Issue 240 June 2011

1 The Lingering Effects of Vietnam: Veterans’ art from Dog Tags to Nam Bang! (1992 – 2009) KATHLEEN JAMES Terry Eichler, Meditation on 2,063,500 Deaths, 2009 inkjet print, collage, pencil on Vietnamese note paper, 86 x 96 cm.

1 The Lingering Effects of Vietnam: Veterans’ art from Dog Tags to Nam Bang! (1992 – 2009) KATHLEEN JAMES

Terry Eichler, Meditation on 2,063,500 Deaths, 2009

inkjet print, collage, pencil on Vietnamese note paper, 86 x 96 cm.

2 Nudity, obscenity, pornography and bloodletting*: the impact of Mildura Sculpture Triennials on Australian contemporary art TOM McCULLOUGH 043- 1962 David Morrissey (pictured), Domestic Habitation, installation at the 5th Mildura Triennial ‘Sculpturescape’ in 1973.

2 Nudity, obscenity, pornography and bloodletting*: the impact of Mildura Sculpture Triennials on Australian contemporary art TOM McCULLOUGH

043- 1962 David Morrissey (pictured), Domestic Habitation, installation at the 5th Mildura Triennial ‘Sculpturescape’ in 1973.

3 (Re)fresh: AGSA under Nick Mitzevich MARGOT OSBORNE Patricia Piccinini, Once upon a time … , installation view (detail), Art Gallery of SA, 2011. Photograph by Saul Steed.

3 (Re)fresh: AGSA under Nick Mitzevich MARGOT OSBORNE

Patricia Piccinini, Once upon a time … , installation view (detail), Art Gallery of SA, 2011. Photograph by Saul Steed.

4 Photography and Place Australian landscape photography: 1970s until now ADAM GECZY Rosemary Laing, After Heysen, 2004, C-type photograph, 110 x 252cm. Collection: The Australian Club, Melbourne. Image courtesy the artist and Tolarno Galleries, Melbourne.  © Rosemary Laing.

4 Photography and Place Australian landscape photography: 1970s until now ADAM GECZY

Rosemary Laing, After Heysen, 2004, C-type photograph, 110 x 252cm. Collection: The Australian Club, Melbourne. Image courtesy the artist and Tolarno Galleries, Melbourne. 
© Rosemary Laing.

5 Yangtze Tears from Beiirrinba Blood TESS ALLAS Mapping Beiirrinba, acrylic on canvas, 2004, 120 x 160cm. All images are of work by Frances Belle Parker; image courtesy the artist.

5 Yangtze Tears from Beiirrinba Blood TESS ALLAS

Mapping Beiirrinba, acrylic on canvas, 2004, 120 x 160cm.

All images are of work by Frances Belle Parker; image courtesy the artist.

6 Passionately Independent: Alison Anderson Nampitjinpa in Sydney JEREMY ECCLES Untitled, 2011, acrylic on linen, 152 x 183cm.  Image courtesy the artist and Trevor Victory Harvey Gallery, Sydney.

6 Passionately Independent: Alison Anderson Nampitjinpa in Sydney JEREMY ECCLES

Untitled, 2011, acrylic on linen, 152 x 183cm. 

Image courtesy the artist and Trevor Victory Harvey Gallery, Sydney.

7 Nolan’s Existentialist Camera CHRISTOPHER HEATHCOTE   Untitled (Cow and calf carcass covered in dirt 1) All images from 1952, archival inkjet prints, 23 x 23cm; all of work by Sidney Nolan. Image courtesy The Sidney Nolan Trust.

7 Nolan’s Existentialist Camera CHRISTOPHER HEATHCOTE

 

Untitled (Cow and calf carcass covered in dirt 1)
All images from 1952, archival inkjet prints, 23 x 23cm; all of work by Sidney Nolan.
Image courtesy The Sidney Nolan Trust.

8 Now becoming then: Re-photography and John Elliott’s The Last Show and Re-shoot DOUG SPOWART   Laughing clowns, 1985 / 2010, pigment ink printed on PVC based material, 164.5 x 125cm. All images of work by John Elliott; courtesy the artist.

8 Now becoming then: Re-photography and John Elliott’s The Last Show and Re-shoot DOUG SPOWART

 

Laughing clowns, 1985 / 2010, pigment ink printed on PVC based material, 164.5 x 125cm.

