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back issue
Like the airborne, turbulence-tossed women in her photographs, Rosemary Laing is flying fast. George Tjungurrayi journeys on foot out of the Gibson Desert; his conceptual abstractions chronicle Tingari stories of continuous travel from place to place. In Madrid, Narelle Jubelin maps a geography of displacement. What, if anything, holds these artists together within the nebulous concept of 'Australian-ness'?
- Katrina Schwarz, Editor.
Rosemary Laing's practice is gracefully charted by Rex Butler, Daniel Baumann discusses the work of Shaun Gladwell; Ann Stephen negotiates the complex references and associations to place, space and the senses in the work of Narelle Jubelin; Ingrid Periz explores a fascinating collection of Australian artists living in the United States of America; Judith Ryan writes on George Tjungurrayi's life and work; and Rachel Spence engages us vivid descriptions of artists and collectors in Venice.
In addition to our regular columns, reviews and book reviews, the representatives at the Australian Pavilion in the 2007 Venice Biennale - Daniel von Sturmer, Susan Norrie and Callum Morton - speak about their current work at the Biennale; and Lily Brett writes on the work of her husband, artist David Rankin.
Vol 44 No 4 Winter 2007
Winter 2007
In this issue Art & Australia turns its gaze towards Australian artists who live and work beyond our borders, and those who exhibit overseas. Like the airborne, turbulence-tossed women in her photographs, Rosemary Laing is flying fast. George...
Rosemary Laing: Between heaven and earth
Despite the patriotic song celebrating our 'radiant Southern Cross', how many artists here have actually depicted our skies? Where are Australia's Turner, Constable and Claude? There are glimpses in Streeton, atmospheric effects in the impressionists, and a...
Shaun Gladwell: Public space, translation and beauty
There have always been beggars and flâneurs. Modern cities spawned them and banished them. They don't produce anything, they simply occupy space and differ from other city dwellers in their speed; compared with the bustling passers-by and the hurrying workers...
George Tjungurrayi
If the first Papunya boards that emerged in 1971 affronted viewers with what Marcia Langton has termed 'the shock of the ancient'1 - condensed symbols of unknowable secrets unlocked from the ceremonial ground - George Tjungurrayi's linear abstractions are...
The Ungrammatical Landscape of Narelle Jubelin
Driving down the A-44 autovia from Madrid to Granada, the wide sky and open plains of La Mancha give way to olive-lined hills, and then massive granite outcrops on the approach to Andalusia, or al-Andalus as it is known in Arabic. Though touching on these...
Howard Arkley: Myths and misconceptions
I have a confession to make: I am part of a generation that got hooked on contemporary art at the end of the 1990s. For us, the Melbourne art scene was entrenched firmly in Fitzroy and decidedly not in Prahran and Richmond. The artist-run space Store 5 was...
Giles Ryder
The secret to experiencing the art of Giles Ryder is that the installation of his work - carefully arranged in a gallery space - is crucial to understanding his methods and his message. As Ryder explains, his practice involves examining the psychological and...
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