Vivienne Binns is known primarily for her process-based painting practice, though she has also worked extensively across enamel, performance, installation, and as an artist-in-community. Binns rose to prominence in the 1960s with her psychedelic depictions of sexual imagery, which marked a turning point in the history of proto-feminist art. She was a key figure in the Women’s Art Movement (WAM), notably participating in the establishment of the Woman’s Art Register. Binns is also credited with developing community arts in Australia, following a series of landmark collaborative projects in the 1970s and 1980s that aimed to increase public engagement with the field of creativity. Over the last 30 years, Binns has focused on her painting practice, addressing subjects including colonial explorations in the Asia-Pacific and Australia’s cultural connections to the region, as well as formal concerns relating to pattern and surface treatment, which invoke a range of art historical lineages. Text
Image: Points of Transition, 1984. Acrylic on canvas, 160 x 160 cm
