2006 Biennial of Australian Art: 21st Century Modern 4 March – 7 May 2006

Education Pack

INTRODUCTION TO THE EXHIBITION

The Adelaide Biennial of Australian Art was first staged at the Art Gallery of South in 1990. The Biennial has a very important place in the contemporary visual arts calendar in Australia, providing regular surveys of current Australian art practice.

Each of the nine Biennials (staged over sixteen years) has had a different curator who has brought an original and different perspective highlighting new and exciting trends of contemporary art practice in Australia.

The 2006 Adelaide Biennial of Australian Art: 21st Century Modern, curated by Linda Michael, is a selective cross-section of contemporary art practice, highlighting several generations of artists whose work is influenced by modernism. Artists respond to the collaborative, experimental or utopian spirit of modern art movements, give a digital twist to modern forms, pay homage to modern artists, and revive their childhood encounters with modern design across its multidisciplinary forms.

“In 2006 the Biennial recognises the continuing importance of modern art to contemporary artists, whether for its inventiveness, utopian spirit, or formal qualities. The exhibition shows a shift away from the melancholic or critical approach to modernist art history that was common in art of the 1980s and 1990s”, says Linda Michael, curator for the 2006 Adelaide Biennial of Australian Art.

Artists participating:

Brook Andrew, James Angus, Frank Bauer, Janet Burchill & Jennifer McCamley, Debra Dawes, Domenico de Clario, A. D. S. Donaldson, Gareth Donnelly, Diena Georgetti, Shane Haseman, Raafat Ishak, Narelle Jubelin, Anne-Marie May, John Meade, Arlo Mountford, Vanila Netto, John Nixon, Rose Nolan, Robert Owen, An- drew Petrusevics, Scott Redford, Jackie Redgate, Robert Rooney, David Rosetzky, Slave (A Slave Project organised by Nick Selenitsch, Rob McKenzie, Christopher L. G. Hill and Kain Picken, with contributions from Lizzy Newman, Mikala Dwyer and Grant Stevens), Daniel von Sturmer and Anne Wallace. 21st Century Modern

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VISITING THE EXHIBITION

Please book in advance through Education Bookings on 8207 7033 to ensure your students maximise their viewing of the exhibition. If you would like to use the rear lawn area to have lunch, or use locker spaces, please indicate when you book your group. There is also a space available with shaded seating behind the Museum. The popularity of the Adelaide Biennial exhibition often means the exhibition space is busy, preventing its use as a lecture space. If possible, brief your students with tasks and expectations before they visit the exhibition, and if you have a large group, we suggest that you divide into smaller groups.

HOW TO USE THIS PACK AND STRUCTURE YOUR VISIT

The aim of this pack is to provide an introduction to the exhibition and information about several works on display, as well as themes and issues to consider and discuss. It also suggests ways of looking at contemporary art. This pack can assist with pre-visit preparation, as information for self-guided tours, and to develop post-visit activities. It is recommended that teachers adapt the education pack to suit their students’ needs, or to integrate areas of this resource into existing classroom units of study. Words in bold are defined in the glossary.

EXPLORING THROUGH QUESTIONING

One way to explore the exhibition would be to have a general look through, and then to focus on a selection of works, which may include those contained in this education pack. The works in this exhibition are primarily visual objects so being able to describe accurately what you are looking at is important. In doing this you will use words which enable others to know what you are thinking. What you see and what you think matters. Forget for a moment whether or not the works make sense. Try to respond to the works in terms of what you see and how you connect with them. Additional information and research will help you identify some broader art/social contexts. Right now, your first impressions matter.

SCHOOL CHECKLIST

Here are a few guidelines to assist your planning for the visit. Please check them out before the day of your visit as some items involve briefing students and other staff/helpers.

Safe behaviour Two things to emphasize with students: • Don’t touch or stand too near works • Move slowly and carefully at all times

Bag storage Bag storage is limited. Don’t bring bags unless necessary. The bag store is located next to the Information / Visit Registration Desk. This room is locked but for additional security advise students to retain small valuables (e.g. money, phones). Adults with large bags (e.g. back packs) will need to deposit these with security at the Cloak Desk (next to the Information Desk). Retain and carry medical packs as required or leave for ready access at the Cloak Desk.

