Artlink Magazine in Adelaide, South Australia | Visual arts

Artlink Magazine

Locality: Adelaide, South Australia

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25.01.2022 More from Ian Milliss on the value of social practices. As featured in our September issue, The Art of Compassion (40:3) edited by Alasdair Foster. Pictured here is the artist Mierle Laderman Ukeles in a collaboration with the New York Sanitation Department, from 1979. #TouchSanitation #TheArtof Compassion.

25.01.2022 On what ancient or future world was this species bred to survive? Insightful writing by Liv Spiers a freelance writer and Co-Director of FELTspace on JamFactory ICON Angela Valamanesh. Angela Valamanesh: About Being Here, curated by Margaret Hancock Davis, is touring nationally 2019-22 supported by the Australia Council for the Arts, Contemporary Touring Initiative. The inaugural exhibition was a featured exhibition in the 2019 SALA Festival. The exhibition concludes at The Riddoch Arts & Cultural Centre 26 January and lands at ANU School of Art & Design 10 feb-12 March.

23.01.2022 Responding to the challenge of the #museumfromhome. Our tribute to the most affecting and connecting digital art for these unprecedented times, reviewed by Julianne Pierce. #TogetherinArt #RecessPresents #Rhizome #BedtimeStories #remakemistresses #SALAFestival #MonsterTheatres

23.01.2022 The Museum of Contemporary Art Australia has reopened with #NIRIN2020, the Biennale of Sydney, where you can see an installation of new paintings by Nogirra Marawili (pictured), also featured in our current issue with this thoughtful reflection on the language of art most appropriate for now.

22.01.2022 More bold moves led by Mori and Pacifika cultural practitioners in New York. Dan Taulapapa McMullin and Rosanna Raymond with Maia Nuku at The Metropolitan Museum of Art, New York. From INDIGENOUS Trans-Cultural (37:2).

22.01.2022 If there was an Indigenous Diaspora, then I would belong to it. Having grown up south of the lands of my mother and father in New South Wales, I came to know another peoples land as home. Stories of a place far away, a place so familiar because I had spent part of my childhood there, stirred memories, sometimes dreams. A thoughtful essay on writing from a place of exile by Romaine Moreton, from Diaspora (31:1). #RomaineMoreton #SovereignStoryteller #IndigenousDiaspora

21.01.2022 Another legacy review in this Post-Covid world of a life of exhibitions shortened. Sean Kelly writes on Older Than Language, curated for the Salamanca Arts Centre by Nina Miall. #OlderThanLanguage #diasporaculture

19.01.2022 Celebrating Australian Indigenous ingredients on #WorldFoodDay. Recipes from the Indigenous food project by James Tylor from Food Bowl (39:4).

19.01.2022 Freja Carmichael on basketry and other sculptural forms that wake up time, a family legacy and practice-led revival into Indigenous womens fibre arts on Country. From our latest issue, Kin Constellations: Languages, waters, futures (40:2). #IndigenousBasketry #Weaving #AncestralMemory

19.01.2022 Geraldton Regional Art Gallery has re-opened with a bang, with two great exhibitions, Preppers and VOID. If you need any further encouragement, here is a link to our review by Larissa Behrendt.

18.01.2022 #TonyBirch on why staying close to home provides no shortage of inspiration. An alternative view of #PublicArt in #Melbourne in this essay from our 2010 edition, The Underground (30:2). #MelbourneGateway #MooneePondsCreek #NotesFromTheUnderground

18.01.2022 New models for activating the work of the photojournalist, as discussed by Alison Stieven-Taylor in reflection upon the work of Renee C. Byer and Robin Hammond. From The Art of Compassion (40:3) #WitnessChange #documentaryphotography

18.01.2022 One artist whose practice continues to resonate with a life in limbo, hardship and domestic survival. The amazing story of #Inuitartist #AnniePootagook, profiled by Heather Igloliorte for our 2018 INDIGENOUS edition, Trans Cultural (38:2).

18.01.2022 John Keans review of The Stranger Artist: Life at the edge of Kimberley Painting by Quentin Sprague. A story of the rise and fall of Tony Oliver, creative director, JIrrawun Arts, that tackles the controversial topic of intercultural collaboration.

