Published 01 December 2019
Examination of the art practice of Nola Farman.
Rural Australia produces resolute women - astute, sensible, profound. This article examines the work of one of a woman from the south west of Western Australia - what influences and inspires her.
Published March 1994
Tangerine Dreams: a matter of Western Australian Style 1970 - 1980 Lawrence Wilson Art Gallery
University of Western Australia
Jillian Davey works at the Ernabella Arts Centre on the Pitjantjatjara Lands of the north west of South Australia.
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.
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
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.
Looks at the art practice of 5 Western Australian women artists: Helen Taylor, Alison Rowley, Moira Doropoulos, Michelle Elliot and Linda Banazis.
Written with Barbara Holloway Exhibition review Joe Blow: A very erotic art exhibition by Jo Ernst
Adam and Eve Gallery Canberra
Exhibition review I'sland (I'l)n.
Exhibition of prints Long Gallery, Salamanca Arts Centre, Hobart, Tasmania
23 December - 2 January 1994
Dick Bett Gallery, Hobart, Tasmania
"Women in art must look to the future as they have no past" said Mary Cecil Allen at an opening of the Melbourne Society of Women Painters and Sculptors in 1935. A critical examination of the current art practices of women in Australia.
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.