29 November, 2006

Sarah Morris

Sarah Morris
Lost Weekend
November 14-December 20, 2003

Friedrich Petzel Gallery is pleased to announce "Lost Weekend," a solo exhibition of new paintings by Sarah Morris.




American artist Sarah Morris (1967) is this year�s 'Artist in Focus' at the Rotterdam International Film Festival. Morris is best know for her hard and glossy, geometrically abstract paintings. From 26 January through to 26 February 2006, Museum Boijmans Van Beuningen will be featuring her paintings as well as the films she made.



Friedrich Petzel Gallery is pleased to present "Los Angeles", a solo exhibition of a new film by Sarah Morris. - February 19th - March 26th, 2005.

Paul Chan

Known for his digital animation, Paul Chan (b. Hong Kong, 1973, lives New York) has made over 50 prints to date. He created the monumental digital print Worldwide trash (thanks for nothing Hegel) in 2004—a work with references to Samuel Beckett’s play Waiting for Godot, Francisco de Goya’s Disasters of War etchings, contemporary culture, and spirituality. Working in a digital mode with a mouse or drawing tablet, and the latest digital printing technology, Chan achieves great fluidity in color, scale, and detail.

Since 2000: Printmaking Now
Kurator: Judy Hecker
mit Sarah Morris, Andrea Zittel, John Currin, Matthew Barney, William Kentridge, Richard Tuttle, Elizabeth Peyton, Paul Chan, Kelley Walker, John Armleder, Swoon , Nicola Lopez


Chan's allegory overlays Fourier’s hedonistic social philosophies with animated images based on Darger's fantasies of garden worlds populated by armies of surprisingly pugnacious little girls, each of whom sports a full set of male genitalia. The characters frolic in a bucolic landscape, playfully indulging in every human physical desire only to confront a group of armed men in a battle scene.




(truetype font + audio CD, 2000)
Lowercase letters are phrases taken from popular love songs of the 70’s, 80’s, and 90’s. Uppercase letters are phrases taken from transcripts of sexual harassment cases in the United States from the 70’s, 80’s, and 90’s. Numbers and symbols are words that heighten the tension between the play of the uppercase and lowercase letters as they shift between the voice of pleasure and the voice of violence.
Watch video




Paul Chan by Nell McClister

September 2006
Paul Chan’s 1st Light, a digital animated floor projection depicting two opposing tides of shadows moving in balletic slow motion, will be featured along with his drawings at The Fabric Workshop and Museum in Philadelphia in October and November. Chan is also included in the book Who Cares, a document of an experiment organized by Creative Time, to be published by D.A.P. in October. The book reproduces the conversations that took place between thirty-seven artists and thinkers over three dinners, as they discussed the viability of counter-cultural practice within the visual arts.
June 2006
Paul Chan is spotlighted in the summer issue of ArtForum. The article discusses work ranging from the artist’s large-scale, Godot-like digital projections to his recent video of convicted civil rights lawyer Lynne Stewart.


1st Light, 2005. Digital animated projection onto floor, dimensions variable. The Institute of Contemporary Art, Boston


Chan is a 2003 Rockefeller Foundation new media arts fellow. His work has exhibited and screened at the Museum of Modern Art, New York Video Festival, and Rotterdam International Film Festival, among others. Chan will be included in the upcoming 2004 Carnegie International exhibition. Chan is represented by Greene Naftali Gallery in New York and his video work is distributed by Video Data Bank. New media work can be seen online at www.nationalphilistine.com. Chan received his B.F.A. from The School of the Art Institute of Chicago, and currently holds a position as lecturer for the department of fine arts at the University of Pennsylvania.

Shay Docking

Shay Docking

Shay Docking and Janet Laurence were regarded as young Melbourne artists of promise.

