Published 30 March 2022
Exhibition review Birds Have Fled Angela Valamanesh Univsersity of South Australia Art Museum 7 September - 2 October 1995
Exhibition review Litteraria Simryn Gill and Robert MacPherson Artists in residence at the South Australian Museum 16 September - 31 December 1995
Published December 1995
Are gossamer wings set to supplant shoulder pads as signifiers of feminist power? Shopping malls in middle class suburbs are now sprouting fairy shops where, for only a few dollars, little girls and grown-up ones too, can sprout fairy wings that temporarily release them from the masculine world around them.
Discussion with the artist Ray Hughes about issues that have impacted on his art practice. Biographical details also included.
Collections of any kind require patience, luck, money, space, time and dedication.....
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
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...
Much contemporary Aboriginal art functions in the inappropriate melding of two visual art traditions and is kitsch within the given meaning within the article.
Monash University Gallery presented Fashion, Decor, Interiors, curated by Natalie King 7 June - 15 July 1995, high-lighting aspects of advertising, mass production and architectural design through the work of Lyndal Walker, Tony Clark and Stephen Bram -- extracts from the exhibition catalogue.
Book review The Barossa Folk: Germanic Furniture and Craft Traditions in Australia By Noris Ioannou Craftsman House 1995
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.
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.
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.
