Database

Pat Brassington (b. 1942) is an influential Australian artist working in photo-media. With a career spanning four decades, Brassington has become well known for her incisive ability to infuse the familiar with the fantastic. Troubling what is revealed and what is hidden, her practice queers the photographic medium from a feminist perspective through interests in surrealism and psychoanalysis. A major survey exhibition, *Pat Brassington: A Rebours*, was held at the Australian Centre for Contemporary Art, Melbourne in 2012 and toured Australia and New Zealand until 2014. Other selected solo exhibitions include *Pat Brassington*, Ten Cubed, Melbourne (2014); *In Search of the Marvellous*, CAST Gallery, Hobart (2013); a survey exhibition at the Lönnstrom Art Museum, Finland (2008); and *Pat Brassington*, Institute of Modern Art, Brisbane (2007).

Paul Andrew (b. 1964) is a queer activist, artist researcher, senior media artist, video artist, zinester and artist curator with experience in social practice, site-generated ephemeral practice, creative archival assemblage and media art making using remix, bricolage and collage techniques. Andrew’s doctoral research project [QUT Creative Industries] addressed community-based approaches, scavenger methodologies, queer time, ARI temporalities and creative archival assemblage. These concepts and techniques are employed for making archival art initiatives in diverse varied and variable cultural forms. The artist has been practicing and exhibiting professionally since 1984. Paul has actively participated in artist-run communities of practice throughout the 1978 to Now period including: The Northside Creative Artist’s Association (Qld), Mervyn Moriarty School of Art, Brisbane School of Art (Qld), Artworker’s Union Queensland, Queensland Artworker’s Alliance (QAA), F. Art (Art Zine), That Contemporary Art Space, That Annexe, Axis Art Projects AU/USA (Art eXtremists International Syndicate), 2B: The Garage USA, [Bureau] Artspace, Breathing Concrete, Bitumen River Gallery, TAG (Tropical Artists Guild), First Draft, Sydney Super 8 Filmmakers, Sydney Intermedia Network (SIN), Queer TV, Metro Screen, DLux Media Arts, Epicormia Collective ‘The Reauthoring Impulse”, The Soylent Spot ARI, Next Door ARI, Tripla ARI/IT, Circadian Visions/AU. Since the 1970s the artist has continued to make queer conceptual film performances and art actions with family, friends, lovers, colleagues and strangers, often in an experimental Super 8mm film to HD video cultural form. Alongside their ongoing living archives internet artwork remix.org.au they are currently working on a reflective series of conceptual video art work installations titled: *Queer Life Writing 1964 to Now.*

Paul Knight (b.1976) is an artist primarily working in photography and weaving, who is most well known for his representations of intimacy. He completed a Bachelor of Fine Arts (Honours) in photography at the Victorian College of the Arts in 2001 and an MFA at Glasgow School of Art in 2009. His work is held in numerous prominent public collections including the Museum of Contemporary Art, Sydney, The National Gallery of Victoria, Melbourne, the Monash University Museum of Art, the Corrigan Collection, Sydney and the Bouwfonds Collection, Amsterdam. He is represented by Neon Parc. "For more than two decades, Knight has taken intimacy as his subject, considering its relationship to representation and the social designs that underpin its expression. This has led him, via an interest in science, to the potential role that intimacy plays in consciousness as an evolutionary line. Knight’s ongoing photographic project, 'Chamber Music', records the life he shares with his partner Peter. Since their meeting in 2009, the series has accumulated hundreds of glimpses into the domestic space of their relationship, with its images created through varying degrees of pre-meditation and chance; often the camera timer is set so that it simply captures what it sees. The photographs test the ability of this machine – the camera – and the prints it produces to capture and contain intimacy. The images hold human love, which Knight proposes might be our only positive legacy in a future in which machine intelligence carries on, bearing the mark of its creators, beyond humanity itself."

