If Aquarium Gravel Is So Bad For You, How Come It Tastes So Good?

In the trading card world there are collectors, dealers, curators, critics, interested observers, and of course various magazines. Does this world sound familiar? Looks at the role of collecting...

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Bigs R Us

Australians have a natural thirst for objects of grand scale, however ridiculous their theme or location or context. From big sandfly, big axe to big oyster and beyond, we are the big desert island that experiences big wets and big dries, little wonder someone made a Big Tap to remind us...we are big drinkers.

Paul Ryan

Wer ist Unschuldig?

This issue of Artlink meanders (with kitschy loucheness rather than formalist stringency) around 'taste' bad and good, the workings of taste and various permutations of cultural expression in present day Australia. Kitsch is scrutinised.

Juliette Peers

Teaching Aids

Exhibition review Active Agents: Aids Art in Australia Anthony Babicci, Bronwyn Bancroft, Simon Carver, Eddie Hackenberg, Ian Hartley, Leonore Lancaster, David McDiarmid, Ross Moore, Marcus O'Donnell, Scott Redford, Celia Roach, Gary Shinfield, Jackie Stockdale, Andrew Thomas-Clark, Hiram To, Julia Topliss, John Turner, David Urquart Curators Jill Bennett and John Turner University Gallery, University of Tasmania, Launceston 11 May - 9 June 1995

Gregory Kwok-Keung Leong

Boys and Girls: Pierre et Gilles' Sydney Mardi Gras Poster

Examines the 1995 poster for the Sydney Gay and Lesbian Mardi Gras. How appropriate though, at the moment when Mardi Gras had successfully commodified itself as a cultural event, that its key representation should be through international glamour product photography.

Leigh Raymond

Destiny Deacon: It's Been Ages Since We Last Marched

You can hear her on the radio and see her on the television and contemplate her in better State galleries. Pluralist par excellence, artist, writer and film-maker Destiny Deacon has been blazing away on visual and linguistic fronts since premiering 'Koori Rocks Gub Words' in 'Pitcha Mi Koori' (1990).

Jo Holder

It's Things That Matter

Book review The Barossa Folk: Germanic Furniture and Craft Traditions in Australia By Noris Ioannou Craftsman House 1995

Artlink

Mary MacKillop Kitsch

I confess to a feeling of great affection for Mary MacKillop (1842 - 1909), vernacular culture and kitsch, and great enthusiasm for the idea of an Australian Vatican - an extravagant museum which is also a major site of pilgrimage.

Anne Loxley

Kitschoprenia

Our affection for kitsch is a benign form of aesthetic hypocrisy. My generation, give or take 15 years, adores kitsch. We want to have some badness; it's fun: you laugh both at your dismay for an object and your perplexity over the delight that it brings. In a broad cultural sense, my generation is kitschophilic; and this means, I suppose, not that we love the kitschy object with innocence but that we love the contempt which the kitschy object arouses.

Robert Nelson

Continuous History

Exhibition review Djalki Wanga: The Land is My Foundation 50 years of Aboriginal Art from Yirrkala Northeast Arnhem Land Northern Territory Lawrence Wilson Art Gallery Western Australia July 9 - September 3 1995

Ray Spiteri

Motor-Cross Dressing

Issues of stereo-typing, conforming behaviour and fun and practicality are looked at in an observation of an MG driver.

Glenice Lesley Mathews

Made in WA: A Sculptor's Alternative Practice

Although well known in regional art histories, Western Australian sculptor Edward Kohler has a far wider importance. Economic survival led him to blend popular and high art long before it was standard practice. With the Piccadilly Theatre reliefs of 1938, the sheer exuberance and infectious quality of a positive (if unconscious) kitsch aesthetic entered professional Australian art 60 years ago: Hollywood meets Olympia.

Robyn Taylor

Delma's Collection

Collections of any kind require patience, luck, money, space, time and dedication.....

Emma Hopton

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