In Linda Marrinon: let her try, Chris McAuliffe explores the motivations and development of one of Australia’s most innovative and idiosyncratic artists. Since she first exhibited in 1983 Linda Marrinon has defied both expectations and definitions. She was at first embraced by the art world elite; critics, curators and collectors flocked to her shows. But Marrinon’s quirky combinations of high and low art have puzzled supporters and critics alike. Alternately respectful and disdainful of art, Marrinon has remained difficult to pin down. Championed for her post-pop sensibility in the early 1980s, Marrinon seemed to embody postmodernism’s embrace of theory, irony and mass culture. But, Chris McAuliffe argues, the central theme running through her paintings, sculptures and drawings is a fascination with the history of art.
Published by Thames and Hudson, 2007.
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