30 September, 2007
Print Australia Reference Library Catalogue
letter to the editor
Australian Centre for Contemporary Art
The Man From Snowy River
Portuguese Discovery of Australia in 1522
public spending on tertiary education
Free MCA Artist’s Voice DVDs
BBC Country profile: Australia
Primavera 07 & ArtOlive Jong Talent '07
Forms of Resistance
art, feminism and the body
Photography - Iceland
australian art prints
27th Biennial of Graphic Arts
Newes from Scotland
Tate’s Online Events Archive
Art Almanac September
visual database of artists' books - V & A
Book Arts Newsletter
The NY Art Book Fair
Caravaggio, Hockney & Hughes
A Lecture by J.S. Bach
mock the week
Chenille and Janelle
Chasers War: Australia's fake landmarks
The 27th Biennial of Graphic Arts brings eight views on art prints, the common thread of these different exhibitions being reproducibility of art. As its specific characteristic, the reproducibility of art, first occurs with the first prints in the Renaissance, becomes a decisive influence on twentieth century art, and is also relevant today. The 27th Biennial of Graphic Arts is comprised of the main Biennial exhibition, the already traditional exhibition of the artist awarded the Grand Prize at the previous Biennial, and six accompanying exhibitions prepared by various galleries in Ljubljana.
On view till 28 October 2007!
Exhibition spaces and participating artists:
Ljubljana municipal bus service, Park Tivoli, Porodnišnica, Ribji trg: Anamarija Šmajdek Billboards, Ljubljana (Bežigrad, Center): Zora Stančič
The catalogue of the 27 th Biennial of Graphic Arts: Metka Krašovec, Dan Perjovschi, Dušan Pirih Hup, Boštjan Pucelj, Andrej Štular
International Centre of Graphic Arts: Paweł Althamer & Artur Żmijewski, Christiane Baumgartner, Goran Bertok, Günter Brus, Peter Fuss, Dominique Gonzalez-Foerster, Peter Halley, Jeon Joonho, William Kentridge, Mikael Kihlman, Vladimir Makuc, Ivan Picelj, son:DA, Nancy Spero
Modna hiša, Ljubljana, Mercator Center Maribor, Mercator Center Celje: Marija Mojca Pungerčar
Maximarket, Ljubljana: Beli sladoled
Poster sites, Ljubljana (Železniška postaja - Trg OF, Borštnikov trg - Ferant): Arjan Pregl
Website www.indija.si: Društvo za domače raziskave
Website www.jaka.org/2007/razorganizator: Jaka Železnikar
Private apartments, Ljubljana: Danilo Jejčič, Kim Seung Yeong, Živko I. Marušič, Anamarija Šmajdek, Ben, Sašo Vrabič
The catalogue of the 27 th Biennial of Graphic Arts
440 pages, 136 colour illustrations, in Slovene and English, 900 copies, 31,90
A complex overview of the eight exhibitions forming the Biennial; theoretical essays on the philosophy of Walter Benjamin and documentation concerning the participating artists and a list of exhibited artworks. The catalogue is also one of the exhibition sites of The Unbound Eyes of Anxiousness. Orders can be made by telephone on + 386 (0)1 2413 808 or e-mail: firstname.lastname@example.org.
Producer: International Centre of Graphic Arts
Co-producers: Alkatraz Gallery, Cankarjev dom, City Art Museum Ljubljana, Galerija Kapelica, Instituto de Cultura Puertorriquena, National Gallery of Slovenia,
P74 Center and Gallery, Stripburger/Forum Ljubljana
Main sponsor: Mercator d.d.
Sponsors: ACH d.d., Gorenje d.d., Lek d.d., Petrol d.d., Marand d.o.o.
Media sponsors: Europlakat d.o.o., Radio Center, Delo d.d.
