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...getting crowded in the kitchen, the locus of australian political sloganeering. For most of the year, Labor leader Kim Beazley has been claiming his party's slant and policies are informed by the concerns of middle Australia-not the fripperies of abc Radio National listeners or Sydney's droning talk shops. Beazley's relentless message is that Labor is focused on the "kitchen table" issues that preoccupy families. Such as? Interest rates, petrol prices, schools, job security and Iraq. And because McMansions have formal dining rooms, and maybe because wine is so cheap, our dinner-party talk now extends...

Author: /time Magazine | Title: Farmers Get Hooked on the Dollar Drip | 10/23/2006 | See Source »

Such is the case with Australian art. Until recently, the nation's cultural treasures have rarely registered on the Japanese radar. "It's sports, nature and bushfire, koala and kangaroo," Nakayama says of the popular perception. But with the 2006 Australia-Japan Year of Exchange marking the 30th anniversary of the signing of the Basic Treaty of Friendship and Cooperation between the two countries, museum director Norio Shimada together with Nakayama, who completed her fine-arts masters at the University of Adelaide, decided the time was right to add depth to the Australian image. Which is how 70 works...

Author: /time Magazine | Title: Both Sides Now | 10/23/2006 | See Source »

...Assembled on 165 canvas boards and referencing both Expressionist Georg Baselitz's figure of a German soldier and Timmy Payungka Japangardi's Kangaroo and Shield People Dreaming, this postmodern picture puzzle announces the exhibition's intriguing but not wholly convincing contention-that multicultural voices and Aboriginal culture have colonized Australian art. "That's really the message we have-lots of cultural backgrounds coming into our show," says Nakayama. "And this is Australia...

Author: /time Magazine | Title: Both Sides Now | 10/23/2006 | See Source »

Where recent international surveys have placed indigenous artists at the margins of Australian life (three years ago, Berlin's "Face Up: Contemporary Art from Australia" included only one), visitors to "Prism" could be forgiven for thinking that Aboriginal art now occupies the center. Here, prominent non-Aboriginal artists such as Piccinini, Rosemary Laing and Fiona Hall, for once, become the minority. But because of the quietly considered way the pictures are hung, the Aboriginal upstaging appears neither jarring nor odd but perfectly natural. In this way it reflects both the heightened interest in Aboriginal art internationally, and its growing impact...

Author: /time Magazine | Title: Both Sides Now | 10/23/2006 | See Source »

...Clifford Possum Tjapaltjarri's Man's Love Story, 1978, the first dot painting to be bought by a public art gallery. But where the exhibition breaks new ground is in exploring the relationship between indigenous and non-indigenous art. In a room to the right of Love Story, the Australian art divide is made spurious with the photographic works of Rosemary Laing and Michael Riley. The late Wiradjuri-Gamilaraay artist's final Cloud series suspended emblems of Aboriginal identity and dispossession in the same liquid-blue sky Laing sent her brides flying through. For her most recent series, the Sydney...

Author: /time Magazine | Title: Both Sides Now | 10/23/2006 | See Source »

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