Published 01 September 2019
Collections of any kind require patience, luck, money, space, time and dedication.....
Big things have the power to make real the stuff of dreams. They have the power to make us stop at places we would never have dreamed of visiting. Grand kitsch is both art and beyond.
Published December 1995
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.
Exhibition Review Patmos Series Paintings
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.
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.
Livid Festival was launched in Brisbane in 1988 with the broad altruistic aim of 'giving a go' to local Brisbane bands, performers and visual artists. Within three years the festival had grown exponentially and included a wide range of feature guest artists.
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
Exhibition review Beep 'n' Click
Entrepot Gallery Tasmanian School of Art
8 - 29 September 1995
Exhibition review Birds Have Fled
Univsersity of South Australia Art Museum
7 September - 2 October 1995
Issues of stereo-typing, conforming behaviour and fun and practicality are looked at in an observation of an MG driver.
That these same institutions have never seriously attempted to digest the great crafty, feminine art of traditional cake decoration is more regrettable. Icons, after all, are as valued as the most avant-garde compostion if made of oil paint and gold leaf on wood. When future generations visit our hallowed aesthetic halls, let them meet cake!