Text only. Original contained images.
Written Assignment (1500 words) October 2009
Essay: Rosalie Gascoigne
(1917-1999)
The impact of Post Modernism as it was reflected in the practise of
Rosalie Gascoigne.
It is my suggestion that Rosalie Gascoigne’s success was in part due to the social and cultural changes taking place in the time in which she lived.
Her first exhibition was held in the Macquarie Galleries in Canberra in 1974. At this time it was becoming recognised that women should be paid the same wages as men if doing the same work. I believe that the social and cultural changes taking place in Australia at that time helped to allow Gascoigne to be recognised for her art.
Not only were women being recognised for equal work to men, it was also being recognised that women had had their education and career opportunities interrupted by the production and care of their children. In the Fifties women were expected to leave work once they had married. This was the case for Rosalie Gascoigne who married an astronomer and moved to Mt Stromlo, outside Canberra, leaving behind her native New Zealand.
Although Gascoigne did not have an education specifically in art, she did have a University education and taught for a short time before her marriage.
While Gascoigne lacked a formal education in art, she did have an informal introduction to the contemporary art scene through the friendship of the Director of the new Australian National Gallery (now the National Gallery of Australia), James (Jim) Mollinson. Mollinson took Gascoigne to tour around the stored art works and discussed them with her. Another influence was artist and teacher, Michael Taylor. It was Taylor who introduced Gascoigne to Sydney by including her in The Artists Choice exhibition at Gallery A in 1975.
Initially supported financially by her husband and further encouraged by her eldest son, Gascoigne had the freedom to pursue her art once the children had grown and left home. This was a freedom not available to a woman of her education and standing in the community, in past decades.
Her early works reflect her training in the Sogetsu style of Ikebana flower arrangement recognised by the Japanese as an art form. The construction of both plant and found objects gave Gascoigne the trained eye and skills of assemblage. This training helped her to consider new ways of putting together her sculptures.
While she was busy raising her family the art world was also changing in reflection of the social changes taking place.
Modernism was becoming Post-Modernism. Architects took the lead, criticising Modern architecture as being too formal and austere, they moved to more eclectic materials and styles with greater playfulness. An example of this would be Frank Gehry’s ‘Venice Beach House’ (1986).
This change in aesthetics was seen earlier in the emergence in the 1960’s of Pop art and then Conceptualism.
Soft Sculptures by artists such as Claes Oldenburg seen here in his Ice Bag brought about the use of new materials.
Works by Joseph Kosuth such as his Clock (one and five) (1965) questioned why we consider a photograph but not the object itself to be art. He also challenged the idea that art is beautiful and/or functionless.
3 Clock (one and five) 1965 Joseph Kosuth
The work of Joseph Cornell also prepared the viewing audience to appreciate the assemblages of Rosalie Gascoigne. While Gascoigne did one or two similar works early in her career, she was apparently unaware of the similarity of her work to Cornell’s until it was pointed out by others with traditional art training.
4 Bottled Glass 1974 - Rosalie Gascoigne
5 Pharmacy 1950 Joseph Cornell
For Gascoigne it was a case of solving a problem of presentation more than making a statement. Unlike Cornell’s Pharmacy, her work, Bottled Glass, does not have a backing on the box thus allowing light to pass through the bottles and the fragments of coloured glass which they hold.
It was this individualised presentation of found objects that Gascoigne took to greater and greater heights.
Living in a time when the local dump was just that and not a Waste Centre for recycling, also allowed Gascoigne to make her art in ways that would be very difficult for any artist now.
She became an adept scavenger and travelled to various dumps around the Canberra area. She also went to commercial yards when they were replacing their wooden crates. Sometimes she would find things along the side of the road such as beer cans. These she liked due to their weathering by the sun which gave them a more subdued colour.
Some of her earliest work used farm objects which were soldered together by her husband. When she felt that she was becoming influenced by his approach, she went looking for other ways to form her works so that they were freestanding. It was this which led to her use of boxes along with the find of discarded bee boxes.
6 Untitled - early 1970's - Rosalie Gascoigne
7 Dolly Boxes (detail) c.1976 Rosalie Gascoigne
There were other finds which were pivotal to the works produced. One was the discarded fairground dolls such as those used in Dolly Boxes 1976 another was the discarded paraphernalia of a travelling boxing troupe and yet another was the yellow and black fluoro road signs.
Both the fairground and the boxing troupe discards are all objects that represented the changing times. The kewpie dolls were no longer sought after by little girls attending the fair at the local agricultural show and the boxing troupes that travelled the country towns were also going out of vogue.
Even the road signs are unlikely now, to be found left behind at a roadside repair site. They are now made of metal and it is more likely that they would be returned for sale to a scrap metal merchant.
Gascoigne extended her skills far beyond those learnt while making Ikebana. With the purchase of a band saw and jig saw she learnt to cut her finds to produce her most renowned works.
8 Beaten Track 1992 Rosalie Gascoigne
Works such as Beaten Track 1992 and High Density 1992 are both made from sawn soft drink crates. By clever manipulation of the cut pieces differing views and emotions are relayed to the viewer.
10 Installation - Biennale Sydney 2002 Rosalie Gascoigne
At a retrospective of her work at the Sydney Biennale in 2002 the brilliance of her works was available for all to see and experience.
Like all good artists Gascoigne built on the experience of those who had gone before and yet through her own expression brought a whole new approach.
This approach was only able to be used and recognised as art due to the Post Modernist era in which she worked.
References:
• Books:
o Little,Stephen,2004, Isms Understanding Art, ,A&C Black Publishers, London
o Vici MacDonald (1998) Rosalie Gascoigne, edited by Steve Bush, Regaro, Sydney
o Gellatly, Kelly, 2008, Rosalie Gascoigne, National Gallery of Victoria Melbourne Vic
• Websites:
o http://www.artmonthly.org.au/artnotes.asp?aID=5&issueNumber=216
o http://www.greatbuildings.com/buildings/Venice_Beach_House.html
o http://www.ngv.vic.gov.au/gascoigne_education/images/RG_Introduction.pdf
o http://nga.gov.au/softsculpture/essay.cfm
o http://www.askart.com/AskART/artist.aspx?artist=30122
o http://www.roslynoxley9.com.au/artists/15/Rosalie_Gascoigne/1157/41841/
o
Monday, December 14, 2009
Essay - NON-EUROPEAN AND INDIGENOUS CULTURAL PRODUCTION
Text only.
NON-EUROPEAN AND INDIGENOUS CULTURAL PRODUCTION
Research: Post Modernism and Indigenous Art
“The first surge of interest in tribal artefacts as ‘high art’ came through the Cubist and Surrealist artists at the beginning of the 20th Century. Both movements were concerned with sculpture, manifested in Cubism chiefly through the rendering of volume in planar representation, in Surrealism through the heritage of the Dada object trouvé and the use of exotic imagery in either two or three dimensions to suggest the workings of the subconscious mind in concrete form.. the appeal of tribal art had nothing to do with the actual intentions of the societies which had created it.” (Quote: p8 Aboriginal Art Catalogue)
It is only since the 1970’s that there has been a greater understanding of the intricacies of Aboriginal art by the wider community. Teacher and author, Geoffrey Bardon did much to encourage the artists of Papunya Tula to take on the materials of the European artist. This allowed what were previously impermanent sand drawings to become both a teaching tool and a commodity. The authorities at Papunya did not like Bardon having such close contact with the Aboriginal people. His encouragement of their art was seen as interference and the wall murals he organized to decorate the school were later painted over.
Galleries in Alice Springs were happy to take the works painted on board using PVA and poster paints. The subsequent sales gave the artists independent earnings and the profits went towards group owned items such as a vehicle.
Bardon also encouraged the artists (men at this stage) to describe the Dreamtime Story that the image represented. When it was realized that the work would be viewed by non-tribal people some of the stories were either modified or disguised.
The people of the Western Desert were some of the last to come under the influence of the European. This meant that they were able to retain much of their Dreamtime traditions.
The people most affected by the coming of the Europeans to Australia were the Aboriginal tribes of South Eastern Australia.
The coastal tribes of NSW, Victoria and South East Queensland had the earliest contact with the white European settlers. The conflicts over land use and devastation by contacting previously unknown diseases such as Small Pox led to fewer numbers and those that were left were ‘converted’ to Christianity and discouraged from any show of their Dreamtime culture.
The swiftness of foreign intrusion into the South East of Australia, from Coastal South Australia through Victoria and New South Wales to Queensland meant that the indigenous population was unable to adapt their culture to the changed circumstances.
There are few representative pieces of artwork left from this region. Some museums do hold rare artifacts such as shields that show these groups had a style of their own. One exceptional artwork is a possum skin cloak held at the Melbourne Museum. The skins are sewn together with kangaroo sinew and each pelt is incised with a clan design.
The cloaks were considered heirloom items and passed down through generations. When highly decorated such as the one shown above, they were worn at ceremonies by men. Lesser cloaks were used for warmth in the cooler areas of the Eastern states. They were used as cloaks, blankets or for keeping babies warm.
The Eastern tribes also had carved trees and rock art. The meanings of these works are largely lost.
While the tree carvings were an art form used only in Eastern Australia, Rock Art appears in most regions.
Different areas of Australia have different traditions in the way in which they depict their Dreamtime stories.
The people of the Western Desert used sand paintings before transferring their stories to canvas while the people of Arnhem Land have a tradition of bark painting. The Tiwi however are more renowned for their sculptural works, particularly their large carved and painted mortuary poles made on the occasion of a death along with painted spears, arm-bands, head-dresses and bark baskets.
This shows art styles are as varied as the number of Aboriginal groupings throughout Australia.
While some groups guard their traditional methods of making their art, others such as the Papunya people have embraced the new technologies now on offer.
One of the first to embrace the European style of painting was Albert Namatjira of the western Arrernte people near Hermannsburg near Alice Springs, Northern Territory. His images were once viewed as images in line with European pictorial conventions, however now it is suggested that his images may be coded meditations on traditional sites and sacred knowledge which would give his works more in common with the dot paintings of the nearby Papunya Tula artists.
Namatjira’s seemingly traditional European style of watercolour paintings became an iconic decorative item of the 1950’s. Many of his works were produced as prints, making them available to households throughout Australia.
Not only were his works sought after for the novelty of being painted by an Aboriginal but his subject matter of the inland of Australia fascinated those who lived in the coastal cities who would never have the opportunity to visit the places depicted.
Albert Namatjira and his family, who also took up the art of water colour, opened the way for a new generation of Aboriginal artists in both their Dreamtime traditions and also in the newer forms of art in the wider community.
Thancoupie is another Aboriginal artist who has taken up a non-traditional form of art. Thancoupie was born in 1937 in Napranum, a small village near Weipa in west Cape York Peninsula. She began her career as a preschool teacher and established the first kindergarten in Napranum in 1967. In 1971 she travelled to Sydney and enrolled in Ceramics at the East Sydney Technical College.
Today Thancoupie is well established as a leading ceramic artist and acknowledged as being the foremost Indigenous Australian potter. She draws inspiration from traditional legends of her Thainakuith culture and translates these traditional stories into contemporary visual images.
Thancoupie works tirelessly for the Napranum community and she takes a particular interest in arts education for children and young people. Her commitment to educating children about their traditional culture is highlighted by the holiday program run in Weipa. She is a highly respected Elder in her community, and has been involved in the political struggle for native title rights for many years.
(Quote: http://www.visualarts.qld.gov.au/storyplace/artist_thancoupie.htm)
Her work sells well to collectors of Australian ceramics and recently one of her pots was cast in aluminium and is displayed in the foyer of a public building in Far North Queensland.
While other Aboriginals have taken up Ceramics, their work has been seen as part of a co-operative. Thancoupie has been recognised as an individual artist.
In Aboriginal culture clay is used for body paint and decoration of artifacts rather than for making sculptures or vessels. Sometimes the coloured clay is rolled into balls and dried so that it can be transported from one site to another or in the old days it may have been traded between groups for use in sacred ceremonies.
There was no traditional use of clay as a medium for making vessels or sculptures.
