisher: RMIT Publishing   (Total: 399 journals)

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Showing 1 - 200 of 399 Journals sorted alphabetically
40 [degrees] South     Full-text available via subscription   (Followers: 2)
Aboriginal and Islander Health Worker J.     Full-text available via subscription   (Followers: 14)
Aboriginal Child at School     Full-text available via subscription   (Followers: 5)
About Performance     Full-text available via subscription   (Followers: 11)
Access     Full-text available via subscription   (Followers: 25)
ACCESS: Critical Perspectives on Communication, Cultural & Policy Studies     Full-text available via subscription   (Followers: 10)
Accounting, Accountability & Performance     Full-text available via subscription   (Followers: 17)
ACORN : The J. of Perioperative Nursing in Australia     Full-text available via subscription   (Followers: 17, SJR: 0.198, CiteScore: 0)
Adelaide Law Review     Full-text available via subscription   (Followers: 22, SJR: 0.122, CiteScore: 0)
Advocate: Newsletter of the National Tertiary Education Union     Full-text available via subscription   (Followers: 1)
Agenda: A J. of Policy Analysis and Reform     Full-text available via subscription   (Followers: 1)
Agora     Full-text available via subscription   (Followers: 4)
Agricultural Commodities     Full-text available via subscription   (SJR: 0.123, CiteScore: 0)
Agricultural Science     Full-text available via subscription   (Followers: 2)
AIMA Bulletin     Full-text available via subscription   (Followers: 4)
AJP : The Australian J. of Pharmacy     Full-text available via subscription   (Followers: 10, SJR: 0.142, CiteScore: 0)
Analysis     Full-text available via subscription   (Followers: 3)
Ancient History : Resources for Teachers     Full-text available via subscription   (Followers: 4)
Anglican Historical Society J.     Full-text available via subscription   (Followers: 3)
Annals of the Royal Australasian College of Dental Surgeons     Full-text available via subscription   (Followers: 4)
ANZSLA Commentator, The     Full-text available via subscription   (Followers: 3)
Appita J.: J. of the Technical Association of the Australian and New Zealand Pulp and Paper Industry     Full-text available via subscription   (Followers: 14, SJR: 0.168, CiteScore: 0)
AQ - Australian Quarterly     Full-text available via subscription  
Arena J.     Full-text available via subscription   (Followers: 1)
Around the Globe     Full-text available via subscription   (Followers: 1)
Art + Law     Full-text available via subscription   (Followers: 12)
Art Monthly Australia     Full-text available via subscription   (Followers: 10)
Artefact : the journal of the Archaeological and Anthropological Society of Victoria     Full-text available via subscription   (Followers: 3)
Artlink     Full-text available via subscription   (Followers: 5)
Asia Pacific J. of Clinical Nutrition     Full-text available via subscription   (Followers: 10, SJR: 0.697, CiteScore: 2)
Asia Pacific J. of Health Management     Full-text available via subscription   (Followers: 4)
Aurora J.     Full-text available via subscription  
Australasian Biotechnology     Full-text available via subscription   (Followers: 1, SJR: 0.1, CiteScore: 0)
Australasian Catholic Record, The     Full-text available via subscription   (Followers: 5)
Australasian Drama Studies     Full-text available via subscription  
Australasian Epidemiologist     Full-text available via subscription  
Australasian Historical Archaeology     Full-text available via subscription   (Followers: 7, SJR: 0.212, CiteScore: 0)
Australasian J. of Early Childhood     Full-text available via subscription   (Followers: 5, SJR: 0.535, CiteScore: 1)
Australasian J. of Gifted Education     Full-text available via subscription   (Followers: 6, SJR: 0.123, CiteScore: 0)
Australasian J. of Human Security     Full-text available via subscription   (Followers: 1, SJR: 0.144, CiteScore: 0)
Australasian J. of Irish Studies, The     Full-text available via subscription   (Followers: 8)
Australasian J. of Regional Studies, The     Full-text available via subscription   (Followers: 1, SJR: 0.118, CiteScore: 0)
Australasian Law Management J.     Full-text available via subscription   (Followers: 7)
Australasian Leisure Management     Full-text available via subscription   (Followers: 1)
Australasian Musculoskeletal Medicine     Full-text available via subscription   (Followers: 3)
Australasian Music Research     Full-text available via subscription   (Followers: 4)
Australasian Parks and Leisure     Full-text available via subscription   (Followers: 2)
Australasian Plant Conservation: J. of the Australian Network for Plant Conservation     Full-text available via subscription   (Followers: 4)
Australasian Policing     Full-text available via subscription   (Followers: 5)
Australasian Public Libraries and Information Services     Full-text available via subscription   (Followers: 33)
Australasian Review of African Studies, The     Full-text available via subscription   (Followers: 2)
Australian Aboriginal Studies     Full-text available via subscription   (Followers: 10, SJR: 0.13, CiteScore: 0)
Australian Advanced Aesthetics     Full-text available via subscription   (Followers: 4)
Australian Ageing Agenda     Full-text available via subscription   (Followers: 6)
Australian and Aotearoa New Zealand Psychodrama Association J.     Full-text available via subscription  
Australian and New Zealand Continence J.     Full-text available via subscription   (Followers: 3)
Australian and New Zealand Sports Law J.     Full-text available via subscription   (Followers: 8)
Australian Art Education     Full-text available via subscription   (Followers: 8)
Australian Bookseller & Publisher     Full-text available via subscription   (Followers: 1)
Australian Bulletin of Labour     Full-text available via subscription   (Followers: 2)
Australian Canegrower     Full-text available via subscription   (Followers: 2)
Australian Coeliac     Full-text available via subscription   (Followers: 1)
Australian Cottongrower, The     Full-text available via subscription   (Followers: 1)
Australian Educational and Developmental Psychologist, The     Full-text available via subscription   (Followers: 8, SJR: 0.146, CiteScore: 0)
Australian Family Physician     Full-text available via subscription   (Followers: 3, SJR: 0.317, CiteScore: 1)
Australian Field Ornithology     Full-text available via subscription   (Followers: 4, SJR: 0.209, CiteScore: 0)
Australian Forest Grower     Full-text available via subscription   (Followers: 4)
Australian Grain     Full-text available via subscription   (Followers: 2)
Australian Holstein J.     Full-text available via subscription   (Followers: 1)
Australian Humanist, The     Full-text available via subscription   (Followers: 3)
Australian Indigenous Law Review     Full-text available via subscription   (Followers: 22)
Australian Intl. Law J.     Full-text available via subscription   (Followers: 23)
Australian J. of Acupuncture and Chinese Medicine     Full-text available via subscription   (Followers: 3, SJR: 0.116, CiteScore: 0)
Australian J. of Adult Learning     Full-text available via subscription   (Followers: 16, SJR: 0.297, CiteScore: 0)
Australian J. of Advanced Nursing     Full-text available via subscription   (Followers: 13, SJR: 0.299, CiteScore: 1)
Australian J. of Asian Law     Full-text available via subscription   (Followers: 4)
Australian J. of Cancer Nursing     Full-text available via subscription   (Followers: 8)
Australian J. of Civil Engineering     Full-text available via subscription   (Followers: 5, SJR: 0.158, CiteScore: 0)
Australian J. of Dyslexia and Learning Difficulties     Full-text available via subscription   (Followers: 8, SJR: 0.1, CiteScore: 0)
Australian J. of Emergency Management     Full-text available via subscription   (Followers: 15, SJR: 0.354, CiteScore: 0)
Australian J. of French Studies     Full-text available via subscription   (Followers: 7, SJR: 0.123, CiteScore: 0)
Australian J. of Herbal Medicine     Full-text available via subscription   (Followers: 3)
Australian J. of Language and Literacy, The     Full-text available via subscription   (Followers: 3, SJR: 0.282, CiteScore: 1)
Australian J. of Legal History     Full-text available via subscription   (Followers: 14)
Australian J. of Mechanical Engineering     Full-text available via subscription   (Followers: 4, SJR: 0.119, CiteScore: 0)
Australian J. of Medical Science     Full-text available via subscription   (Followers: 1)
Australian J. of Multi-Disciplinary Engineering     Full-text available via subscription   (Followers: 2)
Australian J. of Music Education     Full-text available via subscription   (Followers: 5)
Australian J. of Music Therapy     Full-text available via subscription   (Followers: 9, SJR: 0.549, CiteScore: 1)
Australian J. of Parapsychology     Full-text available via subscription   (Followers: 2, SJR: 0.511, CiteScore: 0)
Australian J. of Social Issues     Full-text available via subscription   (Followers: 5, SJR: 0.399, CiteScore: 1)
Australian J. of Structural Engineering     Full-text available via subscription   (Followers: 6, SJR: 0.281, CiteScore: 1)
