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Political in the Visual Arts Catriona Moore and Catherine Speck
CHAPTER 5 How the personal became (and remains) political in the visual arts Catriona Moore and Catherine Speck Second-wave feminism ushered in major changes in the visual arts around the idea that the personal is political. It introduced radically new content, materials and forms of art practice that are now characterised as central to postmodern and contemporary art. Moreover, longstanding feminist exercises in ‘personal-political’ consciousness-raising spearheaded the current use of art as a testing ground for various social interventions and participatory collaborations known as ‘social practice’ both in and outside of the art gallery.1 Times change, however, and contemporary feminism understands the ‘personal’ and the ‘political’ a little differently today. The fragmentation of women’s liberation, debates around essentialism within feminist art and academic circles, and institutional changes within the art world have prompted different processes and expressions of personal-political consciousness-raising than those that were so central to the early elaboration of feminist aesthetics. Moreover, the exploration and analysis of women’s shared personal experiences now also identify differences among women—cultural, racial, ethnic and class differences—in order to 1 On-Curating.org journal editor Michael Birchall cites examples such as EVA International (2012), the 7th Berlin Biennial and Documenta 13 that reflect overt and covert political ideas. Birchall outlined this feminist connection at the Curating Feminism symposium, A Contemporary Art and Feminism event co-hosted by Sydney College of the Arts, School of Letters, Arts and Media, and The Power Institute, University of Sydney, 23–26 October 2014. 85 EVERYDAY REVOLUTIONS serve more inclusive, intersectional cultural and political alliances. -
Australian and International Posters
Collectors’ List No. 163, 2013 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke Street) Australian and Kensington (Sydney) NSW Ph: (02) 9663 4848; Fax: (02) 9663 4447 Email: [email protected] International Posters Web: joseflebovicgallery.com JOSEF LEBOVIC GALLERY Australian Travel Established 1977 1. Home To Ballarat. “The City Beau ti ful”, 103a Anzac Parade, Kensington (Sydney) NSW c1926. Colour lithograph, 101.5 x 63.4cm. Repaired tears and creases to upper por tion and margins. Post: PO Box 93, Kensington NSW 2033, Australia Linen-backed. $3,900 Tel: (02) 9663 4848 • Fax: (02) 9663 4447 • Intl: (+61-2) Text includes “28th Jan to 4th Feb 1927. J.C. Kelsall, Email: [email protected] • Web: joseflebovicgallery.com Secretary. Ballarat Litho. & Co. Print.” MC545. Open: Wed to Fri 1-6pm, Sat 12-5pm, or by appointment • ABN 15 800 737 094 Member of • Association of International Photography Art Dealers Inc. International Fine Print Dealers Assoc. • Australian Art & Antique Dealers Assoc. COLLECTORS’ LIST No. 163, 2013 Australian & International Posters On exhibition from Saturday, 27 April to Saturday, 8 June. All items will be illustrated on our website from 11 May. Prices are in Australian dollars and include GST. Exch. rates as at time of printing: AUD $1.00 = USD $1.04¢; UK £0.68p © Licence by VISCOPY AUSTRALIA 2013 LRN 5523 Compiled by Josef & Jeanne Lebovic, Lenka Miklos, Mariela Brozky, Takeaki Totsuka 2. Adelaide Calling, c1930s. Colour litho graph, 101.7 x 63.8cm. Minor dis colour ation, repaired tears, creases and missing portions. Our next list, Australian and Linen-backed. $5,500 International Photography, Text includes “Holiday attractions all the year round. -
See You at the Barricades
