Published 30 March 2022
Discussion with the artist Ray Hughes about issues that have impacted on his art practice. Biographical details also included.
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).
Published December 1995
Book review The Barossa Folk: Germanic Furniture and Craft Traditions in Australia By Noris Ioannou Craftsman House 1995
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 Defrosting Familiar Tales Jo Crawford, Bev Hogg Jam Factory Gallery Adelaide South Australia 7 July - 27 August 1995
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.
Exhibition review Litteraria Simryn Gill and Robert MacPherson Artists in residence at the South Australian Museum 16 September - 31 December 1995
Exhibition review Beep 'n' Click Entrepot Gallery Tasmanian School of Art Hobart Tasmania 8 - 29 September 1995
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.
Collecting and making dolls grows in popularity in Australia, but members of Australia's arts industry are relatively under-represented in the ranks of doll collectors. Original dolls speak of the culture that produces them.
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.
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.