Australian J. of Water Resources     Full-text available via subscription   (Followers: 5, SJR: 0.156, CiteScore: 0)
Australian J. on Volunteering     Full-text available via subscription   (Followers: 2)
Australian J.ism Review     Full-text available via subscription   (Followers: 8)
Australian Life Scientist     Full-text available via subscription   (Followers: 2)
Australian Literary Studies     Full-text available via subscription   (Followers: 5)
Australian Mathematics Teacher, The     Full-text available via subscription   (Followers: 6)
Australian Nursing J. : ANJ     Full-text available via subscription   (Followers: 6)
Australian Orthoptic J.     Full-text available via subscription  
Australian Primary Mathematics Classroom     Full-text available via subscription   (Followers: 4)
Australian Screen Education Online     Full-text available via subscription   (Followers: 2)
Australian Senior Mathematics J.     Full-text available via subscription   (Followers: 1)
Australian Sugarcane     Full-text available via subscription  
Australian TAFE Teacher     Full-text available via subscription   (Followers: 4)
Australian Tax Forum     Full-text available via subscription   (Followers: 3)
Australian Universities' Review, The     Full-text available via subscription   (Followers: 4)
Australian Voice     Full-text available via subscription   (Followers: 6)
Bar News: The J. of the NSW Bar Association     Full-text available via subscription   (Followers: 6)
Bioethics Research Notes     Full-text available via subscription   (Followers: 14)
BOCSAR NSW Alcohol Studies Bulletins     Full-text available via subscription   (Followers: 4)
Bookseller + Publisher Magazine     Full-text available via subscription   (Followers: 5)
Breastfeeding Review     Full-text available via subscription   (Followers: 18, SJR: 0.183, CiteScore: 0)
British Review of New Zealand Studies     Full-text available via subscription   (Followers: 4)
Brolga: An Australian J. about Dance     Full-text available via subscription   (Followers: 1)
Cancer Forum     Full-text available via subscription   (SJR: 0.115, CiteScore: 0)
Cardiovascular Medicine in General Practice     Full-text available via subscription   (Followers: 7)
Chain Reaction     Full-text available via subscription  
Childrenz Issues: J. of the Children's Issues Centre     Full-text available via subscription  
Chiropractic J. of Australia     Full-text available via subscription   (SJR: 0.111, CiteScore: 0)
Chisholm Health Ethics Bulletin     Full-text available via subscription   (Followers: 1)
Church Heritage     Full-text available via subscription   (Followers: 4)
Commercial Law Quarterly: The J. of the Commercial Law Association of Australia     Full-text available via subscription   (Followers: 5)
Communicable Diseases Intelligence Quarterly Report     Full-text available via subscription   (Followers: 2, SJR: 0.563, CiteScore: 1)
Communication, Politics & Culture     Open Access   (Followers: 14)
Communities, Children and Families Australia     Full-text available via subscription   (Followers: 2)
Connect     Full-text available via subscription   (Followers: 2)
Contemporary PNG Studies     Full-text available via subscription  
Context: J. of Music Research     Full-text available via subscription   (Followers: 8)
Corporate Governance Law Review, The     Full-text available via subscription   (Followers: 7)
Creative Approaches to Research     Full-text available via subscription   (Followers: 13)
Critical Care and Resuscitation     Full-text available via subscription   (Followers: 19, SJR: 1.032, CiteScore: 1)
Cultural Studies Review     Full-text available via subscription   (Followers: 15)
Culture Scope     Full-text available via subscription   (Followers: 4)
Current Issues in Criminal Justice     Full-text available via subscription   (Followers: 11)
Dance Forum     Full-text available via subscription   (Followers: 3)
DANZ Quarterly: New Zealand Dance     Full-text available via subscription   (Followers: 3)
Day Surgery Australia     Full-text available via subscription   (Followers: 2)
Deakin Law Review     Full-text available via subscription   (Followers: 15)
Developing Practice : The Child, Youth and Family Work J.     Full-text available via subscription   (Followers: 19)
Early Days: J. of the Royal Western Australian Historical Society     Full-text available via subscription  
Early Education     Full-text available via subscription   (Followers: 8)
EarthSong J.: Perspectives in Ecology, Spirituality and Education     Full-text available via subscription   (Followers: 1)
East Asian Archives of Psychiatry     Full-text available via subscription   (Followers: 3, SJR: 0.36, CiteScore: 1)
Educare News: The National Newspaper for All Non-government Schools     Full-text available via subscription  
Educating Young Children: Learning and Teaching in the Early Childhood Years     Full-text available via subscription   (Followers: 18)
Education in Rural Australia     Full-text available via subscription   (Followers: 1)
Education, Research and Perspectives     Full-text available via subscription   (Followers: 10)
Educational Research J.     Full-text available via subscription   (Followers: 17)
Electronic J. of Radical Organisation Theory     Full-text available via subscription   (Followers: 3)
Employment Relations Record     Full-text available via subscription   (Followers: 2)
English in Aotearoa     Full-text available via subscription   (Followers: 2)
English in Australia     Full-text available via subscription   (Followers: 2, SJR: 0.18, CiteScore: 0)
Essays in French Literature and Culture     Full-text available via subscription   (Followers: 7)
Ethos: Official Publication of the Law Society of the Australian Capital Territory     Full-text available via subscription   (Followers: 5)
Eureka Street     Full-text available via subscription   (Followers: 5)
Extempore     Full-text available via subscription  
Family Matters     Full-text available via subscription   (Followers: 10, SJR: 0.228, CiteScore: 1)
Federal Law Review     Full-text available via subscription   (Followers: 21)
Fijian Studies: A J. of Contemporary Fiji     Full-text available via subscription   (Followers: 1)
Focus on Health Professional Education : A Multi-disciplinary J.     Full-text available via subscription   (Followers: 7)
Food New Zealand     Full-text available via subscription   (Followers: 4)
Fourth World J.     Full-text available via subscription   (Followers: 1)
Frontline     Full-text available via subscription   (Followers: 18)
Future Times     Full-text available via subscription   (Followers: 2)
Gambling Research: J. of the National Association for Gambling Studies (Australia)     Full-text available via subscription   (Followers: 5)
Gay and Lesbian Law J.     Full-text available via subscription   (Followers: 2)
Gender Impact Assessment     Full-text available via subscription   (Followers: 1)
Geographical Education     Full-text available via subscription   (Followers: 2)
Geriatric Medicine in General Practice     Full-text available via subscription   (Followers: 8)
Gestalt J. of Australia and New Zealand     Full-text available via subscription   (Followers: 2, SJR: 0.1, CiteScore: 0)
Globe, The     Full-text available via subscription   (Followers: 3)
Government News     Full-text available via subscription   (Followers: 2)
Great Circle: J. of the Australian Association for Maritime History, The     Full-text available via subscription   (Followers: 7)
Grief Matters : The Australian J. of Grief and Bereavement     Full-text available via subscription   (Followers: 10)
He Puna Korero: J. of Maori and Pacific Development     Full-text available via subscription   (Followers: 4)
Headmark     Full-text available via subscription   (Followers: 2)
Health Inform     Full-text available via subscription  
Health Issues     Full-text available via subscription   (Followers: 2)
Health Promotion J. of Australia : Official J. of Australian Association of Health Promotion Professionals     Full-text available via subscription   (Followers: 8, SJR: 0.531, CiteScore: 1)
Health Voices     Full-text available via subscription  
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History of Economics Review     Full-text available via subscription   (Followers: 9)
HIV Australia     Full-text available via subscription   (Followers: 3)
HLA News     Full-text available via subscription   (Followers: 3, SJR: 0.438, CiteScore: 1)
Hong Kong J. of Emergency Medicine     Full-text available via subscription   (Followers: 4, SJR: 0.19, CiteScore: 0)
Idiom     Full-text available via subscription   (Followers: 1)
Impact     Full-text available via subscription   (Followers: 1)
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Intellectual Disability Australasia     Full-text available via subscription   (Followers: 7)
Interaction     Full-text available via subscription   (Followers: 3)
Intl. Employment Relations Review     Full-text available via subscription   (Followers: 2)
Intl. J. of Disability Management Research     Full-text available via subscription   (Followers: 2)
Intl. J. of e-Business Management     Full-text available via subscription  

