Published 01 June 2014
Published March 2014
Published December 2013
Published 01 September 2013
Published June 2013
Published March 2013
Published September 2012
John Curtin Gallery Curtin University of Technology, Perth 14 - 17 April 2004
Published June 2004
Experimental Art Foundation, Adelaide 27 February - 3 April 2004
While the idea of modern and contemporary art are located in a fairly nebulous discursive realm, the notion of modern or contemporary lifestyle (the two seem, in fact, interchangeable) are very much a part of the familiar rhetoric of consumer spending. No Nonsense Return Policy (2003), Pat Foster and Jen Bereans installation at BUS Gallery, documented six miss-assembled items of IKEA furniture and dissect the curious aesthetic cycles that drive the commercial products in both realms. Taylor looks at this work and others which are focused on drawing attention to the formal and ideological intersections between modernism and the stuff of homes and home decoration.
Peter Hennessey & Patricia Piccinimi Greenaway Gallery, Adelaide 28 February - 28 March 2004
Australian Centre for Photography, Sydney 5 March - 18 April 2004
Aleks Danko The Ian Potter Centre, NGV Australia Melbourne (and touring) 7 February - 18 April 2004
This article explores the relationship between art and shopping, in particular the contemporary alignment of the two as one and the way feminist identity is largely constructed through the media and consumption. Wilson looks at the work of Barbara Kruger and her critique of Western consumer habits, in particular the way Kruger explores the different shopping patterns of men and women to reflect some inherent gender traits.
Art Gallery of South Australia, Adelaide 29 February - 30 May 2004
Guy Benfield, Nadine Christensen, Stephen Honegger & Anthony Hunt, Tom Nicholson, Sangeeta Sandrasegar, Parekohai Whakomoe Australian Centre for Contemporary Art, Melbourne 23 March - 16 May 2004
Museum of Brisbane 11 March - 23 May 2004
Perth Symposium, various venues 19 - 21 March 2004
This essay looks at the work of Jose Da Silva, a young Brisbane artist whose work explores the way pornographic images and acts of violence shape gay male subjectivity. Da Silva underscores the way sexual violence is repeatedly fetishised and performed in gay porn, and by extension queer culture. Da Silvas work is bait, designed to lure an audience with its amateur porn pull. Once captive, an audience finds itself figuratively trapped in a seedy backroom where sexual violence is not simply patterned on recognisable social problems like homo hate crimes and/or gay male domestic violence.
