Published 30 March 2022
Looks at Linda Sproul's 'Listen' and Barbara Campbell's 'Backwash'.
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.
Published March 1994
Looks at the work of Heather Ellyard, Annette Bezor, Janette Moore, Anna Platten.
Jillian Davey works at the Ernabella Arts Centre on the Pitjantjatjara Lands of the north west of South Australia.
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....
Looks at the art practice of 5 Western Australian women artists: Helen Taylor, Alison Rowley, Moira Doropoulos, Michelle Elliot and Linda Banazis.
Bunbury Regional Galleries November 1993
The Women's Art Register contains a public access slide library of 20,000 slides, 14,000 information folders representing (as at 1994) 2,400 Australian based women artists.
Suffrage year celebrations and the visual arts in New Zealand.
Exhibition review I'sland (I'l)n. Exhibition of prints Long Gallery, Salamanca Arts Centre, Hobart, Tasmania 23 December - 2 January 1994
Women's courses since the 1970s have become a familiar if marginalised component of most art school curricula, their initial aim being to compensate for the absence of women in the Art History and Theory syllabus and to encourage the development of feminist art practices.
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.
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.