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Journal Cover
Art Monthly Australia
Number of Followers: 10  
 
  Full-text available via subscription Subscription journal
ISSN (Print) 1033-4025
Published by RMIT Publishing Homepage  [399 journals]
  • Issue 310 - Contributors
    • PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Dispatches
    • Abstract: Stephens, Andrew
      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Welcome to issue 310
    • Abstract: Fitzgerald, Michael
      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Notes from the field
    • Abstract: Wolifson, Chloe
      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Condensing magnitudes: Robert Smithson's 'time crystals'
    • Abstract: McNamara, Andrew
      The slow inexorable spread of the continental plates across the earth's surface to their current position is estimated to have taken about 300 to 500 million years. Yet the process is now reversing. One scenario tells us that Australia will end up in Asia as the continents converge again. It is not a prospect that anyone will face soon. Perhaps another 250 to 350 million years. By then, the idea of the island continent as 'one nation' will be long distant and the period of Anglo-European settlement a mere blip in time.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Present-tense reality: Joan Jonas at Tate Modern
    • Abstract: Richards, Bree
      Over a career now spanning more than five decades, New York-based Joan Jonas has developed an idiosyncratic artistic language that is constantly evolving. It builds on itself, it shifts and moves. No one medium, and no one element - be it storytelling, video, performance, sound and music, drawing or sculpture - surpasses any other. Instead, these many strands coexist and overlap, as was evidenced in the expansive survey devoted to her practice at London's Tate Modern, revealing how Jonas's open approach is also distinctive for being both flexible and precise.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Connecting threads 'so fine' at the National Portrait Gallery
    • Abstract: Florance, Caren
      With a blockbuster media strategy and an opening speech by SBS journalist Jenny Brockie citing Linda Nochlin's 1971 essay 'Why Have There Been No Great Women Artists'', the exhibition 'So Fine' launched itself as a firm feminist statement about quality contemporary art made by women. It was conceived and nourished as a chance to explore, reinterpret and re-examine historical portraiture through a female lens. Nicola Dickson, one of the ten invited artists, says that she has never been so supported, emotionally and materially, by a curatorial process. National Portrait Gallery (NPG) curators Sarah Engledow and Christine Clark selected a culturally diverse group of practitioners, many of whom use processes traditionally concerned with women's work such as china painting, tapestry, basketry, sewing, paper-cutting and drawing. These processes and more are used as paths into storytelling, the connective tissue of this robust exhibition.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Convergences - spiritual and political: The art of Khaled
           Sabsabi
    • Abstract: Ahmed, Safdar
      It is often claimed that Khaled Sabsabi's art supplies a counterpoint to the shallow clich s surrounding the Arab world and Islam so routinely trotted out by the mainstream media and our political establishment. This is no doubt true, but only to a minor point - far beyond the screen of representation (and arguments about how Islam is perceived in Western eyes) is a quiet introspective search for points of genuine cultural, political and religious convergence.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Ineffable distillations: The 2018 NATSIAAs
    • Abstract: Mitsuji, Tai
      If someone asked me to describe this year's Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) in a line, my response would be simple: no. The fundamental diversity and redoubtable skill of the 67 finalists' works demanded such bluntness. Indeed, even the smaller pool of prize winners - Gunybi Ganambarr (Telstra Art Award), Napuwarri Marawili (Telstra Bark Painting Award), Peter Mungkuri (Telstra General Painting Award), Kathy Inkamala (Telstra Works on Paper Award), Wukun Wanambi (Telstra Wandjuk Marika Memorial 3D Award), Matthew Dhamuliya Gurruwiwi (Telstra Emerging Artist Award), and Patrina Liyadurrkitj Mununggurr (Telstra Multimedia Award) - could not be captured in a line. But, of course, this question was not posed to me by a hypothetical stranger - or some 'someone' - but by myself. In fact, every time I review a show I ask it, and every time it helps me makes sense of what I'm looking at. Not this time. This time the works that hung, stood, and sat in the Museum and Art Gallery of the Northern Territory would not bend to authorial conceit or accommodate easy distillation. They demanded more from us.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Aria from Europe: The 'MAXXI Bulgari prize 2018'
    • Abstract: Fitzgerald, Michael
      With its audacious curves and signature periscope viewing window - designed in 2000 by Zaha Hadid as 'a laboratory for the future and memory of the contemporary' - Rome's National Museum of 21st Century Arts (MAXXI) is living up to its brief. An ongoing city-based exhibition series exploring Europe's relationship to the Middle East has looked at Tehran, Istanbul and, most recently, Beirut, with the Balkans coming up next year. And as I wander through the upstairs temporary space with MAXXI Curator Giulia Ferracci, I become immersed in a sensaround snapshot of contemporary Europe: a vague spicy fragrance (from Africa or the Middle East') filters through the air-conditioning as, in a video onscreen, a bloodied zombie lurches forward. Violently plastered on his forehead appears to be an election pamphlet.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Jono Rotman: Our enduring image of strength
    • Abstract: Leonard, Robert
      It was late 2013. I was passing through Auckland en route to Wellington, to start my new job as Chief Curator at City Gallery. I had been out of New Zealand for eight years and was on the look-out for something local to show, something new to me that would also be new to the audience, something surprising, something arresting. In the offices of Gow Langsford Gallery, I found it. I came upon Jono Rotman's portraits of members of the Mongrel Mob, New Zealand's largest gang. Gow Langsford was planning its first show with the photographer - the unveiling of his Mob work. The portraits were stunning, but confusing. I was used to seeing gang members in unflattering mugshots and long-lens newspaper photos, but I didn't expect to see them like this - posing patiently, complicit. I wondered how they came to be photographed in this way and what it meant to them.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Yvonne Todd's twin genres: Perfect portraits and spontaneous
           still lifes
    • Abstract: Jackson, Lucy
      On a Friday night in 2014 I stood in City Gallery Wellington at the opening of photographer Yvonne Todd's survey exhibition 'Creamy Psychology'. Todd signed my copy of the exhibition catalogue and, as a fan, I was ecstatic. Four years later, I still am. 'Creamy Psychology' was Todd's first retrospective exhibition, taking over the entire gallery. The photographer is best known for her portraits of women - the anorexic, the glamorous, beauticians, even the religiously inclined. Perfectly photographed on large-format film, we can get up close and see every imperfection, every pore and every hair. The details are often too much. Alongside them sit Todd's still lifes - also perfect, technically finessed yet holding an elusive quality. They give nothing away.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Richard tipping notes on 'art word'
    • PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - Haegue Yang missed connections at the IMA
    • Abstract: Hill, Wes
      South Korean artist Haegue Yang is busy. Yayoi Kusama-busy. Her first solo exhibition for an Australian institution, at Brisbane's Institute of Modern Art (IMA), comes on the back of contributions to the 21st Biennale of Sydney, the 10th Liverpool Biennial and her first career retrospective, 'ETA', at the Museum Ludwig, Cologne, presented as part of Germany's prestigious Wolfgang Hahn Prize. The title of Yang's retrospective, an abbreviation of 'Estimated Time of Arrival', is indicative of how the artist's nomadic lifestyle is crucial to her practice, which operates between Seoul, Berlin and any number of temporary jaunts in the international art world. At the IMA, 'Triple Vita Nestings' continued Yang's now familiar treatment of 'ready-to-hand' materials, creating multimedia assemblages that act as portable partitions in the gallery space. Atmospheric and effortless, playful and melancholic, antisocial yet longing for connection, the exhibition presented itself as the work of someone who, always on the go, has long since departed for other horizons.