By learning the art of ceramics Thancoupie opened up new ways of teaching the young people of her area. The recording of Dreamtime stories in the design of her vessels allows Thancoupie to express her intricate relationship with the land and creatures of her country.
Her sculptural vessels are symbolic forms - egg shapes are fertility symbols, spheres are the earth and the cycle of life.
Thancoupie has held 16 solo exhibitions and many combined exhibitions throughout Australia and overseas and she is represented in all major collections.
In 1986 she was appointed Australia's Cultural Commissioner to the Biennale of Sao Paulo and she has had solo exhibitions which toured through South America and to Houston, USA. In 2001 she was honoured with a retrospective exhibition at the Brisbane City Gallery.
In 1998 she was appointed a Doctor of Griffith University for her services to Aboriginal Arts. She is regarded as North Queensland's leading contemporary artist and has inspired a recognisable regional style of indigenous art.
(Quote: http://www.jenniferisaacs.com.au/thancoupie/)
Thancoupie’s work has retained the colours of the earth with oxides highlighting the designs. It is the medium which is new while the work retains the traditions of the people of Weipa.
For other artists the modern colours available in acrylic paints has been enthusiastically embraced.
In the 2005/6 travelling exhibition, Colour Power, curated by Judith Ryan for the National Gallery of Victoria, nearly every work contains brilliant use of primary colours. This exhibition brought together many different works by contemporary Aboriginal artists. The work titled, White Tree- bush orange 2000 by Eileen Mbitjana Kaytetye is a good example of the use of colour now that many Aboriginal artists are using acrylic paints.
In her work, White tree – bush orange, Eileen Mbitjana Kaytetye follows the tradition of story-telling while incorporating European representation of trees. She uses vibrant colours to represent the land and trails in ways not available to previous generations.
Well known artist, Emily Kam Kngwarray, was also represented in the exhibition, Colour Power. Kngwarray took up painting late in life and yet produced a startling amount of work.
Ntange Dreaming is about the artist’s country after rain which is considered to be the ancestral powers fertilizing the earth. In this painting she has used the same technique as would have been used to paint the bodies of the women taking part in the ceremonies around the collection of grass seeds which ripen at this time, that is, using the hands to place the paint on the canvas.
Like artists of Papunya Tula, Kngwarray has disguised details of parts of the traditional story. In doing this she has developed her own technique which gives the paintings an abstract gestural style which transcends the traditional art form.
Other contemporary Aboriginal artists have chosen the modern medium of photography. Tracy Moffat was brought up in a white Foster home in Brisbane and graduated from the Queensland College of Art in 1982. While identifying as an Aboriginal and expressing her support for Aboriginal causes, her work is of International interest.
In 1989 Albury Regional Art Gallery commissioned her series titled Something More, in which the artist stages puns on the possible meanings of the title. Showing herself in a red Asian dress in the foreground, another woman in white leans against the doorway of a wooden house and two children and a man in a coolie hat are seen in the background. Moffat seeks to confuse meanings of cultural identification and question the authenticity of the presentation by reinforcing its own ‘fake’ construction. The other images in this series presented variations of this idea.
Moffat has become known for ‘creating’ pictures rather than ‘taking’ pictures. In her 2005 series Under the Sign of Scorpio she dressed herself as various well known women who, like herself, were born under this star sign.
They included Bjork, Joni Mitchell, Vivien Leigh and Catherine Deneuve, and she used her bathroom in New York as her studio for the shoots.
Since moving to New York to live Moffat has collaborated with Gary Hillberg to use clips from old Hollywood movies. Lip used clips of black actresses playing maids, which was an ‘acceptable’ movie role for actresses in Hollywood at that time but Moffat has chosen clips which show how the actresses added their own personality to the role. The clips show the maids being sassy or giving a witty putdown to their screen employer. Moffat says this series has a personal resonance as her birth mother worked as a domestic and also as a cook.
A recurring theme in Moffat’s work is that of the relationship between mothers and daughters.
Shown at the Roslyn Oxley9 Gallery in Sydney earlier this year, Moffat has again used video clips from movies to put together a montage showing actresses depicting mothers and daughters.
MOTHER is a twenty minute film clip montage of mostly Hollywood movies depicting unforgettable Mother characters. Gary and I have cut together scenes of Mothers from some of the greatest dramatic movies ever made. For example: Stella Dallas (1937), where Mother (Barbara Stanwyck) is not invited to her daughter’s wedding and watches it standing outside in the rain; Imitation of Life (1959) in which the fair skinned Daughter (Susan Kohner) can’t acknowledge her black mother (Juanita Moore). Scenes like these have always ‘cut me up’.
MOTHER is a roller coaster of emotions: fight scenes between mothers and daughters, but also comedic moments and scenes where a lot of love is shown. Included are funny clips from 1970’s TV shows, such as Mary Tyler Moore (where Rhoda’s Mother - Nancy Walker - comes to visit), and Maude (Bea Arthur), featuring television’s favourite Feminist Mum. The montage ends dramatically as Mothers turn into heroic protectors of their young. In Aliens (1986) a machine-gun toting Sigourney Weaver yells; “get away from her you B…h!” MOTHER ends with a scene of a pregnant Native American woman trudging in the snow to give birth. A message of the film could be very simply: ‘It is tough to be a Mother’.
Tracey Moffatt, 2009 (http://www.roslynoxley9.com.au/news/releases/0000/00/00/169/)
Tracey Moffat represents the modern Aboriginal artist making use of modern technologies. Moffat uses photography and film in ways that give universal appeal to the drama of the human condition.
Other indigenous artists choose to tell stories that reflect what it is to be an Aboriginal in Australia today.
Ricky Maynard is an indigenous photographer who came to prominence in 1988 with a photo essay on Aboriginal Mutton bird farmers. An important aspect of Maynard's work is to leave proof about indigenous people where it has previously been absent or distorted. His images of mutton-birding in Tasmania were featured in After 200 years, Photographic Essays of Aboriginal and Torres Strait Islanders in Australia Today and are now held in the collection of the National Gallery of Australia. Apparent in his work is a commitment to represent his people and his belief in the value of documentary photography as a tool to effect social change.
Throughout 2007 - 2010 Maynard's touring solo exhibition Portrait of a Distant Land, will travel to 9 locations including the Australian Embassy Paris, Tasmanian Museum and Art Gallery and the State Library of Victoria, Melbourne. The Museum of Contemporary Art, who will host the exhibition during 2009 have published a monograph to accompany the tour. The series Portrait of a Distant Land (exhibited at Stills in 2009) began in 2005, marking key historical sites and events with great significance to Tasmanian Aboriginal people. (http://www.stillsgallery.com.au/artists/maynard/index.php?obj_id=about&nav=0)
Fiona Foley is another Aboriginal artist who has chosen to work in non-traditional media.
Artist, activist, curator and writer, Fiona Foley stands at the forefront of cultural-political discourse in Australia. Standing witness to a history of trauma, invasion and dispossession, her sculptural installations and photographs are sometimes angry, sometimes satirical, often humorous, always political.
A descendant of the Badtjala people who were forcibly removed from the island of Thoorgine (Fraser Island) at the turn of the twentieth century, Foley engages fearlessly with the reclaiming of historical narratives, and of the land itself.
(Quote: http://www.octobergallery.co.uk/art/foley/signpost_2.shtml)
Marrnyula Mununggurr works in both the traditional bark painting of her ancestors as well as making lino cut and screen prints.
Living in her ancestral home in North Eastern Arnhem Land, Mununggurr recently had work included in the group exhibition, Making it New: Focus on Contemporary Australian Art at the MCA in Sydney.
Following in the footsteps of her father, she is recognised in her community as an accomplished painter on bark. She has transferred her skills to the art of print making and is Manager of the printmaking workshop at Buku-larrgay Mulka Cultural Centre near Gove NT.
Her themes are both traditional stories and modern lessons. For example she was commissioned to produce an anti-Aids awareness poster in 1994.
Many of her works show traditional designs of her people. They are a little similar to the Tiwi designs as they have quite detailed patterns in several colours.
A Waradgerie artist who has chosen to combine her traditional weaving practise into the contemporary sculptural art is Lorraine Connelly-Northey of Victoria.
Born in Swan Hill in 1962 Connelly-Northey is of Aboriginal and Irish heritage. She likes to mix those cultures and celebrate the traditional work of Aboriginal women as gatherers encompassing narrbongs (string bags), coolamons (bowls), digging sticks and possum-skin cloaks. Her inspiration comes from the Mallee and Riverina bush where she grew up. She produces sculptural works by collecting and reusing materials to reflect a traditional Aboriginal lifestyle. These found materials may include both the industrial and organic such as corrugated iron, fencing wire, feathers and shells. Her knowledge of Aboriginal coil weaving transforms the recycled materials into traditional forms such as Coolamon and dilly bags. Since 1991 her exhibitions have been shown in the Melbourne Museum, The Object Gallery and at Aboriginal and Pacific Art, Dank Street, Waterloo.
While having the feel of the traditional Aboriginal string bag, Connelly-Northey produces sculptural forms which are as iconically Australian as the sculptural Monaro landscapes of Rosalie Gascoigne.
The art of the Australian Aboriginal is as diverse as its people; from the urban to the bush, traditional to the contemporary in various styles and media it would seem Aboriginal art in 2009 is in a very healthy state.
While many would only consider the conservative dot paintings of the Western Desert artist such as Clifford Possum or Rover Thomas as depicting Australian Aboriginal art, this would be under-valuing the enormous contribution that Aboriginal artists are making to the world of art in this country.
Their innovative approach to new materials, media and technology will help to sustain their culture into the future.
References:
• Books:
o Catalogue – Aboriginal Australia, National Gallery of Victoria,Art Gallery of Western Australia, Australian Museum, Queensland Art Gallery 1981-1982 Sydney.
o Bardon, Geoffrey1991, Papunya Tula – Art of the Western Desert, JB Books Australia, Soft cover edition, Marlston, SthAustralia.
o Catalogue – MCA Collection: New Acquisitions in Context, Museum of Contemporary Art, Sydney, 19 August – 6 November 2005, Sydney.
o James, Bruce 1999, Art Gallery of NSW Handbook, Art Gallery of New South Wales, Sydney.
o Caruana, Wally 1989, Windows on the Dreaming, Ellsyd Press, Chippendale.
o James, Bruce 1999, Art Gallery of NSW Handbook, Art Gallery of NSW, Sydney.
• Websites:
o http://en.wikipedia.org/wiki/Possum-skin_cloak
o http://www.artistsfootsteps.com/html/Namatjira_mthermannsburgac.htm
o http://www.visualarts.qld.gov.au/storyplace/artist_thancoupie.htm
o http://www.craftunbound.net/medium/ceramics/review-of-from-the-earth-contemporary-indigenous-ceramics
o http://www.jenniferisaacs.com.au/thancoupie/
o http://cs.nga.gov.au/Detail.cfm?IRN=119248
o http://artsearch.nga.gov.au/Detail.cfm?IRN=148563
o http://www.abc.net.au/rn/arts/sunmorn/stories/s1525932.htm
o http://www.diacenter.org/exhibitions/introduction/46
o http://www.abc.net.au/rn/arts/sunmorn/stories/s1525932.htm
o http://www.roslynoxley9.com.au/artists/26/Tracey_Moffatt/1169/
o http://www.stillsgallery.com.au/artists/maynard/index.php?obj_id=about&nav=0
o http://www.aboriginalartnews.com.au/2008/
o http://www.yirrkala.com/prints/artists/artist.php?id=5
o http://www.octobergallery.co.uk/art/foley/signpost_2.shtml
o http://www.ngv.vic.gov.au/crossingborders/biography/lorraine_bio.html
NON-EUROPEAN AND INDIGENOUS CULTURAL PRODUCTION
Research: Post Modernism and Indigenous Art
“The first surge of interest in tribal artefacts as ‘high art’ came through the Cubist and Surrealist artists at the beginning of the 20th Century. Both movements were concerned with sculpture, manifested in Cubism chiefly through the rendering of volume in planar representation, in Surrealism through the heritage of the Dada object trouvé and the use of exotic imagery in either two or three dimensions to suggest the workings of the subconscious mind in concrete form.. the appeal of tribal art had nothing to do with the actual intentions of the societies which had created it.” (Quote: p8 Aboriginal Art Catalogue)
It is only since the 1970’s that there has been a greater understanding of the intricacies of Aboriginal art by the wider community. Teacher and author, Geoffrey Bardon did much to encourage the artists of Papunya Tula to take on the materials of the European artist. This allowed what were previously impermanent sand drawings to become both a teaching tool and a commodity. The authorities at Papunya did not like Bardon having such close contact with the Aboriginal people. His encouragement of their art was seen as interference and the wall murals he organized to decorate the school were later painted over.