28 November, 2006

Lara Greene

The Ape is a large Puppet/Autonoma, trapped by his strings whilst also dependent on them to bring him to life... a sad but comical character. The controls are quite complex but built from basic and found materials: wood, scrap metal, bike and boating parts. They pivot from the beams, reaching out to four corners of the room: points at which a team of four people can push, pull or twist handles and turn wheels to control the head, arms and the back. The Ape"s figure is very expressive and we can express ourselves with him. Meeting him is far from the separated experience of many gallery exhibitions. Visitors are encouraged to share activating him with others. The resulting interactions were an exploration of control/dependency, power/intimidation, humour, mimicry, and group co-ordination/discord, challenging our notions of being an independent entity, that which the ape has never conceived of.

ape movie


27 November, 2006

november 2006 subject index

print aus
Print Australia Projects

John Coburn
Janet Snodgrass
The Ashes Exhibition - sydney
Artist-Curator Speed Dating
Advance Australia Fair

Printmaking in Mexico
Megalo’s 25th
Exhibition - Bulgaria/Chicago
print links & comments
Sydney Printmakers
Kiki Smith at Crown Point Press
Katsutoshi Yuasa

Since 2000: Printmaking Now
Since 2000: Printmaking Now
Nicola Lopez
John Armleder
Paul Chan
Richard Tuttle
Sarah M

Kim Donaldson - Melbourne
The Autopsy Gallery
Experimenta Vanishing Point - Perth
Experimenta - Perth/London
melinda schawel
Theodore Watson - Amsterdam
PAN Amsterdam
Warhol - Complete Picture
Richard Serra
Christo & Jeanne-Claude
Vivienne Binns - Tasmania
Josephine Severn
Gillian Wearing - ACCA Melb
Alien Nation - London
Derek Kreckler - Adelaide
The Dinner Party
Renee Cox
Shay Docking
Lara Greene

Art Cologne 2006
Australia’s copyright laws
The {American} Feminist Art Project

The NY Art Book Fair
The Book as Art - Washington
Book Studio Blog
Under the Cover - Sydney
First Wave Feminists
Australian comics

The Feminist Future: MoMA
If I Can’t Dance
feminism and feminist art
Susan Sontag in the Digital Age
Global Gender Gap Report 2006
Female Artists and Femininist Issues
contemporary seventies activism
culture news
chopper's art criticism
Helen Reddy 'I Am Woman'
art parody

guerilla dog sculptures - Sweden

Australia’s copyright laws

New Copyright Laws Risk Criminalising Everyday Australians.

The Internet Industry Association today warned that changes to Australia’s copyright laws being rushed through Parliament risked making criminals out of everyday Australians.

The IIA which represents a broad range of internet businesses in Australia, in conjunction with the QUT Law Faculty Intellectual Property Research Program, has identified a number of scenarios which could trip up Australians in their everyday use of copyrighted materials.

Said IIA chief executive, Peter Coroneos: “We can’t be sure if this is the government's intent, or whether there has been a terrible oversight in the drafting of this Bill. Either way, the consequences for the average Australian family could be devastating.”

“As an example,” said Mr Coroneos, “a family who holds a birthday picnic in a place of public entertainment (for example, the grounds of a zoo) and sings ‘Happy Birthday’ in a manner that can be heard by others, risks an infringement notice carrying a fine of up to $1320. If they make a video recording of the event, they risk a further fine for the possession of a device for the purpose of making an infringing copy of a song. And if they go home and upload the clip to the internet where it can be accessed by others, they risk a further fine of up to $1320 for illegal distribution. All in all, possible fines of up to $3960 for this series of acts – and the new offences do not require knowledge or improper intent. Just the doing of the acts is enough to ground a legal liability under the new ‘strict liability’ offences.”



15 minute podcast: Professor Brian Fitzgerald and Peter Coroneos discuss the implications of Australia's impending new copyright laws (right click to download mp3 file).

The IIA in conjunction with QUT Intellectual Property Law Research Program has compiled these risk analyses of how teenagers, families and small businesses could be liable under the proposed changes to Australia's copyright laws. Download the risk analysis for teenagers, the risk analysis for families, the risk analysis for small businesses and the risk analysis for industry (all in pdf format).

The proposed changes to the Bill can be found by visitng http://parlinfoweb.aph.gov.au/ then clicking on "browse" > "legislation" > "current bills by title" > "Copyright amendment bill 2006".

If you would like to express your concern over the proposed changes, please write to the Attorney-General, the Hon. Phillip Ruddock, at

PO Box 1866
Hornsby Westfield NSW 1635


PO Box 6022
House of Representatives
Parliament House, Canberra ACT 2600

Or call:

Telephone at parliament house: (02) 6277 7300
Telephone at electorate office: (02) 9482 7111


Lilith is a fully refered journal committed to publishing articles and reviews on women, gender, sexuality and related issues. We encourage contributions from both new and established scholars in these fields, as well as postgraduates.


