Issue 221 July 2009

1 More than air: the 10th Havana Biennial VIRGINIA FRASER carabello-forman, All that is Air, 2008, stills from video. Image courtesy the artists.

1 More than air: the 10th Havana Biennial VIRGINIA FRASER

carabello-forman, All that is Air, 2008, stills from video. Image courtesy the artists.

2 The beauty of distance JOHN KELLY Shaun Gladwell, Interceptor Surf Sequence, 2009, production stills. Cinematography: Gotaro Uematsu. Courtesy the artist and Anna Schwartz Gallery. Photograph by Josh Raymond.

2 The beauty of distance JOHN KELLY

Shaun Gladwell, Interceptor Surf Sequence, 2009, production stills. Cinematography: Gotaro Uematsu. Courtesy the artist and Anna Schwartz Gallery. Photograph by Josh Raymond.

3 Last of the larrikins: Rob Brown & Adam Cullen ASHLEY CRAWFORD Rob Brown, My Mum and Dad went to Katherine and..., 2009, acrylic on board, 120x90cm. Courtesy the artist and Cross Cultural Art Exchange Gallery, Darwin.

3 Last of the larrikins: Rob Brown & Adam Cullen ASHLEY CRAWFORD

Rob Brown, My Mum and Dad went to Katherine and..., 2009, acrylic on board, 120x90cm. Courtesy the artist and Cross Cultural Art Exchange Gallery, Darwin.

4 Letter to the Editor     Artful dodger I’m very glad that Anne Kirker found some rewarding insights in my little book (The awful truth about what art is, Artlink, Adelaide, 2008, reviewed in AMA June #220). May I offer one minor clarification? My target is not The Institutional Theory of Art, considered as a theory about works of art. ‘Works of art’ is the name of a class of which the members are those objects to which the art institution (or ‘artworld’) has from time to time attached the label ‘work of art’, for any reason or for no reason. The Institutional Theory is right about this. The trouble is that, despite its name, The Institutional Theory of Art is not a theory about what art is. ‘Art’ is not the name of the class of objects to which the artworld has from time to time attached the label ’work of art’. The artworld speaks with no special authority about what art is. Showing that this is so calls for some careful argument in which the hectic thrill of the chase (as your reviewer astutely notices) can’t be maintained through every paragraph.   Donald Brook, 2009

4 Letter to the Editor

 

 

Artful dodger
I’m very glad that Anne Kirker found some rewarding insights in my little book (The awful truth about what art is, Artlink, Adelaide, 2008, reviewed in AMA June #220). May I offer one minor clarification?

My target is not The Institutional Theory of Art, considered as a theory about works of art. ‘Works of art’ is the name of a class of which the members are those objects to which the art institution (or ‘artworld’) has from time to time attached the label ‘work of art’, for any reason or for no reason. The Institutional Theory is right about this.

The trouble is that, despite its name, The Institutional Theory of Art is not a theory about what art is. ‘Art’ is not the name of the class of objects to which the artworld has from time to time attached the label ’work of art’.

The artworld speaks with no special authority about what art is. Showing that this is so calls for some careful argument in which the hectic thrill of the chase (as your reviewer astutely notices) can’t be maintained through every paragraph.  

Donald Brook, 2009

5 Luminescent Journeys: Aboriginal Batik from Central Australia ODETTE KELADA   Ada Bird Petyarr, Arnkerrth (Mountain devil lizard) and Ngangkar (Traditional healer), 1991, batik on silk, 181 x 93cm. Presented through the NGV Foundation by John McPhee, Fellow, 2005.

5 Luminescent Journeys: Aboriginal Batik from Central Australia ODETTE KELADA

 

Ada Bird Petyarr, Arnkerrth (Mountain devil lizard) and Ngangkar (Traditional healer), 1991, batik on silk, 181 x 93cm. Presented through the NGV Foundation by John McPhee, Fellow, 2005.

6 Obituary: Bruce Nabegeyo c. 1949-2009   Bruce Nabegeyo, Yingana Rainbow Serpent at Nimbuwah, 2004, ochres on arches paper. Image courtesy of Injalak Arts.

6 Obituary: Bruce Nabegeyo c. 1949-2009

 

Bruce Nabegeyo, Yingana Rainbow Serpent at Nimbuwah, 2004, ochres on arches paper. Image courtesy of Injalak Arts.

