APT Bulletin Vol.3 No.3

are made to feel welcome. Rather than keeping the artworks off limits, there is a zone where activities have been designed by visiting artists to give patrons, young and old, a hands-on experience. The strength of this year's APT3, with its focus on children, is its democratic message that art is for making as well as appreciating. Cindy Lord, The Courier Mall, 20 Nov. 1999 Growing in strength each year, the huge collaborative process behind this innovative event shows ever more in the debates and discussions surrounding the works. A fine example of how a public institution can make a difference in the contemporary art of its region. Susan McCulloch-Uehlln, The Weekend Australian, 20-21 Nov. 1999 While APT can hope only to provide tantalising glimpses of the contemporary art worlds of the vast Asia-Pacific region, in providing a unique and valuable forum for cultural dialogue the gallery has earned for itself a secure place on the global art map. Jonothan Mane-Wheokl, Art New Zealand, Summer 1999/2000 Pacific Triennial has achieved a level of national and international recognition that had seemed unimaginable when it first opened in 1993. Brooke Turner, The Art Newspaper, Dec. 1999 ... the APT has generated a substantial cross-cultural dialogue between artists, curators, academics, and the general public in the six years since its inauguration. Charles Green, Art Journal, Vol. 58, No. 4, Winter, 1999 The APT shows a conscientious approach to its enterprise and a multicultural expertise, but the show's real strength is in the compelling voice and power of seventy-five individual artists. The APT was a lively and engaging exhibition,with conscious efforts made to bring the works to a wide audience....The QAG has also made a decade-long commitment to collecting contemporary art of Asia-Pacific and this collection now numbers more than 300 works. Jf not the great "Beyond~, it is a critical investment in the cultural future. lhor Holublzky, International Contemporary Magazine, Nov. 1999 - Jan. 2000 . 14.CHENZhen,lmoc.ition ofwashingfirfl l99'9, Timberframe,metal,sound,al>acusbeads,wooden chamberpots, red l;gt,tglobeS, brokencalculators,cash registers,computer.; andtelevisioosets,300x240x 140cm(appm.<.),The KennethandYasukoM)'!r CollectionofContemporal}'A.sii,nArt.Purthased l9'99 withfundslrom theS>dneyM)'!rCenteMryCe!ebratioo 1899-1999,Grftttuoogh!lleQueenslandArtGallel}' Foundation,Collection:QueenslandArtGallel}' • 15. PinareeSMIPITAK,Womanl)'bodies 1998,Saa fibre,rattan,jutetwiM,bamboo lings.Dimensions valiable,Collection:QueenslandArtGallery • 16. Wal<J<aWal<J<a lndigenousDar1ee Group performingatOfficialOpening,9.9.99 • C<M!r: AhXIAN,8ust2 (/rom"China.China·senes) 1998-1999,CM!porcelainwi!hhand palnted undergl- and o,,ergl- decoration,tollectionclhe artist.Bus!l,3,4. JO(lrom'China.China"series) 1998-1999.TheKenneth andYasuko M:,,erCollectionol ContemporaryAsianM.Pun::/lased 2000Ylith/unds fromtheSidneyM)'erCemenal}' Celebration 1899 1999.Giflthmughthe Queensland AAGallel}'