Liliana Mansergh

Dec 3, 2024 | overland.org.au | Ben Brooker |Samantha Floreani |Liliana Mansergh

Textile and fibre art’s long association with the decorative and feminine — “women’s work” — has ensured the medium’s marginality in the history of the fine arts. In her classic study The Subversive Stitch: Embroidery and the making of the feminine (1984), Rozsika Parker traced embroidery’s status from a professionalised skill practiced by men and women during the Middle Ages to a leisure activity mostly enjoyed by affluent women in modern times.

Dec 1, 2024 | overland.org.au | Samantha Floreani |Liliana Mansergh |Dougal McNeill

“It’s 2am, and I am filming a threesome scene in a hotel suite…” begins Dr Zahra Stardust’s Indie Porn: Revolution, Regulation and Resistance. Stardust goes on to recount her experience at the ninth annual Feminist Porn Awards, where pornographic films were played in an established cinema, replete with popcorn — an unimaginable scenario for readers in Australia, where criminal penalties exist for publicly screening sexually explicit material.

Nov 24, 2024 | overland.org.au | Liliana Mansergh |Dougal McNeill |Francesca Newton

Ellen van Neerven’s collection Comfort Food (2016) is preoccupied with sustenance, survivance, and the conditions of poetic possibility. How is the locus of the poetic here and now maintained? [1] This review reflects on this question through a close reading of “Finger Limes,” the fourth poem of van Neerven’s collection. I propose that there are two ways of understanding poetic sustenance. On the one hand, it is assured through an unfolding and reflexive poetic form.