Issues

Issue 41:1 | April 2021 | Fashion. Performance. Industry.
Fashion. Performance. Industry.
Issue 41:1 | April 2021
Issue 40:4 | December 2020 | Biopic
Biopic
Issue 40:4 | December 2020
Issue 34:2 | June 2014 | Indigenous: Blackground
Indigenous: Blackground
Issue 34:2 | June 2014
Issue 33:3 | September 2013 | Sexing the Agenda
Sexing the Agenda
Issue 33:3 | September 2013
Issue 32:2 | June 2012 | Indigenous: Indignation
Indigenous: Indignation
Issue 32:2 | June 2012
Issue 28:4 | December 2008 | Curating : Creating
Curating : Creating
Issue 28:4 | December 2008
Issue 26:4 | December 2006 | Elders: The Old Magic
Elders: The Old Magic
Issue 26:4 | December 2006
Issue 26:3 | September 2006 | Currents II
Currents II
Issue 26:3 | September 2006
Issue 23:2 | June 2003 | Critical Mass: The New Brisbane
Critical Mass: The New Brisbane
Issue 23:2 | June 2003
Issue 22:1 | March 2002 | The Improved Body
The Improved Body
Issue 22:1 | March 2002
Issue 21:4 | December 2001 | Best Practice: Export Quality
Best Practice: Export Quality
Issue 21:4 | December 2001

Articles

1.092
#IMadeMyClothes: The Ethics and Practices of Home Dressmaking

“Look at that: you made it”
Alanna Okun, The Curse of the Boyfriend Sweater.

I learned to sew as a young child. Sitting in my mother’s lap, I picked up the delicate and confident touch and precision to snip threads and manipulate cloth as she made clothes for herself, my sister and me. Before I could read and write, I was adept at using a needle and thread to form my creative visions in the three-dimensional materiality of cloth. Mum taught me to cut, alter and mend to make efficient use of materials and garments, a make-do-and-mend sensibility that she learned from her own mother, raised during the Depression in rural South Australia. At my mother’s side, I also came to understand and express my sartorial sensibility and identity through the garments I made. Mine is a common story. 

0.668
Sarah Rodigari: Redressing the vernacular

“Beauty is a curse and I’ve got it.”

Effie is the most beloved character from the 1989 Australian TV sitcom Acropolis Now, which is set in a fictional café of the same name. Her character is a defiant assertion of “wog” ways: her high hair and incessant gum-chewing are flamboyant stereotypes, but her character, and those of her castmates, were then new to Australian TV. Acropolis Now, a spin-off from the highly successful stage play Wogs out of Work, dislodged the Anglo-centric narratives of Australian comedy TV. The show has been credited with popularising the term “skippy” or “skip”, used by Greek, Italian and other non-Anglo Australians to refer to Anglo-Celtic Australians since the 1970s. 

0.788
Cigdem Ayedemir

How do you haunt a ghost? 

For the most part, this is not a rhetorical question because, simply put, a ghost can’t be haunted: it is the medium of haunting itself. The space-time paradigm of the terrestrial won’t allow for it. Haunting, as conceived in the vernacular imagination, demarcates an activity reserved solely for “the unhallowed dead of the modern project”, those improperly buried inheritors and victims of repressed, unresolved violence and injury—those whose lives were stalled and silenced. So by virtue of this logical impasse, you can’t technically haunt a ghost. 

1.13
Regrette Etcetera: Werq the runway darling!
What drones taught me about being a better tranny ...
0.564
19th Biennale of Sydney: You Imagine What You Desire
Cockatoo Island, Museum of Contemporary Art, Art Gallery of New South Wales, Carriageworks, Artspace.
21 March – 9 June 2014
1.294
Old Masters: Australia’s Great Bark Artists
National Museum of Australia, Canberra 6 December - 20 July 2014
0.56
Pixels+Fibre
Northern Territory Centre for Contemporary Art, Darwin 21 March – 19 April 2014
0.678
safARI 2014
Alaska Projects, Kings Cross Cross Art Projects, Kings Cross Wellington St Projects, Chippendale The Corner Cooperative, Chippendale DNA Projects, Chippendale Museum and St James Stations, CBD 14 March – 4 April 2014
0.666
Sculpture by the Sea
Cottesloe, Western Australia 7 – 24 March 2014
1.006666666666666666666667
The Skullbone Experiment: A Paradigm of Art and Nature

Queen Victoria Museum and Art Gallery, Inveresk, Launceston 15 March – 18 May 2014 Galleries UNSW/COFA, Sydney 18 July – 30 August 2014

0.666
Stuart Ringholt: Kraft
Monash University Museum of Art Curators: Charlotte Day and Robert Leonard 14 February – 17 April 2014
1.342
The Flash of Recognition: Photography and the Emergence of Indigenous Rights
Artist and curator Troy-Anthony Baylis reviews Jane Lydon's book The Flash of Recognition: and regards it as a "crucial text for visual communication, media, film, and photography scholars, who will learn to be more analytical of how images, particularly images of Aboriginal people, have been constructed through journalism, activism, and art."
0.69
Poetics and politics
On the First Peoples exhibition in the Bunjilaka Gallery at Museum Victoria
0.642
Territory style: Salon des Refusés
Yanuwa/Larrakia/Bardi/Wardaman woman Franchesca Cubillo, Senior Curator/Advisor National Gallery of Australia, writes about the first Salon des Refusés (conceived and brought to fruition by gallerists Matt Ward and Paul Johnstone) held in Darwin in 2013 as a pendant to the National Aboriginal and Torres Strait Islander Art Awards.
0.988
Letter from a young woman artist (after Janine Burke)
Diana Smith writes back to Burke questioning how much has changed.
0.974
Ms & Mr: Perverts?
Rotoscoping, transformations of the real, role reversal and the ‘‘Holophrase’’
1.334
55th Venice Biennale: The Encylopedic Palace
55th International Art Exhibition, Venice
1 June – 24 November 2013
0.704
Bill Hart: Conversations in the Dark
Rosny Barn, Hobart
7 – 30 June 2013
1.38
Michael Zavros: The Prince
Griffith University Art Gallery, Brisbane
24 May – 7 July 2013
1.022
Heartland: Contemporary art from South Australia
Art Gallery of South Australia
21 June – 8 September 2013
1.266
Toni Wilkinson: Uncertain Disclosures
Perth Centre for Photography
13 June - 14 July 2013
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