Reathing, Writhing and Fainting in Coils: Richard Grayson

Cover of Reathing, Writhing and Fainting in Coils: Richard Grayson
1.272
OzAsia Festival Visual Arts Program

Various venues, Adelaide

Review
Margot Osborne

Published 12 November 2018
1.262
Then and Now | Making : Memory

Articulate project space

Review
Craig Judd

Published 09 November 2018
1.124
Void

UTS Gallery, Sydney

Review
Larissa Behrendt

Published 24 October 2018
Axolotl
1.126
Limestone Coast Video Art Festival

Riddoch Art Gallery

Review
Eve Sullivan

Published 12 October 2018
1.126
TarraWarra Biennial: From Will to Form

TarraWarra Museum of Art

Review
Zara Sigglekow

Published 10 October 2018
1.126
Systematic

Plimsoll Gallery, Hobart

Review
Seán Kelly

 

Published 08 October 2018
Hazelhurst
1.128
Desert Mob 2018

Araluen Arts Centre

Review
Kieran Finnane

Published 27 September 2018
1.25
SALA Festival: Gerry Wedd, Julia McInerney, Aldo Iacobelli
Review
Eve Sullivan

Published 11 September 2018

Exhibition review Received Richard Grayson Greenaway Art Gallery Adelaide South Australia 12 July - 6 August 1995

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

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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.

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Cakes for Show: The Last Great Undigested Art
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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!

Published December 1995
Kitschoprenia
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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.

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Continuous History
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Lawrence Wilson Art Gallery
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Kitsch or Kind: Representations of Aborigines in Popular Art
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Much contemporary Aboriginal art functions in the inappropriate melding of two visual art traditions and is kitsch within the given meaning within the article.

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Made in WA: A Sculptor's Alternative Practice
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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.

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Bigs R Us
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Paul Ryan

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Published December 1995
Pretty Baby
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Juliette Peers

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.

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Monstrous Change Observed
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