Read a full transcript of the interview here.
What does it mean to do feminism rather than be a feminist? In the third and final episode of our FEM-aFFINITY podcast, feminist critic and art historian Anne Marsh explains the idea of doing feminism in Australian contemporary art, from the 1970s to now.
For over four decades Marsh has been researching and writing at the cross-sections of feminism and contemporary art. As a leading academic in this field, she’s currently undertaking an expansive research project titled Doing Feminism which, consisting of events, residencies and a soon-to-published book, looks at women, feminism and art in Australia since 1970.
In a very insightful conversation Marsh discusses feminism in the arts from the 1970s to now, and reflects on how female, marginalised and neurotypical artists can also be activists. Marsh further talks about why artists with a disability have been on the periphery on the art world, and how the Western art canon can be expanded to include the true diversity of 20th and 21st century art making.
This podcast takes its name from an exhibition with the same title: FEM-aFFINITY is also a collaborative, female-led show that first began in 2019. It features a series of collaborations between seven female artists who practice from Melbourne’s Arts Project Australia, a studio and gallery for artists with an intellectual disability, and seven female contemporary artists.
FEM-aFFINITY is a nationally touring exhibition and will soon show at Riddoch Art Gallery at Mount Gambier in South Australia. Exhibiting artists include: Bronwyn Hack, Cathy Staughton, Dorothy Berry, Eden Menta, Fulli Andrinopoulos, Heather Shimmen, Helga Groves, Jane Trengove, Janelle Low, Jill Orr, Lisa Reid, Prudence Flint, Wendy Dawson and Yvette Coppersmith.
FEM-aFFINITY
Riddoch Art Gallery
22 May—4 July
Benalla Art Gallery
6 August—17 October
This series is kindly sponsored by NETS Victoria who are nationally touring FEM-aFFINITY, assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Produced and presented by Tiarney Miekus. Engineered by Patrick Telfer. Music by Mino Peric.
65,000 Years: A Short History of Australian Art is an extraordinary account of the unique art of this continent, published alongside a landmark exhibition at the Potter Museum of Art. Necessary and urgent, it tells the story of Indigenous Australian art; a new art history unlike anything we’ve seen. For Jane O’Sullivan, it’s a remarkable and must-read book.
In a new series of illustrated postcards available as a free gift with purchase only at the Art Guide Bookstore, Oslo Davis takes on classic and contemporary art terms and genres and reimagines what they could be referring to.
With so much to choose from, we’ve rounded up the major summer exhibitions in each capital city, open all summer long. Spanning Yayoi Kusama, Magritte, the Asia Pacific Triennial of Contemporary Art, and many more.
In her latest exhibition at Plimsoll Gallery, Janine Combes uses her background as a jewellery maker to create a body of work inspired by abandoned towns once marked for settlement in Tasmania.
Bringing together 70 artists from 30 countries, the 11th Asia Pacific Triennial of Contemporary Art fosters connections across cultures and borders, and translates cultural knowledge for the present day.
In Anmatyerr artist Elizabeth Mbitjana Pitijana’s first solo exhibition in Melbourne—which focuses on the Central Desert food source Arnwekety (bush plum)—the influence and love of her Country and culture is palpable. Elizabeth Mbitjana Pitijana is now showing at Niagara Galleries.