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 310 - 'Mingled ferocity and childish want of taste': Huang
           Yongping's 'Les Consoles de Jeu Souveraines'
    • Abstract: Inwald, Minerva
      In 1839, Chinese special commissioner Lin Zexu spent three weeks disposing of opium confiscated from foreign traders, which flowed down the Pearl River Delta and out into the South China Sea. In retaliation, the British Cabinet decided to take military action. In what came to be known as the First Opium War, the British decisively defeated the Qing Empire, compelling the Qing government to cede sovereignty of Hong Kong Island to the foreign power. In 1898, the British obtained a 99-year lease of additional territories surrounding the island. When this lease came to an end on 1 July 1997, with much state-sponsored celebration on the mainland, the British colony became a Special Administrative Region of the People's Republic of China. This was a tremendously significant moment for the Chinese state. As historian Robert Bickers put it: 'Reclaiming Hong Kong was a grand affirmation of its triumph over history.'

      PubDate: Tue, 21 Aug 2018 20:51:38 GMT
       
  • Issue 309 - Welcome to issue 309
    • Abstract: Fitzgerald, Michael
      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Contributors
    • PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Dispatches
    • Abstract: Stephens, Andrew
      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Curating 'from will to form'
    • Abstract: Kirpalani, Amita; Cormack, Emily
      This conversation has been ongoing for the past few months as Emily Cormack's curatorial idea has evolved through numerous studio visits with the artists who are part of her 2018 Tarra-Warra Biennial, 'From Will to Form'. Emily and I took up this conversation again recently, partly in person and partly online.

      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Notes from the field
    • Abstract: Wolifson, Chloe
      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - A celebration of life force 'Divided Worlds'
    • Abstract: Reid, Chris
      Review(s) of: Divided Worlds, by Art Gallery of South Australia, Adelaide, 2018.

      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Reorient surveying a region in the 'APB foundation signature
           art prize 2018'
    • Abstract: Mitsuji, Tai
      Review(s) of: APB foundation signature art prize 2018', by National Museum of Singapore until 2 September 2018.

      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Action and re-action peter Maloney and 'missing in action'
    • Abstract: Florance, Caren
      At the April opening of 'Missing in Action', I was standing in the first small section, the one that greets you as you walk through the door. The drawings on the left wall are dated 1990 and 1991, and are responsive gestural marks in charcoal: the first has foregrounded dark horizontal blacks that hit the paper running and broaden to black under hard pressure, while underneath, light grey lines swirl, barely touching the surface, like air currents. I turned around and saw a multitude of these marks, no work the same, each energetically performing a frantic dance, an emotional exchange between hand, arm and head. I got chatting to a man nearby who thought the work was naive. No, I said to him: it's what a body wants to do when it's feeling. I walked up to one of them, from across the room. From a distance, it's a cluster of colourful circles, germy, seedy. Close up, there's writing: upside down at the top of the page is scrawled in all caps: DRS DOOLITTLE.

      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Eric Bridgeman: 'Kala bung (Colours join together)'
    • Abstract:
      In Tok Pisin, 'bung' is a common verb used to describe intersections, junctions, crowds, gatherings, congregations, a party, the pooling of water, a body of work or a term for 'brother'. My use of the word refers to the concentration of 'kala' (colour) in forming patterns and visual design. As a racial slur popularised by Australian troops serving in Papua New Guinea in the early twentieth century, the term also sustained a long-term presence in Australian slang, as a scornful blanket term for all Aborigines and Indigenous people. I consider the intersecting journeys of this word while constructing and organising my shield paintings, olsem (for example): 'yu mipela bung long mambu' (let's all meet at the bamboo); 'tingting bilong mipela kres lo taim yu mi bungim tok tok' (our thoughts meet when we gather and discuss); or 'olgeta kala bung wantaim na mekim renbo' (all of the colours join together to make the rainbow).

      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - The dynamic terrain of the contemporary desert
    • Abstract: Mahood, Kim
      The first generation of great desert artists created sublime visual testimonies to the indivisibility of country, family and 'Tjukurrpa', and produced an art movement that swept the world. With the passing of these artists there was an expectation that the Western Desert painting movement would lose its authority and authenticity. Instead, in the dynamic terrain of the contemporary desert, a handful of first contact painters continue to synthesise the numinous energy of country and culture into astonishing works of art, while a new generation experiments with form and medium, and takes out major prizes in some of the richest art awards in Australia. Vincent Namatjira, grandson of Albert, has twice had a self-portrait hung in the Archibald, with his highly commended 2018 'Studio self-portrait' revealing an artist in supreme control of his medium and his artistic intention. The 2018 Wynne Prize was won by Yukultji Napangati with a shimmering traditional painting, and the Sulman by Kaylene Whiskey with one of her wry takes on popular culture, Indigenous style. Anangu artist Peter Mungkuri won the 2017 inaugural Hadley's Art Prize. This year a third of the Hadley and Wynne finalists have been Indigenous.

