Even toward the close of the 20th Century a postmodern reflection on women making art in the Northern Territory becomes a courageous glimpse. The micro-universe fabricated around the Northern Territory Dissonance project invited substantial distinction from, and within, the national calendar of Dissonance events.
In the Northern Territory, Dissonance successfully engendered controversy. The post-project critique offered much to experience; an example perhaps being a curatorial over emphasis on semiotics and deconstruction.
The works for the Exhibition were selected with particularity, some pieces being 'totemically' re-exhibited, for instance, History by Lynette Voevodin, Twist and Shout by Paloma Ramos and Impasse by Helen Hawkes, as these are seen as and remain outstanding community expressions. Writing as a co-ordinator, it is apparent that the project's architecture was situated on the horizons of community perception/appreciation which could mean that it was thoroughly enjoyed by only a limited number of people, and partially experienced by many.
At seminars and workshops held when the project was being formulated , the term Dissonance was criticised, and rejected by some artists who did not associate their practice with clashing musical discord. The alternative reading of 'dissonance' which was offered was based on its etymology from Latin, 'to sound apart'.1 The latter reading, encouraged diversity and operated inclusively rather than exclusively.
This approach was reinforced by the opening of a NT Women's Art Register, to canvass artists for a statement and visual reference. A writing project developed simultaneously. While the Register formed the basis for selection of the exhibition it is important to emphasise that the collection of resulting visual material is stunning in its own right for the following reasons: over eighty women artists from all walks across