Published 25 August 2021
Outsider Artists in Australia? Of course. The phenomenon is universal.
Exhibition review Union Gallery Adelaide University South Australia 19 August - 4 September 1992
Published December 1992
The popular understanding of the so-called 'insane' artist cannot be summarised better than in the schmaltzy lyrics of 'Vincent' written and sung by Don McLean in the 1970s. He plaintively chides those who misunderstood the living Van Gogh and charges them with the responsibility for his suicide.
Art Brut is that manner of making something whereby all of the individual is.
Exhibition review Works by Anna Platten: Paintings and Studies 1982 -1992 University of South Australia Art Museum 30 July - 29 August 1992
Disillusioned with the contemptible familiarity of our environment in the South Australian School of Art a group of fellow students and I decided to take our art somewhere else. So, displaced and gung-ho, our controversial creations in tow, we set off to Broken Hill, the self proclaimed art capital of Australia.
Interview with Tazz a tattoo artist in South Australia.
Photographs by Dianne Longley of domestic dwellings in and around Adelaide South Australia.
In a remote corner of the south west of Western Australia, a school teacher who had never trained in art, was the catalyst for a school of landscape painting reminiscent of the style of Namatjira. Everything about this story was remarkable, not least that this happened over 40 years ago and that the average age of the artists was 10. The place was a tiny settlement known as Carrolup, now known as Marribank near Katanning.
As a sculptor working in metal I have been interested for some time in combining plants with the hard surfaces of copper and steel. The issues involved in using shrubs and trees are many, including that the work isn't trivialised or lacking in credibility, transport and of course storage.
Looks at the environment of Maria "Mad Mary" Hermann at her house in Leederville Western Australia.
The diversity of work found in the art of everyday life transgresses many of the implicit boundaries about art practice laid down by the art world. Other art meets all the criteria by which we usually evaluate art works such as skill, commitment and self-expression yet is rarely seen in a gallery context. In order to recover meaning and value for the art of everyday life the question must be asked: why have these artists been marginalised by the art world?
Book review Blue Bush, Blue Sky and Silver Guide to artists and galleries of Broken Hill.
