The After Party

Hughes, NA

The After Party

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Publisher:: Queensland Art Gallery | Gallery of Modern Art
Publication Type:: Exhibition
Citation:: Contemporary Australia: Women

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Field	Value	Language
dc.contributor.author	Hughes, NA https://orcid.org/0000-0002-9007-3486	en_US
dc.contributor.editor	Julie Ewington	en_US
dc.date	2012-04-21	en_US
dc.identifier.citation	Contemporary Australia: Women	en_US
dc.identifier.isbn	9781921503382	en_US
dc.identifier.uri	http://hdl.handle.net/10453/31830
dc.description.abstract	The After Party was a large-scale installation, commissioned by the Queensland Gallery of Modern Art for inclusion in the landmark exhibition Contemporary Australia: Women. In response to the curatorial premise that sought to celebrate the`diversity, energy and innovation' of women artists, the project addressed the legacy of feminist body-centered practices, in particular the pioneering feminist work The Dinner Party by Judy Chicago. The work was included alongside early career and well established Australian artists (such as Fiona Hall, Judy Watson, Kate Mitchell and The Brown Council). Both my project and the exhibition at large attracted considerable critical attention. The After Party installation consisted of a `parlour room' replete with decorative and ornamental materials and sculptural elements, all of which referred to (and sometimes directly appropriated) the imagery of women's art since Modernism. It sought to address the potential of decorative forms and materials usually marginalised in art historical discourse, a key focus of my research. It also made explicit the association of decoration with the feminine and with excess. This address of the much neglected association of decorative excess and the feminine was the works significant contribution to contemporary visual art and design practice. Using a practice led methodology it extended the field of study of the legacy of women practitioners in art and design.	en_US
dc.publisher	Queensland Art Gallery \| Gallery of Modern Art	en_US
dc.relation.ispartof	Contemporary Australia: Women	en_US
dc.title	The After Party	en_US
dc.type	Exhibition
utslib.location	Queensland Art Gallery: Gallery Of Modern Art (QAG GOMA)	en_US
utslib.for	1203 Design Practice and Management	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.place-of-publication	Queensland Art Gallery: Gallery Of Modern Art (QAG GOMA)	en_US
pubs.start-date	2012-04-21	en_US
pubs.rights-statement	The large-scale exhibition installation The After Party re-addresses the association of the decorative, the feminine and the somatic in the field of visual art and design. The project situates a renewed interest in a decorative aesthetic as a legacy of second-wave feminist art practices. Further to this it investigates the relevance of the decorative in contemporary practice through material thinking. The After Party addresses the legacy of feminist body-centered practices, in particular the pioneering feminist work The Dinner Party (1974-79) by Judy Chicago. Referencing the structure of Chicago’s work, The After Party consisted of a sculpted dining setting and a ‘parlour room’ replete with ornamental images and decorative materials. The various components make visual reference to ‘central core imagery’ of second wave feminist practices as well as imagery ranging from the c18th to the modern period including Rococo design and the practices of artists such as Sonia Delaunay. Commissioned by the Queensland Gallery of Modern Art (GOMA) for the exhibition Contemporary Australia: Women, the installation responded to the curatorial premise of ‘diversity, energy and innovation’ in the work of contemporary Australian women artists. Contemporary Australia: Women was curated by the respected scholar and curator Julie Ewington. It was a major museum survey of the field that attracted considerable critical attention including reviews from respected scholars such Dr Catriona Moore and A/Prof Susan Best who referred to the installation’s ‘complex layering of historical references’.	en_US

Abstract:

The After Party was a large-scale installation, commissioned by the Queensland Gallery of Modern Art for inclusion in the landmark exhibition Contemporary Australia: Women. In response to the curatorial premise that sought to celebrate the`diversity, energy and innovation' of women artists, the project addressed the legacy of feminist body-centered practices, in particular the pioneering feminist work The Dinner Party by Judy Chicago. The work was included alongside early career and well established Australian artists (such as Fiona Hall, Judy Watson, Kate Mitchell and The Brown Council). Both my project and the exhibition at large attracted considerable critical attention. The After Party installation consisted of a `parlour room' replete with decorative and ornamental materials and sculptural elements, all of which referred to (and sometimes directly appropriated) the imagery of women's art since Modernism. It sought to address the potential of decorative forms and materials usually marginalised in art historical discourse, a key focus of my research. It also made explicit the association of decoration with the feminine and with excess. This address of the much neglected association of decorative excess and the feminine was the works significant contribution to contemporary visual art and design practice. Using a practice led methodology it extended the field of study of the legacy of women practitioners in art and design.

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http://hdl.handle.net/10453/31830