See you at the barricades 1 ‘Well then, see you at the barricades’. nostalgic depictions of protest movements. My grandfather said this to me in the parking These include Marco Fusinato’s gutsy yet silent An introduction lot of his local shopping mall. I’m not sure images of rioters and Raquel Ormella’s banner where he came across the phrase, but he has declaring, ‘I’m worried I’m not political enough’. used it all my life. For him the saying is a way The exhibition concludes with Sharon Hayes’s not only to identify himself as an ‘old lefty’, but multi-screen installation overflowing with also to invite amity through shared resistance. balloons and raucous chants, which brings I have borrowed his catchphrase as the together many of these themes. These works title of this exhibition, which studies the complex traverse the emotional terrain of protest, entanglements of art and protest after the revealing the complexity of art’s relationship ‘year of the barricades’, 1968. Recently many to political change. contemporary artists and curators have used the materials common to protest, from banners --------- See you and sandwich boards to demonstration re-enactments, repositioning protest within the In May 1968, Paris erupted in demonstrations. white rooms of contemporary art spaces and Photos from the time show thousands of major museums. This raises several questions: students and workers in the streets, waving at the where do the boundaries between protest and flags and clambering over upturned cars. art lie? Is there a difference between protest art Elsewhere, the Vietnam War raged, Soviet and art that uses protest’s symbols? If so, do Union-led troops invaded Czechoslovakia to barricades the latter simply manifest nostalgia, neutralising crush the Prague Spring reforms, and Martin the impact of such symbols by aestheticising Luther King was assassinated. -
Australian & International
Australian & International Posters Collectors’ List No. 182, 2016 Josef Lebovic Gallery 103a Anzac Parade (cnr Duke St) Kensington (Sydney) NSW P: (02) 9663 4848 E: [email protected] W: joseflebovicgallery.com 1. “Not Dead Yet!” or “The Counterfeit [Gold Rush]” Theatre JOSEF LEBOVIC GALLERY Royal, Glasgow, 1866. Letterpress theatre playbill, 75.4 x 25.2cm. Established 1977 Trimmed left margin, repaired minor tears and old folds, slight offset. Member: AA&ADA • A&NZAAB • IVPDA (USA) • AIPAD (USA) • IFPDA (USA) Linenbacked. $1,100 This playbill, dated Friday, 8th June, 1866, initially covers two plays, Faust & Address: 103a Anzac Parade, Kensington (Sydney), NSW Marguerite! and Quite a Romance!, before mentioning a play on the Gold Rush in Postal: PO Box 93, Kensington NSW 2033, Australia Bendigo, Australia. The play was adapted from the novel Not dead yet by the English author John Cordy Jeaffreson (1831-1901), and was published in 1864. Three Phone: +61 2 9663 4848 • Mobile: 0411 755 887 • ABN 15 800 737 094 scenes in the second act are set on the Bendigo gold diggings in the year 1862. Email: [email protected] • Website: joseflebovicgallery.com The playbill text includes “In rehearsal, and will shortly be produced, a three act drama by [actor] David Fisher with sensational effects and new scenery, Open: Monday to Saturday from 1-6pm by chance or by appointment. founded on actual occurrences, as narrated in the novel by J.C. Jeffreson [sic], which furnishes portions of the story of this play, called Not dead yet! or The Counterfeit: a tale of the times both in England and Australia. -
Assessment Task Year Level 10 Learning Area Humanities and Social Sciences Subject History Title of Task Australian Civil Rights Movement
Tanya de Haas | 18362002 | Curriculum and Instruction in Lower Secondary HASS | Samantha Owens | Assessment Two Assessment task Year level 10 Learning area Humanities and Social Sciences Subject History Title of task Australian Civil Rights Movement Description of task Students investigate the influence of the US civil rights movement on Australian activists for Indigenous rights and freedoms. Students then individually develop an inquiry research project on one individual from the Australian civil rights movement using an Individual Research Notebook. From this research students will create a visual artwork about this individual representing the individual, their method of activism and their significance in the fight for Indigenous rights and freedoms. This is followed by a personal reflection. Type of assessment Formative and Summative Purpose of • To assess students’ ability to generate research questions for historical inquiry. assessment • To assess students’ knowledge at the end of the learning cycle. • To assess students’ nonverbal communication skills through visual representations in the artwork. • To assess students’ development of perspective, significance and empathy. Assessment strategy Research skills, visual artwork, written reflection Evidence to be Individual research notebook, artwork and personal reflection collected Suggested time 3 weeks (12 x 1 hour sessions) • Introductory lesson following Universal Declaration of Human Rights. • One lesson for in-class source analysis. • Two lessons for modified JIGSAW activity. -
