Issue 3 2009
Naomi Cass, Director of the Centre for Contemporary Photography (CCP), curator and writer, has worked in the fields of contemporary art, craft, design and music since completing her honours degree at the University of Melbourne. In 2005 she oversaw relocation of the CCP, now in its 22nd year, to purpose designed premises.
Dr Isobel Crombie has worked as a Curator of Photography since 1979. She began her career at the National Gallery of Australia and, since 1988, has been Senior Curator, Photography, National Gallery of Victoria. She regularly curates exhibitions on the history of Australian and International photography and has published over sixty articles and books on aspects of the medium. Recent publications include Body Culture: Max Dupain, Photography and Australian Culture, 1919-1939, 2004; Shashin: Nineteenth-century Japanese studio photography, 2005; Light Sensitive: Contemporary Australia photography from the Loti Smorgon Fund, 2006; Body Language: Contemporary Chinese photography, 2008 and Re-view: 170 Years of Photography, 2009.
Tara Gilbee is a Victorian photomedia artist. She is also a curatorial collaborator in the arts group <the space in between> which explores the interstitial relations of art to its environment and within collaborative practice. Tara has worked with national and international artists across various practices. She recently toured the group exhibition The Space in Between: Book Project to a number of regional galleries in Australia. Tara has held residencies at CAMAC, France, in 2004 and Raw Space, Queensland 2005. She has participated in Arts Victoria funding panels and has published reviews in Real Time and UN Magazine. Her work is held in public and private collections.
Philip Goldswain is a lecturer in architecture at the University of Western Australia. With Prof William Taylor he is editor of An Everyday Transience: The Urban Imaginary of John Joseph Dwyer (UWA Publishing, forthcoming, 2010) and an exhibition of the same title for FotoFreo 2010. He is a contributing editor for the Australian Institute of Architect’s journal Architecture Australia, a former editor of The Architect (WA) and has written extensively on the contemporary built environment. A PhD candidate at The University of Melbourne, his research is investigating the visual depiction of boom towns with an emphasis on Kalgoorlie, Western Australia.
Dr Adrian Martin is Senior Research Fellow, Monash University, an internationally-known film critic, and Co-Editor of the online magazine Rouge (www.rouge.com.au). Since 1979, Adrian has combined work as a professional writer and film critic with a university career. He was film reviewer for The Age between 1995 and 2006. For his numerous books, essays and public lectures he has won the Byron Kennedy Award (Australian Film Institute) and the Pascall Prize for Critical Writing, and his PhD on film style won the Mollie Holman Award. He is the author of four books and hundreds of essays on film, art, television, literature, music, popular and avant-garde culture.
Anna MacDonald is an Associate Curator at the Australian Centre for Contemporary Art (ACCA), Melbourne. She was curator of Intimacy 2008. Other recent projects include co-ordination of The Enlightenments, the visual arts program of the Edinburgh International Festival in 2009 and Tacita Dean at ACCA, also in 2009.
Dr Kyla McFarlane is a writer, editor and Assistant Curator - Exhibitions at Monash University Museum of Art, Melbourne. Kyla has written on contemporary visual art in Australia and New Zealand since 1996, with a particular emphasis on photography. She has published numerous catalogue essays, articles, book chapters and reviews. Kyla’s curatorial projects at Monash University Museum of Art include Photographer Unknown, 2009; The Ecologies Project, with Geraldine Barlow, 2008 and The Line Between Us: The Maternal Relation in Contemporary Photography, 2005. Kyla holds a PhD in visual culture from Monash University, which focuses on the relationship between contemporary photography, feminism and psychoanalysis. She has also worked as a pictorial editor at The Age and the New Zealand Herald.
Glenn Pilkington is a Perth based curator and visual artist. Currently at the Art Gallery of Western Australia (AGWA) in the role of Curator of Indigenous Objects and Photography, Glenn has worked in the Indigenous visual arts sector for the last six years. Prior to this Glenn worked as an Indigenous Arts Development Manager at artsource: the artist’s foundation of WA, delivering development opportunities to Indigenous artists throughout Western Australia. Glenn has a Bachelor of Fine Arts degree (Printmaking) from the School of Contemporary Art, Edith Cowan University and has exhibited in exhibition such as Innovators 3, 2008 Linden Centre for Contemporary Arts, Melbourne; the 25th Telstra National Aboriginal and Torres Strait Islander Art Awards, Museum and Art Gallery of the Northern Territory, Darwin, and the Xstrata Coal Emerging Indigenous Art Award, GoMA Queensland Art Gallery, Brisbane, all in 2008. As an artist and curator Glenn has a very strong interest in contemporary race politics and contemporary Indigenous Identity.
Dr Damian Skinner is an art historian and curator who lives in Gisborne, New Zealand. He has published a number of books on Maori art, including Ihenga: Te Haerenga Hou - The Evolution of Maori Carving in the Twentieth Century, Reed, 2007; The Carver and the Artist: Maori Art in the Twentieth Century, Auckland University Press, 2008, and he is currently working on a history of the Maori carved meeting house. He has also written about New Zealand modernist photographers Steve Rumsey and Ans Westra, and is writing a chapter about Brian Brake’s photographs of Maori art for a book being published by Te Papa Press in 2010. His most recent book is Cone Ten Down: Studio Pottery in New Zealand, 1945-1980, Bateman, 2009.