      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 309 - Polixeni papapetrou 1960-2018
    • Abstract: King, Natalie
      PubDate: Tue, 24 Jul 2018 17:48:03 GMT
       
  • Issue 308 - Welcome to issue 308
    • Abstract: Fitzgerald, Michael
      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Contributors
    • PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Constructing fantasy worlds
    • Abstract: Jean, Anne-Marie; Carlin, Esther
      Review(s) of: 'Sarah Contos: Nikola Tesla sends Theda Bara to Mars' and 'Jess Johnson and Simon Ward: Terminus' by National Gallery of Australia, Canberra, until 26 August 2018.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Notes from the field
    • Abstract: Wolifson, Chloe
      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Dispatches
    • Abstract: Stephens, Andrew
      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Art history which sparkles 'cartier: The exhibition'
    • Abstract: Anderson, Patricia
      Review(s) of: 'Cartier: The exhibition', by National Gallery of Australia in Canberra until 22 July 2018.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Floating and flouting the national: Two museums in windy
           Wellington
    • Abstract: Ewington, Julie
      Review(s) of: 'Pacific Sisters: Fashion Activists' and 'Lisa Walker: I want to go to my bedroom but I can't be bothered' are being exhibited, by Toi Art, Museum of New Zealand Te Papa Tongarewa, Wellington, until 8 July and 22 July 2018.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Daniel Buren in conversation with Anais Lellouche
    • Abstract: Lellouche, Anais; Buren, Daniel
      Daniel Buren is an artist who in the 1960s pioneered a new approach to art-making, responsive to the specificities of site. By taking on some of the most illustrious monuments of the world, Buren has revolutionised the space of art in the museum and in the city. His volumes brimming with colours are neither painting nor sculpture yet challenge both. These geometric interventions are united by one element, white and coloured stripes each measuring 8.7 centimetres wide. 'Buren's stripes', as they are known, function as an 'outil visuel' ('tool for seeing'). Through their lens the artist focuses our gaze, bodies and mind to experience our environment anew.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Throw your arms around the world' Samson Young and the M+
           effect
    • Abstract: Wolifson, Chloe
      Review(s) of: 'Samson Young: Songs for Disaster Relief World Tour' was on view at M+ Pavilion, by West Kowloon, from 9 February until 6 May 2018.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - It's 1968 (again) and 'the field' rises (again)
    • Abstract: Barrett-Lennard, John
      'The Field' opened the new National Gallery of Victoria (NGV) building on St Kilda Road in August 1968 with a broad selection of recent Australian painting and sculpture by 40 artists (just three of whom were women). It was a moment of high ambition, and an innovative contemporary exhibition that presented new abstract painting and sculpture never before seen on this scale in any Australian art museum. It challenged the verities of postwar art in this country (and Melbourne, in particular), and was both controversial and intriguingly came as this moment in painting - of hard and colourfield abstraction - was about to be superseded by new conceptually and politically engaged forms in the 1970s. 'The Field' has been discussed, written about and heavily referenced in subsequent exhibitions ever since. The NGV has now, 50 years later, restaged it, aiming to get as close to the original as possible, gathering together 62 of the 74 works in the original exhibition, with the 12 missing represented by life-size monochrome reproductions.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Building a house with hairs 'Bronwyn Oliver: Strange things
    • Abstract: Bruce, Candice
      Review(s) of: Bronwyn Oliver: Strange Things, by Hannah Fink, Piper Press, Sydney, 2017, 224 pages, AU$59.95.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - Sense memory 'Archie Moore 1970-2018'
    • Abstract: Hughes, Helen
      Review(s) of: Archie Moore: 1970-2018, by Griffith University Art Museum, Brisbane, 2018.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - In the margins: Howard Taylor's omission from 'the field'
           exhibition
    • Abstract: Snell, Ted
      When the British artist Bridget Riley and curator Bryan Robertson visited Perth in 1977, their plane was delayed, enabling them to take a short trip down south. While in the small hamlet of Northcliffe they visited Howard Taylor in his studio. Riley was a star of the op art movement and her response to Taylor's work proved to be very helpful in building his profile nationally. On her arrival in Sydney, she spruiked his abilities, and gallerist Chandler Coventry offered him an exhibition in 1978 based on her recommendation.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 308 - The field revisited': Let's talk about gender
    • Abstract: Fitzgerald, Michael
      Review(s) of: 'The field revisited', by NGV Australia until 26 August 2018.

      PubDate: Mon, 18 Jun 2018 19:08:00 GMT
       
  • Issue 307 - Contributors
    • PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - Welcome to issue 307
    • Abstract: Fitzgerald, Michael
      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - Dispatches
    • Abstract: Stephens, Andrew
      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - Notes from the field
    • Abstract: Wolifson, Chloe
      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - 'Art turns. world turns': The first months at MACAN
    • Abstract: Ewington, Julie
      Review(s) of: Art turns. World turns, exhibition installation views, Museum MACAN, Jakarta, images courtesy Museum MACAN, Jakarta.

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - Curiouser and curiouser Patricia piccinini at GOMA
    • Abstract: Maunder, Tess
      Review(s) of: 'Patricia Piccinini: Curious Affection' is on display at the Queensland Art Gallery's Gallery of Modern Art, Brisbane, until 5 August 2018.

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - The curators, the diplomat and 'The lady and the Unicorn'
    • Abstract: Mendelssohn, Joanna
      Review(s) of: 'The Lady and the Unicorn' is currently on display at the Art Gallery of New South Wales, Sydney, until 24 June 2018.

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - Violet mace: Native or indigenous'
    • Abstract: Hughes, Peter
      In late 2016, the Tasmanian Museum and Art Gallery (TMAG) received a donation of 25 ceramic pieces by Violet Mace (1883-1968) made between 1929 and 1941. It included some of the earliest studio crafts objects to incorporate designs based on appropriated Australian Aboriginal art. Mace, along with her cousin and mentor Maude Poynter (1869-1945), were Tasmania's first, and among Australia's earliest, studio potters. They worked from a studio and wood-fired kiln built by Poynter around 1918 near Bothwell, a small town about 80 kilometres from Hobart. Neither of the women married, and while not wealthy, they were sufficiently financially independent to be free to experiment. Poynter had received some art training at a private academy in Victoria and later at London art schools before moving to Tasmania. Mace joined her around 1920. Much of the early work of both potters was informed by the arts and crafts movement and includes imagery based on native plants and animals. Their work also exhibits considerable experimentation with form and decoration, including low and high relief modelling, piercing and various glaze effects.

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - The complexity of contemporaneity
    • Abstract: Roussos, Koulla
      Review(s) of: Franck Gohier: A Thousand Miles from Everywhere, exhibition installation views, Museum and Art Gallery of the Northern Territory (MAGNT), Darwin, 2018; images courtesy MAGNT, Darwin

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - A kind of calm: 'Encounters 2018' at art Basel Hong Kong
    • Abstract: Wolifson, Chloe
      Review(s) of: The 2018 edition of 'Encounters' was exhibited as part of Art Basel Hong Kong at the Hong Kong Convention and Exhibition Centre, 29-31 March 2018.

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - Allegories of the anthropocene: Animated dystopias in the work
           of geng Xue, qiu anxiong and sun xun
    • Abstract: Guest, Luise
      In recent years much contemporary art from China has been characterised by a re-investigation - even a re-invention - of Chinese artforms and aesthetics, and an immersion in Chinese philosophical and spiritual traditions. Rather than an intentional branding for the international art market, or a nostalgic orientalism, in many cases the current revival of pre-Mao literati traditions of ink and calligraphy, Buddhist and Daoist philosophies, and folk art reflects artists' desires to blur artificial binaries of East and West, local and global, contemporary and traditional.

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 307 - Connecting the foreign with the familiar: The 21st biennale of
           Sydney
    • Abstract: Mitsuji, Tai
      Review(s) of: The 21st Biennale of Sydney, 'Superposition: Equilibrium and Engagement', is showing at the Art Gallery of New South Wales, Artspace, Carriageworks, Cockatoo Island, 4A Centre for Contemporary Asian Art, the Museum of Contemporary Art Australia and the Sydney Opera House until 11 June 2018.

