Contemporary Australia: Women

186 and Department of Health. Its primary objective is to put a positive face to the Darwin residents who are called ‘Long Grassers’. Long Grass people live rough and without shelter in bush and urban camps around Darwin; for many reasons, they experience the deprivation of their basic human rights by having their possessions confiscated on a regular basis and their camps bulldozed or burnt. 4 See Fra Angelico’s The Mocking of Christ 1440–41 (The Convent of San Marco, Florence), or Hans Memling’s The Man of Sorrows in the Arms of the Virgin c.1475 (National Gallery of Victoria). Adorning the background of both works are signs referring to the stages of the Crucifixion — the hammer and nails, the water-soaked sponge, the hands of those that mocked Christ. 5 ‘My contact with Donald and the subsequent image I created for, and of him, resonates with me more than any image I have created for a long time.’ Email from the artist to Julie Ewington, 22 November 2011. 6 This subtitle borrows from Berenice Abbott’s 1951 essay, ‘Photography at the Crossroads’, reprinted in Alan Trachtenberg (ed), Classic Essays on Photography , Leete’s Island Books, New Haven, 1980, pp.179–84. Soda_Jerk 1 Colin Davis, ‘Hauntology, spectres and phantoms’, FrenchStudies: A Quarterly Review , vol.59, no.3, 2012, pp. 373–79. 2 Jill Bennett, Empathic vision: Affect, Trauma, and Contemporary Art , Stanford University Press, California, 2005, pp.22. 3 Dan and Dominique Angeloro, email correspondence with the author, 2 February 2012. 4 Dan and Dominique Angeloro, email correspondence. 5 Dan and Dominique Angeloro, email correspondence with Bree Richards, Assistant Curator, Contemporary Australia Arts, 21 December 2011. Sandra Selig 1 Sebastian Moody, ‘Total reality: The influence of psychedelia in contemporary Australian art’, in NewPsychedelia , Sebastian Moody (ed), University of Queensland Art Museum, Brisbane, 2011, p.39. 2 Carolyn Barnes, Abstraction/Architecture/Space , 2007, schoolofartgalleries.dsc.rmit.edu.au/PSSR/ exhibitions/2007/abstraction_architecture_space. html#essay, viewed 10 January 2012. 3 Jiro Yoshihara, The Gutai Manifesto , 1956, web.archive. org/web/20070630202927 /http://www.ashiya-web.or.jp/ museum/10us/103education/nyumon_us/manifest_ us.htm, viewed 2 January 2012. Noël Skrzypczak 1 Noël Skrzypczak, in conversation with the author, 1 December 2011. 2 Skrzypczak, in conversation with the author. 3 Since 2008, Skrzypczak has extended her painting practice to include floor-based sculptural pieces, constructed of materials including soap, glass and silicone, with her wall paintings. These pieces featured in ‘Talking to Strangers’ (Heide Museum of Modern Art Project Gallery, Melbourne, 2011); also refer to her first sculptural work Love and babies OR Landscape of the Planet Tralfamadore (Gertrude Contemporary Art Spaces, Melbourne, 2008). 4 Skrzypczak studied the sumi-e technique in Tokyo, as part of an Australia Council for the Arts grant in 2009. 5 Skrzypczak, in conversation with the author. The author would like to thank Noël Skrzypczak for her generosity in discussing her work during the development of this text. Sally Smart 1 See Harold B Segel, Pinocchio’s Progeny: Puppets, Marionettes, Automatons and Robots in Modernist and Avant-garde Drama , Johns Hopkins University Press, Baltimore, 1995. 2 In 1971, the magazine ARTnews published an essay with a title posing a question that would spearhead an entirely new branch of art history. Nochlin argued that general social expectations against women seriously pursuing art, ‘have systematically precluded the emergence of great women artists’. Linda Nochlin, ‘Why have there been no great women artists?’, ARTnews , January 1971. 3 Ruth Hemus, Dada’s Women , Yale University Press, New Haven, 2009, p.117. 4 Hemus, p.123. 5 Sally Smart, correspondence with Julie Ewington, Curatorial Manager, Australian Art, 8 August 2011. Wakartu Cory Surpise 1 Karen Dayman, ‘Wandering through the shed . . .’ [pamphlet], Mangkaja Arts Resource Agency Aboriginal Corporation information, Fitzroy Crossing, 2005. 2 Karen Dayman, 2005. 3 Karen Dayman, ‘Vibrant Wakartu talks of country: Reflections from senior Walmajarri artist, Wakartu Cory Surprise’, Arts Yarnup , Autumn 2011, p.19. 4 Karen Dayman, ‘Surprise, Cory and Friends’ [exhibition notes], Red Dot Gallery, Singapore, 2005. 5 ‘Wakartu Cory Surprise’ [pamphlet], Mangkaja Arts Resource Agency Aboriginal Corporation, Fitzroy Crossing, supplied by Mangkaja Arts 2011. 6 Wakartu Cory Surprise, art work certificate for Ngurrantili Pamarr ( Hill ) Big One 2009, Mangkaja Arts Resource Agency Aboriginal Corporation information, Fitzroy Crossing, 2011. 