Fatal Attractions: Women and Technology: Norma Wight, Edite Vidins and Lyndall Milani

Cover of Fatal Attractions: Women and Technology: Norma Wight, Edite Vidins and Lyndall Milani
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The five phases of Aboriginal art in Australia
Feature
Djon Mundine

 

Published 01 September 2005
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palawa kani: Expressing the power of language in art and the museum context
Feature
Zoe Rimmer and Theresa Sainty

Published 01 June 2020
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Reconnecting the Yaghan community to cultural belongings 90 years on
Feature
Rebecca Carland

Published 01 June 2020
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Looking for murnong
Feature
Lou Bennett and Romaine Moreton

Published 01 June 2020
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Kin‑dling and other radical relationalities
Feature
Emily Johnson and Karyn Recollet

Published 01 June 2020
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Making Inuit art in the moment
Feature
asinnajaq

Published 01 June 2020
Darwin Aboriginal Art Fair
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Notes from Kahoʻolawe, Ka Paeʻāina o Hawaiʻi, Moananuiākea
Feature
Drew Kahuaina Broderick and Josh Tengan

Published 01 June 2020
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Weaving memory, living embodiment
Feature
Freja Carmichael

Published 01 June 2020

Looks at the work of three Queensland artists working in different ways with computers.

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Knocking on the Inside: Heather Ellyard, Annette Bezor, Janette Moore and Anna Platten
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Memorial to the Survivors
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Discussion of the work of Aboriginal artist Hope Neill

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Sight Lines
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Update: Projects of Women and Art
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A survey of current issues, events and projects with respect to women's art from around Australia.

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Jillian Davey: Stories on Canvas
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Jillian Davey works at the Ernabella Arts Centre on the Pitjantjatjara Lands of the north west of South Australia.

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The Engagement of the Personal
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How do we define ourselves? What are the choices for women these days?

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Bush Women: Narrative Paintings from Outback Western Australia
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Speaking the Ineffable: New Directions in Performance Art
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Far Beyond First Impressions
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Order Australis
Dick Bett Gallery, Hobart, Tasmania
August 1993.

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Someday, Somewhere - Women and Nation in International Art
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Sue Rowley

However, feminist artists, curators and writers could collaborate in establishing alternative frameworks for international exhibitions that would render unthinkable the omission of female artists or the implicit erasure of gender as an interpretive key.

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Shedding Skins: Identity and 'Lesbian' Art Practice
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Barbara Bolt

What does it mean to present as a 'lesbian' artist? The very identity categories 'gay', 'lesbian', 'heterosexual' are extremely problematic. Now that 'I' am out, I find that I am in - inside a category that reduces rather than expands possibilities for me, not just as an artist, but as a person.

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Surviving the first 12 months: Swing Bridge Art Gallery Dunally
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