Published 01 December 2020
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.
Exhibition review Litteraria
Simryn Gill and Robert MacPherson
Artists in residence at the South Australian Museum
16 September - 31 December 1995
Published December 1995
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.
Discussion with the artist Ray Hughes about issues that have impacted on his art practice. Biographical details also included.
Kitsch is a kind of creole. It quotes and mixes references from quite unrelated sources, dresses in wildly unsuitable materials, then tries to insinuate itself using childhood wiles.
Much contemporary Aboriginal art functions in the inappropriate melding of two visual art traditions and is kitsch within the given meaning within the article.
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).
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.
Since 1829, the inhabitants of the western third of Australia have identified more closely with the black swan than the kangaroo. The swan was and is to be found on a wide range of items from buildings to letterheads and furry toys. It crosses class boundaries...
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
The first Australian garden books put vegetables first but by the mid 19th century the language of flowers was in vogue. Gardens, flowers and art...
...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.