Supported by: Österreichisches Kulturforum Laibach, Istituto Italiano di Cultura di Lubiana, Goethe-Institut Ljubljana
The National Art Library (NAL) at the Victoria and Albert Museum has
recently launched a visual database of artists' books featuring a
selection of objects from the collection. The database currently features
over 100 objects from the collection of over 5000 artists' books held in
The works featured display a wide array of techniques and approaches to
artists' books and include examples of simple photocopied works,
letterpress printing, altered books, concrete poetry, works incorporating
found materials and book objects, among others. The database provides
several images of each of the books featured. A particularly innovative
feature is the inclusion of objects in 3-D, providing rotating views of
some of the more sculptural objects in the collection. The database will
be enhanced with further examples in the autumn to bring the total to over
150 objects. It is also hoped to expand the database with further examples
The visual database can be viewed at:
It is accompanied by a suite of pages which include a brief history of
artists' books, a series of interviews with some contemporary book
artists, links to other projects and websites and some suggested reading
The resource is intended for both new and established audiences. It will
introduce the collection to the uninitiated by providing a flavour of what
to expect while also allowing established audiences to enjoy a sample of
what the collection has to offer on-line. The artists' books collection is
popular with visiting students and other groups visits to view the
collection are also encouraged. All artists' books held in the NAL are
listed in the NAL catalogue available at http://catalogue.nal.vam.ac.uk
Artists and the desire for
social change from 1871 to the present
EINDHOVEN - THE NETHERLANDS
+31 40 238 1000
On 22 September, the exhibition Forms of Resistance will open in the Van Abbemuseum. It departs from four historical moments: the French Commune in 1871, the Russian Revolution of 1917, May 1968 and our world after 9/11. Based on these benchmarks it includes works by Manet, Courbet, Lissitzky, Rodchenko, Malevich, Brigada Ramona Parra, Atelier Populaire, Tucuman Arde, Sherk, Haacke, Johanesson, General Idea, Leonard, Piper, Ressler and Superflex amongst others.
The exhibition tells the story of art and social change through the lens of resistance and artistic desire. Ambitions for progressive social or political changes in the past 150 years are compared, selecting specific moments at which collaborations between art and activism were at their most pronounced.
The connection between art and social change was a fundamental aspect of modernism. The concept of the avant-garde as the phalanx of a revolutionary movement intended to resist or destroy old habits and produce the new man, was bound up with modernism’s formalist innovations as much as its direct engagement in political action. Artists combined resistance with speculating about the future and support of certain political developments, their critique was propositional as well as severe, and they often made work for a world that did not yet exist -- but that they wanted to see come about.
Following the political and social upheavals of 1968 and 1989, this modernist and avant-garde model gradually lost its applicability. Artists developed different ways to resist and speculate. In the 21st century, with ideological struggles beginning to reconstitute themselves, the role of art is once again under pressure. Do resistance and speculation have a place in a world where economy is the instrument of contemporary politics? What does it mean to resist the current political establishment? What can we learn from past models and experiences and what light do they shed on our contemporary ideas of the world?
ARTISTS AND MOVEMENTS
Gustave Courbet and Eduard Manet are the key figures from the first period, followed immediately by William Morris, the founder of the British Arts & Crafts movement. Next up is the constructivism of artists such as Kazimir Malevich, El Lissitzky, Liobov Popova and Varvara Stepanova, Bauhaus student demonstrations and the surrealism and actions of Pablo Picasso and Joan Miro during the Spanish Civil War. The San Francisco Diggers, Bonnie Sherk and The Artists' Liberation Front precede May '68, the Paris and Prague revolts. We also examine wall paintings from Chile. The activism and political identity studies of the 1970s can be found in the work of Hans Haacke, the Artworkers' Coalition, Zoe Leonard, Martha Rosler, General Idea and Adrian Piper. Why some did artists opt to abandon the art world after '68, while others chose to comment on conflict zones within the confinement of the institution? How did art relate to the identity politics and rainbow coalitions of the 1980s an d 1990s? Disobedience, finally, is a small exhibit curated by Marco Scotini, in which Oliver Ressler, Marcelo Esposito and others provide insight into art activism in recent years. The present day is again a time for collectives but also an opportunity to look back on the past utopian century. What went before and what will follow the major ideological shifts of recent years?
