Issues

Issue 24:2 | June 2004 | Shopping & Extreme Pleasures
Shopping & Extreme Pleasures
Issue 24:2 | June 2004
Issue 18:3 | September 1998 | Art, Pornography & Censorship
Art, Pornography & Censorship
Issue 18:3 | September 1998
Issue 17:3 | September 1997 | Looking at the Republic
Looking at the Republic
Issue 17:3 | September 1997

Articles

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Joan Kerr, Art Historian: February 1938 - February 2004
Joan Kerr, Art Historian, February 1938 - February 2004
News from the Front

Its less than a centimetre long, but the weapon of mass distraction on Artlinks March cover was deemed unacceptable for US audiences. For those who missed the media frenzy, our US distributors refused to put the Adelaide & Beyond issue of Artlink on the shelves of Barnes and Noble. The reason given was the completely nude male on the cover (would a hat have rendered it incompletely nude? Would it have mattered if it was a female nude, neatly packaged away?).

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Artlink on the Road: a China Diary
March saw a little bit of history being made in Sino-Australian cultural relations with Artlink being the first Australian art magazine to be launched as well as offered for sale in China. Perversely we were not offering the Chinese an issue of the magazine about Australia, our normal subject area, but about China, a subject area we have only visited occasionally. In the manner of all human vanities that may have been one of the reasons we received such a warm reception. Imagining the reverse - reading an issue of a Chinese art magazine about Australian art is in the current state of art writing in China unlikely.
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Tokyo Shopping Mix: An Email Saga*
It is not hard to shop given the entire city of Tokyo seems to be premised on the activity. Tokyo is a space as complex and flowing as the most convoluted natural system. One may be in a train station but it is filled with shops. Above ground, below ground, on the ground - shops. Haley documents his activities over a period of a couple of months in what is most likely the worlds largest consumer oriented city. He discusses the somewhat surreal and absurdist nature of this environment and paints a picture of the plethora of advertisements, signs, extreme fashion trends and other visual paraphernalia that consume the city.
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Flatness Packed
While the idea of modern and contemporary art are located in a fairly nebulous discursive realm, the notion of modern or contemporary lifestyle (the two seem, in fact, interchangeable) are very much a part of the familiar rhetoric of consumer spending. No Nonsense Return Policy (2003), Pat Foster and Jen Bereans installation at BUS Gallery, documented six miss-assembled items of IKEA furniture and dissect the curious aesthetic cycles that drive the commercial products in both realms. Taylor looks at this work and others which are focused on drawing attention to the formal and ideological intersections between modernism and the stuff of homes and home decoration.
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One or Two Things about Art and Shopping
This article explores the relationship between art and shopping, in particular the contemporary alignment of the two as one and the way feminist identity is largely constructed through the media and consumption. Wilson looks at the work of Barbara Kruger and her critique of Western consumer habits, in particular the way Kruger explores the different shopping patterns of men and women to reflect some inherent gender traits.
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How Much is that Artwork in the Window? Notes on Shops and Art
Through reference to Walter Benjamin's writings, Peers suggests that it has become commonplace to describe the city in terms of the progress of the flaneur, the middle class bohemian who strolled through the city, moving in the ephemeral sphere of impressions and images. This article looks at shopping as a central feature to the manner in which Australian art and culture has developed. The artist is a shopper and collector, moving through the materiality of things. Australian culture has itself become flaneur-ised over the past decade in the expansion of new museums and cultural precincts inviting discovery and added pleasure to the experiences of viewing and consuming art.
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Food Slut > Manifesto
Food increasingly became alienated from the body over the latter half of the twentieth century. Its material, its preparation, its distribution and its consumption became hostage to the banal aesthetics of the food stylist, the aridity of cultural studies and the repressive partnership of the public health zealot and the liability lawyer. Paul van Reyk here presents a manifesto on the food slut, a model for the examination of current food consumption trends in our society. As he states, a food slut is never indifferent to food, any more than a sex slut is indifferent to sex.
