Issue 237 March 2011

1 EDITORIAL

1 EDITORIAL

2 Slow, wide and dangerous – The River Project, Campbelltown Arts Centre FIONA DAVIES Ringo Bunoan, Bridge, 2008, installation view, The River Project, Campbelltown Arts Centre, Sydney.

2 Slow, wide and dangerous – The River Project, Campbelltown Arts Centre FIONA DAVIES

Ringo Bunoan, Bridge, 2008, installation view, The River Project, Campbelltown Arts Centre, Sydney.

3 Art: the academic misfit GEORGIANA ARCHER   Joe Frost’s article, ‘Joe Frost: Five Observations’, summarising his experience of teaching art in the university sector struck a chord with me. His points regarding the role of the teacher, the relationship between teacher and student, the difficulties faced as artists in a university environment, and the lack of philosophy in art schools have fuelled my following response. Art schools are losing, or have lost, their individuality. The homogenisation process is largely imposed by the structures of the universities that they are housed in. VCAM (formerly VCA, Victorian College of the Arts) has only just managed to escape having the Melbourne Model (Melbourne University’s 2008 curricula changes) imposed on their programs. However, they are now in a position where they are offering one degree with eight disciplines falling within its scope. As of 2009 they also lost their independent identity; they are now a school within The University of Melbourne. The RMIT School of Art is about to face what seems to be radical changes to their curriculum which will likely reduce the close mentoring of students by staff members which has been a vital ingredient in art education to date.  See full article in print edition.

3 Art: the academic misfit GEORGIANA ARCHER

 

Joe Frost’s article, ‘Joe Frost: Five Observations’, summarising his experience of teaching art in the university
sector struck a chord with me. His points regarding the role of the teacher, the relationship between teacher and
student, the difficulties faced as artists in a university environment, and the lack of philosophy in art schools have fuelled my following response.

Art schools are losing, or have lost, their individuality. The homogenisation process is largely imposed by the
structures of the universities that they are housed in. VCAM (formerly VCA, Victorian College of the Arts) has only just managed to escape having the Melbourne Model (Melbourne University’s 2008 curricula changes) imposed on their programs. However, they are now in a position where they are offering one degree with eight disciplines falling within its scope. As of 2009 they also lost their independent identity; they are now a school within The University of Melbourne. The RMIT School of Art is about to face what seems to be radical changes to their curriculum which will likely reduce the close mentoring of students by staff members which has been a vital ingredient in art education to date. 

See full article in print edition.

4 Resistance to change DONALD BROOK McLean Edwards, Art Student # 1, 2010, oil on canvas, 122 x 122cm. From the exhibition McLean Edwards: Bad Habits. Image courtesy the artist and Martin Browne Fine Art, Sydney.

4 Resistance to change DONALD BROOK

McLean Edwards, Art Student # 1, 2010, oil on canvas, 122 x 122cm.

From the exhibition McLean Edwards: Bad Habits.
Image courtesy the artist and Martin Browne Fine Art, Sydney.

5 Natural Digression: to see what we don’t yet know we’re seeing KIRSTEN RANN   Rose Montebello, Night watch, 2010, paper, mountboard,, 41cm diameter. From the UTS Gallery exhibition Natural Digression. Image courtesy the artist.

5 Natural Digression: to see what we don’t yet know we’re seeing KIRSTEN RANN

 

Rose Montebello, Night watch, 2010, paper, mountboard,, 41cm diameter. From the UTS Gallery exhibition Natural Digression. Image courtesy the artist.

6 Susan Sontag’s Legacy to the Visual Arts JOHN CONOMOS   Peter Hujar, Susan Sontag, 1975, vintage gelatin silver print, 10 x 8 inches. Collection: The National Portrait Gallery, Washington. © 1987 The Peter Hujar Archive LLC

6 Susan Sontag’s Legacy to the Visual Arts JOHN CONOMOS

 

Peter Hujar, Susan Sontag, 1975, vintage gelatin silver print, 10 x 8 inches.

Collection: The National Portrait Gallery, Washington.

© 1987 The Peter Hujar Archive LLC

7 Annie Leibovitz: A Photographer’s Life 1990 – 2005 ANDREW QUILTY Patti Smith with her Children, Jackson and Jesse, St. Clair Sho res, Michigan, 1996. All photographs © Annie Leibovitz; from Annie Leibovitz: A Photographer’s Life, 1990 – 2005.

7 Annie Leibovitz: A Photographer’s Life 1990 – 2005 ANDREW QUILTY

Patti Smith with her Children, Jackson and Jesse, St. Clair Sho res, Michigan, 1996. All photographs © Annie Leibovitz; from Annie Leibovitz: A Photographer’s Life, 1990 – 2005.

8 Head – Into the Black: McLean Edwards ANDREW FROST Disco Boat, 2010, oil on canvas, 153 x 153cm. All images of work by McLean Edwards, courtesy the artist and Martin Brown Fine Art, Sydney.

8 Head – Into the Black: McLean Edwards ANDREW FROST

Disco Boat, 2010, oil on canvas, 153 x 153cm. All images of work by McLean Edwards,
courtesy the artist and Martin Brown Fine Art, Sydney.