Forms of Resistance
11 & 12 October 2007
Can art change politics, does politics determine art?
This two day discussion seminar reflects on some of the issues
brought up in the exhibition Forms of Resistance. The seminar will
introduce the exhibition and invite a number of artists, theorists and
activists to discuss the political possibilities of the art field.
Some of the questions addressed will include:
- What are possible relationships between art and political action?
- What role does aesthetics play in articulating the desire for social and political change?
- How can we interpret the political desires of previous artistic
generations today and how does it impact on our understanding of the history of art?
Will Bradley, Marcelo Esposito, Charles Esche, Brian Holmes,
Gerald Raunig, What, How, For Whom?, and Marina Vishmidt.
The seminar will be held in the Van Abbemuseum, Eindhoven,
11th October 15:00 - 21:00
12th October 12:00 - 17:00
Please join us and register. Attendance for one or both days of
the seminar is free of charge.
MCA Artist’s Voice captures the ‘voice’ of Australian contemporary art on DVD format featuring footage of artists candidly discussing their work and practice.
MCA Artist’s Voice continues the Museum’s commitment to facilitating access to contemporary art and artists. They are a powerful educational aid for art enthusiasts and students of contemporary art of all ages.
The second DVD in the series, MCA Artist’s Voice Series 2, is now available and features the artists listed below, representing exhibitions across the MCA’s 2006 Exhibition program.
MCA Artist’s Voice DVDs are free and available now by completing the online order form .
This initiative has been made possible with the generous assistance of the Keir Foundation
MCA Artist's Voice Sample Streaming
To view the sample streaming click on the name of the artists below.
To view artist voice 2005 please click here
Born 1958, Bahama Islands. Lives and works Sydney. Born 1967, Melbourne. Lives and works Sydney.
Bede Tungutalum was born in 1952 and lives on Bathurst Island, part of the Tiwi Islands in the Northern Territory.
Born in Sydney in 1970 and is of the Wiradjuri nation.
Born 1972, Auckland, New Zealand. Lives and works Melbourne.
Born in 1973 on Badu Island in the Torres Strait and belongs to the Kal-lagaw-ya, Badulaig language group.
Born in 1947 at Swan Reach, South Australia and is of the Ngarrindjeri people
Born 1947, Sydney. Lives and works Sydney.
Born 1979, Geelong, Victoria. Lives and works Melbourne.
Born 1953, Charleville, Queensland. Kamilaroi people. Lives and works Brisbane.
Born 1967, North Queensland. Kuku Yalandji, Waanji, Yidindji and Gugu Yimithirr peoples. Lives and works Brisbane.
Critical Forum - Double Vision: A 21st century exploration of art, feminism and the body
Friday 19 October, 3.00pm - 5.00pm
In the wake of postmodernism, feminism, and the increasing fragmentation of the body image in popular culture, how is the body interpreted and re-configured in contemporary art? This informal forum will explore these questions, with diverse perspectives provided by theorists, artists and curators on aspects of art, feminism and the body. The forum will encompass feminist histories, new artistic approaches and local anecdotes.
JULIE RRAP: BODY DOUBLE
30 August 2007 - 28 January 2008
This major exhibition of the work of Julie Rrap, one of Australia’s most prominent artists, brings together photography, video, sculpture and installation from the past twenty-five years of the artist's practice. Curated by Victoria Lynn, the exhibition explores the persona of the ‘trickster’ in Rrap’s work, the theme of the ‘body double’, and considers the ways in which the artist oversteps the margins of bodily representation.