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Pornography and Photography
A series of three exhibitions which appeared to erase or at least redraw the boundaries between art photography and pornography was seen at the Australian Centre for Photography in Sydney in 2003. Helen Grace talked to Alasdair Foster, Director of the ACP and curator of one of the exhibitions, about this timely and challenging project.
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The Perverted Gaze of the Artist: Recent Work of James Guppy
James Guppy has a curiously ambiguous place in contemporary art. This is not because of his subject matter, but rather because of his technique. For the most part Guppys recent work is not about fun, nor is it even really about sex. Rather he argues it is about the nature of exploitation. He argues that artists by their nature are voyeurs who see the world around them and all its objects as items to be used as visual product. His recent Peeping Box series taps into this idea where images of sexual activity with a particular sadistic overlay are presented behind thick glass to incite some vain attempt on the part of the viewer to engage in such voyeuristic acts.
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Chaotic Attractors: Jake Chapman Lecture Tour 04
The two hours of Jake Chapmans lecture at the Capitol Theatre in Melbourne in March 2004 were in many ways a homage to Modernism and the aesthetic of industry - albeit back-handed. The hierarchies of art history, the possibility of the poetic and the tradition of humanism all came under attack. The core issue circled around throughout the discussion was the degree to which art was simply a diversion for the middle-class: a market-responsive product or cathartic moment in which people could be and even pay for the privilege of being shocked.
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Enchantment/Disenchantment: The 2nd Auckland Triennial
The generic theme for the 2nd Auckland Triennial Public/Private sought to address central issues concerned with the relationship of the visual art scene to that of the everyday life (to banality), the potential or otherwise of new technologies to engage with the conditions of modern society and the ability of art to deal in specific ideas of a social and political nature. Furthermore in bringing together artists projects that are cross-cultural and transgenerational, the curatorial aim was to make connections which would intensify the privacy debate. Edward Hanfling examines some of these works with regards to such issues and concerns.
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Transmission and a Selection from 32 Cars for the 20th Century - Play Mozart's Requiem Quietly
Nam June Palik Sydney Opera House Forecourt 8 -26 January 2004 National Gallery of Australia, Canberra 26 February - April 2004
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2004 Adelaide Biennial of Australian Art: Contemporary Photomedia
Art Gallery of South Australia, Adelaide 29 February - 30 May 2004
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Holy, Holy, Holy
Flinders University Art Museum 20 February - 17 April 2004
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Artists' Week
Adelaide Bank 2004 Festival of Arts 28 February - 4 March
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Repercussions: Individual and Collaborative Works
Peter Hennessey & Patricia Piccinimi Greenaway Gallery, Adelaide 28 February - 28 March 2004
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Songs of Australia: Volume 16
Aleks Danko The Ian Potter Centre, NGV Australia Melbourne (and touring) 7 February - 18 April 2004
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Now, Beauty: Cover or Re-Mix
Perth Symposium, various venues 19 - 21 March 2004
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The Space Between
John Curtin Gallery Curtin University of Technology, Perth 14 - 17 April 2004
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Boogie, Jive and Bop
Plimsoil Gallery, Hobart 5 - 28 March 2004
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Group Material
Ben Booth, Neil Haddon, Anthony johnson, Anna Phillips, Lucia Usmiani and Kit Wise The Queen's Warehouse Gallery Tasmanaian museum and Art Gallery, Hobart 18 March - 2 May 2004
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Temperature
Museum of Brisbane 11 March - 23 May 2004
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Suburban Edge
Australian Centre for Photography, Sydney 5 March - 18 April 2004
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New Home for University Art Museum
Mayne Centre, University of Queensland Opened 15 April 2004
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Allthatglitters: Contemporary Visions of the Gold Coast / Allthatglitters: 50 Years of Gold Coast Kitsch and Memory
7 February - 21 March 2004 The Gold Coast City Regional Art Gallery 14 February - 9 May 2004
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Place Made - Fifth Australian Print Symposium
National Gallery of Australia 2 - 4 April 2004
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Art of the Biotech Era: Art, Culture and Biotechnology
Experimental Art Foundation, Adelaide 27 February - 3 April 2004
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New 04
Guy Benfield, Nadine Christensen, Stephen Honegger & Anthony Hunt, Tom Nicholson, Sangeeta Sandrasegar, Parekohai Whakomoe Australian Centre for Contemporary Art, Melbourne 23 March - 16 May 2004
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In The Vein
Gallery 25, Mildura April 18  June 6, 2004
Visual Culture, Pornography and Censorship
Editorial: hypocrisy in our attitude to sex. It is both celebrated and maligned, and the censorship laws allow young people to view explicit violence while classifying sex for adults only, based on psuedo-scientific analysis of 'normal' or 'aberrant'. This history of public attitude from the Enlightenment on, libertinism a radical opposition to status quo, advertising and porn, and artists exercising self-censorship.
