Published 01 March 2020
Published 01 January 2020
Published 01 December 2019
Exhibition review Birds Have Fled
Univsersity of South Australia Art Museum
7 September - 2 October 1995
Exhibition Review Patmos Series Paintings
Published December 1995
Australians have a natural thirst for objects of grand scale, however ridiculous their theme or location or context. From big sandfly, big axe to big oyster and beyond, we are the big desert island that experiences big wets and big dries, little wonder someone made a Big Tap to remind us...we are big drinkers.
Exhibition review Defrosting Familiar Tales
Jo Crawford, Bev Hogg
Jam Factory Gallery
Adelaide South Australia
7 July - 27 August 1995
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...
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
Book review The Barossa Folk: Germanic Furniture and Craft Traditions in Australia
By Noris Ioannou
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.
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.
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.
Exhibition review Beep 'n' Click
Entrepot Gallery Tasmanian School of Art
8 - 29 September 1995
...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.