Motor-Cross Dressing

Cover of Motor-Cross Dressing
1.128
Wardlipari Homeriver: Vulnerable observations
Feature
Uncle Lewis Yarluburka O’Brien and Ali Gumillya Baker

Published 01 March 2019
1.126
Local colour: Dyeing and women's wealth
Feature
Julie Ewington

Published 01 March 2019
1.122
Hi-vis commodities: A body corporate's toxic economy
Feature
Tessa Laird with Debris Facility

Published 01 March 2019
Artlink Promo
1.126
Revisiting colour problems: Emily Vanderpoel, Hilma af Klint, Becca Albee, Clare Milledge
Feature
Amelia Wallin

Published 01 March 2019
1.126
Queer uses of colour: A tinted hermeneutics
Feature
Abbra Kotlarczyk

Published 01 March 2019
1.278
Meet Lisa Walker in her workshop: VR in the museum
Feature
Justine Olsen and Prue Donald

Published 01 December 2018
Crown Resorts
1.126
Eugenie Lee's Seeing is Believing: VR in pain management
Feature
Dylan DeLosAngeles

Published 01 December 2018
1.128
Artificial imagination: Deepfakes from latent space
Feature
Sean Dockray

Published 01 December 2018

Issues of stereo-typing, conforming behaviour and fun and practicality are looked at in an observation of an MG driver.

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More from this Issue Full Issue Contents

Destiny Deacon: It's Been Ages Since We Last Marched
Feature
Jo Holder

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).

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Kings of Kitsch: Big Things
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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
It's Things That Matter
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1995

Published December 1995
When Is A Door Not A Door?
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Exhibition review Birds Have Fled
Angela Valamanesh
Univsersity of South Australia Art Museum
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Published December 1995
Image Bank
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Juliette Peers

Collection of images with artists statements. Artists featured: Katanya Shanzy, Anne Graham, Geoffrey Seelander, Simon Duncan, Pierre Cavalan, Stefan Szonyi, Cliff Burt, Andrea McNamara, Karen Ferguson, Constanze Zikos, Jandee Amar Leddar, Leon Pericles, Meryn Jones, Annie Taylor, Ex de Medici and Ian Mowbray.

Published December 1995
Mary MacKillop Kitsch
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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.

Published December 1995
The Taste Factor
Feature
Christopher Heathcote

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.

Published December 1995
If Aquarium Gravel Is So Bad For You, How Come It Tastes So Good?
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In the trading card world there are collectors, dealers, curators, critics, interested observers, and of course various magazines. Does this world sound familiar? Looks at the role of collecting...

Published December 1995
Actions Louder Than Words
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Exhibition review Beep 'n' Click
Entrepot Gallery Tasmanian School of Art
Hobart Tasmania
8 - 29 September 1995

Published December 1995
Making and Breaking
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Suzanne Spunner

Exhibition review Cross Fibre
Lia Gill Pam Lofts and NT women working with fibre
24 Hour Art Darwin, Northern Territory
18 August - 2 September 1995

Published December 1995
Kitschoprenia
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Robert Nelson

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.

Published December 1995
Inflecting the Museum
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Simryn Gill and Robert MacPherson
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