Database

Philip Juster (1952-2004) was an Australian gay artist who worked across various media and came to prominence in Sydney during the 1990s. Art critic John McDonald describes him as a figure "whose interests defied the stereotypes ... Juster showed an early taste for politics, declaring himself a Maoist while still at Clontarf High School. Throughout his life he would have an abiding interest in the culture of China, India and South-East Asia, and later the Pacific Islands. This found its way into his paintings and collages through extensive appropriations ... as his political convictions became less ferocious Juster adopted a more satirical, irreverent approach. In this, he claimed to be influenced by the Punk movement, Dada, and Andy Warhol, once memorably described as 'the nothingness himself'. Juster may also have been affected by his long-term partner, Peter Blazey (1939-97), a larger-than-life character who defied all categorisations. Their relationship broke down in the early 1990s" [1]. In 2023, his work was shown in the exhibition 'Being Boring: More Dead Gay Artists', curated by Robert Lake at Darren Knight Gallery, Sydney. [1] John McDonald, "Jim Anderson/Philip Juster", 26 February 2011.

Philippa Playford graduated from the Sydney University College of the Arts in sculpture, glass and ceramics and has exhibited her work both nationally and internationally. She is an experienced community and public artist, with works displayed throughout Sydney and the surrounding regions. During her varied career, she has also turned her hand to set and costume design, including set designs for iconic Australian films *Muriel’s Wedding* and *Priscilla: Queen of the Desert*. She won an award for best costume in the 1995-6 Sydney Mardi Gras Parade – her winning costume is now on display as part of the Powerhouse Museum collection.

Ponch Hawkes (b. 1946) is an Australian photographer and writer. A large part of Hawkes work documents Australian society and cultural life since the 1970s. Some of this has centered on queer identity and LGBTQI+ politics and communities. Hawkes' work stands out for documenting Lesbian women intimacy and communities, a rarity in a field that prioritises gay male perspectives. Hawkes' work through a commentary on Australian social movements speaks to the interconnected histories of feminist and LGBTQI+ movements. Although not confined to one particular thematic, Hawkes' work spans decades and the oeuvre represents an ongoing interrogation of the personal foundations that defined late 20th century Australian culture, for example sport, masculinity, intergenerational relationships, and labour. In 1989, her solo exhibition *Generations* was held at the National Gallery of Victoria, Melbourne (NGV). Her book *Best Mates: A Study* was published in 1990. A survey exhibition of Hawkes’ work was held in 1999 at the Glen Eira City Gallery and toured six venues. In 2020 she began the ground-breaking project *500Strong – 464 portraits of women over 50 naked*, dealing with themes of ageing, health and visibility, which is currently touring. In 2022 Hawkes' *No title (Two women embracing, 'Glad to be gay’)* (1973) was used as the main poster image for *QUEER: Stories from the NGV Collection* at the NGV. Hawkes' work is held in collections around Australia including the NGV, Melbourne; National Gallery of Australia, Canberra; and Queensland Art Gallery | Gallery of Modern Art, Brisbane; among others.