Published 01 March 2019
Published 01 December 2018
Jillian Davey works at the Ernabella Arts Centre on the Pitjantjatjara Lands of the north west of South Australia.
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.
Published March 1994
Exhibition review I'sland (I'l)n.
Exhibition of prints Long Gallery, Salamanca Arts Centre, Hobart, Tasmania
23 December - 2 January 1994
Tangerine Dreams: a matter of Western Australian Style 1970 - 1980 Lawrence Wilson Art Gallery
University of Western 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 work of three Queensland artists working in different ways with computers.
Written with Barbara Holloway Exhibition review Joe Blow: A very erotic art exhibition by Jo Ernst
Adam and Eve Gallery Canberra
Fremantle Arts Centre, Western Australia
5 November - 10 December 1993
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.
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.
Looks at the art practice of 5 Western Australian women artists: Helen Taylor, Alison Rowley, Moira Doropoulos, Michelle Elliot and Linda Banazis.
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.
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.