Paul Yore (b. 1988) works across installation, sound, video, collage, assemblage and textiles, often employing needlepoint, quilting, and appliqué techniques. Narratives of kitsch Australiana collide with sexually and politically loaded images, and popular culture reference to make up Yore’s uniquely garish, playful, provocative and politically astute works. His anarchic and anti-formalist approach to materials and content results in a visual cacophony of imagery and text that critiques the upheaval and dysfunction of contemporary society. Yore brashly and unapologetically re-centres radical and emancipatory queer expression against the backdrop of neoliberalism and the material excesses of capitalism. Yore has exhibited in major institutions across Australia and internationally, including in Austria, Belgium, France, Germany, Mexico, the Netherlands, Poland, South Korea, the UK and USA. His work is held in various public and private collections, in Australia and internationally, including the Art Gallery of South Australia, Adelaide; National Gallery of Victoria, Melbourne; Heide Museum of Modern Art, Melbourne; Textile Art Museum, Ararat; Artbank, Australia; Ian Potter Museum, Melbourne; Art Gallery of Ballarat, VIC; Bendigo Art Gallery, VIC; Wangaratta Art Gallery; VIC; Buxton Contemporary, Melbourne; and Si Shang Art Museum, Beijing. Yore has been included in important international publications, including Phaidon’s *Vitamin T: Threads and Textiles in Contemporary Art* and Thames & Hudson’s *Threads: Contemporary Embroidered Art*. A significant survey exhibition, *Paul Yore: WORD MADE FLESH* was presented by the Australian Centre for Contemporary Art, Melbourne, in 2022, accompanied by a comprehensive artist monograph.

Peter Lyssiotis (b. 1949) is a Cypriot born-Australian teacher, writer, filmmaker and visual artist who emigrated to Australia in 1953. He completed a Bachelor of Arts in 1969 at La Trobe University and a Diploma in Education at Rusden College in 1973. In 2004 he received a commendation from the Anne Elder Award committee for his work. His small press books include *Industrial Woman* (with Vivienne Mehes and Jas H. Duke), *Journey of a Wise Electron* and *Other Stories, Three Cheers for Civilization and The Harbour Breathes* (with Anna Couani). His photographs and limited edition artist's books have been purchased by private collectors, libraries and galleries throughout Australia, the US, Switzerland, France, The Netherlands and Cyprus, including the National Gallery of Victoria, the National Gallery of Australia and the Art Gallery of New South Wales.

Peter Tully (1947–1992) was an artist, jeweller, costume designer, and gay community activist based in Sydney, Australia. As the inaugural artistic director (1982–86) of the Sydney Gay and Lesbian Mardi Gras, Tully made a significant contribution to Australian gay cultural expression and Sydney’s nightlife in the 1980s and '90s. Tully met fellow artist David McDiarmid in 1973. The two were lovers for two years and remained friends and collaborated on numerous projects until Tully's untimely death in 1992. His fashion output has been recognised in exhibitions such as *Jenny Kee and Linda Jackson: Flamingo Park and Bush Couture* (1985) at the National Gallery of Australia, Canberra. A Tully Australiana-themed necklace was featured on an Australian postage stamp in 1988. His iconic *New Age Business Suit* appeared in *Australian Fashion: The Contemporary Art* (1989–90), held at the Victoria and Albert Museum, London, the Powerhouse Museum, Sydney, and in Tokyo and Seoul. Collaborating with Ron Smith, he applied his skills in the design and fabrication of large-scale popular visual structures to the floats and costumes for ‘Expo ’88’ in Brisbane, and conceived installations for the traveling Australian Bicentenary Exhibition. A retrospective exhibition, *Peter Tully: Urban Tribalwear and Beyond*, was mounted at the National Gallery of Australia in 1991. His last exhibition was the June 1992 presentation of Australian artists at the Société de la Propriété Artistique et des Dessins et Modèles gallery, Paris. Tully's works are held in various museums and collections around Australia. Tully died of AIDS-related illness in Paris in 1992, at the age of 45.

Peter Waples-Crowe (b. 1965) is a multidisciplinary artist whose practice explores the intersection of an Indigenous queer identity, spirituality, and Australia’s ongoing colonisation. Influenced by his adoption and a later reconnection with his Ngarigo heritage, Waples-Crowe’s art comments on the world as a contested site for his multiple identities. Referencing many disparate ideas and themes, his work is auto-ethnographic by nature, and largely based on personal experiences. Works are held in the permanent collection of the Pride Centre Victoria, Melbourne; Australian Centre of the Moving Image, Melbourne; National Gallery of Victoria, Melbourne; State Library of Victoria, Melbourne; Art Gallery of Ballarat, Ballarat; Moreland City Council, Melbourne; Manningham City Council, Melbourne; City of Darebin, Melbourne; Koorie Heritage Trust, Melbourne; University of Wollongong, Wollongong; and private collections in Australia, Taiwan, Canada, United States of America and England.

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.