When the body is foregrounded in artwork – as in much contemporary performance, sculptural installation and video work – so is gendered and sexualised difference. The pictorial virtue of fat in composition The swelling vocabulary of fat in ancient Greece How fat becomes a weighty art-historical question Irigaray’s interval as a conceptual framework for artmakingĬhapter 12: Heave, ho, ha: Disgust, humour and failure in contemporary feminist artĬhapter13: Slim evidence of fat fortunes: Towards a gendered history of fat acceptance Gender identification with FLORINA PREFECTUREĬhapter 10: Feeling seeing: Image, sound and touch in the video installations of Angelica Mesitiįeminist perspectives on vision and sense perceptionĬhapter 11: Materialising the interval: Relationality as a feminist art practice Girls in our Town: source photographs and photographers Survivor memory/refugee memory/migrant memory/my memoryįitting the memory fragments together: intergenerational diaspora in a child’s psyche Macedonia, the fiery furnace of the BalkansĪ history of massacres and atrocities: the perpetuation and creation of inherited loss Retrac(k)ing country and (s)kin: walking the wave hill walk-off track (and other sites of cultural contestation)Ĭhapter 6: The practice of remaining perpetually contingentĬhapter 8: The intimate monument: Memorialising from a feminist perspectiveįeminist anti-monuments: materiality and scaleĬhapter 9: Florina Prefecture: Women in the shadow of ‘The Magnificent Empire’ 1900–19: A feminist interpretation of Greek-Australian identity as explored in contemporary art
Introduction: Lynette Riley’s Pearl Gibbs ‘Gambanyi’ Kangaroo CloakĪppendix Pearl Gibbs ‘Gambanyi’ Kangaroo Cloak: informationĬhapter 5: Still in my mind: Gurindji location, experience and visuality The aesthetics of listening: a two-way trackĬhapter 3: Women in the cross-cultural studio: Invisible tracks in the Indigenous artist’s archiveĬhapter 4: The Pearl Gibbs ‘Gambanyi’ Kangaroo Cloak Chapter 1: A feminist curator walks into a gallery…