Galleries in Alice Springs were happy to take the works painted on board using PVA and poster paints. The subsequent sales gave the artists independent earnings and the profits went towards group owned items such as a vehicle.
Bardon also encouraged the artists (men at this stage) to describe the Dreamtime Story that the image represented. When it was realized that the work would be viewed by non-tribal people some of the stories were either modified or disguised.
The people of the Western Desert were some of the last to come under the influence of the European. This meant that they were able to retain much of their Dreamtime traditions.
The people most affected by the coming of the Europeans to Australia were the Aboriginal tribes of South Eastern Australia.
The coastal tribes of NSW, Victoria and South East Queensland had the earliest contact with the white European settlers. The conflicts over land use and devastation by contacting previously unknown diseases such as Small Pox led to fewer numbers and those that were left were ‘converted’ to Christianity and discouraged from any show of their Dreamtime culture.
The swiftness of foreign intrusion into the South East of Australia, from Coastal South Australia through Victoria and New South Wales to Queensland meant that the indigenous population was unable to adapt their culture to the changed circumstances.
There are few representative pieces of artwork left from this region. Some museums do hold rare artifacts such as shields that show these groups had a style of their own. One exceptional artwork is a possum skin cloak held at the Melbourne Museum. The skins are sewn together with kangaroo sinew and each pelt is incised with a clan design.
The cloaks were considered heirloom items and passed down through generations. When highly decorated such as the one shown above, they were worn at ceremonies by men. Lesser cloaks were used for warmth in the cooler areas of the Eastern states. They were used as cloaks, blankets or for keeping babies warm.
The Eastern tribes also had carved trees and rock art. The meanings of these works are largely lost.
While the tree carvings were an art form used only in Eastern Australia, Rock Art appears in most regions.
Different areas of Australia have different traditions in the way in which they depict their Dreamtime stories.
The people of the Western Desert used sand paintings before transferring their stories to canvas while the people of Arnhem Land have a tradition of bark painting. The Tiwi however are more renowned for their sculptural works, particularly their large carved and painted mortuary poles made on the occasion of a death along with painted spears, arm-bands, head-dresses and bark baskets.
This shows art styles are as varied as the number of Aboriginal groupings throughout Australia.
While some groups guard their traditional methods of making their art, others such as the Papunya people have embraced the new technologies now on offer.
One of the first to embrace the European style of painting was Albert Namatjira of the western Arrernte people near Hermannsburg near Alice Springs, Northern Territory. His images were once viewed as images in line with European pictorial conventions, however now it is suggested that his images may be coded meditations on traditional sites and sacred knowledge which would give his works more in common with the dot paintings of the nearby Papunya Tula artists.
Namatjira’s seemingly traditional European style of watercolour paintings became an iconic decorative item of the 1950’s. Many of his works were produced as prints, making them available to households throughout Australia.
Not only were his works sought after for the novelty of being painted by an Aboriginal but his subject matter of the inland of Australia fascinated those who lived in the coastal cities who would never have the opportunity to visit the places depicted.
Albert Namatjira and his family, who also took up the art of water colour, opened the way for a new generation of Aboriginal artists in both their Dreamtime traditions and also in the newer forms of art in the wider community.
Thancoupie is another Aboriginal artist who has taken up a non-traditional form of art. Thancoupie was born in 1937 in Napranum, a small village near Weipa in west Cape York Peninsula. She began her career as a preschool teacher and established the first kindergarten in Napranum in 1967. In 1971 she travelled to Sydney and enrolled in Ceramics at the East Sydney Technical College.
Today Thancoupie is well established as a leading ceramic artist and acknowledged as being the foremost Indigenous Australian potter. She draws inspiration from traditional legends of her Thainakuith culture and translates these traditional stories into contemporary visual images.
Thancoupie works tirelessly for the Napranum community and she takes a particular interest in arts education for children and young people. Her commitment to educating children about their traditional culture is highlighted by the holiday program run in Weipa. She is a highly respected Elder in her community, and has been involved in the political struggle for native title rights for many years.
(Quote: http://www.visualarts.qld.gov.au/storyplace/artist_thancoupie.htm)
Her work sells well to collectors of Australian ceramics and recently one of her pots was cast in aluminium and is displayed in the foyer of a public building in Far North Queensland.
While other Aboriginals have taken up Ceramics, their work has been seen as part of a co-operative. Thancoupie has been recognised as an individual artist.
In Aboriginal culture clay is used for body paint and decoration of artifacts rather than for making sculptures or vessels. Sometimes the coloured clay is rolled into balls and dried so that it can be transported from one site to another or in the old days it may have been traded between groups for use in sacred ceremonies.
There was no traditional use of clay as a medium for making vessels or sculptures.
By learning the art of ceramics Thancoupie opened up new ways of teaching the young people of her area. The recording of Dreamtime stories in the design of her vessels allows Thancoupie to express her intricate relationship with the land and creatures of her country.
Her sculptural vessels are symbolic forms - egg shapes are fertility symbols, spheres are the earth and the cycle of life.
Thancoupie has held 16 solo exhibitions and many combined exhibitions throughout Australia and overseas and she is represented in all major collections.
In 1986 she was appointed Australia's Cultural Commissioner to the Biennale of Sao Paulo and she has had solo exhibitions which toured through South America and to Houston, USA. In 2001 she was honoured with a retrospective exhibition at the Brisbane City Gallery.
In 1998 she was appointed a Doctor of Griffith University for her services to Aboriginal Arts. She is regarded as North Queensland's leading contemporary artist and has inspired a recognisable regional style of indigenous art.
(Quote: http://www.jenniferisaacs.com.au/thancoupie/)
Thancoupie’s work has retained the colours of the earth with oxides highlighting the designs. It is the medium which is new while the work retains the traditions of the people of Weipa.
For other artists the modern colours available in acrylic paints has been enthusiastically embraced.
In the 2005/6 travelling exhibition, Colour Power, curated by Judith Ryan for the National Gallery of Victoria, nearly every work contains brilliant use of primary colours. This exhibition brought together many different works by contemporary Aboriginal artists. The work titled, White Tree- bush orange 2000 by Eileen Mbitjana Kaytetye is a good example of the use of colour now that many Aboriginal artists are using acrylic paints.
In her work, White tree – bush orange, Eileen Mbitjana Kaytetye follows the tradition of story-telling while incorporating European representation of trees. She uses vibrant colours to represent the land and trails in ways not available to previous generations.
Well known artist, Emily Kam Kngwarray, was also represented in the exhibition, Colour Power. Kngwarray took up painting late in life and yet produced a startling amount of work.
Ntange Dreaming is about the artist’s country after rain which is considered to be the ancestral powers fertilizing the earth. In this painting she has used the same technique as would have been used to paint the bodies of the women taking part in the ceremonies around the collection of grass seeds which ripen at this time, that is, using the hands to place the paint on the canvas.
Like artists of Papunya Tula, Kngwarray has disguised details of parts of the traditional story. In doing this she has developed her own technique which gives the paintings an abstract gestural style which transcends the traditional art form.
Other contemporary Aboriginal artists have chosen the modern medium of photography. Tracy Moffat was brought up in a white Foster home in Brisbane and graduated from the Queensland College of Art in 1982. While identifying as an Aboriginal and expressing her support for Aboriginal causes, her work is of International interest.
In 1989 Albury Regional Art Gallery commissioned her series titled Something More, in which the artist stages puns on the possible meanings of the title. Showing herself in a red Asian dress in the foreground, another woman in white leans against the doorway of a wooden house and two children and a man in a coolie hat are seen in the background. Moffat seeks to confuse meanings of cultural identification and question the authenticity of the presentation by reinforcing its own ‘fake’ construction. The other images in this series presented variations of this idea.
Moffat has become known for ‘creating’ pictures rather than ‘taking’ pictures. In her 2005 series Under the Sign of Scorpio she dressed herself as various well known women who, like herself, were born under this star sign.
They included Bjork, Joni Mitchell, Vivien Leigh and Catherine Deneuve, and she used her bathroom in New York as her studio for the shoots.
Since moving to New York to live Moffat has collaborated with Gary Hillberg to use clips from old Hollywood movies. Lip used clips of black actresses playing maids, which was an ‘acceptable’ movie role for actresses in Hollywood at that time but Moffat has chosen clips which show how the actresses added their own personality to the role. The clips show the maids being sassy or giving a witty putdown to their screen employer. Moffat says this series has a personal resonance as her birth mother worked as a domestic and also as a cook.
A recurring theme in Moffat’s work is that of the relationship between mothers and daughters.
Shown at the Roslyn Oxley9 Gallery in Sydney earlier this year, Moffat has again used video clips from movies to put together a montage showing actresses depicting mothers and daughters.
MOTHER is a twenty minute film clip montage of mostly Hollywood movies depicting unforgettable Mother characters. Gary and I have cut together scenes of Mothers from some of the greatest dramatic movies ever made. For example: Stella Dallas (1937), where Mother (Barbara Stanwyck) is not invited to her daughter’s wedding and watches it standing outside in the rain; Imitation of Life (1959) in which the fair skinned Daughter (Susan Kohner) can’t acknowledge her black mother (Juanita Moore). Scenes like these have always ‘cut me up’.
MOTHER is a roller coaster of emotions: fight scenes between mothers and daughters, but also comedic moments and scenes where a lot of love is shown. Included are funny clips from 1970’s TV shows, such as Mary Tyler Moore (where Rhoda’s Mother - Nancy Walker - comes to visit), and Maude (Bea Arthur), featuring television’s favourite Feminist Mum. The montage ends dramatically as Mothers turn into heroic protectors of their young. In Aliens (1986) a machine-gun toting Sigourney Weaver yells; “get away from her you B…h!” MOTHER ends with a scene of a pregnant Native American woman trudging in the snow to give birth. A message of the film could be very simply: ‘It is tough to be a Mother’.
Tracey Moffatt, 2009 (http://www.roslynoxley9.com.au/news/releases/0000/00/00/169/)
Tracey Moffat represents the modern Aboriginal artist making use of modern technologies. Moffat uses photography and film in ways that give universal appeal to the drama of the human condition.
Other indigenous artists choose to tell stories that reflect what it is to be an Aboriginal in Australia today.
Ricky Maynard is an indigenous photographer who came to prominence in 1988 with a photo essay on Aboriginal Mutton bird farmers. An important aspect of Maynard's work is to leave proof about indigenous people where it has previously been absent or distorted. His images of mutton-birding in Tasmania were featured in After 200 years, Photographic Essays of Aboriginal and Torres Strait Islanders in Australia Today and are now held in the collection of the National Gallery of Australia. Apparent in his work is a commitment to represent his people and his belief in the value of documentary photography as a tool to effect social change.
Throughout 2007 - 2010 Maynard's touring solo exhibition Portrait of a Distant Land, will travel to 9 locations including the Australian Embassy Paris, Tasmanian Museum and Art Gallery and the State Library of Victoria, Melbourne. The Museum of Contemporary Art, who will host the exhibition during 2009 have published a monograph to accompany the tour. The series Portrait of a Distant Land (exhibited at Stills in 2009) began in 2005, marking key historical sites and events with great significance to Tasmanian Aboriginal people. (http://www.stillsgallery.com.au/artists/maynard/index.php?obj_id=about&nav=0)
Fiona Foley is another Aboriginal artist who has chosen to work in non-traditional media.