9 Bardayal ‘Lofty’ Nadjamerrek AO JEREMY ECCLES   Ngalyod The Rainbow Serpent, 1980, natural pigments on bark. Collection: Museum and Art Gallery Northern Territory. Image courtesy the Museum and Art Gallery of the Northern Territory, Darwin. IMAGES OF WORK BY BARDAYAL LOFTY NADJAMERREK AO, © THE NADJAMERREK ESTATE

9 Bardayal ‘Lofty’ Nadjamerrek AO JEREMY ECCLES

 

Ngalyod The Rainbow Serpent, 1980, natural pigments on bark.

Collection: Museum and Art Gallery Northern Territory.

Image courtesy the Museum and Art Gallery of the Northern Territory, Darwin.

IMAGES OF WORK BY BARDAYAL LOFTY NADJAMERREK AO, © THE NADJAMERREK ESTATE

10 Telling Secret Tales: The World of Linocut Artist Angela Cavalieri SALLIE MUIRDEN Tell tales, 2010, hand-printed linocut and oil paint on canvas, 121 x 372 cm. Photograph by Tim Gresham.

10 Telling Secret Tales: The World of Linocut Artist Angela Cavalieri SALLIE MUIRDEN

Tell tales, 2010, hand-printed linocut and oil paint on canvas, 121 x 372 cm.
Photograph by Tim Gresham.

11 roundabout° at the City Gallery Wellington BILLIE LYTHBERG Lonnie Hutchinson, Monumental Black Comb Form, 2009, stainless steel and two-pot paint, 98 x 134cm. Images courtesy the artists and roundabout˚.

11 roundabout° at the City Gallery Wellington BILLIE LYTHBERG

Lonnie Hutchinson, Monumental Black Comb Form, 2009, stainless steel and two-pot paint, 98 x 134cm. Images courtesy the artists and roundabout˚.

12 John Kelly – Probe LAURA GASCOIGNE   Halo, 2007, mixed media, installation view, Agnew’s Gallery, London. Photographs by Todd White & Associates.

12 John Kelly – Probe LAURA GASCOIGNE

 

Halo, 2007, mixed media, installation view, Agnew’s Gallery, London. Photographs by Todd White & Associates.

13 Sam Leach’s Platonia PAVEL S. PYS Walrus Configuration 1, 2010, oil and resin on linen on wood, 26 x 36cm. Images courtesy the artist Sam Leach, Sullivan + Strumpf Fine Art, Sydney, and COMODAA, London.

13 Sam Leach’s Platonia PAVEL S. PYS

Walrus Configuration 1, 2010, oil and resin on linen on wood, 26 x 36cm. Images courtesy the artist Sam Leach, Sullivan + Strumpf Fine Art, Sydney, and COMODAA, London.

14 Tom Moore’s glass-roots vision DENNIS COLEMAN Issue 237, March, 2011    Shelf, 2008, blown glass, wooden shelves, steel fittings, below right glass object 50 x 35 x 25cm; installation view, Moore is More, 2009, Jam Factory Contemporary Craft & Design, Adelaide, and Ray Hughes Gallery, Sydney. Images courtesy the artist, Tom Moore, Ray Hughes Gallery, Sydney, and Helen Gory Galerie, Melbourne. Photographs by Grant Hancock.

14 Tom Moore’s glass-roots vision DENNIS COLEMAN
Issue 237, March, 2011 

 

Shelf, 2008, blown glass, wooden shelves, steel fittings, below right glass object 50 x 35
x 25cm; installation view, Moore is More, 2009, Jam Factory Contemporary Craft & Design,
Adelaide, and Ray Hughes Gallery, Sydney.

Images courtesy the artist, Tom Moore, Ray Hughes Gallery, Sydney, and Helen Gory Galerie, Melbourne. Photographs by Grant Hancock.

15 In search of the Gellibrands DANIELLE WOOD Artist unknown (possibly Augustus Earle), Four Children of Joseph Tice Gellibrand, c.1828, oil on canvas, 63.5 x 75.3cm. Collection: Tasmanian Museum and Art Gallery, Hobart. Presented by John Gellibrand under the Cultural Gifts Program, 2004.

15 In search of the Gellibrands DANIELLE WOOD

Artist unknown (possibly Augustus Earle), Four Children of Joseph Tice Gellibrand, c.1828,
oil on canvas, 63.5 x 75.3cm. Collection: Tasmanian Museum and Art Gallery, Hobart. Presented by
John Gellibrand under the Cultural Gifts Program, 2004.

16 Letters to the editor 1. Accessible Dobell from Elizabeth Donaldson 2. Impressions of ‘Impressions of Japan’ from Dr Anne Kirker

16 Letters to the editor

1. Accessible Dobell from Elizabeth Donaldson

2. Impressions of ‘Impressions of Japan’ from Dr Anne Kirker

17 A Tale of Two Biennales: Gwangju and Busan EN YOUNG AHN An unidentified Prisoner, S-21 Prison, Phnom Penh, Cambodia, from Tuol Sleng Prison Photographs, 1975-1979. © Doug Niven and Tuol Sleng Museum of Genocide, Cambodia. Image courtesy Doug Niven.

17 A Tale of Two Biennales: Gwangju and Busan EN YOUNG AHN

An unidentified Prisoner, S-21 Prison, Phnom Penh, Cambodia, from Tuol Sleng Prison Photographs, 1975-1979. © Doug Niven and Tuol Sleng Museum of Genocide, Cambodia. Image courtesy Doug Niven.