Stephanie Radok (born 1954) is an artist and writer based in Adelaide, South Australia, whose work is held in the National Gallery of Australia and the National Gallery of Victoria. [1] She worked as a general editor for Artlink and as an art critic for Artlink, Adelaide Review, and Art Monthly Australia and since 2024 has written reviews for The Saturday Paper [2] .
Radok was born in Melbourne, Australia, in 1954. [3] Radok studied a degree in Visual Arts, with a major in Printmaking, at the Canberra School of Art from 1982 to 1985. In 2002, she completed a Master of Arts in Visual Art at the South Australian School of Art.[ citation needed ]
Radok’s writing about art is linked to memoir and the everyday, lyrical passages and descriptions of artworks. Radok’s writing was first published in the art magazine Unreal City, [4] which she founded with eX de Medici in 1986 in Canberra. [5] She has written many catalogue essays including a notable one for Hossein Valamanesh titled Fingers of Memory. [6]
Radok has held 19 solo exhibitions.[ citation needed ]
Her work has been exhibited in group exhibitions from 1977, with an artwork in The Women’s Show held by the Women's Art Movement in Adelaide in 1977. [7] A major survey exhibition titled The Sublingual Museum was held at the Flinders University Museum of Art in 2011. [8]
Radok is the co-author of a book published in 2007 on leading contemporary Australian jeweller Julie Blyfield. [9] [10]
In 2012 Radok’s book An Opening: twelve love stories about art was published by Wakefield Press. It was long listed for the inaugural Stella Prize for writing by women, and was widely reviewed. [11]
"Radok shows how art reaches deeply into our lives in unexpected and ordinary ways: the tattered calendar cutting kept for decades and left behind in a photocopier, the postcard stuck to a laundry wall, or the persistent memory of something, seen perhaps only briefly, that alters one’s thinking utterly." Dr Michele McCrea, [12] Transnational Literature. [11]
Radok’s second memoir, Becoming a Bird, was published in March 2021. [13] In 2022 Radok wrote a piece of prose titled Under the Bed published in Heat.
The South Australian Museum is a natural history museum and research institution in Adelaide, South Australia, founded in 1856 and owned by the Government of South Australia. It occupies a complex of buildings on North Terrace in the cultural precinct of the Adelaide Parklands. Plans are under way to move much of its Australian Aboriginal cultural collection, into a new National Gallery for Aboriginal Art and Cultures.
Dorothy Napangardi was a Warlpiri speaking contemporary Indigenous Australian artist born in the Tanami Desert and who worked in Alice Springs.
The Art Gallery of South Australia (AGSA), established as the National Gallery of South Australia in 1881, is located in Adelaide. It is the most significant visual arts museum in the Australian state of South Australia. It has a collection of almost 45,000 works of art, making it the second largest state art collection in Australia. As part of North Terrace cultural precinct, the gallery is flanked by the South Australian Museum to the west and the University of Adelaide to the east.
James Dodd is a South Australian artist, arts educator and street artist who used the pseudonym Dlux for his street art when he operated out of Melbourne.
Judy Napangardi Watson, also known as Judy Watson Napangardi and Kumanjayi Napangardi Watson, was an Aboriginal Australian and a senior female painter from the Yuendumu community in the Northern Territory, Australia.
Kathleen Petyarre was an Australian Aboriginal artist. Her art refers directly to her country and her Dreamings. Petyarre's paintings have occasionally been compared to the works of American Abstract Expressionists Jackson Pollock and Mark Rothko, and even to those of J. M. W. Turner. She has won several awards and is considered one of the "most collectable artists in Australia". Her works are in great demand at auctions.
Artlink, formerly titled Artlink: Australian contemporary art quarterly, is a themed magazine covering contemporary art and ideas from Australia and the Asia-Pacific. It covers a diverse range of issues, including social and environmental issues as well as media arts, science and technology.
Hossein Valamanesh was an Iranian-Australian contemporary artist who lived and worked in Adelaide, South Australia. He worked in mixed media, printmaking, installations, and sculpture. He often collaborated with his wife, Angela Valamanesh.
Linda Yunkata Syddick Napaltjarri is a Pintupi- and Pitjantjatjara- speaking Indigenous artist from Australia's Western Desert region. Her father was killed when she was young; her mother later married Shorty Lungkarta Tjungarrayi, an artist whose work was a significant influence on Syddick's painting.
The Adelaide International was a biennial art exhibition held in at the Samstag Museum of Art in Adelaide, South Australia, in partnership with the Adelaide Festival of the Arts, from 2010 to 2014. The series featured a range of contemporary visual works from artists based outside Australia. After a pause in the partnership was agreed, the exhibition was revived by the Samstag in 2019 as a series of three annual events, with the new title Adelaide//International, with a different context and concept: the 2019 exhibition was about the effect of colonisation on indigenous culture.
Ann Foster Newmarch, known as "Annie", was a South Australian painter, printmaker, sculptor and academic, with an international reputation, known for her community service to art, social activism and feminism. She co-founded the Progressive Art Movement and the Women's Art Movement (WAM) in Adelaide, and is especially known for her iconic 1978 colour screenprint piece titled Women Hold Up Half the Sky!.
Sally Smart is an Australian contemporary artist known for her large-scale assemblage installations that incorporate a range of media, including felt cut-outs, painted canvas, drawings, screen-printing, printed fabric and photography, performance and video. Her art addresses gender and identity politics and questions the relationships between body and culture, including trans-national ideas that shaped cultural history. She has exhibited widely throughout Australia and internationally, and her works are held in major galleries in Australia and around the world.
Julie Gough is an artist, writer and curator based in Tasmania, Australia.
Nicholas (Nic) Folland is an Australian artist and arts educator based in South Australia.
Jukuja Dolly Snell was an artist from Western Australia, who won the 2015 Telstra National Aboriginal and Torres Strait Islander Art Award.
Dhuwarrwarr Marika, also known as Banuminy, a female contemporary Aboriginal artist. She is a Yolngu artist and community leader from East Arnhem Land in the Northern Territory of Australia. She belongs to the Dhuwa moiety of the Rirratjingu clan in the homeland of Yalangbara, daughter of Mawalan Marika. Marika is an active bark painter, carver, mat maker, and printmaker.
Gertie Huddleston was a contemporary Indigenous Australian artist who worked in the Ngukurr community.
Narputta Nangala Jugadai (1933–2010) was an Aboriginal Australian artist born at Karrkurutinytja, who later lived at Haasts Bluff (Ikuntji) in the Northern Territory. Her language group was Pintupi/Pitjantjatjara, and her Dreaming was "Snake", "Jangala, Two Men" and "Two Women". She was a senior artist in her community at Ikuntji and prominent among the Ikuntji Women's Centre painters. She was the wife of the painter, Timmy Tjungurrayi Jugadai, and mother of Daisy Jugadai Napaltjarri and Molly Jugadai Napaltjarri.
Australian poster collectives were artist collectives established in the late 1960s, 70s and 80s in the capital cities of Australia, largely led by women and focused on various forms of political activism.
The Women's Art Movement (WAM) was an Australian feminist art movement, founded in Sydney in 1974, Melbourne in 1974, and Adelaide in 1976.
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