Artist, activist, curator and writer, Fiona Foley stands at the forefront of cultural-political discourse in Australia. Standing witness to a history of trauma, invasion and dispossession, her sculptural installations and photographs are sometimes angry, sometimes satirical, often humorous, always political.
A descendant of the Badtjala people who were forcibly removed from the island of Thoorgine (Fraser Island) at the turn of the twentieth century, Foley engages fearlessly with the reclaiming of historical narratives, and of the land itself.
(Quote: http://www.octobergallery.co.uk/art/foley/signpost_2.shtml)
Marrnyula Mununggurr works in both the traditional bark painting of her ancestors as well as making lino cut and screen prints.
Living in her ancestral home in North Eastern Arnhem Land, Mununggurr recently had work included in the group exhibition, Making it New: Focus on Contemporary Australian Art at the MCA in Sydney.
Following in the footsteps of her father, she is recognised in her community as an accomplished painter on bark. She has transferred her skills to the art of print making and is Manager of the printmaking workshop at Buku-larrgay Mulka Cultural Centre near Gove NT.
Her themes are both traditional stories and modern lessons. For example she was commissioned to produce an anti-Aids awareness poster in 1994.
Many of her works show traditional designs of her people. They are a little similar to the Tiwi designs as they have quite detailed patterns in several colours.
A Waradgerie artist who has chosen to combine her traditional weaving practise into the contemporary sculptural art is Lorraine Connelly-Northey of Victoria.
Born in Swan Hill in 1962 Connelly-Northey is of Aboriginal and Irish heritage. She likes to mix those cultures and celebrate the traditional work of Aboriginal women as gatherers encompassing narrbongs (string bags), coolamons (bowls), digging sticks and possum-skin cloaks. Her inspiration comes from the Mallee and Riverina bush where she grew up. She produces sculptural works by collecting and reusing materials to reflect a traditional Aboriginal lifestyle. These found materials may include both the industrial and organic such as corrugated iron, fencing wire, feathers and shells. Her knowledge of Aboriginal coil weaving transforms the recycled materials into traditional forms such as Coolamon and dilly bags. Since 1991 her exhibitions have been shown in the Melbourne Museum, The Object Gallery and at Aboriginal and Pacific Art, Dank Street, Waterloo.
While having the feel of the traditional Aboriginal string bag, Connelly-Northey produces sculptural forms which are as iconically Australian as the sculptural Monaro landscapes of Rosalie Gascoigne.
The art of the Australian Aboriginal is as diverse as its people; from the urban to the bush, traditional to the contemporary in various styles and media it would seem Aboriginal art in 2009 is in a very healthy state.
While many would only consider the conservative dot paintings of the Western Desert artist such as Clifford Possum or Rover Thomas as depicting Australian Aboriginal art, this would be under-valuing the enormous contribution that Aboriginal artists are making to the world of art in this country.
Their innovative approach to new materials, media and technology will help to sustain their culture into the future.
References:
• Books:
o Catalogue – Aboriginal Australia, National Gallery of Victoria,Art Gallery of Western Australia, Australian Museum, Queensland Art Gallery 1981-1982 Sydney.
o Bardon, Geoffrey1991, Papunya Tula – Art of the Western Desert, JB Books Australia, Soft cover edition, Marlston, SthAustralia.
o Catalogue – MCA Collection: New Acquisitions in Context, Museum of Contemporary Art, Sydney, 19 August – 6 November 2005, Sydney.
o James, Bruce 1999, Art Gallery of NSW Handbook, Art Gallery of New South Wales, Sydney.
o Caruana, Wally 1989, Windows on the Dreaming, Ellsyd Press, Chippendale.
o James, Bruce 1999, Art Gallery of NSW Handbook, Art Gallery of NSW, Sydney.
• Websites:
o http://en.wikipedia.org/wiki/Possum-skin_cloak
o http://www.artistsfootsteps.com/html/Namatjira_mthermannsburgac.htm
o http://www.visualarts.qld.gov.au/storyplace/artist_thancoupie.htm
o http://www.craftunbound.net/medium/ceramics/review-of-from-the-earth-contemporary-indigenous-ceramics
o http://www.jenniferisaacs.com.au/thancoupie/
o http://cs.nga.gov.au/Detail.cfm?IRN=119248
o http://artsearch.nga.gov.au/Detail.cfm?IRN=148563
o http://www.abc.net.au/rn/arts/sunmorn/stories/s1525932.htm
o http://www.diacenter.org/exhibitions/introduction/46
o http://www.abc.net.au/rn/arts/sunmorn/stories/s1525932.htm
o http://www.roslynoxley9.com.au/artists/26/Tracey_Moffatt/1169/
o http://www.stillsgallery.com.au/artists/maynard/index.php?obj_id=about&nav=0
o http://www.aboriginalartnews.com.au/2008/
o http://www.yirrkala.com/prints/artists/artist.php?id=5
o http://www.octobergallery.co.uk/art/foley/signpost_2.shtml
o http://www.ngv.vic.gov.au/crossingborders/biography/lorraine_bio.html
White Heat
Original document contained images.
Exhibition Review June 2009
Exhibition: White Heat
(n. an extreme heat that stretches the limits of the safety and
familiarity)
The Australian Ceramics Association’s
Biennial Exhibition 2009
Manly Art Gallery and Museum
12 June – 19 July 2009
While the twenty five artists represented in this exhibition all choose to work within the medium of ceramics, each has interpreted their concern for social, political or cultural matters in a very personal way.
Gerry Wedd, usually known for his Mambo t-shirt designs or his blue and white vessels, this time chose to highlight his concerns for the effects of pesticides on the small birds that appear to be dying near his favourite surf beach. This installation is quite emotive for the viewer as the little birds are so fragile and being arrayed along the base of a wall to represent the roadway along which Gerry walks to surf each day, emphasizes their plight.
Penny Smith comments on the appalling collection of garbage in the centre of the North Pacific Gyre. This accumulation of flotsam and debris informally known as The Great Pacific Garbage Patch is represented in this installation by a large tubular ‘horn of plenty’ which is spewing out many and varied ‘plastic’ bottle forms. The installation calls on the viewer to be mindful of the need to recycle plastics so as not to add to this degradation of the oceans of the world.
Mel Robson brings a new meaning to the use of the recycled object to her art. Using a found, Willow pattern plate which has been cut by water jet to her design, Robson explores the history of the object while reflecting on her own perspectives on war.
Another artist in this show who has chosen to express a political view through the use of recycled objects is Penny Byrne. Her altered vintage porcelain figurines are a comment on the Howard Government. In one instance, “George and Laura simply adore the War on Terror” she protests the war in Iraq while with the piece titled, “John and Janette Were All Set for the Long Walk” Byrne comments on that Governments relationship with the Aboriginal community. Featuring old style European figurines, Byrne has painted the pieces in Aboriginal motifs and colours to represent the disparity between the Howard Government’s rhetoric and the lack of action on Aboriginal issues. This piece was inspired by the walk undertaken by Aboriginal activist, Michael Long, from Melbourne to Canberra.
The current work of Pru Morrison is a comment on the Rudd Federal Government’s 42 billion dollar stimulus rescue package. Her small slipcast and handbuilt pieces depict various members of the parliament along with satirical comments relating to each character.
The characters are drawn onto a cylinder using coloured slips which are then etched away using hand tools to reveal the cartoon portrait along with the witty comments. Borrowing from the American Democratic Party emblem, each cylinder is topped with a donkey’s head which has an individual expression.
Two other works of note is this extensive exhibition were those chosen to mark the 200th anniversary of Charles Darwin’s birth.
Kate Dunn’s mixed media triptych uses a clever pun to refer to “The Beagle”, Darwin’s ship, with the use of a slipcast dog while the aluminium backing is decorated in a wall paper print which incorporates a photo of his wife, Emma. The use of blue background and a white addition relates back to Emma’s family links to the Wedgewood ceramics company who are known for their blue and white decorative ware. Dunn wished to honour the women in history who have supported great men to achieve their ambitions. She has achieved this with proficiency while expressing her view with subtle humour.
Christopher Headley supposes that perhaps Darwin would need to update his major principles in light of modern scientific advances with genetic manipulation. His installation includes large photographs depicting his figures in various seascapes while the main work is gathered on the floor. The imaginative figures show a man entering a circle of knowledge depicted by books, a mix of animals in various combinations and emerging on the other side is a new species of man with an animal’s head.
While there were many other fascinating and skilfully made entries in this year’s exhibition, the ones mentioned are those which I found most interesting.
The Manly Gallery and the Curator, Dr Julie Bartholomew have brought together the best of Australia’s leading ceramic artists and presented a marvellous exhibition. The two rooms were well filled without any one installation overwhelming another. Each artist provided the viewer with provocative ideas to take away and contemplate.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
o http://australianceramicstriennale.com/component/option,com_eventlist/Itemid,22/id,7/view,details/
o http://flickr.com/photos/32665176@N08/3044161073/
o http://www.avicam.com/gallery/whiteheat.php
o http://www.artmonthly.org.au/artnotes.asp?aID=8&issueNumber=221
Exhibition Review June 2009
Exhibition: White Heat
(n. an extreme heat that stretches the limits of the safety and
familiarity)
The Australian Ceramics Association’s
Biennial Exhibition 2009
Manly Art Gallery and Museum
12 June – 19 July 2009
While the twenty five artists represented in this exhibition all choose to work within the medium of ceramics, each has interpreted their concern for social, political or cultural matters in a very personal way.
Gerry Wedd, usually known for his Mambo t-shirt designs or his blue and white vessels, this time chose to highlight his concerns for the effects of pesticides on the small birds that appear to be dying near his favourite surf beach. This installation is quite emotive for the viewer as the little birds are so fragile and being arrayed along the base of a wall to represent the roadway along which Gerry walks to surf each day, emphasizes their plight.
Penny Smith comments on the appalling collection of garbage in the centre of the North Pacific Gyre. This accumulation of flotsam and debris informally known as The Great Pacific Garbage Patch is represented in this installation by a large tubular ‘horn of plenty’ which is spewing out many and varied ‘plastic’ bottle forms. The installation calls on the viewer to be mindful of the need to recycle plastics so as not to add to this degradation of the oceans of the world.
Mel Robson brings a new meaning to the use of the recycled object to her art. Using a found, Willow pattern plate which has been cut by water jet to her design, Robson explores the history of the object while reflecting on her own perspectives on war.
Another artist in this show who has chosen to express a political view through the use of recycled objects is Penny Byrne. Her altered vintage porcelain figurines are a comment on the Howard Government. In one instance, “George and Laura simply adore the War on Terror” she protests the war in Iraq while with the piece titled, “John and Janette Were All Set for the Long Walk” Byrne comments on that Governments relationship with the Aboriginal community. Featuring old style European figurines, Byrne has painted the pieces in Aboriginal motifs and colours to represent the disparity between the Howard Government’s rhetoric and the lack of action on Aboriginal issues. This piece was inspired by the walk undertaken by Aboriginal activist, Michael Long, from Melbourne to Canberra.
The current work of Pru Morrison is a comment on the Rudd Federal Government’s 42 billion dollar stimulus rescue package. Her small slipcast and handbuilt pieces depict various members of the parliament along with satirical comments relating to each character.
The characters are drawn onto a cylinder using coloured slips which are then etched away using hand tools to reveal the cartoon portrait along with the witty comments. Borrowing from the American Democratic Party emblem, each cylinder is topped with a donkey’s head which has an individual expression.
Two other works of note is this extensive exhibition were those chosen to mark the 200th anniversary of Charles Darwin’s birth.
Kate Dunn’s mixed media triptych uses a clever pun to refer to “The Beagle”, Darwin’s ship, with the use of a slipcast dog while the aluminium backing is decorated in a wall paper print which incorporates a photo of his wife, Emma. The use of blue background and a white addition relates back to Emma’s family links to the Wedgewood ceramics company who are known for their blue and white decorative ware. Dunn wished to honour the women in history who have supported great men to achieve their ambitions. She has achieved this with proficiency while expressing her view with subtle humour.