17.01.2022 We made it! THE BIG FOUR OH + 1 has reached our target Thank you to everyone who has donated and supported Artlink’s vision to digitise 40 significant years of publication, expand our digital platform and extend audience and market development opportunities for the visual arts sector. Big thanks to Creative Partnerships Australia for doubling our efforts! yaaaay

17.01.2022 Tales of survival in which landscapes and lives are deconstructed and reconstructed as acts of reclamation and decolonisation. Claire G. Coleman writing on Hayley Millar Baker from our current issue, Biopic (41:1). #IWillSurvive

17.01.2022 I don’t want to be your icon of poverty, or a sponge of your guilt. My identity is for me to build, in my own image. Photographer Shahidul Alam, founder of the Dhaka-based Drik Picture Library, profiled in our current issue by Kelly Hussey-Smith.

16.01.2022 Of the many edifices to be dismantled. Essay by Ali Baker from the #UnboundCollective for our 2018 Indigenous edition, Kanarn Wangkiny/Wanggandi Karlto [Speaking from Inside] (38:2). #IndigenousLivesMatter #racist #racisttext

16.01.2022 Sam Bowker on this touring gem, a collaboration with Todd Fuller, Catherine O’Donnell, Keliie O'Dempsey and other artists on this last celebratory weekend of art, music and poetry Wagga Wagga Art Gallery. #SuburbanGothic #Hardenvale #VisitWagga #WaggaWaggaArtGallery

15.01.2022 Only one week left and we have less than $2000 to go and we hope to reach it - can you help us? Donations received before 30 January 2021 will be matched by Creative Partnerships Australia PLUS 1 program, doubling the impact of your dollar. MAKE A DONATION TODAY every little bit helps.

15.01.2022 Artlink Australia would like to acknowledge our outgoing Executive Editor, Eve Sullivan. Eve has made a significant contribution to publishing on contemporary art and ideas in Australia and the Asia-Pacific and continued a tradition of excellence in her time at Artlink. In 2020 amid the global challenges presented during COVID-19, Artlink Australia was unsuccessful in its bid to receive significant and ongoing organisational funding. This continually changing and volatile landscape has moved Artlink Australia to make the difficult decision to restructure its business operations including making the role of Executive Editor redundant. We wish Eve all the very best in her future endeavours and thank her sincerely for her contribution.

15.01.2022 Something we all need more of right now. Our latest issue on THE ART OF COMPASSION (Issue 40:3 | September 2020) Is compassion a cultural construct or the bedrock of our humanity, essential to our survival? This edition looks to the role of art and artmaking in engendering compassion. It draws on concepts of visibility, sharing, mutuality, collaboration, listening, recovery and redemption. See link to full contents and editorial here: https://www.artlink.com.au//editorial-the-art-of-compassi/

14.01.2022 John Kean takes on this controversial and useful topic of intercultural relationships in his review of The Stranger Artist: Life at the edge of Kimberley Painting by Quentin Sprague, published by Hardie Grant Books

14.01.2022 CALL-OUT for proposals to Fashion. Performance. Industry (Issue 41:1 | April 2021) edited by Ann Finegan. The issue will explore diverse and inclusive sartorial cultures and subcultures and will include costuming for LGBTIQ Balls, performance, and identity politics; the emergence of First Nations fashion and textile design. Increasingly critical matters of sustainability will range from issues of labour and workplace ethics; the shifts from petro-chemical fibres to innovations in plant-based materials and smart fabric futures. #artfashion #subculturalstyle #ecodesign #fashionperformance Photo: Alba Stephen, Circumnavigate Kandos in Our Clothes, Kandos Projects. https://www.artlink.com.au/issues/future/

13.01.2022 Our review by Louise R. Mayhew of Cognitive Dissidents: Reasons to be Cheerful, a survey history of Australian film and video art, curated by Stephen Jones for the Griffith University Art Museum.

12.01.2022 Djon Mundine discusses the historical parallels between Aboriginal people and carnies as the precarious dirt poor surviving on their physical talents, providing thrills, joy and warmth vicariously to their audiences. From our review of Karla Dickens: A Dickensian Sideshow at Lismore Regional Gallery, now in its last weeks.

