Anne & Gordon Samstag Museum of Art
A series of specially commissioned works displayed in the Art Museum's North Terrace window, held during breaks in the exhibitions program.
Shaun Kirby LAFF N THE DARK
Nicholas Folland Untitled
Anne Wallace A Story that Cant be Told
Ilya/Emila Kabakov, Man-Angel (How to make yourself better?) 1998 © the artist. Installation detail from the London exhibition, The Palace of Projects. Photograph by Dirk Powels |
Monument To A Lost Civilization is a project tracing the desire of an individual to construct "a life of one's own": it depicts the tension between the real and the ideal, and the struggle of developing one's humanity within the confines of a strictly authoritarian society which forces us to submit and betray our true nature.
Monument documents 38 installation projects created by the artists over the span of many years. These installations describe different aspects of life in the former Soviet Union, and are recreated in this exhibition - in a captivating setting as small models. Monument also constitutes a proposal for a future project by the Kabakovs, a gigantic 'total installation', which the artists compare to the construction of a small city.
Ilya Kabakov is recognised as one of the most important European artists to have emerged in the late 20th century. Since 1989 he and his wife Emilia have worked collaboratively, with their installation projects achieving international acclaim. Monument To A Lost Civilization is the first major project by the Kabakovs to be seen in Australia.
This exhibition was originally presented by Frontiere, 16 April 27 June 1999 at Cantieri Culturali alla Zisa, Palermo, Italy. Catalogue essay by Ewen McDonald.
25 Songs on 25 Lines of Words on Art Statement for Seven Voices and Dance 1999, installation view, Art Gallery of NSW, Sydney, The Palace of Projects. Photograph by Christopher Snee © the artists |
Joe Felber, Elliott Gyger and Lucy Guerin
25 Songs is a multimedia installation by artist Joe Felber, working collaboratively with dancer-choreographer Lucy Guerin and composer Elliott Gyger, in a response to Ad Reinhardt's seminal 1958 writings on modernism, art and abstraction.
Suspended light pendulums and long polished stainless steel tubes, pipe Gyger's musical composition for seven voices into the gallery a visual and aural environment in which the viewer can move about. Traversing the space is the image of the dancer, Lucy Guerin, responding to the sounds, images and lightscapes. Felber's graphics complete the installation, drawing the audience back to Reinhardt's texts, which lie at the centre of this work.
A touring installation conceived and developed by Joe Felber. Catalogue essays by Wayne Tunnicliffe, Trevor Smith, Karen Lim, Clare Williamson and Erica Green.
Anna Hughes, Ready to Roll 1998, wool, mdf board, polystyrene foam, dacron, 1200 x 1200mm. Photograph by Anna Hughes © the artist |
Anny Gooden, Anne Hamden, Anna Hughes, Kaaren Temme, Jeannette Salazar, Kaylie Weir
An exhibition of work by students and graduates from the South Australian School of Art, Masters of Visual Arts coursework program. The Masters exhibitions provide an opportunity to consider the diversity of works and ideas being developed in the School's postgraduate studio program.
Paul Hobin, VCPT (after Bronzino-Allegory) 1983/85 oil on canvas on aluminium, 136 x 123 cm, courtesy the artist and Greenaway Art Gallery, Adelaide. Photograph by Paul Hoban © the artist |
John Berger & John Christie, Robert Boynes, Susan Fereday, Elizabeth Gertsakis, Dean Golia, Paul Hoban, John Hughes, Tim Johnson, Peter Kennedy, Peter Lyssiotis, Polixeni Papapetrou, Gregory Pryor, Anne Zahalka & Constanze Zikos
What John Berger Saw is an exhibition about artists who have been influenced by the work of John Berger. The exhibition also features a collaborative work by Berger and UK artist John Christie.
As painter, critic, essayist, novelist, poet, dramaturgist, screenwriter and filmmaker, Berger has provided a dazzling and profound example of how to think and represent the times we are living through. With his ground-breaking book and BBC television series Ways of Seeing, particularly, he transformed the way we understand the relationship between art and politics, or more precisely, the connections between past masters in painting, the social context of production and contemporary visual culture.