Christopher Headley supposes that perhaps Darwin would need to update his major principles in light of modern scientific advances with genetic manipulation. His installation includes large photographs depicting his figures in various seascapes while the main work is gathered on the floor. The imaginative figures show a man entering a circle of knowledge depicted by books, a mix of animals in various combinations and emerging on the other side is a new species of man with an animal’s head.
While there were many other fascinating and skilfully made entries in this year’s exhibition, the ones mentioned are those which I found most interesting.
The Manly Gallery and the Curator, Dr Julie Bartholomew have brought together the best of Australia’s leading ceramic artists and presented a marvellous exhibition. The two rooms were well filled without any one installation overwhelming another. Each artist provided the viewer with provocative ideas to take away and contemplate.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
o http://australianceramicstriennale.com/component/option,com_eventlist/Itemid,22/id,7/view,details/
o http://flickr.com/photos/32665176@N08/3044161073/
o http://www.avicam.com/gallery/whiteheat.php
o http://www.artmonthly.org.au/artnotes.asp?aID=8&issueNumber=221
Salon Des Refuses 2009
Text only. Images in original document.
Exhibition Review March 2009
Exhibition: Salon Des Refuses 2009
The Alternative Archibald and Wynne Prize Selection
S H Ervin Gallery
7 March – 3 May 2009
This exhibition includes the unsuccessful entrants of both the Archibald Portraiture competition and the Wynne Prize for landscape painting or figure sculpture.
Some small terracotta sculptures caught my eye as I first walked into the exhibition. These are works by Marguerite Derricourt, who is known for larger public sculptures in metal such as the flight of the Bogong which won the Sculpture by the Sea Environmental prize in 2008.
Titled, Odd Couples: conversations across time, this work is a collection of small figurines which are grouped in pairs. One is holding a dog, another is in the style of Degas’ Little Dancer, while another copies Rodin’s The Thinker, giving a mini history of sculpture for the viewer. The style is somewhat naïve and a real change from the usual work of this sculptor. I felt these works were an indulgence into fun for Derricourt and obviously the selection panel liked that twist which meets the exhibitions criteria for quality, diversity, humour and innovation.
Several of the paintings would have been suitable to have been hung in the Archibald.
Leo Robba’s combined portrait of Frank Watters and Geoffrey Legge appears to be a divergence from his usual landscape style and yet the background shows an Italianate style at variance to the faces. The bright blue sky highlights the prominent face in the foreground while the other smaller face recedes off to the right hand side of the large canvas.
It is difficult to know why this work was not selected for the Archibald.
’Curatoria’ oil on canvas 90×90cm
Another work which I felt worthy of being hung in the Archibald was the work of Deb Mostert. This Queensland artist has captured the character of Nicole Warren, a presenter on ABC TV’s show, Collectors and followed through on the collection theme by presenting a panel of different shoes belonging to the presenter and naming them, using fake Latin names, for example, a yellow high heeled sandal is labelled Crocinus antiframpsii.
Mostert’s modern composition and use of bright colours reflects the cheerful nature of her subject.
Tucked away on a side wall was an ornate water colour and gouache portrait of Professor Peter Pinson by Abdul Karim Rahimi. While the quality of this work was good, I think the framing let it down with the paper being warped in the frame. It was a very interesting piece with a colourful surround to the face in the tradition of Rahimi’s Afghani miniatures. To incorporate something of his new country, Rahimi included Australian gum trees in the intricate border.
A very interesting mix of styles in this years selection presented once more in the surprisingly light filled space of the gallery made the visit worthwhile.
References:
Personal Notes of Exhibition
Exhibition flyer
• Websites:
o http://www.nsw.nationaltrust.org.au/properties/gallery/exhibitions/salon/default
o http://www.sculpturebythesea.com/svbondi08/
o http://www.damienmintongallery.com.au/artists/leo-robba/
o http://www.debmostertartist.com.au/
o http://www.crossart.com.au/WCAW.html
o http://www.theaustralian.news.com.au/story/0,25197,25200439-16947,00.html
Exhibition Review March 2009
Exhibition: Salon Des Refuses 2009
The Alternative Archibald and Wynne Prize Selection
S H Ervin Gallery
7 March – 3 May 2009
This exhibition includes the unsuccessful entrants of both the Archibald Portraiture competition and the Wynne Prize for landscape painting or figure sculpture.
Some small terracotta sculptures caught my eye as I first walked into the exhibition. These are works by Marguerite Derricourt, who is known for larger public sculptures in metal such as the flight of the Bogong which won the Sculpture by the Sea Environmental prize in 2008.
Titled, Odd Couples: conversations across time, this work is a collection of small figurines which are grouped in pairs. One is holding a dog, another is in the style of Degas’ Little Dancer, while another copies Rodin’s The Thinker, giving a mini history of sculpture for the viewer. The style is somewhat naïve and a real change from the usual work of this sculptor. I felt these works were an indulgence into fun for Derricourt and obviously the selection panel liked that twist which meets the exhibitions criteria for quality, diversity, humour and innovation.
Several of the paintings would have been suitable to have been hung in the Archibald.
Leo Robba’s combined portrait of Frank Watters and Geoffrey Legge appears to be a divergence from his usual landscape style and yet the background shows an Italianate style at variance to the faces. The bright blue sky highlights the prominent face in the foreground while the other smaller face recedes off to the right hand side of the large canvas.
It is difficult to know why this work was not selected for the Archibald.
’Curatoria’ oil on canvas 90×90cm
Another work which I felt worthy of being hung in the Archibald was the work of Deb Mostert. This Queensland artist has captured the character of Nicole Warren, a presenter on ABC TV’s show, Collectors and followed through on the collection theme by presenting a panel of different shoes belonging to the presenter and naming them, using fake Latin names, for example, a yellow high heeled sandal is labelled Crocinus antiframpsii.
Mostert’s modern composition and use of bright colours reflects the cheerful nature of her subject.
Tucked away on a side wall was an ornate water colour and gouache portrait of Professor Peter Pinson by Abdul Karim Rahimi. While the quality of this work was good, I think the framing let it down with the paper being warped in the frame. It was a very interesting piece with a colourful surround to the face in the tradition of Rahimi’s Afghani miniatures. To incorporate something of his new country, Rahimi included Australian gum trees in the intricate border.
A very interesting mix of styles in this years selection presented once more in the surprisingly light filled space of the gallery made the visit worthwhile.
References:
Personal Notes of Exhibition
Exhibition flyer
• Websites:
o http://www.nsw.nationaltrust.org.au/properties/gallery/exhibitions/salon/default
o http://www.sculpturebythesea.com/svbondi08/
o http://www.damienmintongallery.com.au/artists/leo-robba/
o http://www.debmostertartist.com.au/
o http://www.crossart.com.au/WCAW.html
o http://www.theaustralian.news.com.au/story/0,25197,25200439-16947,00.html
Printmaking in the age of Romanticism
Text only. Images present in original document.
Exhibition Review September 2009
Exhibition: Printmaking in the age of Romanticism
Art Gallery of New South Wales
6 August -25 October 2009
Royal Tiger, 1829
Eugène Delacroix (French, 1798–1863)
Lithograph
There are 170 works in this exhibition and they all have been selected from the Art Gallery of NSW’s permanent collection.
Rarely shown, to protect the works on paper from strong light, they represent the epitome of the Romanticism period. In particular many of these works are taken from the heyday of the period, 1820 -1830.
Well known painters of this period are well represented here but also lesser known engravers. The print medium allowed painters such as Turner, Constable and Blake from England and Delacroix and Gericault of France to reach a wider audience. Prints were more accessible to the working classes.
The medium of print enabled artists to express their thoughts and feelings in a way not possible with other mediums. This expression of the artists’ creative inner emotion was an idea shaped at this time.
Many diverse subjects are presented including scenes from well known literature such as writings of Shakespeare, Chaucer and classic tales from Greek or Roman mythology.
William Blake represents Chaucer’s Canterbury Tales with his engraving of “Canterbury Pilgrims” (1810) in which each person represented is named. This quite long piece is made up of very fines lines including the background sky and landscape.
Antoine Jean Gros is represented by a lithograph titled “Chief of the Mamelukes on horseback, calling for help” (1817) which follows the Orientalist style. Gros’ paintings often represented Napoleon’s victories of various campaigns and though the Mamelukes were defeated by Napoleon, he so admired their fierceness that he recruited them to the Imperial Guards. This is one of the few lithographs undertaken by Gros.
Theodore Gericault has captured various scenes of social history with his lithographs. “The Boxers” (1818) shows two men of contrasting skin tones engaged in bare fisted boxing. The crowd eggs them on in the outdoor arena. Gericault has used reversal of his drawing techniques to capture the contrast of the two men.
Also displayed is the very detailed work, “The Flemish Farrier” (1821) which was completed during Gericault’s stay in London. It captures the steaming atmosphere of the smithy and shows other figures including a small child.
Eugene Delacroix is another of the French painters in this collection of printed works. Using zoo animals as his models he created a series of works in the later years of Romanticism.
Delacroix was inspired by Gericault’s work and also influenced by such English animal painters as Stubbs and James Ward. The Romantics saw nature’s primal energies as being beyond human reason. The zoo animals from Africa were fascinating to them. Delacroix used similar subjects and poses for his oil paintings as well as these lithographs. For example, the print “Lion of Atlas” (1829) is almost identical to the oil painting, “Lion devouring rabbit”. Some of his works were criticised for being too violent.
It is very interesting to see the range of subjects undertaken throughout this collection. Many of the works relating to myths and legends seem to capture dark emotions that may have surrounded the people of the time and the Napoleonic Wars and yet there are other works that aspire to represent the grandeur of Nature.
The use of the print medium allowed intricate detail – detail we have come to expect in our daily news coverage and advertisements but which was not so readily available to the people of the Romantic period. A tour of this exhibition can give the viewer an insight into the life and times of these extraordinary artists.
References:
Personal Notes of Exhibition
• Websites:
o http://www.artgallery.nsw.gov.au/exhibitions/current
o http://www.theblurb.com.au/Issue104/Romanticism.htm
o http://www.timeoutsydney.com.au/arts/event/12180/printmaking-in-the-age-of-romanticism.aspx
o http://www.eugenedelacroix.org/Lion-with-a-Rabbit.html
Exhibition Review September 2009
Exhibition: Printmaking in the age of Romanticism
Art Gallery of New South Wales
6 August -25 October 2009
Royal Tiger, 1829
Eugène Delacroix (French, 1798–1863)
Lithograph
There are 170 works in this exhibition and they all have been selected from the Art Gallery of NSW’s permanent collection.
Rarely shown, to protect the works on paper from strong light, they represent the epitome of the Romanticism period. In particular many of these works are taken from the heyday of the period, 1820 -1830.
Well known painters of this period are well represented here but also lesser known engravers. The print medium allowed painters such as Turner, Constable and Blake from England and Delacroix and Gericault of France to reach a wider audience. Prints were more accessible to the working classes.
The medium of print enabled artists to express their thoughts and feelings in a way not possible with other mediums. This expression of the artists’ creative inner emotion was an idea shaped at this time.
Many diverse subjects are presented including scenes from well known literature such as writings of Shakespeare, Chaucer and classic tales from Greek or Roman mythology.
William Blake represents Chaucer’s Canterbury Tales with his engraving of “Canterbury Pilgrims” (1810) in which each person represented is named. This quite long piece is made up of very fines lines including the background sky and landscape.
Antoine Jean Gros is represented by a lithograph titled “Chief of the Mamelukes on horseback, calling for help” (1817) which follows the Orientalist style. Gros’ paintings often represented Napoleon’s victories of various campaigns and though the Mamelukes were defeated by Napoleon, he so admired their fierceness that he recruited them to the Imperial Guards. This is one of the few lithographs undertaken by Gros.
Theodore Gericault has captured various scenes of social history with his lithographs. “The Boxers” (1818) shows two men of contrasting skin tones engaged in bare fisted boxing. The crowd eggs them on in the outdoor arena. Gericault has used reversal of his drawing techniques to capture the contrast of the two men.
Also displayed is the very detailed work, “The Flemish Farrier” (1821) which was completed during Gericault’s stay in London. It captures the steaming atmosphere of the smithy and shows other figures including a small child.