Lilith: A Feminist History Journal is a fully refereed journal committed to publishing articles and reviews in all areas of feminist history. The editorial board is currently seeking articles for the next issue, to be published in 2007.

We seek historical work of 6000 words (including end notes) focusing on women, gender, sexuality and related issues. Submissions considered for publication are assessed via a double-blind peer review process.

We encourage contributions from both new and established scholars in these fields, as well as postgraduates. All submissions should be based on substantial, original historical work.

Please ensure you read the style guide thoroughly before submitting your work.

Submissions of one hard copy and one disc copy (Word 6 or later), plus 150 word abstract,

should be sent to the address below by:

March 2007

Lilith: A Feminist History Journal

Department of History

University of Melbourne

Victoria 3010 Australia

Fax: 61 3 8344 7894


Global Gender Gap Report 2006

The Global Gender Gap Report 2006

Watch an interview with author, Saadia Zahidi, Economist and Head, Women Leaders Programme

The Global Gender Gap Report 2006 covers all current and candidate European Union countries, 20 from Latin America and the Caribbean, over 20 from sub-Saharan Africa and 10 from the Arab world. Together, the 115 economies cover over 90% of the world’s population.

The index mainly uses publicly available "hard data" indicators drawn from international organizations and some qualitative information from the Forum’s own Executive Opinion Survey. The Global Gender Gap Report 2006 includes an innovative new methodology including detailed profiles of each economy that provide insight into the economic, legal and social aspects of the gender gap.

The Report measures the size of the gender gap in four critical areas of inequality between men and women:
1. Economic participation and opportunity – outcomes on salaries, participation levels and access to high-skilled employment
2. Educational attainment – outcomes on access to basic and higher level education
3. Political empowerment – outcomes on representation in decision-making structures
4. Health and survival – outcomes on life expectancy and sex ratio



of 115 countries, Australia ranked No 1 on the following. For educatIon, literacy rate and enrolment, the score was 100% equality. Professional and technical workers also scored 100% in Economic Participation and opportunity. We ranked number 8 on equality of income.

Australia als
o achieved the highest score on
Basic Rights and Social Institutions**
**data on a 0-to-1 scale (1 = worst score, 0 = best score)
Paternal versus maternal authority....... .....0.00
Female genital mutilation.................. ......0.00
Polygamy...................... .....0.00
Legislation punishing acts of violence against women.. ..0.50

e single factor responsible for lowering our overall score is lack of Political Empowerment, most particularly, no female head of state.
Years with female head of state (last 50).........rank 41

The survey appears t
o disregard suffrage prior to federation.

We also have a problem with Life expectancy.

26 November, 2006

Print Australia Projects


Print Australia Archive Exhibition
"Recent Acquisitions: photographs and prints" - Australian Print Collection, Wagga Wagga Regional Gallery Jan 10th to Feb 6th

Lyrebyrd Miniprint #4 - Lyrebyrd Miniature Print Exchange #4


Bellebyrd Website founded

blakkbyrd. website founded

non toxic exchange


Nature Morte Exchange
(members only can view)

Nature Exchange
(members only can view)

Lyrebyrd Miniprint #3 - SSNW04 Miniature Print Exchange
(members only can view)


'The Metal Plate Exchange', Adelaide Fringe Exhibition, Adelaide
[The Metal Plate Exchange]

The Metal Plate Exchange

The Open2 Exchange

Lyrebyrd Miniprint #2 - SSNW03 Miniature Print Exchange


"Sacred Tree", Beaverton City Hall , Beaverton , Oregon
[Sacred Tree Exchange Exhibition]

"Sacred Tree", John and Betty Grey Gallery , NorthWest Print Council, Portland , Oregon , USA [Sacred Tree Exchange Exhibition]

' Sewn, Bound and Flown', The Long Gallery, University Of Wollongong,
[Mixed Exchange Print Exhibition]

Sacred Tree/Endangered Species’ Meyer Center, Geauga, Chardon, Ohio, USA
Kent State University, Geauga Campus Gallery, Burton, Ohio.
[Sacred Tree Exchange Exhibition]

Lyrebyrd Miniprint #1 - Solstice Miniprint Exchange

The Dreams Exchange
a collaboration with the Poetryetc mailing list
Dreams Exchange Poems

The Digital Exchange


What is a Print & Illustration Exchange Exhibition
'Print Exhibition', Gallery of the Quebec Printmaking Council, Montreal, Quebec, Canada.