12.01.2022 For our stricken Victorian sector in lockdown, here is a gem from our latest issue INDIGENOUS Kin Constellations (40:2). Essay by Belinda Briggs on Midden by Jack Anselmi and Cynthia Hardie that won the 2016 Indigenous Ceramic Art Award at the Shepparton Art Museum. #ShellMidden #IndigenousCeramicArtAward.

12.01.2022 Relieved that our galleries and museums are opening up for business, under the new normal post COVID-19. And for those of us, based in South Australia, thrilled to get the chance to welcome The Monster back to the Art Gallery of South Australia. As reviewed in the final days before lockdown began by Gemma Weston.

12.01.2022 Passing on language and ancestral memories through art from the Kimberley. Essay by Anna Crane, Alana Hunt and Frances Kofod from INDIGENOUS Northern (36:2). #MabelJuli #RustyPeters #PaddyBedford #QueenieMcKenzie #RoverThomas #Giga #garnkinynotgranite

11.01.2022 The Art of Compassion (Issue 40:3 | September 2020), our latest issue is out now. Special thanks to guest editor, Alasdair Foster and all our contributing writers and artists for bringing into focus the role of compassion in art and artmaking. Something we all need more of right now. #TheArtofCompassion.

10.01.2022 What to do with those #statues of historical oppressors. Plastic Histories by Cigdem Aydemir changing attitudes to race, gender and authority figures. A useful essay by Courtney Coombs from Positioning Feminism (37:4).

09.01.2022 Do you know someone who has improved the lives of First Nation’s people in their communities and beyond? Who have promoted Indigenous issues in the wider community? Or who has shown excellence in their chosen field? Entries for the National NAIDOC Awards close on Monday 22 March 2021.

09.01.2022 For all those requests to #removethestatues commemorating violence against peoples. Here is one great example that adds some correction to the narrative, through the addition of a rectifying plaque. Essay by Stephen Gilchrist from INDIGENOUS Kanarn Wangkiny Wanggandi Karlto/Speaking from Inside (38:2).

08.01.2022 Calling it out to embed First Nations perspectives in our museums. Léuli Eshraghi interviews curators Kathleen Ash-Milby (Portland Art Museum), Maia Nuku ( The Metropolitan Museum of Art, New York) and Nigel Borell (Auckland Art Gallery Toi o Tamaki). From our latest issue, INDIGENOUS Kin Constellations (40:2), edited by Léuli Eshraghi with Kimberley Moulton.

08.01.2022 Only rarely do we listen for it to realise that silence is rarely actually silent, but only less noisy. Ann Finegan from our review of Material Sound at Friends Manning Regional Art Gallery, the first venue of the Australian tour of this exhibition curated by Caleb Kelly for MAMA - Murray Art Museum. #MaterialSound #SoundArt #SoundOfSilence

08.01.2022 Amelia Wallin captures the dilemma of working life for artsworkers and caregivers in this pandemic edition of an earlier exhibition curated for Bus Projects by Benison Kilby. #LifeInLockdown #RefusalToWork

08.01.2022 Welcoming back #NIRIN2020 Biennale of Sydney through this post from our guest editor Léuli Eshraghi, whose work is currently on view at Cockatoo Island.

07.01.2022 As our guest editors and a number of contributors to our latest issue, INDIGENOUS Kin Constellations (40:2) are also featured in this exciting new title being launched with a webinar, we are forwarding on the details here. Thanks Léuli Eshraghi and Kimberley Moulton with Nigel Borell, Ioana Gordon-Smith, Josh Tengan and Freja Carmichael! TO REGISTER for launch dates on 11 June at 10am AEST in Sydney; and 12 noon in Wellington, Aotearoa: https://www.uwinnipeg.ca//webinar-book-launch-for-becoming

05.01.2022 Preppers now showing at Geraldton Regional Art Gallery features in this essay by Darren Jorgensen from Its Time (40:1). As Darren writes, Since 2016 when Guy Louden, Dan McCabe and Loren Kronemyer first conceived of doing preppers shows, the climate emergency that has prompted school strikes and Extinction Rebellion has gone mainstream. #Preppers #GuyLouden #DanMcCabe #GRAG #Geraldton

