Australian Pavilion, 59th La Biennale di Venezia
Published 15 June 2022
National Gallery of Victoria
Published 30 May 2022
Art Gallery of Western Australia
Published 04 May 2022
Adelaide Railway Station
Monash University Museum of Art
Published 30 March 2022
Edited by Brad Haylock & Megan Patty Sternberg Press, 2021, 288 pages
Angela Goddard and Tim Riley Walsh (eds.) Griffith University Art Museum and Power Publications, 2020 66 images, including colour plates 216 pages
The Substation
Published 15 December 2021
Exhibition Review Patmos Series Paintings Jules Sher Perth Galleries Western Australia
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
Exhibition review Birds Have Fled Angela Valamanesh Univsersity of South Australia Art Museum 7 September - 2 October 1995
Exhibition review Beep 'n' Click Entrepot Gallery Tasmanian School of Art Hobart Tasmania 8 - 29 September 1995
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.
Exhibition review Received Richard Grayson Greenaway Art Gallery Adelaide South Australia 12 July - 6 August 1995
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).
Exhibition review Forrest Place During the Time of the Fly Plague and Other Paintings 1993-1995 Thomas Horeau Perth Western Australia
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.
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.
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.
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.
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.
