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What will the art and design of the future look like, and in what areas of our lives will it intersect or affect? This issue of NGV Magazine takes us into possible future worlds with the works of Lucy McRae, and looks to the future-changing achievements of the people behind the original suffrage movement in the early twentieth century. Also in this issue; the work of trailblazer Rei Kawakubo of Comme des Garçons and Wedgewood’s contribution to an international protest.Buy now
‘Science fiction often reveals more about the present than it does the future, and more about our own world than any imagined one.’
By Bronwyn LovellFASHION & TEXTILES Collecting Comme
‘They are for modern, working women. Women who do not need to assure their happiness by looking sexy to men, by emphasising their figures, but who attract them with their minds’.
Rei Kawakubo in a text by Danielle WhitfieldDEEP READ Rebels: The Suffrage Movement
The British suffrage campaign was a rare instance where art and politics converged in a deliberate and strategic way. Art and design were not tangential to the campaign; they were central to it.
By Dr Maria QuirkPHOTO STORY Colin McCahon
‘McCahon’s unique contribution to twentieth-century painting is distinguished by his characteristic use of text, integration of aspects of international modernism with references to his particular regional context, and his relentless exploration of religious ideas including his complex relationship to Christian and Māori spirituality.’
By Jane DeveryWHAT IS THIS? Wedgwood Slave Medallion c.1787
‘These extremely rare medallions were made by Wedgwood around 1787 for distribution to advocates for the abolition of slavery. Both men and women wore them to publicise the campaign and signal their support for the abolitionist cause.’
By Amanda DunsmoreLIFE & TIMES Claude Cahun
‘Their radical ideas around gender-indeterminacy and selfhood became of great influence, as did Cahun’s pioneering use of self-portraiture as a means of questioning and constructing identity – ideas and techniques which were, and continue to be, of vital interest to contemporary artists of the late twentieth century.’
By Maggie Finch