Eugene Delacroix is another of the French painters in this collection of printed works. Using zoo animals as his models he created a series of works in the later years of Romanticism.
Delacroix was inspired by Gericault’s work and also influenced by such English animal painters as Stubbs and James Ward. The Romantics saw nature’s primal energies as being beyond human reason. The zoo animals from Africa were fascinating to them. Delacroix used similar subjects and poses for his oil paintings as well as these lithographs. For example, the print “Lion of Atlas” (1829) is almost identical to the oil painting, “Lion devouring rabbit”. Some of his works were criticised for being too violent.
It is very interesting to see the range of subjects undertaken throughout this collection. Many of the works relating to myths and legends seem to capture dark emotions that may have surrounded the people of the time and the Napoleonic Wars and yet there are other works that aspire to represent the grandeur of Nature.
The use of the print medium allowed intricate detail – detail we have come to expect in our daily news coverage and advertisements but which was not so readily available to the people of the Romantic period. A tour of this exhibition can give the viewer an insight into the life and times of these extraordinary artists.
References:
Personal Notes of Exhibition
• Websites:
o http://www.artgallery.nsw.gov.au/exhibitions/current
o http://www.theblurb.com.au/Issue104/Romanticism.htm
o http://www.timeoutsydney.com.au/arts/event/12180/printmaking-in-the-age-of-romanticism.aspx
o http://www.eugenedelacroix.org/Lion-with-a-Rabbit.html
Fred Williams
Text only. Images present in original document.
Exhibition Review September 2009
Exhibition: Fred Williams
Regeneration – after the bushfires 1968-1969
Rex Irwin – Art Dealer
11 August -5 September 2009
Fred Williams - Burning Trees 1968
Oil on Canvas
It is a rare opportunity to see these works which are so typical of Fred William’s abstract landscape style.
Painted in 1968 and 1969 they depict the regeneration of the bush after fire. While most are in oils on canvas there are a few which are gouache on paper, Fire Approaching I, Upwey 1968, Landscape with burning tree I 1968 and Landscape with burning tree III 1968.
Of the works in oils, the diptych, Ferns I and Ferns II 1968 are the largest and most captivating. The background of pale green wash allows the individual
Fred WILLIAMS
(1927 - 1982)
Ferns I and Ferns II 1968
Oil on canvas
tree fern trunks to stand out. Each trunk is made up of many colours including black, representing the fire charred remains. The colours and expressive abstract shapes with budding fronds have qualities of Aboriginal didgeridoos or some other musical instrument or perhaps totem poles.
Williams expressive whorls of paint squeezed directly onto the canvas have a light openness which allows the viewer to feel the hope of renewal.
Also depicting this renewal, however in a more dramatic sense, is Regenerating fern 1969 (oil on canvas). The black background of this work
Regenerating Fern 1969
Oil on canvas
reminds the viewer that this is after devastating bush fires and yet the bright colours used by Williams carries through the hopefulness of new life.
Painted in similar colours and also with a dark background is Ferns on burnt tree trunks 1968. Here the background has more green tonings rather than the almost black of Regenerating Fern. These two paintings are more realistic than Williams’ normal abstract style though they are still distinctively his due to the thick textures of various colours used to build up the tree trunks.
Ferns on Burnt Tree Trunks 1968
Oil on canvas
Fire burning at Upwey II (1968) is viewed from a raised outlook and captures a distinctive Australian landscape. It portrays the immediate passing of a bushfire with the smoke haze clouding the background and individual trees still flaming. Williams’ brilliance is again shown here with very little detail giving the viewer the impression of the burning landscape which devastated many homes in the area at that time.
Fire Burning at Upwey II
1968
Of the same subject but of a close up view, Burning Trees 1968 uses lighter tones, allowing the canvas to show through in places. The horizon line is less distinctive and the trees are mere vertical strokes of colour. In the foreground a tall hollow tree emits puffs of smoke like an old fashioned steam train.
Ironically these paintings have been made available not long after more devastating fires in Victoria during the last summer.
Somehow Williams managed to show the harshness of the Australian elements while also capturing its beauty.
It was a privilege to view these works as this selection from Fred Williams’ estate is an outstanding collection which may never be shown again in its entirety.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
o Rex Irwin Art Dealer
http://www.rexirwin.com/01_gallery_diary.htm
• Book:
o In Our Own Image – the story of Australian Art by Donald Williams
McGraw-Hill 4th edition 2002
Exhibition Review September 2009
Exhibition: Fred Williams
Regeneration – after the bushfires 1968-1969
Rex Irwin – Art Dealer
11 August -5 September 2009
Fred Williams - Burning Trees 1968
Oil on Canvas
It is a rare opportunity to see these works which are so typical of Fred William’s abstract landscape style.
Painted in 1968 and 1969 they depict the regeneration of the bush after fire. While most are in oils on canvas there are a few which are gouache on paper, Fire Approaching I, Upwey 1968, Landscape with burning tree I 1968 and Landscape with burning tree III 1968.
Of the works in oils, the diptych, Ferns I and Ferns II 1968 are the largest and most captivating. The background of pale green wash allows the individual
Fred WILLIAMS
(1927 - 1982)
Ferns I and Ferns II 1968
Oil on canvas
tree fern trunks to stand out. Each trunk is made up of many colours including black, representing the fire charred remains. The colours and expressive abstract shapes with budding fronds have qualities of Aboriginal didgeridoos or some other musical instrument or perhaps totem poles.
Williams expressive whorls of paint squeezed directly onto the canvas have a light openness which allows the viewer to feel the hope of renewal.
Also depicting this renewal, however in a more dramatic sense, is Regenerating fern 1969 (oil on canvas). The black background of this work
Regenerating Fern 1969
Oil on canvas
reminds the viewer that this is after devastating bush fires and yet the bright colours used by Williams carries through the hopefulness of new life.
Painted in similar colours and also with a dark background is Ferns on burnt tree trunks 1968. Here the background has more green tonings rather than the almost black of Regenerating Fern. These two paintings are more realistic than Williams’ normal abstract style though they are still distinctively his due to the thick textures of various colours used to build up the tree trunks.
Ferns on Burnt Tree Trunks 1968
Oil on canvas
Fire burning at Upwey II (1968) is viewed from a raised outlook and captures a distinctive Australian landscape. It portrays the immediate passing of a bushfire with the smoke haze clouding the background and individual trees still flaming. Williams’ brilliance is again shown here with very little detail giving the viewer the impression of the burning landscape which devastated many homes in the area at that time.
Fire Burning at Upwey II
1968
Of the same subject but of a close up view, Burning Trees 1968 uses lighter tones, allowing the canvas to show through in places. The horizon line is less distinctive and the trees are mere vertical strokes of colour. In the foreground a tall hollow tree emits puffs of smoke like an old fashioned steam train.
Ironically these paintings have been made available not long after more devastating fires in Victoria during the last summer.
Somehow Williams managed to show the harshness of the Australian elements while also capturing its beauty.
It was a privilege to view these works as this selection from Fred Williams’ estate is an outstanding collection which may never be shown again in its entirety.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
o Rex Irwin Art Dealer
http://www.rexirwin.com/01_gallery_diary.htm
• Book:
o In Our Own Image – the story of Australian Art by Donald Williams
McGraw-Hill 4th edition 2002
intensely dutch
Text only in this posting. Images were in original.
Exhibition Review June 2009
Exhibition: intensely dutch
– 50 years of modern Dutch art
Art Gallery of New South Wales
5 June – 23 August 2009
Gerrit Benner Fries landschap (Frisian landscape) 1970 Groninger Museum, Groningen © A G Benner 2009
Uncompromising, confronting, optimistic – after the Second World War a young generation of Dutch artists took to modernity as never before. For them it was a time of renewal.
(Quote from exhibition leaflet – Art Gallery of NSW).
This exhibition of works by fifteen Dutch artists was brought together from both Public and Private Collections of ten Australian and overseas galleries and museums. The exhibition coincides with the celebration of The Dutch Australia Cultural Centre’s 25th anniversary and offers another reminder of the historical links between the two countries.
The works represent 50 years of modern Dutch art. These artists are perhaps better known in Europe but some of them have Australian connections either through influences on Australian artists such as John Olsen or by their personal emigration to Australia, as with Jan Riske.
Like Picasso, the artists of the group known as CoBrA (Copenhagen, Brussels, Amsterdam), took inspiration from primitive art, the art of children and the art of those in mental institutions. CoBrA brought together the artists, Asger Jorn (from Copenhagen), Joseph Noiret and Christian Dotremont (from Brussels) and Constant, Corneille and Karel Appel (from Amsterdam) who were all living in Paris at the time. They were joined by other artists who were also looking for alternative forms of expression to that of the French Surrealists. This group only lasted a few years, (1948-1951) however it had a lasting influence on art in Holland, Europe and America.
Brought together are examples of art which were very experimental in their time, from the abstraction of the human figure in De Koonings charcoal figure to the wonderful bright colours of Gerrit Benners gouache painting titled “Zomer” (Summer) 1970.
An earlier work of Benners, “Trees” 1955, is rendered in mainly primary colours of oils applied with lots of texture while “Stilleven (Still Life)” 1953 by Jaap Nanninga uses more subdued darker tones of black, grey, green/blue in pastels and gouache.
Willem de Kooning | The Netherlands/United States | 1904-97 | Two trees on Mary Street . . . Amen! 1975 | Oil on canvas | 203.8 x 177.8cm
The work by Willem De Kooning included in this exhibition, “Two trees on Mary Street – Amen!” 1975, is typical of his later expressive abstract style.
This exhibition is not all paintings. It includes several very interesting collage and sculptural pieces. Jan J Schoonhoven created pieces using paper mache and acrylic paints. The earlier works are in grey and black while the later works are in white. The two most representative of his work during the 1960’s are in white, one is a rectangle filled with intriguing rhythmical grids while the other is a similar style though circular.
Jaap Wagemaker is represented by his oil and burlap collages, “Verdigris or Copper Oxide” 1958 is mostly green with touches of black and burnt sienna with the edges of burlap showing through unpainted. The work titled “Les Traces” includes oils, timber and copper in tones reminiscent of the tones employed by Tom Roberts work of an earlier era, “Bailed up”. While the style is completely different this work by Wagemaker has echoes of dry earth and horses. It is complimented in this exhibition by his brush and ink drawing on buff paper, “Composites” 1964, which has a similar theme to “Traces”.
Somewhere between a painting and a sculpture is the large dramatic piece by Bram Bogart, “Daybreak” (1997). A former contemporary of the CoBrA group, Bogart chose to take his own path and combines his skills as a sculptor, ceramist and painter in these very large works. A combination of oils and his own mix of mortar, the bright yellow of “Daybreak” stands out, dominating the space.
Bram Bogart - Daybreak, 1997
The Australian Dutch artist, Jan Riske’s amazingly intricate works are well represented. Made of the contents of hundreds of squeezed tubes of oil paints his textured paintings invite the viewer to have a closer inspection.
"I carved my own path" … Jan Riske with one of his detailed works. He is one of 15 artists in the Art Gallery of NSW's Intensely Dutch exhibition.
Photo: Jon Reid
A magnificent exhibition, Intensely Dutch, provides a powerful overview of the modern art of Holland since the Second World War.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
o http://www.artgallery.nsw.gov.au/exhibitions/current/intensely_dutch
o http://www.cobra-museum.nl/en/cobra.html
o http://dacc.com.au/indexnext.html
o http://blogs.rnw.nl/curiousorange/2009/06/05/intensely-dutch/
o http://qag.qld.gov.au/collection/contemporary_international_art/willem_de_kooning
o http://www.smh.com.au/news/entertainment/arts/old-master-from-riverwood-via-rotterdam/2009/06/04/1243708567218.html
o http://www.jaski.nl/Kunstenaars/BramBogart/tabid/167/Default.aspx
Exhibition Review June 2009
Exhibition: intensely dutch
– 50 years of modern Dutch art
Art Gallery of New South Wales
5 June – 23 August 2009
Gerrit Benner Fries landschap (Frisian landscape) 1970 Groninger Museum, Groningen © A G Benner 2009
Uncompromising, confronting, optimistic – after the Second World War a young generation of Dutch artists took to modernity as never before. For them it was a time of renewal.