Where I Live Exchange Exhibition
'Where I Live’, Impressions Gallery, Perth, WA, Australia Where I Live Exchange Exhibition
Where I Live’ - Print South West Summer Exhibition, Crowecombe Church House, Taunton, Somerset, UK and Somerset County Museum, Taunton, Somerset, UKMixed Exchange Print Exhibition
St Mary Star of the Sea College, Harbour St, Wollongong NSW Australia.
Social Event
The Print Australia Picnic

The Open1 Exchange

What is a Print? Exchange

Aus-Ex 2001 exchange

The Illustration Exchange

Sacred Tree Exchange Exhibition
'Sacred Tree: From Myth to Interpretation’, Veliko Turnovo Municipality Art Gallery, International Ecofestival Veliko Turnovo 2000, Bulgaria

Sacred Tree Exchange

The Aus-Ex 2000 Exchange

The Letterforms Exchange

The Where I Live Exchange

Impressions weblog founded

Lyrebyrd Mailing List founded as Print Australia Group


Print Australia

Studio Dalwood - [personal website]

Katsutoshi Yuasa


I make woodcut works, which are based on my photographs.

The scale of the prints and the detailed cutting were reminiscent of GW Bot, but these were something else again. Large scale prints on plywood sheets, hand cut. The image is photocopy transferred from digitally manipulated photography onto the wood. The prints are handpulled with a traditional baren and take half an hour to print each one.


Katsutoshi Yuasa born in Tokyo in 1978 graduated from the Royal College of Art in 2005 with a Masters in printmaking and the RCA prize for publishing. He lives and works in London and has exhibited widely in Tokyo and more recently in New York. Katsu makes large, highly-detailed woodcuts based on photographs which he takes, edits, and then changes to monochrome, before cutting the wood board by hand. Meticulously crafted, his prints are the products of an intense and lengthy process. Yuasa describes this process as an act of ‘purification’, a feature enhanced by his decision to work in monochrome. He sees this transformation of an original image as somehow a means of grasping a higher truth or meaning.

The woodcuts of Katsutoshi Yuasa, in their application, reflect back to his native Japanese tradition of woodcuts, but their photographic content and urban derivation places them in the 21st century.

First Wave Feminists

Susan Magarey, Passions of the First Wave Feminists

University of New South Wales Press, 2001 (249 pp).
ISBN 0-86840-780-1 (paperback) RRP $34.95.

Joan Scott has explored the history of feminism via the metaphor of a ‘fantasy echo’, which she explains as the ‘imagined repetitions or repetitions of imagined resemblances’ (2000: 284) underlying categories of identity. A common identity among women, Scott argues, does not exist until it is evoked in language, and ‘secured by fantasies that enable them to transcend history and difference’. Certainly to consider the women’s movement in Australia at the turn of the last century is to be reminded that the past is indeed a foreign country.

The fantasies of present collectivity and future good that inspired those misleadingly termed ‘first-wave’ feminists are not those projected by Australian feminists today. Blissfully ignorant of the catastrophes that lay in wait in the twentieth century, they faced the future with courage and confidence. Their feminist visions were utopian, high-minded and idealistic, and were founded upon faith. They believed in moral principle; they believed in the possibility, if not the present reality, of unflawed religion; they believed in the promises of social reform; and they believed in the innate qualities of the feminine which, once harnessed by the women’s vote to the genuine needs of society, would see morality, religion and society transformed and made virtuous.

Perhaps virtue was the key to their social vision: not sexual virtue alone, but the virtue of social relationships founded in shared habits of duty, care and healthy respect. Through such relationships they hoped to transform themselves, and women in general. From disenfranchised sex slaves, silenced in debate on social organisation and reform, and forced by economic dependence into brutal marriages or prostitution, they would become active, independent, free, and politically astute citizens.


Magarey’s book—despite the various claims to novelty that adorn the cover and the introduction—is essentially a work of synthesis, and as such, despite its partialities, provides a valuable addition to the literature on the early women’s movement in Australia.