      PubDate: Tue, 8 May 2018 17:38:39 GMT
       
  • Issue 306 - 'I can't believe I still have to protest this fucking shit'
    • Abstract: Burke, Janine
      Review(s) of: Little could I guess that, 44 years after I began my practice as an arts feminist, I'd be writing about an exhibition titled 'Unfinished Business: Perspectives on art and feminism'. It was unimaginable in 1974 that the same disparities would need to be addressed, the same lacunae exist, the same frustrations remain febrile and relevant. That year, I co-curated 'A Room of One's Own: Three Women Artists', probably Australia's first feminist group show. My fellow curators were Kiffy Rubbo, director of the Ewing and George Paton Galleries, and Lynne Cooke, then a final-year honours student at Melbourne University. It was Lynne's and my dissatisfaction with the patriarchal bias of our art history course that prompted us to start talks with Kiffy that led to the exhibition, which included work by Lesley Dumbrell, Julie Irving and Ann Newmarch

      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Ryan Presley: 'Prosperity'
    • Abstract: Presley, Ryan
      My exhibition consists of a newly designed suite of Australian banknotes that extends from my ongoing 'Blood Money' series of watercolour paintings on paper. These works of art explore contemporary Australian history through the lens of important and notable Aboriginal people. These key figures can teach us valuable historical lessons in regards to their experiences of dispossession, oppression and the suppression of contrary legacies. From them we can learn valuable insights that tell us much about cross-cultural histories and Aboriginal relationships with 'white' or non-Aboriginal Australia

      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Mutlu Cerkez: Fake or fortune'
    • Abstract: Schmidt, Audrey
      In the first pages of the impressive tome-like catalogue for 'Mutlu erkez: 1988-2065' at the Monash University Museum of Art (MUMA) in Melbourne, Director Charlotte Day describes the death of the Turkish Cypriot-Australian artist as 'untimely' - an apt choice of words considering erkez's obsession with the passage of time. In fact, from Callum Morton's February opening speech, cut short for reasons unknown, describing the works lost in a fire at Istanbul airport in 2006, to the attendance of erkez's extended family (or future erkez generations) at the opening, the dialectic of presence and absence and the eerie disruption of linear time gave the 'retrospective' exhibition the peculiar feel of a vintage sci-fi film set in 'the not-too-distant future'. Certainly, with its generic sans-serif text and precise paint-by-numbers execution, erkez's paintings in the echoey gallery setting had a depersonalised and austere texture not unlike a spacecraft.

      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Michael Whitworth 1947-2017
    • Abstract: Bruce, Candice
      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Michael Hobbs 1934-2018
    • Abstract: Anderson, Patricia
      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Notes from the field
    • Abstract: Wolifson, Chloe
      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Scintillating signifiers 'Flora' at Lawrence Wilson Art
           Gallery
    • Abstract: Schilo, Ann
      Review(s) of: With the dry heat of summer and restricted watering at this time of year, the roses in my garden struggle to look their best. The blooms are small, almost faded in colour, yet, placed in a vase on an embroidered doily on the hallway table, they bring a timid vibrancy and slender perfume to the house. What is it about a bunch of flowers that catches the eye and so delights the senses' It is a question that hovers around Gemma Weston's exhibition 'Flora', her curatorial survey of works from the Cruthers Collection of Women's Art

      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Between nature and culture: 'The remarkable Tasmanian devil'
           at TMAG
    • Abstract: Hogan, Jan; Richardson, Benjamin J
      Review(s) of: In this time of rapid species losses, the philosopher Donna Haraway exhorts us to 'make kin, not babies'. 'The Remarkable Tasmanian Devil' exhibition at Hobart's Tasmanian Museum and Art Gallery appears to have embraced this mantra in tracing the evolving public aesthetics of the island state icon, from a reviled predator persecuted through bounty schemes to an adorable tourist ambassador and official animal emblem. Haraway argues that 'we need stories (and theories) that are just big enough to gather up the complexities and keep the edges open and greedy for surprising new and old connections'.1 She asks for alliances with the natural world that include other species in our network of relationships and responsibilities

      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - From sadness to sunshine: 'The unflinching gaze' at BRAG
    • Abstract: Almeida, Pedro de
      Review(s) of: Several years in the making, 'The Unflinching Gaze: Photo Media and the Male Figure' opened at the Bathurst Regional Art Gallery (BRAG) in the middle of October 2017 - the middle of spring, for that matter, a time of renewal and the ushering in of vitality and virility over all that might have withered or perished in the past - or should have. Whether Richard Perram, longtime BRAG director and curator of the exhibition, scheduled the show with this in mind is a secondary consideration to the acknowledgement of the immense good fortune that could not have been planned nor predicted - of his impressive undertaking: 'The Unflinching Gaze' graced audiences just as elected representatives in the nation's upper and lower houses of parliament, confounded with their final round of morally expedient machinations as to the question of amending the Marriage Act to include same-sex unions, reached a vote that was, on 7 December 2017, finally passed

      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - A magnificent obsession: The Howard Hinton collection at NERAM
    • Abstract: Frost, Andrew
      Review(s) of: At 6.05 p.m. on a hot February evening in Armidale, the New England Regional Art Museum (NERAM) was already packed for the opening of 'Hinton: Treasures of Australian Art'. The crush was so tight the line at the cash bar was five deep. People take their art openings seriously here, and when it came time for the official speeches, the lively back rooms had to be vigorously shushed

      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Welcome to issue 306
    • Abstract: Fitzgerald, Michael
      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 306 - Travelling north
    • Abstract: Stephens, Andrew
      PubDate: Mon, 23 Apr 2018 10:20:49 GMT
       
  • Issue 305 - Welcome to issue 305
    • Abstract: Kataoka, Mami
      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Small steps, larger journey: Sydney Biennales in the 1970s and
           1980s
    • Abstract: Smith, Terry
      At a time when 225 regularly recurrent exhibitions of contemporary art are listed on the website of the Biennial Foundation, it is salutary to recall the situation in Australia in the early 1970s.Contemporary art was rarely shown in the state galleries, commercial galleries depended mostly on established artists, and independent art spaces were just getting started. Artist-run spaces such as Central Street Gallery, founded in Sydney in 1966, and artist-prioritising spaces such as Pinacotheca, established by Bruce Pollard in Melbourne in 1967, were pioneers. When, in 1968, the Power Institute sought to 'bring the latest ideas and theories concerning contemporary art to the people of Australia' as its founder's will required, it met with loud local opprobrium for collecting and discussing art from Europe and the United States. But signs of change were all around. In 1969 Christo and Jeanne-Claude's Wrapped Coast launched John Kaldor's amazing 'Public Art Projects' - the first, and arguably the granddaddy of them all. Some private galleries began to show young, experimental Australian artists: among them Gallery A in Melbourne and Sydney, Tolarno in Melbourne, Rudy Komon and Frank Watters in Sydney, and Bonython in Adelaide. Some state galleries gave younger curators a room or two to show these artists, and to occasionally survey what they were doing. And in 1973, the first Biennale of Sydney was launched.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Stimulating thinking, feeling and seeing: Gerhard Richter at
           GOMA
    • Abstract: Ross, Toni
      While Gerhard Richter's status as one of the greatest living artists was secured decades ago, 'The Life of Images' at the Queensland Art Gallery's Gallery of Modern Art (GOMA) was the first major exhibition of his work in Australia. The big surprise was that this gathering of over 90 works from the artist's multifaceted oeuvre was conceived here rather than arriving as a package from overseas. Not only did GOMA convince numerous major collections to part with their precious Richter holdings, the artist was so persuaded by the serious intent of curators Rosemary Hawker and Geraldine Kirrihi Barlow that he contributed significant loans from his own collection.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Penny Byrne: Armed and vulnerable
    • Abstract: Aziz, Arjmand
      Hurt Locker, the two-metre glass and steel sculpture by Australian artist Penny Byrne, has come home. In 2015 the Berengo foundation and studio at Murano and the Hermitage Museum in Saint Petersburg invited Byrne, along with many international artists, to create a contemporary work exploring Gothic style for 'Glasstress', a regular collateral exhibition of the Venice Biennale. Responding to this curatorial theme, Byrne was inspired to produce Hurt Locker, a meditation on the concept of armour, protection and, ultimately, vulnerability.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Entertainment and wonder: Speculating on the 'NGV triennial
    • Abstract: Fitzgerald, Michael
      Is bigger better' Have art audiences become soft targets for large-scale spectacle' Is there a meaningful nexus between the international and the local'