Art, Pornography & Censorship
The Prying Game
Explores the difficult issues surrounding artistic expression and censorship (both self censorship and public) with the associated threat of legal action.
Art, Pornography & Censorship
In the Middle of it All - A Personal Text
From the perspective of one who has worked on the SA Classification of Publications Board. Argues that censorship is becoming increasingly unmanageable due to two trends which are detailed in the article. Also argues that public debate (with the exception of child pornography) in the media has declined. In contrast there is rising debate about sacrilege.
Art, Pornography & Censorship
Censor and be Damned
Julie Robb is the executive director of the Arts Law Centre of Australia. The centre advises artists and those involved in exhibitions and publication of risky material of the cultural responsibilities to make efforts to find ways of exercising their privileges. Looks at the current practices.
Art, Pornography & Censorship
Dying Frightened: Gasps of Old Men in Suits
Explores the nature of censorship, how it is applied and the consequences of repression in artistic expression. Analyses the issues from a feminist perspective. "Censorship is about as effective as prohibition". Examines the censorship applied to the exhibition by Jasmine Hirst.
Art, Pornography & Censorship
Porn Again
Porn is a safety valve, big business, a cabinet of curiosities, a staging theatre for many contradictions and inversions: male submission, female dominance, intricate identity and gender crossings, and the validity of female desire. Pleasure is misunderstood in a society where is commodified, exchanged and consumed displaced into food, wine, cars....Discusses the works of Jane Burton, Mary Fallon, Catherine Mackinnon, Marcia Pally and W.H.Auden.
Art, Pornography & Censorship
Andy's Idol
Analysis of some of Andy Warhol's early works to demonstrate a direct link between his art and the homoerotic magazines which the author found in his Time Capsules in the archives of the Andy Warhol Museum in Pittsburgh, USA.
Art, Pornography & Censorship
In a Barbie World
Fictional Barbies (Mattel trademarked doll) are presented in the dark side of suburbia spinning a queer identity for Ken and Barbie.
Art, Pornography & Censorship
Some Notes on Pornography, Contemporary Art and Social Politics
Explores the 'pornographic' in the public domain. Art isn't an excuse for pornography, because pornography simpy exists. Art has remained a realm within which a vast range of ideas can be explored and tested. There are no questions of ethics or morality in art. This starts to get more exciting as art gets closer to life.
Art, Pornography & Censorship
Subject Declined: Swap Mail with Francesca Da Rimini
Explores Francesca Da Rimini's web site 'Dollspace' - extracts of an email interview.
Art, Pornography & Censorship
Lollies and Legends
The artist writes about his work and his influences. Explores issues of self censorship.
Art, Pornography & Censorship
Masculinity Below the Surface: Pornography and Suppression in Images of Broken Hill Miners
Mines and mining provide underground settings for a sub-genre of gay male porn. Features the work of artists George Gittoes and Avis Smith.