7 Wakartu Cory Surprise, art work certificate of authenticity for Mimpi 2011, Mangkaja Arts Resource Agency Aboriginal Corporation information, Fitzroy Crossing, 2011. 8 Karen Dayman, correspondence with the author, 24 November 2011. 9 ‘Wakartu Cory Surprise’ [pamphlet], supplied 2011. Hiromi Tango 1 Hiromi Tango email correspondence with the author, 17 February 2012. 2 Laura Bannister, ‘Hiromi Tango’ in www.russhmagazine. com/arts-music/artists/2011/08/21/hiromi-tango/, viewed February 2012. 3 Tango, email correspondence with the author, 18 February 2012. 4 Tango, email correspondence with the author. 5 Guy Brett, Through Our Own Eyes: Popular Art and Modern History , New Society Publishers, Canada, 1987, p.26. Monika Tichacek 1 Marie Darrieussecq, Pig Tales: A Novel of Lust and Transformation , Faber and Faber, London, 1997, p.58. 2 Tichacek performed once for the opening of her exhibition ‘To All My Relations’, Karen Woodbury Gallery, 7 May 2011. 3 Monika Tichacek, telephone conversation with the author, 16 November 2011. 4 Translated from Quechua, a Native South American language. 5 Monika Tichacek, email to the author, 9 January 2012. 6 Monika Tichacek, email to Bree Richards, Assistant Curator, Contemporary Australian Art, 19 May 2010. Gabriella Mangano and Silvana Mangano 1 Gabriella Mangano in A Stephens, ‘Drawing on togetherness’ in Age , 27 May 2009, p.14. 2 Mangano, p.14. 3 Richard Serra, ‘Verb List Compilation: Actions to Relate to Oneself’, 1967–68, reproduced www.ubu.com/ concept/serra_verb.html, viewed 22 February 2012. 4 Rosalind Krauss, ‘Sculpture in the expanded field’, October , vol.8, 1979, pp.30–44. 5 Rosalind Krauss, A Voyage on the North Sea: Art in the Age of the Post-Medium Condition , 31st Walter Neurath Memorial Lecture, Thames & Hudson, London, 1999. 6 Dennis Oppenheim’s comment on the work recorded at www.dennis-oppenheim.com/early-work/152, viewed 16 February 2012. 7 Dennis Oppenheim’s comment on the work. Rose Nolan 1 Yve Alain Bois has pointed out the exceptional parity afforded women artists in the Constructivist movement — unique, perhaps, in the history of twentieth‑century art — as well as by the strong feminist positions held by the Soviet regime in its early years. See Yve Alain Bois, ‘Russian revolution: Yve-Alain Bois on the politics of Constructivism’, Artforum , vol.44, February, 2006, p.53. 2 Varvara Stepanova ‘Today’s Dress: Prozodezhda’, Lef ( Zhurnal levogo fronta iskusstv ( Journal of the Left Front of the Arts ), 2 1923, pp. 65–8, quoted in Djurdja Bartlett, FashionEast: The Spectre that Haunted Socialism , MIT Press, Cambridge, 2010, p.18. In a letter from Paris in 1925, Rodchenko wrote, ‘The light from the East is not only the liberation of workers, the light from the East is in the new relation to the person, to woman, to things. Our things in our hands must be equals, comrades, and not these black and mournful slaves, as they are here.’ Quoted in Christina Kiaer, Imagine No Possessions: The Socialist Objects of Russian Constructivism , MIT Press, Cambridge, 2005, p.199. 3 Rose Nolan quoted in Robyn McKenzie, ‘The last temptation of Rose Nolan’, World Art , vol.1, no.2, 1994, p.40. 4 Ingrid Periz , ‘ ROSENOLAN’ in Rose Nolan: Why Do We Do The ThingsWe Do [exhibition catalogue], Institute of Modern Art, Brisbane, and Artspace, Sydney, 2009, p.32. 5 Periz, p.32. 6 Chris McAuliffe, 2002 www.annaschwartzgallery. com/works/exhibitions?artist=60&year=2002&work =917&exhibition=130&page=1&text=1&c=m, viewed 24 January 2012. 7 C Moore, ‘Supermodels: Women artists enter the mainstream’, in Rex Butler ed. What is Appropriation?: An Anthology of Critical Writings on Australian Art in the ‘80s and ‘90s, Power Publications, Sydney and Institute of Modern Art, Brisbane, 2nd ed, 2004, p.267. 8 Max Delany, ‘Rose Nolan: Dressing Up and Sizing Down’, in Rose Nolan , Arts Victoria Melbourne, 2001, p.9. 9 Blair French, ‘Rose Photographing Rose’, in Why Do We Do The Things We Do , p.46. Therese Ritchie 1 This subtitle borrows from Berenice Abbott’s 1951 essay, ‘Photography at the Crossroads’, reprinted in Alan Trachtenberg (ed), Classic Essays on Photography , Leete’s Island Books, New Haven, 1980, pp.179–84. 2 Notes from the artist in an email to Julie Ewington, 31 May 2011. 3 Two photographs included in the exhibition, Pamela 2011 and Jeannie Kandiwirri, Church Camp 2011 are both drawn from the larger ‘You know me series’. YOU KNOW ME is an education campaign developed by The Larrakia Nation Aboriginal Corporation in association with the Northern Territory Government Department of Justice