May 12 Newsletter Sun 29 Apr.Indd
Vol 23, No.2 — May 2012 NEWSLETTER To keep women’s words. women’s works, alive and powerful —Ursula LeGuin LARISSA BEHRENDT: LUNCHEON SPEAKER 2012 lways mindful of Ursula Le Guin’s stirring aphorism, She finished Law in 1992, already writing on law reform Awe are delighted Professor Larissa Behrendt – novelist, issues. On scholarship at Harvard Law School from 1993, she activist, academic – will address Jessie Street National Women’s completed a masters and then a doctorate on how Aboriginal Library Annual Luncheon on 17 September, her topic: Strong ideas of sovereignty and British law differ, work published in Women; Strong Communities: Empowering Indigenous Women to 2003 as Achieving Social Justice (Aboriginal Dispute Resolution Overcome Disadvantage. Professor Behrendt had appeared in 1995). Since 1998 she has believes that to overcome disadvantage been a member of the Australian Institute of in Aboriginal communities it is vital to Aboriginal and Torres Strait Island Studies empower Aboriginal women and that this is and on the AIATSIS Research Advisory not just a feminist ideal: research backs this Council, and from 2000, Professor of Law up. She will discuss findings from recent at the University of Technology Sydney and research in New South Wales Indigenous Director of UTS’ Jumbunna Indigenous communities which points to the central House of Learning. She is a Board member of role Indigenous women play in addressing the Museum of Contemporary Art, Bangarra disadvantage and social problems. Dance Theatre Chair, a (federal) Land and Her own upbringing seems to support Environment Court Land Commissioner, this approach too. Her Aboriginal grand- and NSW Serious Offenders Review Board mother Lavinia Boney in western NSW Alternate Chair. -
Everyday Revolutions: Remaking Gender, Sexuality and Culture In
Everyday Revolutions Remaking Gender, Sexuality and Culture in 1970s Australia Everyday Revolutions Remaking Gender, Sexuality and Culture in 1970s Australia Edited by Michelle Arrow and Angela Woollacott Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au ISBN (print): 9781760462963 ISBN (online): 9781760462970 WorldCat (print): 1113935722 WorldCat (online): 1113935780 DOI: 10.22459/ER.2019 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design and layout by ANU Press This edition © 2019 ANU Press Contents Contributors . vii 1 . Revolutionising the everyday: The transformative impact of the sexual and feminist movements on Australian society and culture . 1 Michelle Arrow and Angela Woollacott Everyday gender revolutions: Workplaces, schools and households 2 . Of girls and spanners: Feminist politics, women’s bodies and the male trades . 23 Georgine Clarsen 3 . The discovery of sexism in schools: Everyday revolutions in the classroom . 37 Julie McLeod 4 . Making the political personal: Gender and sustainable lifestyles in 1970s Australia . 63 Carroll Pursell Feminism in art and culture 5 . How the personal became (and remains) political in the visual arts . 85 Catriona Moore and Catherine Speck 6 . Subversive stitches: Needlework as activism in Australian feminist art of the 1970s . .. 103 Elizabeth Emery 7 . Women into print: Feminist presses in Australia . 121 Trish Luker 8 . ‘Unmistakably a book by a feminist’: Helen Garner’s Monkey Grip and its feminist contexts . -
MUSE Issue 10, March 2015
