Published 01 June 2019
State Library of NSW
Collections of any kind require patience, luck, money, space, time and dedication.....
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
July 9 - September 3 1995
Published December 1995
Discussion with the artist Ray Hughes about issues that have impacted on his art practice. Biographical details also included.
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.
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.
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.
Exhibition review Defrosting Familiar Tales
Jo Crawford, Bev Hogg
Jam Factory Gallery
Adelaide South Australia
7 July - 27 August 1995
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).
The days of the Tamworth Festival are marked with ceremonies. Stars place their hands into cement and history in the Hands of Fame Park. At the rear of Maguire's pub the popular alternative Noses of Fame honours famous noses.
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.
When I was an art critic, I quickly grew to dislike the word 'taste'. It was a convenient tool used to dismiss reviews by people who didn't like what I had to say. Whenever I delivered a negative crit upon a widely revered artist, or a positive crit on a very minor figure, they complained that I was allowing my taste to undermine my professionalism.
...But the Mardi Gras will always be a child of the seventies. Remember that mantra 'the personal is political'. In spite of the co-option and mainstreaming of Lesbian and Gay culture this wonderful spectacularly amateurish display (of difference) cannot help but be a politicised intervention.
Issues of stereo-typing, conforming behaviour and fun and practicality are looked at in an observation of an MG driver.