Anne & Gordon Samstag Museum of Art
Ed Burton, Rozalind Drummond, John Dunkley-Smith, Graeme Hare, Hewson/Walker, Geoff Kleem, Ewen McDonald, Ian North, Robyn Stacey, David Stephenson, Kevin Todd and Anne Zahalka
This exhibition constructs the theme of ‘location’ in both a temporal and tangible way, with a determination to tease apart the conventions of ‘place’ orientated picturing within the system of Australian photographic practices.
Location also promotes a diverse notion of ‘space and place,’ which includes a recognition that on tour to Asian countries, where the works will arrive without the anchor of their Australian context, a different cultural space of interpretation will occur.
An exhibition initiated by Asialink and the Australian Centre for Contemporary Art and supported by the Australia Council, the Department of Foreign Affairs and Trade, Monash University and STA Travel. Curated by Juliana Engberg. Catalogue essays by Juliana Engberg and Helen Ennis.
The title of the exhibition, Caroline Williams: Men, at first seems to invoke a feminist interpretation. The work, however, goes beyond the feminist strategy of parody and invites further analysis. While Men raises questions about men and their relationship to women, it is pomp, ceremony, ritual and self-importance in general which are particularly the butt of her satire.
A University of Melbourne Museum of Art touring exhibition. Curated by Frances Lindsay. Catalogue essay by Helen McDonald.
Shane Carn, Ruth McDougall and Roger Noakes, Mark Hislop, Jacqueline Hocking and Nigel Jamieson, Sally Mannall and Ruth Marshall, Sally Cox, and Robert Cleworth
The Samstag awards, which are Australia’s most valuable scholarships for visual artists, were established through the US$5 million bequest for millionaire American artist Gordon Samstag who taught from 1961 to 1972 at the South Australian School of Art.
The ten artists will receive funding to pursue further studies in the visual arts at institutions overseas, including Chicago, New York, Amsterdam and London. Their work embraces the widest range of disciplines, including painting, sculpture, installation, mixed media and textiles.
A University of South Australia Art Museum exhibition. Curated and catalogue essay by Ross Wolfe.
Roberts’ process is eclectic – it is one that responds to and uses objects from where he finds himself, and one in which the object dictates the placement. To him, the sense of place and location are unimportant and inform the work.
Integral to the Art Museum exhibition will be three commissioned catalogue essays, by Nola Anderson from Manila, Anne Brennan from Canberra and Cath Kenneally from Adelaide, who will communicate with one another in a sort of ‘Chinese-whisper-game’ during his residency in Adelaide.
Neil Roberts is the South Australian School of Art Artist in Residence. The South Australian School of Art has received generous assistance from the Australia Council towards Neil Roberts’ residency and exhibition catalogue.
A University of South Australia Art Museum exhibition.
This exhibition surveys the work of Barbara Zerbini, who died in 1992 aged 49 and whose achievements did not receive due recognition during her lifetime.
Zerbini, a South Australian School of Art graduate and Lecturer in Painting and Drawing from 1976 – 1985, was a painter and printmaker of exceptional technical skills.
Her refined, yet powerful images addressed issues of the moment, for example, the life of the individual in a mass society, the environment, social and political control, gender, individual fate and cultural difference.
A Wollongong City Gallery touring exhibition. Curated and catalogue essay by David Dolan.
Peter Cripps: Projects for Two Museums opens concurrently in the University of South Australia Art Museum and the Museum of Economic Botany, Adelaide Botanic Gardens.
In each of these museums, Cripps displays a series of objects that extend and comment on the specifics of that museum, working with their particular spaces, histories and referents.
The rows of display cases in the Museum of Economic Botany, its measured nineteenth-century ambience and its collection of botanical specimens (all selected for their economic importance) evoke a classical taxonomy of knowledge and control. In this forum, Cripps’ work consists of small objects and texts positioned around, on top of and underneath the existing display, drawing out aspects of it and providing another, both literal and metaphorical level of presentation and analysis.
The more open space of the Art Museum provides a site for a parallel investigation through a sea of objects, abstracted geometric forms which immerse the viewer within the space. Though intense and questioning, Cripps’ projects still invite and provide room for the viewer.
An exhibition by the University of South Australia Art Museum and Museum of Economic Botany, Adelaide Botanic Gardens. Curated by John Barrett-Lennard. Catalogue essays by John Barrett-Lennard and Carolyn Barnes.
Jude Adams, Tony Bishop, Dean Bruton, Ron Hawke, Kay Lawrence, Ann Newmarch, George Popperwell, Olga Sankey and Michael Tawa
Drawing:1 considers aspects of the work of selected staff from across the University’s new Faculty of Art, Architecture and Design, through the theme of drawing.
In particular, the exhibition promotes drawing as both methodology, and as a finished statement in itself. In other words, drawing is affirmed in its fundamental role as an aid to the development of finished work, but is also celebrated as concept.
A University of South Australia Art Museum exhibition.
Robin Best, Neil Cranney, Dora Dallwitz, Paul Hoban, Helen Lillecrapp-Fuller, Alison Main, Jennifer Thomas, Trinh Tuyet Vu and Angela Valamanesh
An exhibition of the South Australian School of Art Master of Visual Arts and Graduate Diploma students and graduates.