issue no. 10 MAR 2015 ART . CULTURE . ANTIQUITIES . NATURAL HISTORY SYDNEY CONTENTS UNIVERSITY MUSEUMS O1 POSTER GIRLS 19 OUT OF AFRICA Comprising the Macleay Museum, Nicholson Museum 05 FRIEZE FRAME 22 TAKING FLIGHT and University Art Gallery IN THE PICTURE ON SITE IN CYPRUS Open Monday to Friday, 10am to 07 24 4.30pm and the first Saturday of 08 PHOTO OPPORTUNITY 27 A GREAT EXCHANGE every month 12 to 4pm Closed on public holidays. 10 SEEING DOUBLE 28 POTS OF GOLD General admission is free. Become a fan on Facebook and 12 THE GRAND TOURISTS 29 DONOR HONOUR ROLL 2014 follow us on Twitter. 14 A RICH TAPESTRY 30 OUT AND ABOUT Sydney University Museums Administration 16 GILLESPIE’S TRAVELS 32 WHAT’S ON T +61 2 9351 2274 F +61 2 9351 2881 E [email protected] Education and Public Programs To book a school excursion, an adult education tour or a University heritage tour T +61 2 9351 8746 E [email protected] MACLEAY MUSEUM WOMEN ARTISTS Macleay Building, Gosper Lane PAINT HISTORICAL PICTURE (off Science Road) T +61 2 9036 5253 F +61 2 9351 5646 A WORD FROM THE DIRECTOR E [email protected] Our museums received more than NICHOLSON MUSEUM 105,000 visitors in 2014 – a record. In the southern entrance to the Quadrangle The year is off to a good start with large T +61 2 9351 2812 crowds viewing our new Lego Pompeii F +61 2 9351 7305 E [email protected] in the Nicholson Museum. -
Sydney University Museums
THURSDAY 13 MAY – SUNDAY 18 JULY 2010 UNIVERSITY ART GALLERY THE UNIVERSITY OF SYDNEY KENT STATE: FOUR DECADES LATER University Art Gallery, University of Sydney Thursday 13 May – Sunday 18 July 2010 In May 1970 the artist Richard Hamilton set up a camera in front of TV for a week. He recalled: Every night I sat watching with a shutter-release in my hand. If something interesting happened I snapped it … In the middle of the week the shooting of students by National Guardsmen occurred at Kent State University. This tragic event produced the most powerful images that emerged from the camera, yet I felt a reluctance to use any of them. It was too terrible an incident in American history to submit to arty treatment. Yet there it was in my hand, by chance – I didn’t really choose the subject, it offered itself. It seemed right, too that art could help to keep the shame in our minds; the wide distribution of a large edition print might be the strongest indictment I could make. Kent State is the most onerous of all the prints I have made. Without anticipating the problems I chose to layer many transparent colours over each other to build the image from the overlaps and fringes ... The Kent State student depicted, Dean Kahler, was not killed. He suffered spinal injuries and is paralysed. Hamilton’s influential work Kent State was a massive undertaking, a silkscreen print edition of 5,000 from 13 stencils. Sydney architect and writer Donald Gazzard donated the work to the University of Sydney in 1970. -
Jill Posters Will Be Prosecuted: Australia's Women-Only Print Collectives from the 1970S and 1980S
Ms Louise Mayhew PhD candidate College of Fine Arts University of New South Wales PhD topic: Female art collectives and collaborations in Australia c.1970 – 2010. Jill Posters Will Be Prosecuted: Australia’s women-only print collectives from the 1970s and 1980s. The words of time were: revolution, liberation, demands, rights, organize, overthrow, smash, struggle, collective, solidarity, sexism, racism... (Kenyon 1995, 36). The legacy of Earthworks Poster Collective (1972–80), a highly influential and impressively productive screenprinting group, is recognised in such collectives as Lucifoil (1980–83), Megalo (1980–present) and Redback Graphix (1980–94). Cross- fertilisation and skills sharing greatly influenced the growth and development of poster collectives during this era. Many individuals passed through the University of Sydney’s Tin Sheds Art Workshop, home to Earthworks, and learnt printmaking. As they moved around Australia, visiting Indigenous communities, undertaking artist residencies and working at new universities, they took the skills and ideologies learnt with them. Earthworks is credited with establishing in poster collectives an identifiably collective ethos, realised through open access facilities, group decision making, equal rates of pay, and a commitment to voicing social, political and local community concerns.1 Additionally Earthworks functioned precariously within and outside the boundaries of the art world, higher education institutions and funding bodies. This unstable positioning was inherited by successive collectives, that operated between the realms of art and advertising, had an uneasy relationship with the term ‘artist’, and struggled to meet costs or funding demands. Although the connection with Earthworks is well established, alternative origins for the emergence of women-only poster collectives can be found in second-wave feminism. -