Art, Pornography & Censorship
Fetish: So what's your Fetish?
The artist writes about her interest in feminism and much of what is written seems intrinsically fetishistic. Her aim was to try to create a democratic, woman friendly fetish language.
Art, Pornography & Censorship
Crossing the Fine Line: The Case of Concetta Petrillo
Photography has inspired more hysteria and censorship than paintings .... examines the situation in Perth Western Australia with child pornography and the photographs of Concetta Petrillo.
Art, Pornography & Censorship
Garden of Earthly Delights: Erotica at Carrick Hill
Gone from Carrick Hill before it became a public collection are three Stanley Spencer erotic paintings and William Dobell's 'The Duchess Disrobes' (two versions). Smith examines the nature of the collection of works by Sir Edward and Lady Ursula Haywood.
Art, Pornography & Censorship
The Spectre of Pedophilia and Dennis Del Favero's Parting Embrace
Dennis Del Favero's 'Parting Embrace' is a series of 10 Type C prints which attempt to investigate the subjectivity of sexual abuse in a way that not only engages with its inherent pornographic content but which refuses neat moral resolution.
Art, Pornography & Censorship
Political Pop-porn in Hong Kong
Much of the vibrancy of Hong Kong's contemporary culture manifests itself in unexpected new forms...explores how four artists construct images of sexuality within the compact (post?) colonial environment.
Art, Pornography & Censorship
An Accelerated Life: Lydia Lunch
Women need to fight for an alternative pornography. Women need a pornography that addresses all the alternatives of our sexuality, in every format, so that there's something for everyone....Farmer interviewed porn star Lydia Lunch on her visit to the MRC in Adelaide.
Art, Pornography & Censorship
The Museum, the Muslim and the Infidel: K L Revisited
Critically looks at the exhibition 'Kecurangan - Infidelity' curated by Dato Shahrum Yub in Kuala Lumpur where 90% of Malaysia's population is Muslim.
Art, Pornography & Censorship
8 X Tables by Steve Tepper
Moore's Building, Fremantle May 14 - 28, 1998 Reviewed by Robyn Taylor
Art, Pornography & Censorship
Sustained Contemplative Images: Atlas Exhibition Cathy Blanchflower
Goddard de Fiddes Gallery, Perth 1 - 22 May 1998. Reviewed by Mary Livesey
Art, Pornography & Censorship
The Promise of Fruit: Kirsty Darlaston, Brenda Goggs, Lucia Pichler, Karen Russell
North Adelaide School Of Art Gallery 13 May - 4 June 1998
Art, Pornography & Censorship
Black Humour
Curated by Neville John O'Neill for the Canberra Contemporary Art Space. Tandanya, National Aboriginal Cultural Institute, Adelaide 10 July - 16 August 1998
Art, Pornography & Censorship
Cosie: She Decorated a House and Called it a Home
Annette McKee and Helen Fuller Jam Factory Gallery Adelaide SA 16 May- 5 July 1998
Art, Pornography & Censorship
The Painted Coast: Views of the Fleurieu Peninsula Coast of South Australia.
Art Gallery of SA 8 May to 16 August 1998 Curated by Jane Hylton
Art, Pornography & Censorship
Ecologies of Place and Memory and Time and Tide
Ecologies of Place and Memory (Lauren Berkowitz, Rosemary Burke, Torquil Canning, Lola Greeno, Ruth Hadlow, Sieglinde Karl and Louise Weaver) Time & Tide (Rowena Gough, Gay Hawkes, Lin Li, Pilar Rojas and Catherine Truman) Both curated by Bridget Sullivan Plimsoll Gallery, Centre for the Arts, Hobart May 22 - June 14 (Ecologies) June 19 - July 12 (Time)
Art, Pornography & Censorship
The Lie of the Land
Fiona Foley's 'The Lie of the Land' is an extraordinary piece of art and soundwork that illustrates yet another taking of land and culture from the indigenous people of this land.