All images of work by John Elliott; courtesy the artist.

9 Calvin Klein: art and global branding MITCHELL OAKLEY SMITH Calvin Klein Collection launch, Cockatoo Island, Sydney, featuring light installations by Sydney artist Jonathan Jones. Image courtesy Calvin Klein Inc.

9 Calvin Klein: art and global branding MITCHELL OAKLEY SMITH

Calvin Klein Collection launch, Cockatoo Island, Sydney, featuring light installations by Sydney artist Jonathan Jones. Image courtesy Calvin Klein Inc.

10 obituary: Sandy Kirby TRAUDI ALLEN   1948 – 2011 Sandy Kirby directed her efforts less towards aggressive condemnation of prejudice, the intricacies of a jargonised theoretical debate, or her own status in the art system than with securing equal opportunity for women and others denied a voice. She was ever vigilant and serious about matters of inequality, but just as committed to achieving change with a light-hearted good humour. Over the last five years she dealt with the trials of failing health in a style reminiscent of Australia’s original pioneer women. Where there might have been self-pity there was stoicism; where there might have been surrender there was the adoption of new activities such as the acceptance of a role on a publication grants committee for the City of Melbourne, and in her personal life taking up the new challenges and joys of drawing and piano classes. She engaged herself fully regardless of infirmity, still extending the sightlines in her last difficult days as a cancer patient in a hospice when she cooperated with filmmakers as their subject promoting palliative care to the Third World. She extended a gentle, unselfish geniality to those she cared for to the last. She is survived by her husband, David, and son, Alexander Turnbull. (Extract)

10 obituary: Sandy Kirby TRAUDI ALLEN

 

1948 – 2011
Sandy Kirby directed her efforts less towards aggressive condemnation of prejudice, the intricacies of a jargonised theoretical debate, or her own status in the art system than with securing equal opportunity for women and others
denied a voice. She was ever vigilant and serious about matters of inequality, but just as committed to achieving change with a light-hearted good humour. Over the last five years she dealt with the trials of failing health in a style reminiscent of
Australia’s original pioneer women. Where there might have been self-pity there was stoicism; where there might have been surrender there was the adoption of new activities such as the acceptance of a role on a publication grants committee for the City of Melbourne, and in her personal life taking up the new challenges and joys of drawing and piano classes. She engaged herself fully regardless of infirmity, still extending the sightlines in her last difficult days as a cancer patient in a hospice when she cooperated with filmmakers as their subject promoting palliative care to the Third World. She extended a gentle, unselfish geniality to those she cared for to the last. She is survived by her husband, David, and son, Alexander Turnbull. (Extract)

11 obituary: Aadje Bruce VIVONNE THWAITES   1934 – 2011 Aadje was a delight to work with, kind and considerate. Her works were never reduced back, she held to her convictions. For the exhibition Littoral in Hobart in 2010 we showed her sea of collected plastics. This work jolted audiences with its uncompromising stance regarding rubbish, plastics in our oceans that will not be absorbed into our environment. She gave us stark reminders of the reality of the effects of pollution in our oceans. She produced a truly abstract work,knitted with random colours and materials, for the Textile Biennial. This work was acquired by the gallery at Tamworth for their collection.  Aadje was a great artist. Using humble materials she spoke to vast audiences, challenging them again and again to rethink the way they viewed the world. (Extract)  

11 obituary: Aadje Bruce VIVONNE THWAITES

 

1934 – 2011

Aadje was a delight to work with, kind and considerate. Her works were never reduced back, she held to her convictions. For the exhibition Littoral in Hobart in 2010 we showed her sea of collected plastics. This work jolted audiences with
its uncompromising stance regarding rubbish, plastics in our oceans that will not be absorbed into our environment. She gave us stark reminders of the reality of the effects of pollution in our oceans. She produced a truly abstract work,knitted with random colours and materials, for the Textile Biennial. This work was acquired by the gallery at Tamworth for their collection. 