Feminist echoes
Penny Russell is a Senior Lecturer in the Department of History at the University of Sydney, where she teaches and writes on cultural and feminist history in Australia.

Christo & Jeanne-Claude

Jeanne-Claude: I have not said a thing for thirty-five years and it is my fault. Now I have changed my mind. 1995
Gianfranco Mantegna: Of your many projects the Reichstag wrapping is the one that took the most time to be realized: nearly 23 years, right? Did you ever think that it would not happen? Why the Reichstag? And what inspired you?

Christo: First of all, you should understand that this is not only my project, it's also Jeanne-Claude's, all I do myself are the drawings . . .

Jeanne-Claude: The only things I do myself is write the checks, pay the bills and pay the taxes. Everything else is Christo and Jeanne-Claude, including the creativity. It's about time that people correct this mistake.

Christo: Of course, this project is very complex, very long. It is not only one person's work, it's really a partnership and collaboration during all these years.

Jeanne-Claude: This is why we did not want to do an interview with only Christo . . .

Christo: But with Christo and Jeanne-Claude . . . she knows better how to say things.

Jeanne-Claude: I have not said a thing for thirty-five years and it is my fault. Now I have changed my mind.



Christo: Now, many years later, in 1991, Tom Golden, again, was the project director of the yellow umbrellas in Southern California. He received a call from Sacramento, the capital of California, about a group of people who would like to see the "Umbrellas." Tom said,
"Please come," and the person said, "No, we are very strange people. You know, I was a student in Kansas City and I would like to see the 'Umbrellas.'"

They were all blind, they arrived again in a bus by the "Umbrellas" and started walking around. There were hundreds of umbrellas adjacent to the road, people could sit under the umbrellas or walk around. After half an hour they came our office, we gave them some free samples of fabric and printed material, and one of the blind people said to Tom Golden,
"I cannot believe that they are so big." Tom said "How do you know that they are so big?" He replied, "You know, the shade of the sun is so big."

Jeanne-Claude: They could feel the heat when they came from under the shade. He walked and walked and he knew the exact size.

Christo: This is how the project develops its relationship to the space . . .


the public japan-usa christo umbrella art installation

Christo and Jeanne-Claude: the Art of Interference in Central Park

3 umbrella vide


I've seen better art in a kid wrapping up a brown paper parcel in a big shop in town than I see fooling around on the coast of Sydney.




Disappearance and Photography in Post-Object Art: Christo and Jeanne-Claude
Nov, 1999 by Charles Green

Christo's latest package, 1,000,000 sq. ft. of the Australian coastline at Little Bay, near Sydney covering a frontage of approximately one mile, was realized for the period 1 to 28 November. Using a poly-propylene fabric, 35 miles of rope, two-way radios and an estimated 17,000 man-hours, and despite southerly gales and pyromaniac hooligans, Christo wrapped up rocks to a height of 84 feet. Sponsors were the Aspen Centre of Contemporary Art, Colorado, and Christo himself. [2]

These bare facts hide several stories that typify Christo and Jeanne-Claude's temporary artworks of the next three decades, and that reflect their nomadic, mobile artistic identity. Wrapped Coast, Little Bay, One Million Square Feet, Sydney, Australia was the couple's first major environmental sculpture. Even though Christo alone was credited for the work at the time, he and Jeanne-Claude worked as a team on the piece and shared responsibility for its completion. Jeanne-Claude was responsible for all of the project administration.

Beginning in the 1980s, Christo and Jeanne-Claude rigorously and sternly insisted on retrospective joint reattribution of all works from the late 1960s onward, including Wrapped Coast, Little Bay, One Million Square Feet, Sydney, Australia, even though Christo's interviews continued to carry little reference to his partner Jeanne-Claude's role in the works.


A mini-documentary about The Gates art project created by artist Christo and his wife, Jeanne-Claude, that were in New York City's Central Park during February of 2005.

A tour of The Gates installation by Christo and Jeanne-Claude in New York Central Park, February 2005, with music by Alkaemy.

Enjoy these short videos featuring the unfurling of The Gates and dramatic views of Central Park from the Metropolitan Museum.


25 November, 2006


Wrapped Coast, Little Bay, Australia, 1968-69
Christo and Jeanne-Claude
Co-ordinator: John Kaldor


The Plunderers' promo-video for the single 'Christo'.