Looking at the Republic
A Postmodern Republic for a (West meets East) Post-colonial State
"Whatever the shape the Federal Republic pf Australia takes, there will be something unstructured, if not deconstructed about it. I imagine it as already impressionistic, figurative, eclectic, bebop. I'm only just game enough to say it might be the world's first post-modern republic, and I mean that in the nicest possible way."
Looking at the Republic
The Sublime and the Parochial: The Foot of God
In Australia, the land has been, for non-Aboriginal settlers, from the beginning a sign for the nation and for the manufacture of livelihood (the sheep's back, mineral wealth) as well as a repository of dreams and misapprehensions. The importance of the land to Aboriginal Australian ought to be easy for us to comprehend.
Looking at the Republic
That Iconic Moment: The Dismissal
1.30pm Remembrance Day. November 11, 1975 is a sacred memorial for the Australian Republican movement. This was the first time in Australian history that an unelected representative of the Queen had dismissed a Federal Government elected by the people.
Looking at the Republic
Lines in the Sand
Craftspeople engaged with questions of nation and national and personal identity from their specific cultural backgrounds. Features the work of Arone Raymond Meeks.
Looking at the Republic
Towards a Pre-Capitalist Flag
Australia's flag has as much to do with contests as with consensus. The original design resulted from a 1901-2 competition sponsored by a tobacco company.
Looking at the Republic
Saluting the Dot-spangled Banner
Aboriginal culture, National identity and the Australian Republic. The closing ceremonies of the Atlanta Olympics were watched by a 1/5th of the world's population. This was arguably the most expensive bit of air time on the planet at that moment....
Looking at the Republic
The Republican Rock: A Vexing Issue
Flags are vexing (vexillological) by nature. Explores the role of flags and the ways they have been subverted, with recent exhibitions recognising their irony and employing ideas that unpick the ideological rhetoric stitched into these symbols.
Looking at the Republic
Three Fragments of an Aberrant Narrative of Australian Identity
Post colonialism provides a chimerical hope of a different means of shaping and ordering public representation of Australia, bu the institutional discourse around post-colonial arworks tends to uphold the status quo by using race/ethnicity as another means of directing scorn towards the lower reaches of Australian society.
Looking at the Republic
The Stamp of Republicanism
When a nation puts out a stamp design it reveals a great deal about its official ideology. The designs which appear on stamps of countries which achieve independence and become republics follow a curious pattern. From France through Tsarist Russia to Libya.... what will Australia put on its Republican stamp [if and when it becomes a Republic]?
Looking at the Republic
Thinking Like a Sheep, Acting Like a Ham
Some thoughts on performance and the Australian cinema. Verhoeven snuggles up to the sheep film as a clue to what Australian filmmakers have held dear. Nationalism and republicanism examined.
Looking at the Republic
Glue and Yeast: Asian Perceptions and the Year 2000
The perception of 'culture' underlies all our relations in Asia. What are we? Are we as we are perceived? It is a really pertinent, dynamic interesting moment in our history, and in a wider world, in the history of this region.
Looking at the Republic
The New Republics: Contemporary Art from Australia, Canada and South Africa
The ideas behind this project stem from the particular legacy of Black British arts practice in the 1980s....This touring visual arts exhibition and book project tries to deconstruct the notion of the centre (London/UK/Europe) both as a site of former colonial power and as a site of current economic and cultural power.
Looking at the Republic
An Australian Head of State - Eureka!
Eureka - the First Australian Republic? was a touring exhibition which documented and interpreted the Eureka stockade. Containing paintings, drawings and prints ranging from the 1850s to 1994 as well as objects, documents and books related to or dealing with the Eureka Stockade the exhibition demonstrated the symbolic power this event has exerted on Australian political life as well as the imagination of artists.