Aadje was a great artist. Using humble materials she spoke to vast audiences, challenging them again and again to rethink the way they viewed the world. (Extract)

 

12 obituary: John Barbour DOMENICO de CLARIO      1954 – 2011 Through his long and highly productive residence in Adelaide John Barbour was both a great supporter of the AEAF and a significant contributor to the Foundation’s clarity of purpose and its leadership in Australian curatorial practice. John was an AEAF Council member from 1996 until 1998 and was AEAF Council Chair from 1997 until 1998. He was for a number of years an AEAF studio artist and he first exhibited at the Foundation in 1995 (Stills from a Liquid Plain). He subsequently exhibited in 2002 (Joy); in 2003 (Human Need); and in November last year he installed what was to be his last exhibition, Work For Now. (Extract)

12 obituary: John Barbour DOMENICO de CLARIO 

 

 

1954 – 2011

Through his long and highly productive residence in Adelaide John Barbour was both a great supporter of the AEAF and a significant contributor to the Foundation’s clarity of purpose and its leadership in Australian curatorial practice. John was an AEAF Council member from 1996 until 1998 and was AEAF Council Chair from 1997 until 1998. He was for a number of years an AEAF studio artist and he first exhibited at the Foundation in 1995 (Stills from a Liquid Plain). He subsequently exhibited in 2002 (Joy); in 2003 (Human Need); and in November last year he installed what was to be his last exhibition, Work For Now. (Extract)

13 Into the deep end: Jasper Knight at the Victorian Opera MAURICE O’RIORDAN & JASPER KNIGHT Jasper Knight, Richard Gill, 2005,  enamel paint and mixed media on board.

13 Into the deep end: Jasper Knight at the Victorian Opera MAURICE O’RIORDAN & JASPER KNIGHT

Jasper Knight, Richard Gill, 2005, 

enamel paint and mixed media on board.

14 Probing art’s furry edges: Simone Kennedy’s We are all Children of the Stars SERA WATERS Elements of Simone Kennedy’s We are all Children of the Starsinstallation in the foyer of Artlab, Adelaide, 2010-11, including an example from her series of ink drawings and part of her spider-filled Perspex corner/screen.

14 Probing art’s furry edges: Simone Kennedy’s We are all Children of the Stars SERA WATERS

Elements of Simone Kennedy’s We are all Children of the Starsinstallation in the foyer of Artlab, Adelaide, 2010-11, including an example from her series of ink drawings and part of her spider-filled Perspex corner/screen.

15 4000-year-old bubbles popping: Postcards from The Arctic Circle artist residency URSZULA DAWKINS   The Arctic Circle 2010, participants at work, Erikbreen glacier, Liefdefjorden, Svalbard. Image courtesy Laurie Palmer.

15 4000-year-old bubbles popping: Postcards from The Arctic Circle artist residency URSZULA DAWKINS

 

The Arctic Circle 2010, participants at work, Erikbreen glacier, Liefdefjorden, Svalbard. Image courtesy Laurie Palmer.

16 em file: Kirsty Hulm BEAU McCAFFERTY Mark Hearts Keran, 2010, sculpture, documentation of action (performance), self-portrait, drawing and auction, as facilitated by eBay.com.au, tattoo, skin, interaction.  Images of work by Kirsty Hulm; images courtesy the artist.

16 em file: Kirsty Hulm BEAU McCAFFERTY

Mark Hearts Keran, 2010, sculpture, documentation of action (performance), self-portrait, drawing and auction, as facilitated by eBay.com.au, tattoo, skin, interaction. 
Images of work by Kirsty Hulm; images courtesy the artist.

17 books: LOOK: contemporary Australian Photography since 1980 Anne Marsh, ASHLEY CRAWFORD   Macmillan Art Publishing, South Yarra, Melbourne, 2010, 400p, rrp$130 ISBN 9781921394102

17 books: LOOK: contemporary Australian Photography since 1980 Anne Marsh, ASHLEY CRAWFORD

 

Macmillan Art Publishing,
South Yarra, Melbourne, 2010,
400p, rrp$130
ISBN 9781921394102

18 books: Good Living Street: The Fortunes of My Viennese Family Tim Bonyhady, JON ALTMAN Allen and Unwin, Sydney, 456p, rrp$35 ISBN: 9781742371467    

18 books: Good Living Street: The Fortunes of My Viennese Family Tim Bonyhady, JON ALTMAN

Allen and Unwin,
Sydney, 456p, rrp$35
ISBN: 9781742371467