Database

Adrian Feint (1894-1971) was an Australian artist most well known for his flower paintings and his work with bookplates. Born in Naranderra, NSW, he commenced his studies at Sydney Art School in 1911. After serving in Europe during the First World War, Feint returned to Australia. He studied plate etching from 1922 to 1926; woodblock-engraving from 1926 to 1928 (with assistance from Thea Proctor in 1927); and oil painting beginning in 1938, with Margaret Preston. In 1924 he became co-director of Grosvenor Gallery, Sydney, whose exhibitors included Thea Proctor, Elioth Gruner, Margaret Preston, Roland Wakelin, Roy de Maistre and George Washington Lambert. He worked for many years with editor Sydney Ure Smith on the journal *Art and Australia*, and also produced numerous covers for Smith's magazine *The Home* between 1927 and 1939. While publicly appearing as a bachelor, his life partner was John Winter. The pair met in 1930 and lived together for twenty three years in an apartment in Darnley Hall, Elizabeth Bay. Described as a 'remarkably handsome man but discreetly dressed', Feint died in Sydney in 1971.

Born in Portland in southwest Victoria, Agnes Goodsir (1864–1939) initially painted still lifes before applying herself to the challenge of portraiture. During the late 19th century she studied at the Bendigo School of Mines in Victoria under the tutelage of the artist Arthur Woodward, who insisted that students be exposed to international cultural circles. Goodsir set her sights on Great Britain and France, venturing overseas to “find herself” at the mature age of 36. She enrolled at the Parisian art schools of the day: the Académie Delécluse, the Académie Colarossi, and the Académie Julian. Her works were featured in the seasonal salons of Paris, gaining her significant attention and resulting in a steady flow of commissions. She moved to London (where she also exhibited at the Royal Academy and the Royal Institute) prior to the onset of the First World War. Resettling in Paris in 1921, Goodsir made her home in Rue de l’Odeon on the Left Bank with her companion and muse, Rachel Dunn, who appeared in many of her paintings. In 1926, Goodsir was made a member of France's Société Nationale des Beaux Arts, one of few Australians to receive the honour. She returned to Australia in 1927 for several months, bringing a large selection of her work for solo exhibitions in both Melbourne and Sydney, and receiving significant media attention as a result. Goodsir died in Paris in 1939, leaving the majority of her estate to Dunn.

Alex Martinis Roe (b. 1982) practice explores feminist genealogies and seeks to foster specific and productive relationships between different generations as a way of participating in the construction of feminist histories and futures. This involves developing research and storytelling methodologies that employ non-linear understandings of time, respond to the specific practices of different communities, experiment with the set-up of discursive encounters and imagine how these entanglements can inform new political practices. Martinis Roe is a former fellow (2013-2016) of the Graduate School, University of the Arts Berlin and holds a PhD (2011) from Monash University, Naarm/Melbourne. Martinis Roe is the Head of Drawing and Printmaking at the Victorian College of the Arts and was the 2018 recipient of the Kunstpreis Europas Zukunft [Future of Europe Art Prize]. Recent exhibitions include: *Coming Home*, Perth Institute of Contemporary Art (solo, 2021-22), *Unlearning Australia*, Seoul Museum of Art (2021-2022), *1 Million Roses for Angela Davis*, Albertinum (2020-2021), *Dresden, Alliances*, GfZK – Museum of Contemporary Art, Leipzig (solo, 2018), *Fabriques de contre-savoirs*, Frac Lorraine, Metz (2018) and *Sex*, Taxispalais - Kunsthalle Tirol (2018). The artist's project *To Become Two* (2014-2018) — a series of films, workshops, public events and a monograph *To Become Two: Propositions for Feminist Collective Practice* (Berlin and Milan: Archive Books, 2018)— is a social history of the feminist practices that invented the affirmative concept of “sexual difference.” This project was co-commissioned as a series of solo exhibitions by If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution (Amsterdam), Casco – Office for Art, Design and Theory (Utrecht), The Showroom (London) and ar/ge kunst (Bolzano), and has also been exhibited at Badischer Kunstverein (Karlsruhe) in 2017 and at Samstag Museum (Adelaide) in 2021. In 2018 *To Become Two* was also presented at the Centre George Pompidou, Paris, as part of *Mai 68 – Assemblée Générale*.

Alicia Frankovich (b. 1980) has long explored the equivalency between physical forms and the potential for new modes of imagining both human and non-human form and behaviour. The all-encompassing phenomenon of the body — its insides, outsides, material and immaterial ways— could be considered the underlying fascination of Frankovich’s work. A multi-dimensional practice at the intersection of sculpture, video, performance and installation, Frankovich’s work pits the design and impulses of our primal bodies against radical changes in technology, thought, society and the ecosystem. Her practice investigates how the physicality and behaviour of a body operates within social settings and constructs – including plays of dominance and re-negotiating the audience/performer relationship.