(Quote from exhibition leaflet – Art Gallery of NSW).
This exhibition of works by fifteen Dutch artists was brought together from both Public and Private Collections of ten Australian and overseas galleries and museums. The exhibition coincides with the celebration of The Dutch Australia Cultural Centre’s 25th anniversary and offers another reminder of the historical links between the two countries.
The works represent 50 years of modern Dutch art. These artists are perhaps better known in Europe but some of them have Australian connections either through influences on Australian artists such as John Olsen or by their personal emigration to Australia, as with Jan Riske.
Like Picasso, the artists of the group known as CoBrA (Copenhagen, Brussels, Amsterdam), took inspiration from primitive art, the art of children and the art of those in mental institutions. CoBrA brought together the artists, Asger Jorn (from Copenhagen), Joseph Noiret and Christian Dotremont (from Brussels) and Constant, Corneille and Karel Appel (from Amsterdam) who were all living in Paris at the time. They were joined by other artists who were also looking for alternative forms of expression to that of the French Surrealists. This group only lasted a few years, (1948-1951) however it had a lasting influence on art in Holland, Europe and America.
Brought together are examples of art which were very experimental in their time, from the abstraction of the human figure in De Koonings charcoal figure to the wonderful bright colours of Gerrit Benners gouache painting titled “Zomer” (Summer) 1970.
An earlier work of Benners, “Trees” 1955, is rendered in mainly primary colours of oils applied with lots of texture while “Stilleven (Still Life)” 1953 by Jaap Nanninga uses more subdued darker tones of black, grey, green/blue in pastels and gouache.
Willem de Kooning | The Netherlands/United States | 1904-97 | Two trees on Mary Street . . . Amen! 1975 | Oil on canvas | 203.8 x 177.8cm
The work by Willem De Kooning included in this exhibition, “Two trees on Mary Street – Amen!” 1975, is typical of his later expressive abstract style.
This exhibition is not all paintings. It includes several very interesting collage and sculptural pieces. Jan J Schoonhoven created pieces using paper mache and acrylic paints. The earlier works are in grey and black while the later works are in white. The two most representative of his work during the 1960’s are in white, one is a rectangle filled with intriguing rhythmical grids while the other is a similar style though circular.
Jaap Wagemaker is represented by his oil and burlap collages, “Verdigris or Copper Oxide” 1958 is mostly green with touches of black and burnt sienna with the edges of burlap showing through unpainted. The work titled “Les Traces” includes oils, timber and copper in tones reminiscent of the tones employed by Tom Roberts work of an earlier era, “Bailed up”. While the style is completely different this work by Wagemaker has echoes of dry earth and horses. It is complimented in this exhibition by his brush and ink drawing on buff paper, “Composites” 1964, which has a similar theme to “Traces”.
Somewhere between a painting and a sculpture is the large dramatic piece by Bram Bogart, “Daybreak” (1997). A former contemporary of the CoBrA group, Bogart chose to take his own path and combines his skills as a sculptor, ceramist and painter in these very large works. A combination of oils and his own mix of mortar, the bright yellow of “Daybreak” stands out, dominating the space.
Bram Bogart - Daybreak, 1997
The Australian Dutch artist, Jan Riske’s amazingly intricate works are well represented. Made of the contents of hundreds of squeezed tubes of oil paints his textured paintings invite the viewer to have a closer inspection.
"I carved my own path" … Jan Riske with one of his detailed works. He is one of 15 artists in the Art Gallery of NSW's Intensely Dutch exhibition.
Photo: Jon Reid
A magnificent exhibition, Intensely Dutch, provides a powerful overview of the modern art of Holland since the Second World War.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
o http://www.artgallery.nsw.gov.au/exhibitions/current/intensely_dutch
o http://www.cobra-museum.nl/en/cobra.html
o http://dacc.com.au/indexnext.html
o http://blogs.rnw.nl/curiousorange/2009/06/05/intensely-dutch/
o http://qag.qld.gov.au/collection/contemporary_international_art/willem_de_kooning
o http://www.smh.com.au/news/entertainment/arts/old-master-from-riverwood-via-rotterdam/2009/06/04/1243708567218.html
o http://www.jaski.nl/Kunstenaars/BramBogart/tabid/167/Default.aspx
Earth to Form
Images are missing from this post. Text only.
Exhibition Review August 2009
Exhibition: Earth to Form
Sculpture in clay and mixed media
Tin Sheds Gallery
The University of Sydney
17 July – 8 August 2009
This exhibition is particularly suited to this venue which is known for innovative installation works.
A combination of Australian and visiting International artists have been brought together to express themselves through ceramic forms.
Many of these artists use clay to express their concern for the environment, while others look to the history of their culture.
For example, Anna Choi has replicated the shoes of those high born women of Old China whose feet were bound to keep them small. The pair displayed in a bird cage represents their ‘caged’ existence while the pile underneath shows how this life has been discarded.
Walter Auer’s fired, clay soaked toys which sit in clear boxes, reflect on lost memories of childhood through the transformation of materials.
William Lungas’ work also represents memories – those of architecture and archives.
Those who have chosen to represent concerns with the environment include Ken Yonetani with his wall panels and sculpture titled “The Dead Sea”. Similar in concept to his entry in the Venice Biennale 2009 the theme relates to the death of coral due to man’s destructive use of the environment. This time the works are not of sugar as in the Biennale but of white clay depicting many forms of sea life to make up a large panel of tiles and several sculptures on the floor nearby. The tiles are individually formed to represent the many different types of coral bleached white by the over abundant use of fertilizer on sugar cane fields which then leaches into the nearby ocean damaging the coral reefs. This happens not only in Queensland, Australia but also in other sugar cane growing areas around the world. One might merely think of this installation as interesting textured patterns unless being aware of Yonetani’s concern for the environment. Once one becomes aware of this aspect, the installation takes on thought provoking significance.
Gudrun Klix is also concerned about the environment. In this case it is the conflict between land use by European settlers and the Aboriginal traditions. Depicted as a small village or large homestead the buildings are finely built unglazed porcelain and the printed images on the sides are of various Australian animals and aboriginal figures. Each doorway is filled with desert sands.
A gentler approach is taken by Helen Earl with her multimedia installation grouping. The delicate leaves, flowers and seeds positioned around interesting objects invite the viewer to contemplate and “to become far more aware of the complex relationships and interactions between all forms of life and the planet, Earth.” (Quote from Artist’s Statement).
International artist, Kim Dickey, currently Associate Professor of ceramics at the University of Colorado, Boulder USA, has reinterpreted the ceramic tradition of Bocage with her large sculptures. “She combines the excessive delicacy of porcelaineous flora with the austere and monumentality of a modernist aesthetic.” (Quote from Australian Triennale website).
Photographs do not do justice to this sculpture. The works are much more refined and the large proportions are inspiring.
Also from the USA is Virginia Scotchie whose work is presented on shelving as a wall installation.
Scotchie takes inspiration from everyday objects which are then reduced to absolute form before being pieced and coloured with tactile glazes.
Her work is light hearted giving new meaning to everyday objects that surround us.
There is a remarkable diversity of expression throughout this exhibition. It is pleasing to see that local ceramic artists’ work is both as inspiring and creative as their visiting peers.
References:
Personal Notes of Exhibition
Exhibition flyer
Websites:
o http://faculty.arch.usyd.edu.au/art_workshop/
o http://www.abc.net.au/tv/sundayarts/txt/s2188852.htm
o http://australianceramicstriennale.com/component/option,com_eventlist/Itemid,22/id,17/view,details/
o http://www.freelandgallery.com.au/gudrun_klix.php
o http://www.galleryadagio.com/william-lungas.html
o http://www.colorado.edu/arts/3d/dickey.html
o http://virginiascotchie.com/gallery/pages/VScotchie_032.html
Exhibition Review August 2009
Exhibition: Earth to Form
Sculpture in clay and mixed media
Tin Sheds Gallery
The University of Sydney
17 July – 8 August 2009
This exhibition is particularly suited to this venue which is known for innovative installation works.
A combination of Australian and visiting International artists have been brought together to express themselves through ceramic forms.
Many of these artists use clay to express their concern for the environment, while others look to the history of their culture.
For example, Anna Choi has replicated the shoes of those high born women of Old China whose feet were bound to keep them small. The pair displayed in a bird cage represents their ‘caged’ existence while the pile underneath shows how this life has been discarded.
Walter Auer’s fired, clay soaked toys which sit in clear boxes, reflect on lost memories of childhood through the transformation of materials.
William Lungas’ work also represents memories – those of architecture and archives.
Those who have chosen to represent concerns with the environment include Ken Yonetani with his wall panels and sculpture titled “The Dead Sea”. Similar in concept to his entry in the Venice Biennale 2009 the theme relates to the death of coral due to man’s destructive use of the environment. This time the works are not of sugar as in the Biennale but of white clay depicting many forms of sea life to make up a large panel of tiles and several sculptures on the floor nearby. The tiles are individually formed to represent the many different types of coral bleached white by the over abundant use of fertilizer on sugar cane fields which then leaches into the nearby ocean damaging the coral reefs. This happens not only in Queensland, Australia but also in other sugar cane growing areas around the world. One might merely think of this installation as interesting textured patterns unless being aware of Yonetani’s concern for the environment. Once one becomes aware of this aspect, the installation takes on thought provoking significance.
Gudrun Klix is also concerned about the environment. In this case it is the conflict between land use by European settlers and the Aboriginal traditions. Depicted as a small village or large homestead the buildings are finely built unglazed porcelain and the printed images on the sides are of various Australian animals and aboriginal figures. Each doorway is filled with desert sands.
A gentler approach is taken by Helen Earl with her multimedia installation grouping. The delicate leaves, flowers and seeds positioned around interesting objects invite the viewer to contemplate and “to become far more aware of the complex relationships and interactions between all forms of life and the planet, Earth.” (Quote from Artist’s Statement).
International artist, Kim Dickey, currently Associate Professor of ceramics at the University of Colorado, Boulder USA, has reinterpreted the ceramic tradition of Bocage with her large sculptures. “She combines the excessive delicacy of porcelaineous flora with the austere and monumentality of a modernist aesthetic.” (Quote from Australian Triennale website).
Photographs do not do justice to this sculpture. The works are much more refined and the large proportions are inspiring.
Also from the USA is Virginia Scotchie whose work is presented on shelving as a wall installation.
Scotchie takes inspiration from everyday objects which are then reduced to absolute form before being pieced and coloured with tactile glazes.
Her work is light hearted giving new meaning to everyday objects that surround us.
There is a remarkable diversity of expression throughout this exhibition. It is pleasing to see that local ceramic artists’ work is both as inspiring and creative as their visiting peers.
References:
Personal Notes of Exhibition
Exhibition flyer
Websites:
o http://faculty.arch.usyd.edu.au/art_workshop/
o http://www.abc.net.au/tv/sundayarts/txt/s2188852.htm
o http://australianceramicstriennale.com/component/option,com_eventlist/Itemid,22/id,17/view,details/
o http://www.freelandgallery.com.au/gudrun_klix.php
o http://www.galleryadagio.com/william-lungas.html
o http://www.colorado.edu/arts/3d/dickey.html
o http://virginiascotchie.com/gallery/pages/VScotchie_032.html
Cressida Campbell
Exhibition Review February 2009
Exhibition: Timeless: The Art of Cressida Campbell
S.H. Ervin Gallery
10 January – 22 February 2009
The inspiration is a very personal one. I’ve always felt the need to draw things and respond to what’s around me as a way of experiencing life.
Cressida Campbell
The 7.30 Report - Australian Broadcasting Corporation
Broadcast: 05/03/2009
The work of Cressida Campbell is very pleasing to the eye. There is nothing garish or dramatic about her pieces. They offer interesting patterns and views of our everyday lives, from the workings of Sydney Harbour to the veranda of an Armidale country home.
This retrospective covers 30 years of the artist’s working life. Some works are woodblock mono prints on paper while others are the woodblock itself.