A major book, Julie Rrap: Body Double, with text by Victoria Lynn and co-published with Piper Press, will be available at the MCA Store
| MCA | MUSEUM OF CONTEMPORARY ART |
Here we have tried to show, in a new video, how Caravaggio must have been influenced by Giambattista Della Porta’s knowledge of concave mirrors and the images one can project from them, in his development of his chiaroscuro style, and his use of incisions on his canvases.
exhibition to be held in New York next October 2008.
First, a conversation with the Foreign Minister of Egypt
Then, a conversation with artist David Hockney about the use of optics in artwork chronicled in his book "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters".
Hockney starts at 21mins and ends at 45mins
Here, Hockney talks about how the camera just doesn't cut it, with Robert Hughes, on The New Shock of the New.
29 September, 2007
You will note the unfavourable bias and the complete lack of mention of Australia's considerable achievements in the arts and sciences. There is no mention of Australia's contribution in either of the two world wars or any military action since.
Australia is also blamed for the actions of the British Commonwealth policy towards aboriginals prior to federation in 1900. This is a common misconception. Australia as a country didnt exist prior to 1900 and every attrocity that occurred prior to that occurred under British rule. It is the British government's responsibility to apologise for everything that happened prior to Federation.
Why hasnt this BBC document, funded by the British government, been reviewed and corrected by the Australian government?
If the material for Australia is so inaccurate, what validity if any can we place on the profiles of all the other countries listed?
The British founded the first settlement and named it Sydney in 1788. Many of the first settlers were convicts. Free settlers arrived in increasing numbers, particularly after the discovery of gold in the mid-19th century.
Australia's original inhabitants, the Aborigines, numbered a few hundred thousand before the European influx. But two centuries of discrimination and expropriation followed, and at one point the number of Aborigines fell as low as 60,000.
Today 99% of the population are of European or Asian descent, but calls for a formal apology for past injustices towards the Aborigines are still made. Indigenous Australians suffer high rates of unemployment, imprisonment and drug abuse.
28 September, 2007
This television program from the BBC provides a good example of discriminatory humour. For the large part the panel is comprised of white males.
The playlist has two random samples, there are more examples here
Examples to look for
- child molestation
- diability discrimination
I estimate over 50% of the material is vilification against one minority group or another.
I'm surprised that the BBC is able to get this material past the censorship laws.
Its also enlightening to read the comments on youtube reaffirming the discrimination.
25 September, 2007
This paper considers some of the ways in which an examination of the woodblock illustrations of Newes from Scotland, the printed text, and the surviving historical documents may be combined to throw new light on the publication history of the celebrated pamphlet.
Back in the good old days, a search engine did just that, searched for relevent information and read it back to you.
You might like to compare google's search results with those of alternative search engines. The results vary according to the search parameters used by each engine.
For a listing of search engines, see
Google alone is often not sufficient, however. Less than half the searchable Web is fully searchable in Google. Overlap studies show that about half of the pages in any search engine database exist only in that database. Getting a second opinion is therefore often worth your time. For a second opinion, we recommend Ask.com or Yahoo! Search. We no longer recommend using any meta-search engines.
The BEST Search Engines
UC Berkeley - Teaching Library Internet Workshops
SEARCH ENGINE TUTORIAL SITES
- About.com's Web Search - by Kevin Elliott, web consulting firm president, email newsletter link editor and search engine guru.
- Finding Information on the Internet: A Tutorial - by Joe Barker, Instruction Program Coordinator, University of California Berkeley.
- Pandia Goalgetter: A Short and Easy Internet Search Tutorial - by Per and Susanne Koch.
- Searching the World Wide Web - by Jesse Moore of Purdue University's Online Writing Lab
- University at Albany Libraries Internet Tutorial - by Laura Cohen, Network Services Librarian
- Web Search Engines FAQS: Questions, Answers, and Issues - by Gary Price
We've put a few popular search sites in the Search Bar in the upper-right corner of Firefox. If you'd like to add more, there are hundreds to choose from.
Click on a Search Engine to add it to your Firefox Search Bar:
Looking for help on how to use search engines better? This page provides a guide to key material within Search Engine Watch, resources across the web and articles written about searching better.