Scribing/drawing - Bring pencils (not biros/pens) and clip boards

Photography inside the Gallery is not permitted

Enter the Gallery via the West Wing (round doors) – not the North Terrace entrance

Register your group on arrival at the Information Desk

21st Century Modern Wheelchair access is available throughout the Gallery

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FIRST IMPRESSIONS OF THE EXHIBITION

What are your first impressions of this year’s Adelaide Biennial of Australian Art: 21st Century Modern? What do these selected artists seem to be interested in? (Students could make a list) Do any of the artists share any common interests and/or themes?

QUESTIONS TO ASK WHEN LOOKING AT INDIVIDUAL WORKS

FIRST IMPRESSIONS?

• What was your first reaction to the work? Can you think of any reasons for that reaction? • What did you notice first? • Does the work connect at all with your way of thinking or with past memories? If so, how? • Did you find that others held similar or different views to you, about the work? What were these views? • What do you think the artist wants to communicate?

WHAT CAN YOU SEE?

• What materials and processes has the artist used to make the work? • What is the work? (Is it a , film / video, photograph, painting, installation, design object or a combination of these or, perhaps, something else?) • Does this work have an unusual design, layout or composition? Can you describe or sketch this? • What size or dimension is the work?

WHAT IS IT ABOUT? (Subject and Meaning)

• Is the work about a subject, issue or theme? • Could the work have a symbolic, moral or political meaning? • Does it encourage you to think about aspects of life or art in a new way? • What information is available in the Gallery? (e.g. wall text or caption) Does this information influence or change the way you see the work?

WHAT INFLUENCES HAVE SHAPED THE WORK? (Art in context: The making and meaning of a work)

• Do you think that the artist’s background can tell us about why or how it was created? (Have a look at the individual artist pages in this education pack.) • What questions would you ask the artist about this work, if they were here? • Does the work link to other works made by the artist in this exhibition? (Research other works created by artist’s that you connect with from this exhibition.) • How does this artists work link to that of other modern artists? Who are they, and what are the similarities? • What , if anything, does the work show us about the idea of valuing the influences of others? • What have critics, curators and / or writers said about this artist and their work? (See artist pages in this education pack and make a collection of the wide range of reviews and press coverage made prior to, and during the exhibition.) • Does this work link or comment on contemporary social, cultural and political issues such as consumerism, materialism, globalisation and design? Explain how the artist communicates this. • Is there a connection between the materials, the way they have been used, and the artist’s meaning?

21st Century Modern

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Peace, The Man and Hope 2005 2005 Hope Man and The Peace,

Biography century European propaganda art, and objects of consumer desire – including Born in 1970, Sydney. packs of Japanese cigarettes with the Lives in . names Hope, Peace and Frontier – words 1993 Bachelor of Visual Arts, University of that suggest an aspiration for freedom Western Sydney and change, wryly re-presented by 1998 Master of Fine Arts, University of Andrew as appropriated brand-logos. New South Wales, Sydney These works are brightly coloured, graphically intense, presenting an Selected Solo Exhibitions ambiguous take on consumerism 2005 Greenaway Art Gallery, Adelaide; through the engaging veneer of Pop-Art Stills Gallery, Sydney; Gallery Gabrielle style imagery. Pizzi, Melbourne 2004 Stills Gallery, Sydney; Gallery Artist works Gabrielle Pizzi, Melbourne 2003 Greenaway Art Gallery, Adelaide; Peace, The Man and Hope 2005 International Perspectives on Peace and screen-print collage, triptych Reconciliation University of Melbourne Kalmadain/Composer 2005 2002 Republic Tower Visible Art screen-print collages, silver and gold gun Foundation, Melbourne edition with Swarovski crystals, blue and 2001 Experimental Art Foundation, red gun edition with Swarovski crystals Adelaide; Artspace, Sydney; Sanskriti Kendra, Dehli, India Against all Odds 2005 screen-print collages with variations Selected Group Exhibitions 2005 Black on White Centre for Blackblack 2005 Contemporary Photography, Melbourne screen-print collages, above works The Butterfly Effect Australian Museum, printed by Brook Andrew & Larry Rawling Sydney Untitled 2005 C’town Bling Campbelltown Arts Centre, wood, bicycle parts, Fabricated by Marley Sydney Dawson, Sponsored by a Sydney College Colour Power National Gallery of of the Arts residency, 2005 , Melbourne SHIMA—SISTERS Fujieda City Museum, Untitled 2005 Japan; Penrith Regional Gallery and wood, steel, Fabricated by Shaun Kirby. Lewers Bequest, Sydney