Leadsinger/bassist Nic Dalton found international fame as the bassist/co-songwriter of the Lemonheads during their early 90's peak. He has also played in Godstar and Sneeze. Guitarist Stevie Plunder went on to form The Whitlams with Tim Freedman. Stevie Plunder died in 1996.

Under the Cover - Sydney

Under the Cover is an exhibition of contemporary bindings, artist’s books and textiles that shows there are many ways to bind a book and there is an intriguing world of secrecy, shame, beauty and desire to be found under the cover — be it the book cover, the quilt cover, or the cover of darkness.

18 November 2006 to 24 January 2007
Stanton Library, 234 Miller Street, North Sydney
9.00 – 9.00 Monday to Thursday,
9.00 – 6.00 Friday, 10.00 – 5.00 Saturday and Sunday.

Based in Sydney, Bookbinding Exhibitions Australia Inc. (BEA) is Australia's only national organisation dedicated to promoting bookbinding as an art form.

24 November, 2006

Vivienne Binns - Tasmania

Left: Deborah Clark, Vivienne Binns, Craig Judd.

Vivienne Binns
20 October 2006–28 January 2007
Art Gallery 1, 2 and 3

From wild and groovy happenings to political activism, from late modernist and post colonial critique to community art events, Vivienne Binns has been at the centre of all major developments in Australian art and culture over the last 40 years. Vivienne Binns will trace diversity as a deliberate artistic position. Curated by Merryn Gates and Craig Judd, the exhibition includes works from the 1960s to the present. It is significant that the TMAG will be the beginning of the touring exhibition, Vivienne Binns, the first major survey of this important Australian artist. An illustrated catalogue accompanies the exhibition.


Right: Viv and Geoff Newton from Neon Parc Gallery Melbourne. All photos at the Tasmanian Museum and Art Gallery, Hobart.

Vivienne Binns' exhibition at the Tasmanian Museum and Art Gallery
A survey exhibition of work by Canberra based icon and iconoclast Vivienne Binns had its public opening at TMAG on Thursday 9 November. Curated by Merryn Gates and Craig Judd this comprehensive exhibition covers Viv's brilliant career from the 1960s to the present day. From pop influenced painting and post object performance documentation to community projects and post colonial critique, it is clear why she has been at the forefront of contemporary Australian art for over 40 years.

A number of Canberrans including Helen Maxwell (Helen Maxwell Gallery), Karena Keys (artist), Deborah Clarke (editor of Art Monthly), Stephanie Jones (artist) David Broker (Director Canberra Contemporary Art Space), Toni Bailey (Program Manager CCAS) Kim Mahood (artist) went to Hobart for the opening and a very good opening it was. There was plenty to celebrate afterwards at T42 on Queen's Wharf where Canberra contingent were surprisingly well behaved.

On the Friday evening following opening night the Friends of TMAG organised a public conversation between Viv and TMAG's Senior Curator, Craig Judd. Former Education and Public Programs Manager, Biennale of Sydney there are few people better than Craig to extract the information we really want to hear. This was a revealing insight into some of the issues that have affected an artist who has been working over a significant period of time. Viv spoke frankly about how the visual arts became such an important aspect of her life and some of the people who have influenced her over the years. This session was followed by an impromptu tour of the exhibition with Craig Judd.

For people who couldn't get to Hobart Viv's exhibition is coming to the Drill Hall soon.


Vivienne Binns on tour

A substantial survey of the forty-year career of important Australian artist (and Canberra resident) Vivienne Binns, curated by Merryn Gates, opened at the Tasmanian Museum and Art Gallery on 20 October and will run until 28 January next year. The show will then travel to the Drill Hall, ANU, for March-April next year, and then to Penrith and Bathurst Regional galleries.


Penny Peckham - Abstract
One Artist's Investigation of Australia's Place Within the Pacific Region: Vivienne Binns' Pacific Works

Vivienne Binns was born in 1940. She studied at the National Art School in Sydney from 1958 to 1962 and began her career with a first, highly controversial, solo exhibition at Watters Gallery in Sydney in February 1967. The work from this exhibition was almost universally critically reviled at the time, but has since been recognized as extremely important and innovative art.