      Such pesky questions coalesced in my consciousness as I toured the inaugural 'NGV Triennial' for its media preview in mid-December. My brain swelled with statistics (the work of over 100 artists are displayed across four floors of the NGV International, with 20 new commissions), my senses nearing overstimulation (Sissel Tolaas's SmellScape: Melbourne_PastPresentPast, 2017, being but an olfactory example), as transgressive thought bubbles kept disrupting my otherwise immaculate field of view.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - 'Permitted to exist': Akira Takayama's our songs - Sydney
           Kabuki project
    • Abstract: Kataoka, Mami
      The first Australian citizenship ceremony at Sydney Town Hall happened in 1954. And it was this hall that served as the setting for a recent performance commissioned by the 21st Biennale of Sydney from the Japanese theatre director Akira Takayama, entitled Our Songs - Sydney Kabuki Project.1 In a hall where one typically declares Australian allegiance while the national anthem plays, around 70 participants in this project sang songs and recited poems that had been passed down to each of them by their families and ancestors, in nearly 40 different languages. A record of these events will be exhibited in the form of a video work at 4A Centre for Contemporary Asian Art for the duration of the Biennale. Although the 'kabuki' in the title of the work is a traditional artform particular to Japan, Takayama notes that it also has a relationship to immigrant histories.2 Project participants crossed a specially installed hanamichi (the long raised platform used in kabuki) in order to reach the hall's stage. But this passage also served as a metaphor for the process by which different people assimilate into a new community. The empty audience seats indicated that the songs and poetry being performed were directed at the souls of the dead or departed ancestors.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Dispatches from a parallel universe
    • Abstract: Hsu, Chia-Wei
      In 2012 I launched a project series in Huai Mo Village, a mountainous area on the border of Thailand and Myanmar that is inseparable from recent developments in modern history. Having conducted field research in the area, I began these long-term collaborations with locals, such as Ruins of the Intelligence Bureau (2015). Following their defeat in the Chinese Civil War in 1949, the Kuomintang (KMT) retreated to Taiwan while one of their troop divisions withdrew to the mountains along the Thai-Myanmar border. KMT leader Chiang Kai-shek commanded the troops to remain there in a state of combat and to prepare for their counterattack. However, their plans were in vain. Not being able to return to China, retreat to Taiwan or be recruited by the Thai government, the lone troops became a group of people without national identity. This was how the isolated soldiers came to form their villages in this mountainous region.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - From a distance: Lili Dujourie's American Imperialism and
           Substantia
    • Abstract: Germann, Martin
      When Lili Dujourie (born 1941) began her artistic trajectory in the middle of the 1960s, she was on her own. This refers not only to her studies of painting and sculpture at the Royal Academy of Fine Arts in Brussels (she did not want to decide on just one academic discipline) at a time when there were few female Belgian artists. This also fits with the fact that a strongly feminist movement failed to appear in Belgium as opposed to neighbouring France, Germany and the Netherlands. But Dujourie shows little interest in being defined in this context, since an overly categorical focus might lead away from the complex richness of her work, in concealing its multilayered, often productively ambiguous connections with gestures and figures from art, literature and their histories.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Semiconductor: Surveying the technological sublime
    • Abstract: Jarman, Ruth; Gerhardt, Joe
      'In nature everything happens all at once.' During our many encounters with scientists, they have often said this to us, yet humankind only has the ability to model parts of nature. Science offers a universal language for exploring the world but a limited viewpoint of nature that also differs from our direct experiences of it. This conflict isn't opposed to the balance of nature and how it orders itself; through its difference we are able to explore who we are as humans. In our artworks we are interested in exploring this dichotomy, between the material nature of the physical world and how we experience and engage with it through the lens of science and technology.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Revelations and revolutions
    • Abstract: Perkins, Hetti; Kataoka, Mami
      The presentation of Aboriginal and Torres Strait Islander art at the Biennale of Sydney started in 1979, featuring artists from Central Arnhem Land, including David Malangi. According to the artistic director Nick Waterlow, this was 'the first time [Indigenous artists] had been shown in an international contemporary art context'.1 In 1982, Bill Wright introduced the extraordinary Warlpiri earth painting to the central void of the Art Gallery of New South Wales, and 1988, of course, saw the installation of The Aboriginal Memorial by the Ramingining artist community.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Singapore art week: Facilitating creativity
    • Abstract: Jean, Anne-Marie
      A fascinating thread to be pulled from the plethora of art offerings at this year's Singapore Art Week in late January was the value of facilitated art practice: the presence of one or more contributors enriching an artist's creative vision by providing some combination of frameworks, skills, knowledge, experience, materials and/or momentum. As an idea put into action, this was immediately apparent on a tour of the Singapore Tyler Print Institute, which was established in 2002 to foster innovation in the work of established artists through print and papermaking. And as a collaborative aspect of contemporary art practice, facilitation could be witnessed in shows such as Superhero Me's 'Is Anyone Home'' at the National Museum of Singapore and Dawn Ng's 'Perfect Stranger' at Chan + Hori Contemporary.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 305 - Anthony Mannix: Capturing the definitive nerve
    • Abstract: Jenkins, Gareth
      When asked about his recent visit from James Brett, founder and spiritual leader of the Museum of Everything, Anthony Mannix smiles and affectionately calls him an 'efficient hunting beast'. I think he said 'humming bee' - but, no, 'hunting beast'. This is quite a compliment and brings Brett into the fold so to speak, Mannix having entertained all manner of beasts and presences in his life - images, artist books, sculptures and writings produced over a prolific 35 years of artmaking. With Mannix's recent inclusion in the Museum of Everything, his resultant showing at Hobart's Museum of Old and New Art (MONA), and the first book-length publication of his collected writings to be released this year, Mannix has achieved the kind of legacy which ensures, as he puts it, his work 'won't end up in the skip bin'.

