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Artist ProfileArtist Profile

Artist Profile Issue 46

Artist Profile is a leading quarterly journal taking its readers into the studios and minds of contemporary artists across Australasia and beyond. Industry professionals engage leading practitioners and emerging talent in conversations about their art, in their own words, while our exclusive photo shoots provide intimate access into artists’ personal and working lives. Readers gain knowledge of artists’ methods, preview works in progress and discover the life experiences that ignite artistic imaginations.

Country:
Australia
Language:
English
Publisher:
Artist Profile Pty Ltd
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4 Issues

IN THIS ISSUE

access_time1 min.
contributors

THE ARTIST PROFILE TEAM PUBLISHER John Feitelson jfeitelson@artistprofile.com.au PRINCIPAL WRITER John McDonald jmcdonald@artistprofile.com.au EDITOR Kon Gouriotis kgouriotis@artistprofile.com.au INTERNATIONAL ARTS WRITER Lucy Stranger lstranger@artistprofile.com.au ART DIRECTOR Kim Gregory kgregory@artistprofile.com.au SUB-EDITOR Jamie McIlwraith artistprofile@artistprofile.com.au DEPUTY EDITOR Elli Walsh ewalsh@artistprofile.com.au NATIONAL ADVERTISING MANAGER Jill Trochei jtrochei@artistprofile.com.au CONTRIBUTORS SASKIA BEUDEL is an essayist, novelist and nonfiction writer who first trained as a painter PAUL MCGILLICK is the author of numerous books, articles and catalogue essays on art, architecture and design FULVIA MANTELLI is a curator, arts writer and Director of The Murray Bridge Regional Gallery, SA NUR SHKEMBI is a Melbourne-based curator, writer and PhD scholar; nurshkembi.com ROSE VICKERS is an art writer and curator currently based in New York; rosevickers.com LAURA COUTTIE is an arts writer based in Melbourne; lauracouttie.com TAI MITSUJI is a Sydney-based arts writer ZAN WIMBERLEY is a photographer specialising in the arts, based between Sydney and Melbourne; zanwimberley.com ELLINOR PELZ is a Melbourne-based artist and writer DR JUDITH PUGH is an arts and cultural…

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editor’s note

A LITTLE OVER A YEAR AGO Angelica Mesiti achieved what most Australian artists desire: to be selected as Australia’s sole representative at the Venice Biennale. As this issue’s cover artist, only months before its May presentation in the Australia Pavilion, Mesiti spoke to Elli Walsh about her journey to the 58th Biennale di Venezia and the progress of her new work, ASSEMBLY. The battle to arrive in Venice and the exhibition there of a new work often conceals a long-held commitment between business and government in the support of artists. Few Australians understand how long it took for Australia to secure a foothold in the Giardini Pavilion. It’s now almost impossible for other governments to secure a site, even China has not been able to build in the Giardini; that country has had…

access_time6 min.
why spend billions on a museum move nobody wants?

DEAR MICHAEL DALEY, As new leader of the Opposition in New South Wales you wasted no time in getting stuck into the Berejiklian government over its surreal proposal to knock down two sporting stadiums and rebuild them at a cost of roughly $2 billion to the taxpayer. It’s an excellent target, as neither the Premier nor the Sports Minister, Stuart Ayres, has been able to come up with a convincing rationale as to why it’s necessary to demolish a stadium that seats 45,000 people so as to accommodate 100,000, even though the usual attendance is about 16,000. There was a bit of laughable, opportunistic banter about making new facilities for women’s sporting teams, but this would be like tearing down your house in order to renovate the bathroom. Then there was…

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mr daley agrees: don’t move the powerhouse

Shortly before this article went to print the NSW Opposition leader Michael Daley sent out a press release announcing precisely what I was asking for: a cast-iron commitment to preserving the Powerhouse Museum on its current site. Mr Daley also announced commitments for $500 million to be spent on building a dedicated cultural institution in Parramatta, and $45 million for upgrades to the Powerhouse Museum. This sounds extremely positive but the Powerhouse Board immediately complained that $45 million wasn’t enough for a comprehensive fix. Are they suggesting it would be better to spend at least $1.5 billion attempting to move the entire shebang? An incoming Labor government might begin by looking at the scandalous degree to which the Coalition has allowed the Powerhouse to become run down to help with the…

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pierre mukeba

PIERRE MUKEBA IS CONGO-BORN AND ADELAIDE-BASED. His grandfather was a celebrated realism artist in the Congo, deprived of opportunities due his underprivileged circumstances. As a small child, Mukeba watched his uncle sculpt and draw. When he was thirteen, his family fled civil war to a Zambian refugee camp, then to Harare in Zimbabwe, before gaining asylum in South Australia, after the Zimbabwean regime rendered impossible any future for non-nationals in that country. He soon fell ill here, largely as a result of accumulated anxiety from feeling alienated and culturally dislodged. A decade later, Mukeba won the Churchie National Emerging Art Prize in 2017 and has now featured in numerous exhibitions. Artist Profile met with Mukeba in his new studio in central Adelaide, where the walls and floor were covered in…

access_time6 min.
kawita vatanajyankur

To me, being a feminist artist is about believing in all justice and equality, and not only speaking about being ‘female’ as a gender. WHERE DO YOUR IDEAS USUALLY BEGIN? My ideas, inspirations and influences usually start with small discussions and conversations over dinner with my family about their work in the legal and justice sector. By bringing these personal conversations to the public through my art, I hope that somehow, someone may become more socially engaged and inspired to contribute positively towards an egalitarian and just society. In ‘The Scale of Justice’ series, recently shown at the OzAsia Festival on a large outdoor screen, the hypnotic rhythm of the rice pouring onto the trays evokes an immediate curiosity as to the use of your body as a type of ‘beam scale’. Can…

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