During of the first two decades of her career Binns worked in a diverse range of contexts and media. For some years she worked as an enameller, using this traditional craft medium in combination with industrial silk-screen techniques to produce works that challenged boundaries between art and craft, while also producing large-scale architectural pieces.

During the 1970s, when many artists were challenging the concept of the art object as a commodity, she was involved in a number of collaborative ephemeral art works, performance art events and environments. Binns worked for many years as a community artist and was in fact a pioneer of this area of practice in Australia.

She has played a major role in the history of feminist art in Australia, having been a founding member of the Sydney Women’s Art Movement, while some of the work from her 1967 exhibition was celebrated, during the mid 1970s, as having
anticipated the vaginal imagery adopted by feminist artists at that time.


Binns started her career with an explosive exhibition held at Watters Gallery in Sydney in the 1960s.The show contained powerful sexual symbolism which was unexpected from a young woman, and is now seen as anticipating 1970s feminist art.

In the 70s she was active in the crafts and fought for improvements for women artists and conditions in the arts generally. From 1972 she evolved an art practice in communities throughout Australia, often working from a caravan in rural NSW.

The best known projects from this period are Mothers' Memories Others' Memories (1979-1981) and Full Flight when Vivienne worked from a caravan in rural areas of NSW. During the last ten years her practice has focused on studio-based painting.



Artists Statement

In the late 1960s I began working in vitreous enamel and so became known as a crafts person. Later I used enamelling as part of the community participation projects; "The Artsmobile", "Mothers Memories Others memories" and "Full Flight " Central Western Art Project.

It was in 1972 that I first defined the role of an "Artist in Community", i.e. an artist for whom interaction with other people is an integral element in their practice, a practice of exchange.

The years from 1972 to the mid 1980s were intensely concerned with working across Australian contexts which included urban art museums and commercial galleries as well as the art of the suburbs and rural areas. I became as respectful of the amateur and maker of marginalised art forms as of the professional and specially trained. I learnt how the domestic and private worked in relation to the official and public, and how gender acted as a defining marker in a social structure where women and the work they did were often disadvantaged.

In these years I was also active in reforming working conditions and rights of artists and craft workers and was a founding member of the Womens Art Movement in Sydney, the Artworkers Union and later the National Association for the Visual arts including the setting up of Vi$copy. I see all of this activity as integral to my practice.

Helen Reddy 'I Am Woman'

'I am strong, I am invincible, I am woman'

Helen Reddy's live performance of the hit single 'I Am Woman', a song taken from the 1972 album 'I Am Woman'.


Helen Reddy (born October 25, 1941 in Melbourne, Australia) is an Australian pop singer and actor.

Reddy was immensely successful as a singer in the 1970s with numerous hit records including three U.S. #1 singles. She has sold more than 15 million albums and 10 million singles, and was the first Australian-born performer to win a Grammy award.

Reddy's first Top 40 U.S. hit (1971) was a cover of "I Don't Know How To Love Him" (from Jesus Christ Superstar).

She scored an international hit in
1972 with a re-recorded version of a song she co-wrote with Australian musician Ray Burton, the feminist anthem "I Am Woman", which became her first U.S #1.

Reddy has attributed the impetus for writing "I Am Woman" and her early awareness of the women's movement to expatriate Australian rock critic and pioneer feminist
Lillian Roxon.

Reddy is quoted in Fred Bronson's The Billboard Book of Number One Hits as saying that she was looking for songs to record which reflected the positive self-image she had gained from joining the women's movement but couldn't find any, so
"I realized that the song I was looking for didn't exist, and I was going to have to write it myself."

The single actually barely dented the chart on its initial release in the summer of 1972, but it wasn't long before female listeners adopted the song as an anthem and began requesting it from their local radio stations in droves, spurring it to re-enter the charts in September and become a hit.

"I Am Woman" earned a Grammy Award for Female Pop Vocal Performance and at the awards ceremony she concluded her acceptance speech by famously thanking God
"because She makes everything possible".

Helen Reddy being interviewed in the mid '70s - during her international peak. {74}

Helen Reddy and other Australian female singers speak about the Helen Reddy hit 'I Am Woman' on the ABC TV documentary series 'Love Is In The Air'.

'I Am Woman' is an anthem for women's liberation and still remains over looked as one of Australia's greatest songs.


Helen Reddy on the Today Show May 2006
Ann Curry's interview with Helen Reddy, May 4, 2006 on the release of the book "The Woman I Am."