      PubDate: Mon, 12 Mar 2018 22:24:32 GMT
       
  • Issue 304 - Inhabiting complex currents and contexts: Mami Kataoka in
           conversation with Julie Ewington
    • Abstract: Kataoka, Mami; Ewington, Julie
      This conversation with Mami Kataoka began in April 2017 via Skype, after my visit to Tokyo's Mori Art Museum to review the longtime Chief Curator's 'N. S. Harsha: Charming Journey' exhibition. During this time her vision for the 21st Biennale of Sydney (opening March 2018) began to take shape, giving form to her fascination with dialogues between Asian and Pacific artists, and her curatorial philosophy for 'a multiplicity of perspectives'.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Dispatches
    • Abstract: Stephens, Andrew
      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Welcome to issue 304
    • Abstract: Fitzgerald, Michael
      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - A crucial shift: 'Fred Williams in the You Yangs'
    • Abstract: Heathcote, Christopher
      Fred Williams didn't drive. So he went sketching and painting with others. He would sit in the front passenger's seat, intently looking at the passing scene, sometimes suggesting to the driver they should stop the car here and begin work.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Creating shape within shape: 'Emu Island' at Penrith regional
           gallery
    • Abstract: France, Christine
      The recent exhibition 'Emu Island: Modernism in Place' served, first of all, to remind us of the extreme generosity of Gerald and Margo Lewers's two daughters, Darani and Tanya, who, following their mother's death in 1978, gifted their family property and over 200 artworks to the people of Penrith. With this gift came their knowledge of their parents, the providence of artworks and personal memories.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Resonating strong: 'Sung into being' at QAGOMA
    • Abstract: Grishin, Sasha
      The Janet Holmes a Court Collection in Perth consists of about 4000 artworks and was assembled by Janet and Robert Holmes a Court mainly from the 1960s to 1990. When Robert died unexpectedly in 1990, Janet, who became the sole owner of the Holmes a Court Gallery and collection, continued to acquire works with a regional and particularly Western Australian focus, and with the principal emphasis being on Indigenous art.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Sociopolitical whirls: 'After Utopia' at Samstag
    • Abstract: Nicholls, Christine
      The major focus of this year's annual OzAsia Festival was on Singapore's arts and culture. OzAsia's 2017 capstone visual arts event 'After Utopia: Revisiting the Ideal in Asian Contemporary Art' was a redacted version of the original 2015 Singapore Art Museum (SAM) exhibition of the same name, along with some recently commissioned works. Presented at Adelaide's Anne and Gordon Samstag Museum of Art and curated by SAM's Tan Siuli and Louis Ho, 'After Utopia' comprised artworks spanning diverse media by artists born in Cambodia, Indonesia, Malaysia, the Philippines, Singapore, Thailand, Vietnam and beyond.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - 'It's not that I'm afraid to die ...'
    • Abstract: Messham, Kit
      'I don't want to be there when it happens' shares its title with one of the exhibition's central works by Adeela Suleman, which in turn borrows a line from Woody Allen's 1975 play Death: A Comedy in One Act. The character of Kleinman, a deathobsessed neurotic clearly modelled after Allen himself, suffers a violent death at the hands of an assassin, and as he slips into the abyss is asked if he is afraid of what's coming. He responds: 'It's not that I'm afraid to die, I just don't want to be there when it happens.' It might seem a tenuous link to this exhibition (first seen at Sydney's 4A Centre for Contemporary Asian Art in August, and now in expanded form at the Perth Institute of Contemporary Arts), but the title's origin is pertinent. Throughout Allen's plays and movies, death is an interloper, the subject of neuroses, distanced by humour - repressed, barely, through symbolic means.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Urgency rezoned: 'Canton express' at M+ pavilion
    • Abstract: Tai, Mikala
      Since the birth of Chinese contemporary art in the late 1970s, the industry has been plagued with comparisons with the international art world's more western tendencies. In a growing response, Chinese cultural theorists, curators and art historians have been working to consider local practice without the need for such binary comparisons. A curatorial methodology which has emerged as a result of this consideration is that of revisiting and repetition. Through this gesture, exhibition making is representing historical work as a means to construct deviations from linear understandings of the development of Chinese contemporary art and to expand notions of reference.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Benjamin Duterrau: A grand contradiction
    • Abstract: Lehman, Greg
      Articulating an understanding of, or interpreting a picture can be 'an untidy and lively affair',1 especially if, in doing so, we also seek to explain the past. The treatment to date by several Australian historians of the little known, but highly significant painting The Conciliation illustrates historian Michael Baxandall's point well. Produced in the British colony of Van Diemen's Land by the minor artist Benjamin Duterrau following his arrival in 1832, the picture is today recognised by the Museum of Australian Democracy as the country's first historical epic painting, and one of the nation's founding documents. Such recognition might be expected to indicate that a detailed art historical analysis has been made of the picture; not simply to confirm its 'first' status, but also to explicate its meaning and significance as a key statement in the foundational narrative of the Australian nation. Yet, while there has been some energetic discussion of the painting's significance and interpretation, with few exceptions, the investigation of its content and influences has been less rigorous.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Remaking culture in 'Project Banaba': Katerina Teaiwa in
           conversation with Michael Fitzgerald
    • Abstract: Fitzgerald, Michael; Teaiwa, Katerina
      Spring had sprung in Canberra when we first met up to discuss 'Project Banaba'. We were on Katerina Teaiwa's 'other' home turf as Associate Professor of Pacific Studies at the Australian National University. The project's curator, internationally acclaimed artist Yuki Kihara, was also at hand - soon to fly back to Auckland, and eventually Apia, where she is based, and Oceania was definitely on our minds. But one coral island in particular: Banaba, formerly known as Ocean Island, which is 300 kilometres east of Nauru in the Republic of Kiribati in the central Pacific Ocean. The following conversation took place over email on the eve of the project's unveiling at Sydney's Carriageworks in November 2017.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Crossing boundaries and calling home: Tintin Wulia in
           conversation with Tess Maunder
    • Abstract: Maunder, Tess; Wulia, Tintin
      Brisbane-based Tintin Wulia's practice engages with her personal history, growing up as a Chinese-Indonesian in Denpasar, Bali. She is interested in what it means to live a transnational life, often questioning ideas surrounding privilege, class and race. Her work is typically in installation form, and physically employs items such as passports, maps and data. Through these forms as a starting point, she uses fiction to bring to the fore political and ethical questions. In this conversation, we speak about her experiences at the 57th Venice Biennale where she represented Indonesia with her exhibition '1001 Martian Homes', and we discuss more widely some of the connections between Brisbane and Asia.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Watch the inside of the heart of the other: Notes on Pipilotti
           Ris
    • Abstract: Bullock, Natasha
      We begin Pipilotti Rist's exhibition 'on the road', with a video of a woman (Rist) in the back of a car, speaking about what she sees, her dreams and ideas. In a monologue to the self the artist proposes philosophies on life and love. The talk is smooth but skips from a discussion of childhood and descriptions of trees seen outside the car window to the meaning of existence and relationships. In its form and content, Kleines Vorstadthirn (Small Suburb Brain) (2001) echoes many of the key ideas that sustain Rist's artmaking. This early philosophical manifesto is an ode to the heart and the intellect, to the big emotions that sustain us and to the beauty of the world and the universe around us. As Rist says in the work:

      To redirect poetry back to metaphysics, physics, ethics ... return theology back to physics - even logic - technology, epistemology, and even psychology. Yes, even psychology belongs to physics. I mean psychology is also physics. Ethics is politics.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - From 'Asia corridor' to 'Sunshower': Illuminating North and
           Southeast Asian art in Japan
    • Abstract: Annear, Judy
      Nijo Castle, the 400-year-old UNESCO World Heritage site in Kyoto, was the backdrop for 14 of the 25 installations as part of 'Asia Corridor' (an annual exchange since 2014 where cities in Japan, China and South Korea are selected as culture centres of East Asia). The beautiful gardens and formidable ramparts of the castle worked harmoniously with most of the contemporary artworks placed in the grounds or inside the Daidokoro kitchen building (for example, Kimsooja, Xijing Men) as well as the Southeast Watchtower (Hisakado Tsuyoshi). While many works were contemplative, others interacted ironically and successfully with the weight of history (He Xiangyu, Cai Guo- Qiang, Choi Jeonghwa), and others demonstrated an honouring and reinterpretation of labour and aesthetics (Mishima Ritsue, Hanaoka Nobuhiro). Some worked collaboratively, not only in 'Asia Corridor' whose Artistic Director was Tatehata Akira, but also in various works in 'Sunshower', the vast overlapping exhibition in Tokyo, and in this year's Yokohama Triennale.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Anthony David Woods 1940 - 2017
    • Abstract: Palmer, Sheridan
      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
  • Issue 304 - Both sides of the picture: Writing Whiteley on trial [Book
           Review]
    • Abstract: Coslovich, Gabriella
      Review(s) of: Whiteley on trial, by Gabriella Coslovich, Melbourne University Press, 2017, 342 pages, AU$32.99.

      PubDate: Sat, 25 Nov 2017 20:29:51 GMT
       
 
 
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