7 The art of the art advisor: Rodney Gooch and the invention of Aboriginal art at Utopia PHILIP BATTY Angelina Pwerle, Old Time Ancestor, 1990, screenprint, 51 x 42.cm. Gift of Rodney Gooch (The Rodney Gooch Personal Collection), Flinders University Art Museum.

7 The art of the art advisor: Rodney Gooch and the invention of Aboriginal art at Utopia PHILIP BATTY

Angelina Pwerle, Old Time Ancestor, 1990, screenprint, 51 x 42.cm. Gift of Rodney Gooch (The Rodney Gooch Personal Collection), Flinders University Art Museum.

8 Theme Park: A Rollercoaster Ride MARIANNE RIPHAGEN The Island V, 2008, from The Island series, mixed media on Belgian linen, 250 x 300 x 5cm;

8 Theme Park: A Rollercoaster Ride MARIANNE RIPHAGEN

The Island V, 2008, from The Island series, mixed media on Belgian linen, 250 x 300 x 5cm;

9 Possibilities lost: Pamela Lofts, Requiem for Another KIERAN FINNANE Mightbe somewhere, from the THRESHOLD series, 2007-09, C-type photograph on Ilfachrome paper mounted on aluminium, each diptych 80 x 240cm;

9 Possibilities lost: Pamela Lofts, Requiem for Another KIERAN FINNANE

Mightbe somewhere, from the THRESHOLD series, 2007-09, C-type photograph on Ilfachrome paper mounted on aluminium, each diptych 80 x 240cm;

10 Wrong Gear? The Basil Sellers Art Prize CHRISTOPHER HEATHCOTE Selina Ou, Madeleine Hogan, field athlete, 2008, F46, type C print, 100 x 100cm. © Courtesy the artist; Sophie Gannon Gallery, Melbourne; and GRANTPIRRIE, Sydney.

10 Wrong Gear? The Basil Sellers Art Prize CHRISTOPHER HEATHCOTE

Selina Ou, Madeleine Hogan, field athlete, 2008, F46, type C print, 100 x 100cm. © Courtesy the artist; Sophie Gannon Gallery, Melbourne; and GRANTPIRRIE, Sydney.

11 Paint: the language UNA REY Ildiko Kovacs, Bounce, 2008, oil on plywood 160 x 120cm. Image courtesy the artist.

11 Paint: the language UNA REY

Ildiko Kovacs, Bounce, 2008, oil on plywood 160 x 120cm. Image courtesy the artist.

12 David Thomas: Colour. Time. PATRICK HUTCHINGS Two photopaintings on orange/yellow wall; left to right: End of Summer: Homage à Tati; (small splash), 2009, enamel on photo on Dibond, 101 x 135cm; Movement of Grey ( London), 2008-9, acrylic on photograph on Dibond, 32 x42.5cm. Images courtesy the artist and Nellie Castan Gallery.

12 David Thomas: Colour. Time. PATRICK HUTCHINGS

Two photopaintings on orange/yellow wall; left to right: End of Summer: Homage à Tati; (small splash), 2009, enamel on photo on Dibond, 101 x 135cm; Movement of Grey ( London), 2008-9, acrylic on photograph on Dibond, 32 x42.5cm. Images courtesy the artist and Nellie Castan Gallery.

13 Light Years: Alexander Knox, Maxims of Behaviour KATE ADAMS Alexander Knox, Maxims of Behaviour, permanent seasonal winter installation launched in 2008, film, animation and lights on Royal Mail House Building, Melbourne CBD. Commissioned by the City of Melbourne. Image courtesy the artist and City of Melbourne. Photograph by Greg Sims.

13 Light Years: Alexander Knox, Maxims of Behaviour KATE ADAMS

Alexander Knox, Maxims of Behaviour, permanent seasonal winter installation launched in 2008, film, animation and lights on Royal Mail House Building, Melbourne CBD. Commissioned by the City of Melbourne. Image courtesy the artist and City of Melbourne. Photograph by Greg Sims.

14 Wade (Boris) Marynowsky: on the edge of the Uncanny Valley RYSZARD DABEK Wade Marynowsky, The Discreet Charm Of The Bourgeoisie Robot, installation detail, The Institute of Contemporary Art Newtown (I.C.A.N), 2008. Image courtesy the artist. Photogragh by Craig Bender.

14 Wade (Boris) Marynowsky: on the edge of the Uncanny Valley RYSZARD DABEK

Wade Marynowsky, The Discreet Charm Of The Bourgeoisie Robot, installation detail, The Institute of Contemporary Art Newtown (I.C.A.N), 2008. Image courtesy the artist. Photogragh by Craig Bender.