Looking at the Republic
Sport and Porn
Sport and Porn was huge in its scope and scale. The show ran for an hour and a half over a two week period at the Performance Space in Sydney during March 1997. Victoria Spence writes about the performance that she was involved in. The team comprised Morgan Lewis, Scott Wright, Sharon Kerr and Steve Howarth, Adam Kronenburg, Dana Diaz Tutaan, Victoria Spence and Rodgers D.
Looking at the Republic
Art for a Banana Republic
Morrell contemplates the Banana Republic, a tourist destination with exotic indigenous culture and good weather. An Australian Republic seems to be inevitable...but where will art sit in this new future?
Looking at the Republic
Festival of the Dreaming
Looks at the cultural events planned to accompany the Olympic Games to be held in Sydney in September 2000. There are 4 cultural festivals -- 1997 The Festival of the Dreaming curated by Rhoda Roberts, 1998 A Sea Change curated by Andrea Stretton, 1999 Reaching the World, 2000 Harbour of Life co-ordinated by Leo Schofield.
Looking at the Republic
Symbols for Australia
Trademarks and logos have been vital ways of marketing goods and services for well over a century. What are the readily identifiable symbols for Australia?
Looking at the Republic
Art as Cultural Diplomacy: Back to the Drawing Board
How would we re-present ourself to the rest of the world if we became a republic? It is the treatment of Australia's indigenous people that will ultimately determine both how we can imagine our own cultural development and how we are viewed by other cultures in the region.
Looking at the Republic
The Path of Peace
Arts of Vanuatu Ed Bonnemaison, Huffman Kaufmann, Tryon. Published by Crawford House RRP $69.95
Looking at the Republic
Travelling North or Going Backwards?
Is Australia an Asian Country? by Stephen FitzGerald Allen and Unwin 1997 RRP $19.95.
Looking at the Republic
Cheating Tragedy
The Art of Gordon Bennett by Ian McLean and Gordon Bennett Craftsman House RRP $75
Looking at the Republic
Hard Edge Political
Lawyers, Guns and Money 19 June - 7 September Experimental Art Foundation Lion Arts Centre, North Terrace, Adelaide.
Looking at the Republic
A few more fish than you'd expect for seven bucks
Still Life: Still Lives Art Gallery of South Australia, Adelaide 6 June - 27 July 1997
Looking at the Republic
Post-Colonial Dreaming
Mapping the Comfort Zone: The Dream and the Real works by Irene Briant, Jenny Clapson, Jo Crawford, Christine James. Catherine K, Nien Schwartz, Lucinda Clutterbuck & Sarah Watt. Artspace, Adelaide Festival Centre 4 July - 16 August 1997
Looking at the Republic
Disclosing Secrets
Terr(or) Firma Terr Affirma Brenda Goggs Prospect Gallery South Australia 1- 22 June 1997
Looking at the Republic
Mothertongue
Re Affiliations 12 June - 13 July 1997 Margaret Sanders, Claudia L√ľnig, Clare Martin, Hanh Ngo, Maria Stukoff, Lisa Jeong, Paloma Ramos, Madelaine Neveu Nexus Gallery, Adelaide
Looking at the Republic
To Have or to Hold
Containment Debra Dawes, Zsolt Faludi, Gwyn Hanssen Pigott, Carlier Makigawa, Susan Norrie, Mary Scott. Curator: Clare Bond. Plimsoll Gallery, Hobart 12 April -2 May, 1997 University Gallery. Launceston 2 - 31 July, 1997 Reviewed by Mary Knights
Looking at the Republic
Ngarrindjeri Soldier Kerry Giles Kurwingie 1959 - 1997
Looking at the Republic
Different Dreaming
Lap : an installation view Keitha Phelps Five Different Homes: Louise Haselton Contemporary Art Centre 19 November- 12 December 1993.
Looking at the Republic
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