The gallery of the National Trust is a fitting venue for this exhibition. For the first time in my experience it was necessary to queue for entry to the artist’s talk, which took place on a Sunday afternoon and was hosted by Simon Marnie, ABC Radio journalist and friend of the artist.
Having such a host allowed the artist to expand on questions put to her rather than relying on a prepared speech. A novel approach suited to her retiring manner. It allowed an explanation of her artistic and journalist family background as well as a comprehensive explanation of her printing technique.
It is her particular style of printing which makes her work unique. While her work is influenced by her time in Japan with traditional woodblock print makers, she has acquired her own technique. Rather than use printing inks, Campbell uses watercolour paints directly onto the board from which she then produces a mono print. She starts by drawing directly from her subject onto the board. This drawing is then cut into with an engraving tool to highlight the subject and to provide divisions between colours and patterns. The board is then painted with the watercolour paint and at least two layers are applied. When finished and ready for printing the block is misted with water before good quality paper is laid over the top and using a hand roller, the image is carefully transferred. This process may take several hours to complete.
The blocks and the prints provide differing qualities of the same image. The blocks have a chalky, motley textured appearance while the prints have a smoother, fresher look.
Campbell’s inspiration, while capturing the beauty of the mundane is inspired by the visual drama of patterns, line and colour which capture a mood of interesting tranquillity.
Balls Head 1986
Woodblock Print 3/5
Her early work is somewhat reminiscent of 1920’s artist, Margaret Preston. They both depicted scenes of Sydney harbour and Australian flora using the medium of woodblock prints. Their styles are quite different however. Campbell’s later work shows more influence of her friend and mentor, Margaret Olley, with its softer hues and more intricate interior scenes.
Margaret Olley interior, 1992. Unique woodblock print.
This is a thoroughly enjoyable exhibition. The work is displayed well and the venue suits the style of work. The addition of a display cabinet showing Campbell’s work tools encourages the viewer to further appreciate her art.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
http://www.nsw.nationaltrust.org.au/properties/gallery/exhibitions/cressida/
http://www.abc.net.au/7.30/content/2009/s2508706.htm
• Television: The 7.30 Report, ABC TV - 5/3/2009
Exhibition: Timeless: The Art of Cressida Campbell
S.H. Ervin Gallery
10 January – 22 February 2009
The inspiration is a very personal one. I’ve always felt the need to draw things and respond to what’s around me as a way of experiencing life.
Cressida Campbell
The 7.30 Report - Australian Broadcasting Corporation
Broadcast: 05/03/2009
The work of Cressida Campbell is very pleasing to the eye. There is nothing garish or dramatic about her pieces. They offer interesting patterns and views of our everyday lives, from the workings of Sydney Harbour to the veranda of an Armidale country home.
This retrospective covers 30 years of the artist’s working life. Some works are woodblock mono prints on paper while others are the woodblock itself.
The gallery of the National Trust is a fitting venue for this exhibition. For the first time in my experience it was necessary to queue for entry to the artist’s talk, which took place on a Sunday afternoon and was hosted by Simon Marnie, ABC Radio journalist and friend of the artist.
Having such a host allowed the artist to expand on questions put to her rather than relying on a prepared speech. A novel approach suited to her retiring manner. It allowed an explanation of her artistic and journalist family background as well as a comprehensive explanation of her printing technique.
It is her particular style of printing which makes her work unique. While her work is influenced by her time in Japan with traditional woodblock print makers, she has acquired her own technique. Rather than use printing inks, Campbell uses watercolour paints directly onto the board from which she then produces a mono print. She starts by drawing directly from her subject onto the board. This drawing is then cut into with an engraving tool to highlight the subject and to provide divisions between colours and patterns. The board is then painted with the watercolour paint and at least two layers are applied. When finished and ready for printing the block is misted with water before good quality paper is laid over the top and using a hand roller, the image is carefully transferred. This process may take several hours to complete.
The blocks and the prints provide differing qualities of the same image. The blocks have a chalky, motley textured appearance while the prints have a smoother, fresher look.
Campbell’s inspiration, while capturing the beauty of the mundane is inspired by the visual drama of patterns, line and colour which capture a mood of interesting tranquillity.
Balls Head 1986
Woodblock Print 3/5
Her early work is somewhat reminiscent of 1920’s artist, Margaret Preston. They both depicted scenes of Sydney harbour and Australian flora using the medium of woodblock prints. Their styles are quite different however. Campbell’s later work shows more influence of her friend and mentor, Margaret Olley, with its softer hues and more intricate interior scenes.
Margaret Olley interior, 1992. Unique woodblock print.
This is a thoroughly enjoyable exhibition. The work is displayed well and the venue suits the style of work. The addition of a display cabinet showing Campbell’s work tools encourages the viewer to further appreciate her art.
References:
Personal Notes of Exhibition
Exhibition flyers
• Websites:
http://www.nsw.nationaltrust.org.au/properties/gallery/exhibitions/cressida/
http://www.abc.net.au/7.30/content/2009/s2508706.htm
• Television: The 7.30 Report, ABC TV - 5/3/2009
Archibald Prize 2009
Exhibition Review March 2009
Exhibition: 09 Archibald Prize
Art Gallery of NSW
7 March – 24 May 2009
This year, The Archibald has once again presented a wonderful range of styles. While I can appreciate the quality of the work of the prize winner I found other paintings more to my liking.
I particularly liked the portrait of young Aboriginal actor, Brandon Walters who had a supporting role in the film, Australia. The partial view of his face and the dark shadows make this a very interesting composition.
Vincent Fantauzzo winner of the People’s Choice Award last year, has again chosen a familiar face of a popular actor as his subject. His interest in the Italian Renaissance artists is shown in the wonderful depth of shadow and light and the smooth skin tones of this painting.
Figure 2 Brandon by Vincent Fantauzzo (oil on linen)
Another Aboriginal subject was chosen by artist Jan Williamson. Williamson chose to depict Nancy Kunoth Petyarr, an artist herself and a Utopian Elder who lives 4hrs NE of Alice Springs.
The large predominately blue painting seems to capture the harsh desert sunshine and small eddies of heated air around the moving figure of the subject. Williamson has been successful in portraying the pride and respect given Petyarr by her community.
Figure 3 Nancy Kunoth Petyarr by Jan Williamson
Titled Flacco’s chariot, artist, Paul Jackson was successful in obtaining this years Packing Room Prize. The quirky detail of mice emerging from a hole in the wall and climbing up the chariot like chair, adds to the fun nature of the subject, comedian, Paul Livingston in his stage persona of Flacco.
I particularly like the trademark pose (pointing to the curl in the middle of his bald head) and the additional drawing on the wall behind and to the left of the seated figure. I thought the shadows of the figure were very well done and liked the additional details of animals decorating the chair. It all added to the character of the subject.
I did find the positioning of the subject’s shoes a little disconcerting. They seem to meet the floor on an odd angle. This may just be the perspective the artist wanted as the figure is shown at an angle, sitting in a corner with the chair on a wooden floor.
Figure 4 Flacco’s chariot by Paul Jackson (oil on linen)
Artist Zhansui Kordelya Chi was also a finalist last year. This year her subject was well known Melbourne radio announcer, Neil Mitchell.
The large work has a background of interesting strokes of colour in dark shades which some how contrast well with the soft grey bearded face of Mitchell.
The sporadic vertical lines add extra interest to the portrait giving the impression of an outdoor setting suited to Mitchell’s rugged craggy face.
Figure 5 Good morning, this is Neil Mitchell by Zhansui Kordelya Chi
This year’s Archibald offers the work of some very talented artists, however I was not as impressed with the overall exhibition as I was last year. I found some of the paintings to be disappointing for such a prestigious competition, for example, the collage by Richard Larter and the minimalist approach of Abbey McCulloch. The smaller paintings in the second room could have been displayed better as they were lost in the corners.
I will certainly attend the exhibition again to reassess my opinion and to also take in the entries in the Wynne and Sulman Prizes.
References:
Personal Notes of Exhibition
Exhibition flyer
• Websites:
o http://www.thearchibaldprize.com.au/finalists/archibald
o http://www.vincentfantauzzo.com/
o http://www.diannetanzergallery.net.au/artist.php?name=Vincent%20Fantauzzo
o http://www.aboriginalartnews.com.au/2009/03/archibaldwynne-prizes-get-a-bit-indigenous.php
o http://www.smh.com.au/news/entertainment/arts/whacko-flacco--hes-the-pick-of-the-packers/2009/02/25/1235237741258.html
o http://www.theage.com.au/opinion/orators-flip-side-speaks-volumes-20090302-8lkh.html?page=2
Exhibition: 09 Archibald Prize
Art Gallery of NSW
7 March – 24 May 2009
This year, The Archibald has once again presented a wonderful range of styles. While I can appreciate the quality of the work of the prize winner I found other paintings more to my liking.
I particularly liked the portrait of young Aboriginal actor, Brandon Walters who had a supporting role in the film, Australia. The partial view of his face and the dark shadows make this a very interesting composition.
Vincent Fantauzzo winner of the People’s Choice Award last year, has again chosen a familiar face of a popular actor as his subject. His interest in the Italian Renaissance artists is shown in the wonderful depth of shadow and light and the smooth skin tones of this painting.
Figure 2 Brandon by Vincent Fantauzzo (oil on linen)
Another Aboriginal subject was chosen by artist Jan Williamson. Williamson chose to depict Nancy Kunoth Petyarr, an artist herself and a Utopian Elder who lives 4hrs NE of Alice Springs.
The large predominately blue painting seems to capture the harsh desert sunshine and small eddies of heated air around the moving figure of the subject. Williamson has been successful in portraying the pride and respect given Petyarr by her community.
Figure 3 Nancy Kunoth Petyarr by Jan Williamson
Titled Flacco’s chariot, artist, Paul Jackson was successful in obtaining this years Packing Room Prize. The quirky detail of mice emerging from a hole in the wall and climbing up the chariot like chair, adds to the fun nature of the subject, comedian, Paul Livingston in his stage persona of Flacco.
I particularly like the trademark pose (pointing to the curl in the middle of his bald head) and the additional drawing on the wall behind and to the left of the seated figure. I thought the shadows of the figure were very well done and liked the additional details of animals decorating the chair. It all added to the character of the subject.
I did find the positioning of the subject’s shoes a little disconcerting. They seem to meet the floor on an odd angle. This may just be the perspective the artist wanted as the figure is shown at an angle, sitting in a corner with the chair on a wooden floor.
Figure 4 Flacco’s chariot by Paul Jackson (oil on linen)
Artist Zhansui Kordelya Chi was also a finalist last year. This year her subject was well known Melbourne radio announcer, Neil Mitchell.
The large work has a background of interesting strokes of colour in dark shades which some how contrast well with the soft grey bearded face of Mitchell.
The sporadic vertical lines add extra interest to the portrait giving the impression of an outdoor setting suited to Mitchell’s rugged craggy face.
Figure 5 Good morning, this is Neil Mitchell by Zhansui Kordelya Chi
This year’s Archibald offers the work of some very talented artists, however I was not as impressed with the overall exhibition as I was last year. I found some of the paintings to be disappointing for such a prestigious competition, for example, the collage by Richard Larter and the minimalist approach of Abbey McCulloch. The smaller paintings in the second room could have been displayed better as they were lost in the corners.
I will certainly attend the exhibition again to reassess my opinion and to also take in the entries in the Wynne and Sulman Prizes.
References:
Personal Notes of Exhibition
Exhibition flyer
• Websites:
o http://www.thearchibaldprize.com.au/finalists/archibald
o http://www.vincentfantauzzo.com/
o http://www.diannetanzergallery.net.au/artist.php?name=Vincent%20Fantauzzo
o http://www.aboriginalartnews.com.au/2009/03/archibaldwynne-prizes-get-a-bit-indigenous.php
o http://www.smh.com.au/news/entertainment/arts/whacko-flacco--hes-the-pick-of-the-packers/2009/02/25/1235237741258.html
o http://www.theage.com.au/opinion/orators-flip-side-speaks-volumes-20090302-8lkh.html?page=2
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