Mike BROWN<br/>
<em>Manifestations</em> 1982 <!-- (recto) --><br />

synthetic polymer on canvas<br />
182.8 x 243.8 cm<br />
National Gallery of Victoria, Melbourne<br />
Purchased through The Art Foundation of Victoria with the assistance of Marc Besen, Governor, 1984<br />
AC2-1984<br />
© Courtesy of the artist's estate
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Mix Tape 1980s

Appropriation, Subculture, Critical Style

Free entry

The Ian Potter Centre: NGV Australia, Fed Square

11 Apr 13 – 1 Sep 13

Remembered as a decade of big hair, shoulder pads, music videos and an art market boom, the 1980s was a period in which artists took up a diverse range of aesthetic positions not merely as stylistic options but as trenchantly argued ethical choices.

Mix Tape 1980s: Appropriation, Subculture, Critical Style explores a decade of dynamic change in contemporary art and culture, from appropriation and sampling in painting and music to the DIY aesthetics of post-punk music, art and fashion; and from postmodern critiques of history, authorship and originality to postcolonial revisions of Australian history and identity.

Select Works

Howard ARKLEY
Tattooed head (1988)
synthetic polymer paint and pencil on two sheets
172.0 x 122.0 cm (overall)
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of the Leon and Sandra Velik Endowment for Contemporary Drawing, 1989
P91-1989
© Courtesy of the artist's estate and Kalli Rolfe Contemporary Art
Mike BROWN
Manifestations 1982
synthetic polymer on canvas
182.8 x 243.8 cm
National Gallery of Victoria, Melbourne
Purchased through The Art Foundation of Victoria with the assistance of Marc Besen, Governor, 1984
AC2-1984
© Courtesy of the artist's estate
Jenny WATSON
The Crimean Wars: Cinderella 1985
oil, synthetic polymer paint and gouache on canvas
240.0 x 175.3 cm
National Gallery of Victoria, Melbourne
Presented through the NGV Foundation by Shell Australia Limited, Honorary Life Benefactor, 2002
2002.282
© Courtesy of the artist
Leigh BOWERY
The Metropolitan (c. 1988)
cotton, rayon, leather, sequins, metal, paint
(a) 184.0 cm (centre back) 67.0 cm (sleeve length) (dress) (b) 125.0 cm (centre back) 77.0 cm (waist, flat) (outer petticoat) (c) 125.0 cm (centre back) 112.0 cm (waist, flat) (inner petticoat) (d) 109.0 x 8.0 cm irreg. (belt) (e) 50.0 x 8.0 cm (neck belt) (f-g) 21.0 x 12.0 cm irreg. (each) (gloves) (h) 91.0 cm (outer circumference) 19.0 cm (height) 23.5 cm (width) (helmet) (i-j) 24.0 cm (height) (each) 12.0 cm (width) (each) 26.0 cm (length) (each) (shoes)
National Gallery of Victoria, Melbourne
Purchased, 1999
1999.180.a-j
© Courtesy of the artist's estate
Maria KOZIC
Self-portrait 1987
from The bicentennial folio: prints by twenty-five Australian artists 1988
colour photo-screenprint
60.7 x 47.8 cm (image) 77.2 x 47.9 cm (sheet)
ed. 38/80
National Gallery of Victoria, Melbourne
Purchased from Admission Funds, 1989
P9.9-1989
© Maria Kozic
Sue FORD
Discussions after the Barunga meeting between Gerry Hand, Bob Hawke, Galarrwuy Yunupingu, chairman of the Northern Lands Council and Frank Chulung, chairman of the Kimberley Lands Council (1988)
gelatin silver photograph
81.0 x 121.5 cm (image)
National Gallery of Victoria, Melbourne
Purchased with funds donated by Hallmark Cards Australia, Pty Ltd, 1989
PH173-1989
© Courtesy of the artist