19 September, 2007
THE PRINT AUSTRALIA
REFERENCE LIBRARY CATALOGUE
A resource listing of sites relating to printmaking, hand papermaking & artist books in Australia, with some relevant international links and general arts information.
© Copyright 2003 Josephine Severn
This page last edited on 02 September 2003
The Print Australia Reference Library Catalogue ranks number one on Google in the category of "Printmaking" for Australia and second for the web.
The purpose of this page is to provide an integrated listing of the original catalogue and its replacement pages.
Discussion Group / Calls & Announcements
Calls for print prizes, exhibition opportunities and the like are located on the Lyrebyrd site. Membership is required to acces the archives.
Lyrebyrd Mailing List
Newsletter, Calls & Announcements, Print Australia Archive, Print Exchanges & Exhibitions.
Blogger did not provide the 'labels' facility for the first year of the blogs. The Subject Index provides a complete listing of all entries, by month.
Australian Printmakers http://www.acay.com.au/%7Esevern/Aussies.htm
Non-Australian Printmakers http://www.acay.com.au/%7Esevern/NonAus.htm
Methods of Printmaking, non-toxic, general http://www.acay.com.au/%7Esevern/methods.htm
Print Workshops http://www.acay.com.au/%7Esevern/workshops.htm
Suppliers of art materials, paper & printing presses http://www.acay.com.au/%7Esevern/supplier.htm
Woodcut/woodblock Printmaking http://www.acay.com.au/%7Esevern/woodcut/woodcut.htm
The Print Council of Australia http://www.printcouncil.org.au
The Book Arts, Artist Books & Publisher http://www.acay.com.au/%7Esevern/bookarts.htm
Paper, Papermaking and Paper Artists http://www.acay.com.au/%7Esevern/paper.htm
Other media http://www.acay.com.au/%7Esevern/other.htm
Australia and New Zealand
Galleries, Museums & Collections in Australia http://www.acay.com.au/%7Esevern/gallerie.htm
Indigenous Australia & Aboriginal Art http://www.acay.com.au/%7Esevern/indigeno.htm
Prizes, Grants and Scholarships in Australia and Overseas http://www.acay.com.au/%7Esevern/prizes.htm
Exhibitions, Events and Festivals http://www.acay.com.au/%7Esevern/exhibits.htm
New Zealand printmaking http://www.acay.com.au/~severn/NZ.htm
Art History, Theory and Criticism http://www.acay.com.au/%7Esevern/theory.htm
Magazines and Journals http://www.acay.com.au/%7Esevern/magazine.htm
Discussion Groups and mailing lists http://www.acay.com.au/%7Esevern/discussi.htm
Educational Resources http://www.acay.com.au/%7Esevern/educatio.htm
Professional Practice http://www.acay.com.au/%7Esevern/professi.htm
Women in the Arts http://www.acay.com.au/%7Esevern/women.htm
Searching & Browsing http://www.acay.com.au/%7Esevern/searchin.htm
Lists of Links http://www.acay.com.au/%7Esevern/listsof.htm
Arts Newsletters http://www.acay.com.au/~severn/news.htm
Art & Printmaking Organisations http://www.acay.com.au/%7Esevern/organisa.htm
Galleries, Museums & Collections overseas http://www.acay.com.au/%7Esevern/intgall.htm
General Arts Sites http://www.acay.com.au/%7Esevern/general.htm
Useful Sites http://www.acay.com.au/%7Esevern/useful.htm
The funding reduction — down 4 per cent compared with an average OECD rise of 49 per cent — resulted in private spending on higher education, including students' tuition fees, surpass government funding.
By 2004 the Government paid 47.2 per cent of university revenue in Australia, compared with an OECD average of 75.4 per cent.
The OECD found private spending soared mainly due to students leaving university with a greater debt after the Federal Government lifted maximum HECS fees in 1997.