Art As Ecological Communication Abstract Introduction
View metadata,citationandsimilarpapersatcore.ac.uk the other Dhuwa, on two pieces of stretched stringy-bark.1 This now 11 famous ‘bark petition’ offered non-Indigenous people a rare opportunity to understand the creation and maintenance of the region, with its complex relations of Indigenous ownership, custodianship and obligation. Tragically, we ignored this opportunity to understand a comprehensive, deep knowledge of the environment that had kept it in a Not just a pretty picture: art as ecological productive balance for millennia. communication A decade later, equally traditional, picturesque views of Lake Pedder in Catriona Moore Tasmania’s south west were reproduced as campaign materials to save the lake from being flooded for hydro-electricity. They illustrated a pristine wilderness, by definition a veritable ‘terra nullius’ in danger of being irretrievably lost through unwanted state development. Abstract Indigenous art and the western landscape tradition form ongoing These visual ‘petitions’ were politically unsuccessful in the short term, influences on Australian eco-art. A majority of Australians now and differed on questions of ownership, habitation and wilderness. acknowledge that reconciliation and environmental sustainability are Nonetheless, Indigenous art and the western landscape tradition form related issues. At the same time, western conventions of the sublime and ongoing influences on Australian eco-art. Indigenous art has helped to the picturesque landscape have remained effective campaign materials. win hearts, minds and a fair share of battles for Native Title and While historical tensions between Indigenous stewardship and a environmental justice. A majority of Australians now acknowledge that culturally abject, sublime ‘wildness’ still sporadically reappear in the reconciliation and environmental sustainability are related issues. -
Pages 3-5 Pastoral Land Bill Changes Wanted Pages 6-7 Closing the Gap Pages 8-11
February 2018 Issue 1 Illustration © Nick Bland A Territory Treaty? Pastoral Land Bill Closing the Gap Pages 3-5 Changes Wanted Pages 8-11 Pages 6-7 2 Land Rights News • Northern Edition February 2018 • www.nlc.org.au A word from the Chair March where the Executives of the four Land Councils will be meeting there in the week Councils will work out what a Treaty could running up to the festival, and the Chief look like and how it should be achieved. Minister is expected to attend. There is, of course, the big question about As you will read below, I went down to Elliott whether there should be just one treaty, in the New Year to discuss the shocking state separate treaties with different Aboriginal of housing in the town. Elliott has fallen peoples, or an umbrella treaty sitting above through the cracks for too long, and the separate treaties. Aboriginal residents there have not had a A big part of our job will be to manage new house built for nearly 20 years. community expectations, seek the best I took the local MLA, Gerry McCarthy, along available advice, and have a real say about with me – he’s also the Minister for Housing how we go about consulting with Aboriginal and Community Development. Lawrence people across the Northern Territory. Costa, Assistant Minister for Remote Health The NLC has already sought preliminary Delivery and Homelands, also attended. Mr legal advice from constitutional lawyers McCarthy has since written to the NLC to George Williams and Harry Hobbs, from the confirm that the NT government is committed University of New South Wales.