Marcia Hines' Countdown performance of the hit single 'You' (later covered by Rita Coolidge).

Renee Geyer's promo-video for the hit single 'Say I Love You' (Eddie Grant cover) which reached number 5 in the Australian chart and was taken from the 1981 album 'So Lucky'.

{Molly introduces Renee at the end of this clip}
INXS perform their cover of the Loved Ones' classic 'The Loved One'. There is also a short interview with Michael Hutchence talking to host Ian 'Molly' Meldrum about the current 'Loved One' single.


In the year that Gloria Steinem's Ms. magazine was launched in the US and Cleo in Australia, the song quickly captured the imagination of the burgeoning women's movement. National Organisation of Women founder Betty Friedan was later to write that in 1973, a gala entertainment night in Washington DC celebrating the organisation's 10th anniversary closed with the playing of "I Am Woman".

"Suddenly women got out of their seats and started dancing around the hotel ballroom and joining hands in a circle that got larger and larger until maybe a thousand of us were dancing and singing, 'I am strong, I am invincible, I am woman.' It was a spontaneous, beautiful expression of the exhilaration we all felt in those years, women really moving as women."

23 November, 2006

Richard Tuttle

Richard Tuttle, Cloth Piece (Octagon), 1968

Often working in multipart print series, Richard Tuttle (American, b. 1941) created the set of sixteen prints in Cloth (2002-05) over a four-year period. For the project, the artist began with one rudimentary element—in this case, fabric—and incorporated different pieces in each of the prints. Further enhanced by Tuttle’s modulated marks, gestures, and patterns, the set suggests an explosion of color, motif, and materials.

Richard Tuttle was born in Rahway, New Jersey in 1941, and lives and works in New Mexico and New York.

He received a BA from Trinity College, Hartford, Connecticut. Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice.

He subverts the conventions of modernist sculptural practice (defined by grand heroic gestures, monumental scale, and the ‘macho’ materials of steel, marble, and bronze) and instead creates small, eccentrically playful objects in decidedly humble, even ‘pathetic’ materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, Styrofoam, and plywood. Tuttle also manipulates the space in which his objects exist, placing them unnaturally high or oddly low on a wall, forcing viewers to reconsider and renegotiate the white-cube gallery space in relation to their own bodies. Tuttle uses directed light and shadow to further define his objects and their space.

Influences on his work include calligraphy (he has a strong interest in the intrinsic power of line), poetry, and language. A lover of books and printed matter, Tuttle has created artist’s books, collaborated on the design of exhibition catalogues, and is a consummate printmaker.

Richard Tuttle received a National Endowment for the Arts fellowship and the Skowhegan Medal for Sculpture. He has had one-person exhibitions at the Museum of Modern Art, New York; Whitney Museum of American Art, New York; ICA Philadelphia; Kunsthaus Zug, Switzerland; Centro Galego de Arte Contemporánea, Santiago de Compostela; and the Museu Serralvesin, Porto, Portugal. SFMoMA is the organizer of a 2005 Tuttle retrospective.



As a highlight of its 2005 exhibition schedule, the San Francisco Museum of Modern Art (SFMOMA) will present The Art of Richard Tuttle from July 2 through October 16, 2005. The first full-scale retrospective of this influential American contemporary artist�s oeuvre, the exhibition brings together more than three hundred significant works from collections worldwide and unifies Tuttle�s four-decade career in the most comprehensive presentation of his work ever mounted.

Explore Richard Tuttle's eclectic, forty-year career through video of the artist at work, the varied responses of his critics, and artworks that defy conventional notions of material, form, process, and craft. This multimedia feature was produced in conjunction with the exhibition The Art of Richard Tuttle, on view July 2 through October 16, 2005.

This feature works best with high-bandwidth Web access



The Art of Richard Tuttle is on view at the Whitney through February 5, 2006.

Update: Browsing the WPS1 archives, I came across this interview (Real Player required) with the show's curator David Kiehl. Jump forward to 21:25 of the stream to hear Kiehl discuss the installation.


Track 4 of the podcast guide to “The Art of Richard Tuttle,” featuring gallery-by-gallery commentary by Madeleine Grynsztejn, Elise S. Haas Senior Curator of Painting and Sculpture,