Only the US, Japan and Korea charged students more for a public university degree. Australians paid an average $US3855 a year for university study. Conversely, one in three members of the OECD, all of them European countries, offer students free university tuition.
The OECD report "Education at a Glance", released last night, said charging students fees had not reduced university access for the less advantaged. It found Australia led the developed world for access to a degree.
Education Minister Julie Bishop said the OECD analysis was flawed because it counted HECS and government full-fee loans as money paid by students, and did not include the majority of vocational and technical education funding.
It also did not include funding increases since 2004, including the $6 billion Higher Education Endowment Fund — part of $7.9 billion provided this year.
A Government report released yesterday showed Australian universities had a $15.5 billion revenue boom last year, up $1.6 billion — or 11 per cent — from 2005.
"This result shows that our universities are in a healthy financial position, which places them on a sustainable footing for the foreseeable future," Ms Bishop said.
The report groups Australia with the US, Britain, New Zealand and the Netherlands as countries that charge high university fees but offers most students a public loan or scholarship. About 95 per cent of Australian university students have a subsidised place.
Across all levels of education, the OECD report found Australia devoted a lower proportion of GDP than the developed world average, though the proportion increased under the Howard Government, up from 5.5 per cent in 1995 to 5.9 per cent in 2004.
Most of this growth was from private sources. About 27 per cent of total education funding was private, more than twice the OECD average of 13 per cent.
The report also found:
■Australia had the lowest unemployment rate for tertiary educated 25 to 29-year-olds in the developed world.
■Australian universities had the world's highest proportion of overseas students.
■Australian school students aged seven to 15 spent more time in the classroom than all countries except the Netherlands and Italy.
Opposition Education spokesman Stephen Smith said the OECD report showed 11 years of underinvestment and neglect under the Coalition.
Mr Smith said Labor was committed to increase funding at every level, but would not give details.
Adam Morton and Farrah Tomazin
September 19, 2007
17 September, 2007
In Beyond Capricorn, Peter Trickett challenges the commonly held view that the European discovery of Australia and New Zealand was made first by the Dutch, followed later by Britain’s Captain James Cook. Trickett argues the remarkable claim that in the year 1522 – a century before the Dutch and 250 years before Captain Cook - the Portuguese sailed past Fraser Island and into Botany Bay, around Wilson’s Promontory, and as far as Kangaroo Island before returning to their base in Malacca via the North Island of New Zealand.
Drawing from primary and secondary historical sources, archaeological evidence and stories handed down through Aboriginal oral tradition, Peter Trickett tells a story of espionage, revenge and secret voyages made by the Portuguese to corner the fabulously rich spice trade in the east and find the islands of gold alluded to by Marco Polo. Secret voyages that resulted in the discovery of Australia and New Zealand almost 500 years ago.
Beyond Capricorn is a compelling account of how for a brief moment in the 1520s Australia and New Zealand came close to becoming Portuguese outposts in the southern seas.
About the Author
A journalist by profession, Peter Trickett has written for newspapers and magazines in Australia, New Zealand and Britain, specialising in science, historical and investigative reporting.
While working as a science journalist in Oxford, England, he won a national travelling fellowship for science journalism, using this award to study and write on science and environmental topics in Japan.
In New Zealand, where he worked as a senior writer with the New Zealand Herald and the Listener magazine, he won awards for historical journalism. Since coming to Australia in 1982 he has worked as an editor for the Australian National University in Canberra and as a Senior Officer with the Department of Foreign Affairs and Trade, where he was a writer and editor for the Australian Government’s overseas aid program.
24 August - 4 November 2007
Primavera is the MCA’s annual exhibition of work by young Australian artists under the age of 35. Established in 1992 by Dr Edward and Mrs Cynthia Jackson in memory of their daughter Belinda, Primavera has developed a reputation for launching the careers of talented young artists. Curated by Christine Morrow, this year’s exhibition presents nine exciting new artists from across the country.
