Published 01 December 2018
Looks at Linda Sproul's 'Listen' and Barbara Campbell's 'Backwash'.
Examination of the art practice of Nola Farman.
Published March 1994
Fremantle Arts Centre, Western Australia
5 November - 10 December 1993
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.
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.
How do we define ourselves? What are the choices for women these days?
Suffrage year celebrations and the visual arts in New Zealand.
Black leather, blood, piercing and tattooing, glamourised dominance and submission should be approached with political discernment and discrimination.
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.
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.
Dick Bett Gallery, Hobart, Tasmania
Presentation and artist statement by contemporary female art practitioners. Women looking as feminist, feminine, female, femme, feminal. Artists featured: Frances Joseph, Angela Stewart, Maryanne Coutts, Noela Hjorth, Jill Kempson, Maria Kuczynska, Rosslynd Piggott, Eugenia Raskopoulos, C. Moore Hardy, Alex Macfadyen, Janet Neilson, Deborah Paauwe, Virginia Barratt, Linda Dement, Susie Hansen, Janina Green, Joy Smith, Madeleine Winch, Kathie Muir, Libby Round, Pam Johnston, Merryn Eirth, Dee Jones, Di Barrett, Frances Phoenix and Ella Dreyfus.
Fountain installation by Derek Kreckler
Experimental Art Foundation
Adelaide South Australia
2-24 December 1993 and 11-23 January 1994