An ANU Canberra School of Art touring exhibition. Curated by Merryn Gates. Catalogue essays by John Berger, Don Miller, Linda Marie Walker, Robert Nelson, Ian McLean, Jocelyn Dunphy Blomfield, Merryn Gates, John Conomos, Scott McQuire, Peter Lyssiotis, Geoff Dyer, Tom Ford, Nikos Papastergiadis and Paul Bonaventura. Edited by Nikos Papastergiadis.
Milton Moon, Landscape Image 1997, stoneware height 55 cm, courtesy the artist. Photograph by Clayton Glen © the artist |
Stephen Bowers, Lincoln Kirby-Bell, Ben Kypridakis, Jeff Mincham, Milton Moon, Silvia Stansfield, Tim Strachan, Gerry Wedd and Liz Williams
At the edge of this new millennium it seems appropriate to ask if contemporary South Australian ceramics practice is sensitive to, or expressive of regional cultural character and social identity, or whether it is simply emulating twentieth century global culture? Place and Identity presents new work by nine leading South Australian ceramists who were invited to consider the question of globalism versus regionalism. Do the works reveal any dialogue, or perhaps just an acknowledgment of our past traditions unique landscapes or multicultural identity? Or are international issues and stylistic trends the dominant influence? Indeed, is there an identifiable South Australian vernacular in contemporary ceramics?
A University of South Australia Art Museum exhibition. Curated and catalogue essay by Dr Noris Ioannou.
Koster's Premier Pottery c. 1925-1930 stoneware,
vase height 32 cm, squat two-handled vase height 18.5 cm, |
A separate, concurrent exhibition, Clay Heritage, highlights two very important research collections the Dr R J Lyons Collection of South Australian Ceramics and the Chamberlain Collection of Ceramics recently gifted to the University of South Australia Art Collection.
The collections include ceramic works from the period of settlement in South Australia through to the 1980's, a cohesiveness which permits the tracing of traditional ceramic skills and design over a period of 150 years, and revealing much about the economic and cultural aspects of South Australian life.
A University of South Australia Art Museum exhibition. Curated and catalogue essay by Dr Noris Ioannou.
Fiona Hall, Karrawari (Pitjantjatjara) Coolibah tree Eucalyptus microtheca 1999,
24.5 x 11 x 1.5 cm |
Rebecca and Kenny Baird, Richard Bell, Gordon Bennett, Dominique Blain, Elizabeth Gertsakis, Trevor Gould, Fiona Hall, Moshekwa Langa, Brett Murray, Jin-Me Soon, Leila Sujir, Clive van den Berg and Sue Williamson
The New Republics explores the historical relationship fostered by Great Britain with the great landmass states of Australia, Canada and South Africa. These three countries share a common legacy of British colonization and immigration, and a similar context of destiny, tied to the settlement of a "frontier." Currently, each country is grappling with ideas of national identity, political autonomy, and a sometimes bitter struggle for racial equity and reconciliation.
This project has been funded by the Canadian High Commission, London Arts Board, the Australia Council, the Arts Council of South Africa, Goodman Gallery, Johannesburg and the Australian Centre for Contemporary Art, Melbourne.
An Australian Centre for Contemporary Art, Melbourne and Organisation for Visual Arts, London, touring exhibition. Curated by Sunil Gupta. Catalogue text by Sunil Gupta, Edward Ward, Stuart Koop and Sarah Tutton.
Derek Kreckler, BlindNed 1999, installation view, Museum of Contemporary Art, Sydney. Photograph by Paul Green © the artist |
Hope Lovelock Deane, Shaun Kirby, Derek Kreckler, Jacky Redgate and Sally-Ann Rowland
Consider the big picture: the cultural and sociological context of rapid globalisation and the proliferation of instant information and imagery technology. The photograph, once having the power of truth, has been subverted by digital technology, a postmodern contemporaneity which has deemed painting and aestheticism redundant.
Consider the generations of art-career graduates funneled into "nurtured" arenas of diminished opportunities, and the recent Australia Council reports, informing us that art/culture only half matters to Australian society anyway.
These questions are considered in Remove and refined from a particularly South Australian perspective.
A University of South Australia Art Museum exhibition. Curated and catalogue essay by Alan Cruickshank.
