Published 01 June 2014
Published March 2014
Published December 2013
Published 01 September 2013
Published June 2013
Published March 2013
Published September 2012
Looks at Linda Sproul's 'Listen' and Barbara Campbell's 'Backwash'.
Published March 1994
During the past 8 years or so there have been two distinctive strands of activity which women artists have pursued in Aotearoa/New Zealand. Both are concerned with questions of identity. Artists Fiona Pardington, Emily Karaka, Shona Davies, Christine Webster and Robyn Kahukiwa.
Looks at the work of Heather Ellyard, Annette Bezor, Janette Moore, Anna Platten.
Suffrage year celebrations and the visual arts in New Zealand.
A survey of current issues, events and projects with respect to women's art from around Australia.
Dick Bett Gallery, Hobart, Tasmania
What does it mean to present as a 'lesbian' artist? The very identity categories 'gay', 'lesbian', 'heterosexual' are extremely problematic. Now that 'I' am out, I find that I am in - inside a category that reduces rather than expands possibilities for me, not just as an artist, but as a person.
How do we define ourselves? What are the choices for women these days?
The artists were selected because their work embraces not only questions of gender, but also addresses the distinctive duality between the superficial look of things and the complex web of underlying meaning, desire, fear, experience, and memory that they have located and interpreted for us. Featured artists are Jane Eisemann, Jacqui Stockdale, K.T. Prescott, Helen Wright and Megan J Walch.
Review Bad Girls: Institute of Contemporary Art London 7 October - 5 December 1993. Using glamour, virginity and stardom to attract as wide an audience as possible to a show of supposedly anarchic women artists all hoping to confront notions of sexuality and gender was a smart, if questionable, move....
Fab art: Works by Kerry Giles (Kurwingie)
Adelaide South Australia
23 November - December 1993
Women's courses since the 1970s have become a familiar if marginalised component of most art school curricula, their initial aim being to compensate for the absence of women in the Art History and Theory syllabus and to encourage the development of feminist art practices.