|MEHMET ADIL, CRAIGE ANDRAE, PETER TYSOE, KERRY WILLIAMS
26.1 - 12.2
Clear? was as an exhibition, presented in association with Ausglass (Australian Association of Glass Artists), in which four artists made works that investigated ideas or concepts of transparency. Within this shared brief, there was obviously a diversity of approach, attitude and intention - differences that also served to articulate issues in the current debate between an exploratory materials-based 'craft' practice and a sculptural/conceptual 'art' practice.
|25 YEARS OF PERFORMANCE ART IN AUSTRALIA
30.1 - 23.2
Cutting through any memory continuum fixes a collage of events; a film loop of images that another edit, another time, might revise. That said; when we begin to run this one it shows Stuart Brisley's 24 hour performance in the basement of the Experimental Art Foundation. Let this stand for the classical, post minimalist, body art performance ...
Noel Sheridan "The Seventies: A Slide Show" from catalogue essay available at Dark Horsey Bookshop
17.3 - 9.4
Night Sky is a poetic meditation on the history of languages, of film, of art and stories of the artist and his family. The readings are manifold and slip from one arena to another.
27.4 - 28.5
The photographic image can be read as analogous to the remembered image; from another time, another place, another context. By animating these images onto movement through passing them through a series of old slide projectors, the artist makes a parallel to the 'memory trigger' where one image occasions an ongoing narrative.
|L. E. Young
1.6 - 25.6
Toward Graceland consists of furniture and domestic interiors, referencing ideas of sixties and seventies opulence best exemplified in the interiors of Graceland. Such interiors, with the mirrored cocktail cabinets and white silk sheeted beds, with their radios embedded in the bed head, speak about kitsch, but also spoke about the sublime.
14.9 - 8.10
Barretts photographs consider the operations of societal demand as regards appearance, behaviour and dress. Corsets and shackles, nipple rings, all contain and remodel the body, and can be seen, at one level, as metaphorical for societal constraint and modelling.
12.10 - 5.11
The central concerns of Sterilizer are the institution, work, and women, and the complex relationships and expressions of power and politics. The making of work that directly addresses the social and political has been central to the artists work. Sterilizer specifically refers to the institution of the woman's prison and the role that work has within the prison as part of the regime of 'correction', the work, in this case sewing having a role that is both economic and social.
|CECELIA CMIELEWSKI, BRONIA IWANCZAK, JOHN TONKIN
9.11 - 3.12
Cmielewski Imprimatur, Iwanczak The path of the accident, Tonkin Elective physiognomies, three linked shows - in a grouping proposed by the artists themselves - centre on questions of identity and construction. Iwanczak and Cmielewski focusing on questions of memory and culture in the development of an Australian/Polish identity, whilst John Tonkin re-modelled his appearance through a series of morphs, in a work that not only explored computer technologies but ideas of desire and sexuality.
|ANDREW OSBORNE. MICHAEL GRAF
7.12.95 - 21.1.96
This was another partnership curated by the artists rather than the space: Osborne feeling that his work would generate synchronicities with that of Graf. Andrew Osborne comes from what could be loosely called a 'craft' practice, whilst Graf from a 'fine' arts practice. The meanings and reasons for conjunction were left opaque by the artist, forcing the viewer to generate stratagems for meaning in the work.