Participating Primavera 07 artists are: Patrick Doherty (WA), Honor Freeman (SA/NSW), Briele Hansen (VIC), Anthony Johnson (NSW/TAS), Justine Khamara (VIC), Jess MacNeil (NSW), Amanda Marburg (VIC), Katie Moore (SA/QLD) and Martin Smith (QLD)
Click here to download the Primvera 07 Teachers Notes
ArtOlive Jong Talent '07
selectieproces ArtOlive Jong Talent '07
De hoofddocenten van alle kunstacademies dragen hun beste afstudeerders voor. Daarnaast heeft Kunstbeeld een aantal afstudeerders geselecteerd. Vervolgens wordt het afstudeerwerk beoordeeld door een professionele jury. Zij hebben de keuze gemaakt wie van 14 t/m 16 september in Amsterdam mogen exposeren en één van hen wint uiteindelijk de kunstprijs.
De jury van ArtOlive Jong Talent ‘07 bestaat uit Petra Heck, voorzitter (adviseur KPN collectie / curator Nederlands Instituut voor Mediakunst), Merel Bem (freelance kunst- en fotografiecriticus, o.a. Volkskrant), Xander Karskens (conservator De Hallen Haarlem) en Robbert Roos (hoofdredacteur Kunstbeeld).Het afstudeerwerk van eerdere jaren bekijken?
Ben je afgestudeerd aan een van de 12 kunstacademies en heb je je nog niet bij ArtOlive aangemeld?
Meld je dan alsnog aan en vermeld daarbij in het opmerkingenveld 'Jong Talent 200? (je afstudeerjaar), naam van je academie', zodat we je in de juiste Jong Talent selectie kunnen opnemen.
ArtOlive Jong Talent wordt georganiseerd in samenwerking met alle 12 Nederlandse kunstacademies:
-Gerrit Rietveld Amsterdam;
-KABK Den Haag;
-Willem de Kooning Rotterdam;
-ArtEZ ABKVA Arnhem;
-AKV|St. Joost Breda/Den Bosch;
-ArtEZ AKI Enschede;
-ArtEZ CABK Zwolle;
guess which unacknowledged Australian artist influenced this work?
the website shows 1331 artworks from 171 artists selected from 12 dutch art academies.
totaal 1331 kunstwerken van 171 kunstenaars; kies hieronder een kunstenaar waar je meer van wilt zien of kies een ander kenmerk
klik hier voor afstudeerwerk van alle afstudeerders van jong talent 2007.
This demonstrates the difference between the treatment of Australia's emerging Artists and their overseas counterparts and the amount of exposure and financial support that they receive.
Blakkbyrd (http://blakkbyrd.blogspot.com/) and
These websites do not fit with our current policy for the inclusion of websites. We feel that they do not meet the essential criteria of focus, on Australian culture and recreation, which is evident from their primary concerns, access to information and comprehensive nature of the information. Although information is provided about Australian culture and the arts, a significant proportion of the site is concerned with international events and activities, such as those in Amsterdam.
For this reason we are unable to list these websites"
If there appears to be confusion as to the website's contents the writer admits to this.
"we found the URLs a little confusing"
Kenneth Branagh puts it far more elequently than I.
The only way to avoid appropriation through ignorance is by education. For Australians that means marketing Australian culture overseas.
Any Australian art that is not marketed overseas is available for appropriation.
16 September, 2007
11 September, 2007
The Australian Centre for Contemporary Art is Melbourne’s leading contemporary art gallery presenting the most challenging, innovative and creative visual art of our time.
Designed by Melbourne based architects, Wood Marsh, ACCA’s distinctive steel building is in the heart of Melbourne’s arts precinct in Southbank. The landmark rust-red structure is one of Melbourne’s architectural icons.
ACCA brings the latest and most significant artwork by living artists from around the world to Melbourne audiences, and commissions new artworks by local and international artists.
ACCA is a Kunsthalle. It is the only major public art gallery in Australia focused on commissioning rather than collecting.