A newsletter about art from Western Australia


Mark

Archive


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#38 — The Holy Grail — 24 October 2020 — A response by Danni McGrath to White Line Fever by Matt Aitken and Lyndon Blue — Next Wave Festival

#37 NOLLA MARA — 08 October 2020 — Reflections on Nollamara by Matt Aitken to celebrate a new mural by Seantelle Walsh and Sioux Tempestt 

#36 — Perth Elections — 27 September 2020 — Some thoughts on the City of Perth 2020 Elections by Kelly Fliedner

#35 — Judging Cossack — 16 September 2020 — A dispatch from the Cossack Art Awards by Sharmila Wood

#34 — Noongar Country — 10 September 2020 — A selection of works and texts by Amanda Bell, Arthur Graham Eades, Naomi Grant, Rohin Kickett, Yabini Kickett, Lea Taylor and Stephen Taylor — Bunbury Regional Art Gallery

#33 — Your mission if you choose to accept — 04 August 2020 —A response to Every Day Super Hero by Melissa McGrath — Fremantle Arts Centre

#32 — Prelude to a conversation — 26 July 2020 — A response by Kelly Fliedner to the work of Peter Tyndall — Art Gallery of Western Australia

#31 — All the Violence Within This — 19 July 2020 — A response by Robert Wood to the work of Alana Hunt

#30 — All at once — 12 July 2020 — Some thoughts on re-opening by Melissa McGrath

#29 — COMMUNITY, Faces of the — 21 June 2020 — Obituaries for Faces of the Community by Ellen Broadhurst, Jack Caddy & Grace Connors, Karl Halliday, Brent Harrison, Shannon Lyons, Harry Price, Jaxon Waterhouse and Gemma Weston

#28 — No peace in the statue wars until there is peace in the justice system — 19 June 2020 — A response by Kelly Fliedner to Ted Snell’s ‘Can we have peace in the statue wars?’ in The West Australian, 16 June 2020

#27 — A month of leap days — 14 June 2020 — An object study by Susanna Castleden

#26 — Chapter 2: How to Break Up with Your Day Job and Date Your Solo Practice — 07 June 2020 — A reflection on making it at home by Emma Buswell

#25 — Suburban displacement, suburban estrangement: where are the people? — 31 May 2020 — Correspondence between Christina Chau and Kelly Fliedner in response to Ian Strange’s Suburban Interventions 2008 – 2020 — John Curtin Gallery, Perth Festival

#24 — Chapter 1: Ice Coffee Fortifications and Baking Lasagnes — 24 May 2020 — A reflection on making it at home by Emma Buswell

#23 — I Feel A Song Coming On — 17 May, 2020 — A response by Ben Rodin to PREPPERS — Fremantle Arts Centre

#22 — Drinks with mates — 03 May 2020 — A selection of coasters with accompanying text by Kelly Fliedner and Robert Wood

#21 — From the D’cruzs — 26 April 2020 — Nisha D’cruz and Rushil D’cruz — A response to Kaseh Ibu, an exhibition with Maimunah Abdullah, Rabiah Letizia, Abdul-Karim Abdullah, Abdul-Rahman Abdullah and Abdul Abdullah — Cool Change Contemporary

#20 — Under Confinement — 19 April 2020 — A curator’s tour of Dwellings by Jess Boyce and Miranda Johnson — The Lobby

#19 — The ring is an object of ritual — 12 April 2020 — A response by Paul Boyé to The Long Kiss Goodbye, an exhibition curated by Gemma Weston featuring Sarah Contos, Penny Coss, Iain Dean, Brent Harris, Clare Peake, and Michele Elliot with Tender Funerals — Lawrence Wilson Art Gallery, Perth Festival

#18 — On Affection: A letter to my high school crush — 5 April 2020 — A love letter with text and illustrations by Amber Norrish

#17 —  An Open Letter, regarding the Australia Council for the Arts’ Four Year Funding For Organisations — 04 April 2020 — Semaphore editorial committee — Christina Chau, Kelly Fliedner, Alana Hunt, Melissa McGrath and Gemma Weston

#16 — By The Sea — 18 March 202 — A response to Sculpture by the sea by Kelly Fliedner — Cottesloe Beach 

#15 — At The Beach — 13 March 2020 — A response to Surf Report and Saturday Slow Down by Melissa McGrath — Pig Melon

#14 — Objectivity & Language: the power of empathy in audio description — 29 February 2020 — Mayma Awaida and Tony Sarre — A conversation about audio description and John Prince Siddon‘s exhibition All Mixed Up — Fremantle Arts Centre

#13 — Don’t Stare at the Sun / for Too Long — 23 February 2020 — Anna Dunnill on Amy Perejuan-Capone — Pakenham Street Art Space, ARTSOURCE Old Customs House

#12 — All Mixed Up — 18 February 2020 — A response to John Prince Siddon‘s exhibition All Mixed Up by Darren Jorgensen — Fremantle Arts Centre

#11 — WA/ Wait Awhile — 09 February 2020 — An image study by Danni McGrath

#10 — Annihilation then Vacation — 04 December 2019 — A response to Jessee Lee Johns’ South Mole Resort by Jess Day — Fremantle Biennale, Derbarl Yerrigan

#9 — Suburbs — 24 November 2019 — Hayley Megan French in correspondence with Robert Wood — The Border Line, Miriwoong country

#8 — In the presence of water —18 November 2019 — A conversation with Daniel Jan Martin by Mike Bianco

#7 — Pretty Beach — 11 November 2019 — An image study by Abdul-Rahman Abdullah

#6 — Swan River Colony — 7 November 2019 — A response to the work of Abdul-Rahman Abdullah and echoes of the Swan River Colony by Robert Wood

#5 — HERE&NOW19: Material Culture — 27 October 2019 — A response by Emma Buswell to HERE&NOW19: Material Culture — Lawrence Wilson Art Gallery

#4 — PDA — 20 October 2019 — A response to Jac Ball’s PDA by Melissa McGrath — Turner Galleries

#3 — Premonition — 11 October 2019 — An image study by Gemma Weston

#2 — Trying to find comfort in an uncomfortable chair — 06 October 2019 — A response by Kelly Fliedner to Trying to find comfort in an uncomfortable chair, an exhibition by Agatha Gothe-Snape with the Cruthers Collection of Women’s Art — PICA


#1 — Five Short Blasts — 27 September 2019 — A collection of reflections by Christina Chau, Kelly Fliedner, Cassie Lynch, Melissa McGrath and Katherine Wilkinson to Five Short Blasts — Perth Festival, Derbarl Yerrigan






Kaya. We acknowledge the Whadjuk People of Boorloo boodja who are the traditional owners of the land where Semaphore is made. We respect their culture, their custodianship, and their continuing contribution to the life of this city and this region. That includes recognising and respecting sovereignty while working in solidarity towards a treaty and supporting ongoing connection to country. That means linguistic rights, economic opportunity, and artistic endeavour. To their Elders, past, present and emerging, we say thanks.



Mark