Artist Profile


OVER THE PAST TWO DECADES AMANDA MARBURG’S work has ranged from bar scenes in Western movies, to reinvented Dutch still lifes, ’70s skin magazines, vignettes from Grimm fairy tales with their menacing violence, clay figurines modelled by children, Spanish tiles and surrealist lobsters. ‘I paint from what I’m reading, looking at or where I am at the time,’ Marburg says.

In her essay , Joan Didion explores the power of images that linger in one’s memory – the ‘greyed and obscurely sinister light’ of oil refineries seen decades earlier through a bus window in San Francisco, a flowering pear tree outside a window, a young woman with long hair and a short white halter dress walking through a casino at one o’clock in the morning. ‘What is going on in these pictures in my

You're reading a preview, sign up to read more.

Related Interests

More from Artist Profile

Artist Profile2 min readSociety
Editor’s Note
It may be tempting to situate this issue of Artist Profile within a feminist framework, adding to the growing discourse surrounding gender inequality within the arts. Indeed, the trope of the male genius suffuses the canon of Western art like a lurid
Artist Profile3 min readSociety
A Room Of Our Own: Creating A Feminist Space
In 1974, I was an undergraduate art history student at Melbourne University. Lynne Cook was a year ahead of me. We were both frustrated by the lack of women artists mentioned in our courses. Two key texts framed our thinking. One was the 1971 essay b
Artist Profile7 min read
When Susan Norrie won an Australia Council Visual Arts Award in 2019 acknowledging her major contribution to Australian contemporary art and broader cultural life, she was unequivocal in declaring the central concerns of her practice. ‘We are at a cr