05.01.2022 Now in the final days of the first virtual Darwin Aboriginal Art Fair and about to be launched Cairns Indigenous Art Fair, Kieran Finnane discusses the new opportunities to promote Aboriginal art to the world. #DAAF #CIAF #artonline #virtualartfair

05.01.2022 The return of the repressed. This wonderful exhibition from Arts Project Australia, toured by the National Exhibitions Touring Support - NETS Victoria is now on view at Noosa Regional Gallery. Our review by Jacqueline Millner. #FEM-aFINNITY

05.01.2022 Congrats to Greg Lehman and Tim Bonyhady for the exhibition and catalogue awarded the Dick and Joan Green Memorial History Prize through the University of Tasmania. Here is our essay on The National Picture: The Art of Tasmanias Black War at the National Gallery of Australia, Canberra and the Tasmanian Museum and Art Gallery.

05.01.2022 More on the intrinsic link between culture, people and place from our current issue, INDIGENOUS Kin Constellations: Languages, waters, futures. This essay by Zoe Zimmer with Therese Sainty reflects on the outcomes of two key projects for the Tasmanian Museum and Art Gallery and MONA FOMA. #CulturalRevival #Lutruwita #Tasmania #palawakani

04.01.2022 Congratulations Ngarralja Tommy May, overall winner of this year's Telstra Art Award. His story here from our 2016 edition of Artlink Indigenous_Northern (36:2), commissioned by ANKA - Arnhem Northern & Kimberley Artists, Aboriginal Corporation The Telstra #natsiaa2020 is on view at the Museum and Art Gallery of the Northern Territory.

04.01.2022 Rebecca Carland on a journey through time to connect the Yaghan community of Chile with their objects in the collection of the Melbourne Museum, Museums Victoria. For our Victorian friends in lockdown. A feature from INDIGENOUS Kin Constellations: Languages, Waters, Futures (40:2) eds Léuli Eshraghi and Kimberley Moulton.

03.01.2022 Visit a gallery this weekend for a warm glow in Winter. Here is a plug for the recently re-opened Canberra Museum and Gallery, with this touring favourite, so relevant for now. #voidexhibition toured by Museums & Galleries of NSW with UTS Art.

03.01.2022 Cover image (detail) is by Belinda Mason, Whnau, Roberta, Mori Aotearoa New Zealand, 2017, from the series Silent Tears, Duraclear laser print on acrylic sheet Belinda Mason/Blur Projects Mason Photography The Art of Compassion Issue 40:3 | September 2020 Editor: Alasdair Foster... Is compassion a cultural construct or the bedrock of our humanity, essential to our survival? This edition looks to the role of art and artmaking in engendering compassion through forms of creative social enterprise and self-reflection that engage the slower, deeper, more critically aware aspects of our perceptual experience. It draws on concepts of visibility, sharing, mutuality, collaboration, listening, recovery and redemption. See more

02.01.2022 The 2020 Adelaide//International at the Samstag Museum of Art has RE-OPENED. Even more relevant in these pandemic times, and supplemented by a raft of new online resources, you can read our review here by Chloé Wolifson. #JohnWardleArchitects #DavidClaerbout #BradDarkson #ZoëCroggon #HelenGrogan #NatashaJohns-Messenger #GeorgiaSaxelby

02.01.2022 In #RefugeeWeek it is worth considering the long-term impacts on an internal Indigenous Diaspora. This essay by Romaine Moreton is from Diaspora (31:1) #displaced #diaspora #indigenousdiaspora

01.01.2022 VALE Virginia Fraser. Editorial by Natalie King and Virginia Fraser. Art & Surveillance Issue 31:3 | September 2011. This issue of Artlink approaches the curiosity of surveillance, scopophilia, and compulsive and clandestine looking. Artists, curators, writers and academics reveal the social implications of watching and the way watching is framed. From surreptitious encounters to self-exploitation, they uncover the uneasy questions about who is looking at whom for power or pleasure.