Abigail Moncrieff
Adam Geczy
Akiko Miki
Alana Hunt
Ali Gumillya Baker
Alison Carroll
Alison Kubler
Amareswar Galla
Amita KIrpalani
Andra Kins
Andras Dezsery
Andrea Witcomb
Andrew Varano
Angela Valamanesh
Anita Aarons
Anita Calloway
Ann Finegan
Anna Epstein
Anna Munster
Anna Zagala
Anne Kirker
Anne Loxley
Anne Marsh
Annette Pederson
Anthony Cahalan
Anthony Gall
Anthony Knight
Araya Rasdjarmrearnsook
Ashley Crawford
Astrid Lorange
Barry Craig
Belinda Cook
Bill Mousoulis
Blair Coffey
Bruce McLean
Caitlin Eyre
Carly Lane
Carol Schwarzman
Caroline Turner
Cath Kenneally
Chari Larsson
Charlie Schiavone
Chok-Dee Teng
Chrischona Schmidt
Christian Ramillo
Christl Berg
Christopher Bowen
Christopher Heathcote
Claire Capel-Stanley
Clare Martin
Clotilde Bullen
Courtney Coombs
Craig Judd
D L Hume
Daniel Browning
Daniel Thomas
Daniel Mudie Cunningham
Danny Butt
Darren Jorgensen
Darren Tofts
David Broker
David Bromfield
David Hansen
Deborah Hart
Derek Sargent
Dianne Jones
Dionissia Giakoumi
Djon Mundine
Donald Brook
Dorothy Erickson
Dwi Marianto
Edwina Bartleme
Eleanor Scicchitano
Elizabeth Gertsakis
Ella Barclay
Elly Kent
Emilia Galatis
Emma Hopton
Eugenia Hill
Evangelos Sakaris
Eve Sullivan
Felicity Wright
Fiona Foley
Flaudette May V. Datuin
Fotis Kapetopoulos
Francesca Da Rimini
Franchesca Cubillo
Gail Higginbottom
Gemma Weston
Genevieve O'Callaghan
Geoffrey Dann
Geoffrey Legge
George Boeck
George Dann
Glenice Lesley Mathews
Glenn Barry
Glenn Iseger-Pilkington
Glenn R Cooke
Gregory Kwok-Keung Leong


Issue 41:1 | April 2021 | Fashion. Performance. Industry.
Fashion. Performance. Industry.
Issue 41:1 | April 2021
Issue 37:4 | December 2017 | Positioning Feminism
Positioning Feminism
Issue 37:4 | December 2017
Issue 35:3 | September 2015 | Performative
Issue 35:3 | September 2015
Issue 34:2 | June 2014 | Indigenous: Blackground
Indigenous: Blackground
Issue 34:2 | June 2014
Issue 21:3 | September 2001 | E-volution of New Media
E-volution of New Media
Issue 21:3 | September 2001
Issue 15:4 | December 1995 | Taste Meets Kitsch
Taste Meets Kitsch
Issue 15:4 | December 1995
Issue 11:1&2 | June 1991 | Arts in a Multicultural Australia
Arts in a Multicultural Australia
Issue 11:1&2 | June 1991


#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. 

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. 

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. 

Art and feminism: Generations and practice

[I]t is increasingly clear that there are no topics or phenomena to which a feminist analysis is not relevant—at which point it is useful to consider feminist theory ...  as a set of techniques, rather than as a fixed set of positions or models.

The state of the art world and of feminism in the twenty-first century ushers in different ways of doing political activism, cultural work and theory. The intergenerational aspects of feminism and how this has been enacted in the visual arts in recent years represents a refreshing change from earlier perceptions of waves of feminist theory that tended to privilege the new. The visual metaphor of the new wave dashing the old against the shore appears to replicate traditional paradigms in what some have called either an Electra or an Oedipal contestation where the new generation kills the old feminist mother in order to please the father (the academy).

Video and performance: Many chronic returns
Robert Nelson on the death and rebirth of performance in the video loop
Fly In Fly Out artists of Western Australia
On artist residencies and site-specific projects that don’t always go as planned
Heath Franco: Visceral video
“I believe that whatever doesn’t kill you makes you stranger.“
Making Gaps: David Rosetzky’s collaborators
David Rosetzky’s collaborators in conversation
Perspectives on contemporary dance
Julianne Pierce on multidisciplinary approaches to working across contemporary dance and visual arts
24 Frames Per Second
Carriageworks, Sydney 18 June – 2 August 2015
Canberra Contemporary Art Space 10 July – 15 August 2015
Bound and Unbound: Sovereign Acts (Act 1)
Ali Gumillya Baker with Faye Rosas Blanch, Natalie Harkin and Simone Ulalka Tur on decolonising methodologies of the lived and spoken
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
Old Masters: Australia’s Great Bark Artists
National Museum of Australia, Canberra 6 December - 20 July 2014
Northern Territory Centre for Contemporary Art, Darwin 21 March – 19 April 2014
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
Sculpture by the Sea
Cottesloe, Western Australia 7 – 24 March 2014
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

Stuart Ringholt: Kraft
Monash University Museum of Art Curators: Charlotte Day and Robert Leonard 14 February – 17 April 2014
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."
Poetics and politics
On the First Peoples exhibition in the Bunjilaka Gallery at Museum Victoria
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.
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