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Artist ProfileArtist Profile

Artist Profile Issue 47

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

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contributors

Artist Profile Team Publisher JOHN FEITELSON Editor KON GOURIOTIS OAM Art Director KIM GREGORY Deputy Editor ELLI WALSH Principal Writer JOHN MCDONALD International Arts Writer LUCY STRANGER Intern ERIN MCFADYEN Sub-editor JAMIE MCILWRAITH National Advertising Manager JILL TROCHEI Stories and Photos PETER HILL is an artist, writer and independent curator TAI MITSUJI is a Sydney-based arts writer SASKIA BEUDEL is a Canberra-based writer who first trained as a painter LOUISE MARTIN-CHEW is a PhD candidate at the University of Queensland; louisemartinchew.com BRIDGET MACLEOD is an arts writer and curator based on the NSW South Coast KIRSTY BAKER is a Wellington, NZ-based writer and art historian ANNA JOHNSON is a Sydney-based arts and cultural writer DJON MUNDINE OAM is a curator, writer, artist and activist OMAR SAKR is a poet and editor; omarsakr.com IAN WERE is a Brisbane-based arts writer and editor DAVID STEIN is Director and Founder of Sydney art conservation practice David Stein & Co; artrestoration.com.au MELISSA PESA is a…

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editor’s note

McLean Edwards said to writer Saskia Beudel, as they spoke in his studio, ‘We should be fearsome, us artists and writers. People should tremble when we enter the room.’ Few painters can claim to be an inspiration to their generation as Edwards can. This issue, which features Edwards on the cover, marks the first year since Artist Profile established itself as an independent entity, and it is our thirteenth year as a magazine devoted to revealing the stories behind visual artists and their art. Our new Artist Profile team has been listening to your comments on how to improve both the print magazine and our digital platforms. Independence has meant we can provide in-depth articles on the visual arts that last beyond a ‘sound bite’. We have redesigned the print edition of the magazine,…

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art & money revisited

When Robert Hughes delivered his jeremaiad, Art and Money, in 1984, it seemed as if the earth would surely open up and swallow the greedy dealers, the opportunistic artists, the vulgar, nouveau riche collectors who had wrought such pestilence upon the fair face of Art. The gist of Hughes’s argument was that art was being corrupted and debased by the huge sums being paid for works by a new set of superstars whom he viewed as decidedly second-rate. Artists such as Julian Schnabel and Keith Haring left him stone cold, as did the growing adulation for Andy Warhol, who was being treated as the prophet of a new era. He snorted at ‘the art starlet one sees waddling about like a Strasbourg goose, his ego distended to gross proportion by the obsequies…

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james drinkwater

How do you describe your artistic practice to strangers? When people ask, I always tell them that I’m a house painter – because I’m inevitably covered in paint. It’s trickier when someone probes a little further. I’m a painter-sculptor. I’m the son of schoolteachers so I saw people get up and go to work every day. I feel like a worker, but ultimately, I suppose, I’m an artist. I guess, I make journal entries about my life, and the medium I use is paint. I’m trying to document the passage of time, so each picture is the result of an experience or an event. After all that, people look at me bemused – and wish they didn’t ask! Why do you think the labels of ‘painter’ or ‘sculptor’ rest more comfortably with…

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michael candy

Michael Candy’s studio is only a short drive from the unapologetic hedonism of the Gold Coast’s pleasure strip of surf and sunshine. However, it could be another world. An unremarkable warehouse, it sits in a street of such warehouses, smash repair shops and storage facilities. There is no signage. We only find it because we have the street number. When visitors step in beneath the half-raised metal-shuttered doors, they are met with a cross between a heavy-metal workshop and a computer lab ringed with neat box-files as if deposited from an earlier analogue age. Hidden like the nest of a rare egret, at the back of all this, is the sleeping area that Candy occupies when he is not working. But mostly he works. And much of his work involves travel. Candy…

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everything once

We meet in McLean Edwards’ studio in Chippendale. I catch the lift to the top floor of a large warehouse building, now converted to expensive apartments. He tells me it used to be full of artists but he is the last one remaining. Off a silent, grey-carpeted hallway his door opens onto a cluttered studio, a TV screen playing 24-hour news, a sagging sofa. Edwards tells me he’s been up all night making changes to a painting of Derek Parker he’ll enter in this year’s Archibald Prize. And it’s not a good day, I soon find out. Just that morning he signed his divorce papers. I say I’m sorry to impose on such a day, that we can be quick. But he assures me it’s okay. He’s gracious about this…

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