Angela Bailey is a curator and photographic artist whose practice is informed from the perspective of the community and the cultural. As a young activist participating in the fight for gay law reform in Queensland in the late 1980s to her work as Director of the Visual Arts for the Midsumma Festival in the late 1990s – all have contributed to her ongoing participation in promoting and interpreting our rich and diverse histories by creating exhibitions, installations, discourse and public programs of engagement. In 2014 Angela curated two exhibitions as part of the International AIDS 2014 Cultural Program in Melbourne and in 2018 curated WE ARE HERE at the State Library of Victoria, which presented contemporary artists exploring their queer cultural heritage and engaging with the collections of the Australian Queer Archives and State Library Victoria. In 2019 she curated Dapper as part of the Melbourne Midsumma Festival. Angela has lectured and tutored in Photography and has work in numerous significant public collections. She has a Postgraduate degree in Fine Arts, a Masters of Art Curatorship and is Vice President of the Australian Queer Archives.

Anne Dangar (1885–1951) was an Australian-born artist who was renowned for her innovative pottery designs which fused traditional techniques with modernist motifs. Dangar was trained in Sydney as a painter under Horace Moore-Jones and later at Julian Ashton’s School of Art, where she taught from 1920 with fellow artist and rumoured lover Grace Crowley. Dangar travelled to Paris, France with Crowley, studying at the Paris academy of French Cubist André Lhôte. Dangar briefly returned to Sydney, attempting to introduce the modernist ideas she had learnt in France but was met with resistance amongst her conservative colleagues. In 1930 Dangar returned to France where she would remain until she died in 1951. Upon her return to France, she joined the Moly-Sabata artists’ commune where she learnt the traditional skills of local village pottery. firstly at the Poterie Clovis Nicolas, in St Désirat, Ardèche, in 1930-31, and from 1932 under Jean-Marie Paquaud at the Poterie Bert, Roussillon, Isère. She also became an active art and craft teacher to the local village children. Despite her physical distance, Dangar played a pivotal role in the development of Sydney’s cultural and artistic landscape through her letters to Crowley. Dangar’s work is found in several collections in Australia and France including the Musée National d’Art Moderne, Paris.

Arone Raymond Meeks (1957–2021) was a Kuku Midiji artist from Laura, Cape York. Born in Sydney, he grew up in Yarrabah and El Arish, Mission Beach, just south of his Country. In addition to sustaining his artistic practice, Meeks was a prominent and important leader in Far North Queensland and also made vital contributions to the visual arts interstate as one of the founding members of Boomalli Aboriginal Artists Co-operative in Sydney. Meeks studied at the City Art Institute, Sydney, and during his career was the recipient of an Australia Council for the Arts Fellowship that facilitated his study in Paris in 1989. The artist exhibited widely in Europe, North and South America. Known predominantly as both a painter and printmaker, Meeks' work incorporates themes relating to sexuality, identity, land rights, the significance of cultural values, and the importance of belonging to place and Country. He spent years campaigning and working with community health organisations such as Australian Federation of AIDS Organisations and the Queensland AIDS Council. In his later career, Meeks held the role of Director of the Cairns Indigenous Art Fair. Meeks' work features in the collections of the National Gallery of Australia, Canberra; the Art Gallery of New South Wales, Sydney; the Queensland Art Gallery | Gallery of Modern Art, Brisbane; the Art Gallery of Ontario, Toronto; and Bibliothèque nationale de France, Paris; among others.

Arthur McIntyre (1945–2003) studied at the National Art School and Alexander Mackie College from 1963–66, and art history at the University of Sydney 1971–73. He exhibited his work from 1970 until his death in Sydney in 2003. In 2010, he was the subject of a major publication and two-part exhibition, *Arthur McIntyre: Bad blood 1960–2000* (Hazelhurst and Macquarie University). As well as a practicing artist, he wrote arts criticism and major books on contemporary Australian drawing and Australian collage, and taught and lectured on art in various NSW high schools, technical colleges and tertiary institutions. He participated in numerous residencies in France between 1975 and the early 1990s, and curated a number of exhibitions on drawing and collage at Holdsworth Galleries. Arthur McIntyre's work is held in the following collections: National Gallery of Australia, Art Gallery of NSW, Queensland Art Gallery | Gallery of Modern Art, National Gallery of Victoria, Art Gallery of Western Australia, Museum of Contemporary Art Australia, Heide Museum of Modern Art, Artbank, and numerous private, corporate, university and regional gallery collections across Australia.

Athena Thebus (b.1990) is an artist whose work deconstructs desire. She has presented solo and collaborative work at Next Wave Festival, Liveworks, Sugar Mountain Festival, Campbelltown Arts Centre, ACE Open, Perth Institute of Contemporary Art (PICA), and Verge Gallery. Most recently, she was shortlisted in the 2020 Churchie Emerging Art Prize, presented at the Institute of Modern Art, Brisbane.