Anne & Gordon Samstag Museum of Art
Lustmord, which has no precise English equivalent but which, as Holzer says, translates roughly from the German as "rapeslaying" – is a series of texts in response to the violence being done to women in Bosnia. The project relates to issues of violence perpetrated against all women and the psychology and physiology of grieving, misery and fury. Holzer has configured this installation specifically for the Adelaide Festival and the University of South Australia's new city-based Art Museum.
Jenny Holzer is one of the leading artists of the 20th century. She has shown internationally during her 20 year career which has seen her participate in Documenta; the Venice Biennale; a major solo exhibition at the Guggenheim Museum, New York as well as numerous other solo and group exhibitions.
A 1998 Telstra Adelaide Festival Visual Arts exhibition. Essay, ‘This body, that place: embodiment and displacement in Jenny Holzer’s Lustmord’ by Julie Ewington, published in the 1998 Telstra Adelaide Festival Visual Arts Program catalogue, "Sacred and Profane".
A series of specially commissioned works displayed in the Art Museum's North Terrace window, held during breaks in the exhibitions program.
15 April – 4 May 1998
Andrew Osborne – Vacant space
7 – 25 May 1998
Richard Grayson & Suzie Treister – Universe-itty
28 May – 15 June 1998
Bronwyn Platten
9 July – 3 August 1998
Clare Belfrage, Gabriella Bisetto, Jane Cowie, Deb Jones & Matthew
Larwood – Blue Pony Studio
6 – 23 August 1998
John Barbour
Jon Cattapan, Rosalie Gascoigne, Antony Hamilton, Kathleen Petyarre and Imants Tillers
Expanse brings together the work of five prominent Australian contemporary artists who are each exhibiting major new work for the first time and additionally includes a painting by John D. Moore, Sydney Harbour, 1936, which functions as a qualifying point of reference.
Expanse takes as its leitmotif, as curator Ian North calls it, "that our survival is grounded in nature". He proposes that, in spite of their differences, the five artists' work if taken together signals a shift in Australian art, from the postmodernist 1980's to a less ideological, more reflective sense of place based not on essences but the understanding that Australians can forge a culture embracing urban, rural and outback Australian realities as well as participating, necessarily, in international exchanges.
The work is chosen for its artistic power. But Ian North has also produced an extraordinary corollary to the exhibition in his accompanying essay, imaginatively and ambitiously mapping a fresh terrain of cultural and social space. In this, he suggests that seen and considered, the work in Expanse encourages the opportunity to explore issues of Aboriginalities, white and black; the literal and theoretical spaces conditioning Australian art and life today; and the "forbidden" (unfashionable) areas of aesthetics and nature.
A University of South Australia Art Museum exhibition. Curated and catalogue essay by Ian North.
Murranji represents a major survey of work from the 1970s to the present day by distinguished Australian artist, Robert MacPherson. The exhibition, consisting of installation work and works on paper, reflects the artist's inquiry into painting and the Australian landscape tradition, while raising questions about the inter-relationships of personal history, artistic identity and national culture.
A touring exhibition of selected works by Robert MacPherson from 1977 – 1997 at the Art Museum and the Experimental Art Foundation. Curated and catalogue essay by Ingrid Periz.
Rosemary Aliukonis, Catherine Blakey, Gregory Donovan, Timothy John, Gishka van Ree and Jan Shone
South Australian School of Art Master of Visual Arts recent graduates and graduating candidates exhibit their recent work in an exhibition which encompasses a broad range of media and conceptual approaches.
