Published 01 September 2005
Published 01 June 2020
Looks at the work of Heather Ellyard, Annette Bezor, Janette Moore, Anna Platten.
Published March 1994
Looks at Linda Sproul's 'Listen' and Barbara Campbell's 'Backwash'.
Black leather, blood, piercing and tattooing, glamourised dominance and submission should be approached with political discernment and discrimination.
Suffrage year celebrations and the visual arts in New Zealand.
The artists were selected because their work embraces not only questions of gender, but also addresses the distinctive duality between the superficial look of things and the complex web of underlying meaning, desire, fear, experience, and memory that they have located and interpreted for us. Featured artists are Jane Eisemann, Jacqui Stockdale, K.T. Prescott, Helen Wright and Megan J Walch.
Exhibition review I'sland (I'l)n.
Exhibition of prints Long Gallery, Salamanca Arts Centre, Hobart, Tasmania
23 December - 2 January 1994
Article written with Karen Dayman Works being produced by senior indigenous women artists around Western Australia use figurative elements as well as symbols to doucment their own histories during a period of unprecedented social and environmental upheaval.
All New Gen Game Girl
by VNS Matrix
(Josephine Starrs, Francesca Da Rimini, Julianne Pierce, Virginia Barratt), Experimental Art Foundation
Adelaide South Australia
21 October - 21 November 1993
Craig Andrae Miscellaneous Remarks
Contemporary Art Centre
Adelaide, South Australia
3 September - 3 October 1993
Some reflections on a paper entitled the Horror of the Gaze. Art criticism is, perhaps, an art form and not expected primarily to make sense. There is no consensus about what art is, but we do seem to share an urge to understand what critics say about it.
Australian women artists still see grey skies when they look out of their studio windows. This study examines the experiences of women in the hierarchical Australian contemporary art scene.
Review Bad Girls: Institute of Contemporary Art London 7 October - 5 December 1993. Using glamour, virginity and stardom to attract as wide an audience as possible to a show of supposedly anarchic women artists all hoping to confront notions of sexuality and gender was a smart, if questionable, move....