Brook Andrew All works courtesy of the artist; Gabrielle

Pizzi Gallery, Melbourne; Stills Gallery, Artwork information Sydney; & Greenaway Art Gallery, In his work he has explored complex Adelaide issues of cultural diversity in relation to questions of beauty; the visual forms of Websites corporate and consumer culture; and the http://www.stillsgallery.com.au/artists/andrew/ power of the written text. The messages in Andrew’s work are http://www.greenaway.com.au/2004/ARTISTS/ rarely obvious. His screen-print and BrookAndrew/gallery.htm

collage works mix up Indigenous Wiradjuri link to Russian propaganda works: motifs, graphic codes of early twentieth- http://en.wikipedia.org/wiki/Gustav_Klutsis

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Gorilla gorilla gorilla 2005 gorilla gorilla Gorilla

Biography Modern Art, ; Contemporary Art Centre of South Australia, Adelaide Born in 1970, . Lives in Sydney. Artwork information 1990 Bachelor of Arts (Fine Arts), Curtin University of Technology, Western Aust. James Angus’s Gorilla gorilla gorilla is a 1998 Master of Fine Arts (Sculpture), Yale life-size copy of an adult male gorilla skull. University School of Art, USA It was mapped from a real skull in the Macleay Museum at the University of Selected Solo Exhibitions Sydney and transformed into the parquetry 2006 James Angus Museum of sculpture we see here. Angus’s gorilla has Contemporary Art, Sydney been stripped back to just a head. 2004 Truck Corridor Art Gallery of NSW Angus was attracted to the gorilla because Contemporary Projects, Sydney; Gavin he wanted ‘something which had clearly Brown’s enterprise, New York, USA defined binocular cavities. This sculpture is 2002 Roslyn Oxley9 Gallery, Sydney very optical, you might say’.

Selected Group Exhibitions Imagine, wrapping our hands around it, 2005 MCA Collection: New Acquisitions staring through its eyes into the back of its in Context Museum of Contemporary Art, skull. Its eyes are mirrors of our eyes. The Sydney gorilla – that otherwise wild and proud Wall Power Art Gallery of WA, Perth beast – is reduced to a vessel for our C’town Bling curator Anne Loxley, inventiveness and inquisitiveness…what Campelltown Arts Centre, NSW makes him tick? National Sculpture Prize exhibition National Gallery of Australia, Artist works 2004 Gridlock: cities, structures, spaces Govett-Brewster Art Gallery, Contemporary Gorilla gorilla gorilla 2005 Art Museum, , NZ wood veneers, nylon Contemporary Collection Benefactors: 12th Annual Dinner & Art Auction, Art Untitled 2002, revised 2006

James Angus Gallery of New South Wales, Sydney wall painting, synthetic polymer paint on 2003 Strange Days Museum of wall Contemporary Art, Chicago Face Up: Contemporary Art from installation dimensions variable Australia Hamburger Bahnhof, Museum (to the scale 312:242) for the Present, courtesy of the artist; Roslyn Oxley9 GBE (Modern) Gavin Brown’s enterprise, Gallery, Sydney; and Gavin Brown’s New York, USA Enterprise, New York Still Life: Inaugural Balnaves Websites Foundation Sculpture Project Art Gallery of New South Wales, Sydney http://www.roslynoxley9.com.au/artists/5/ Gulliver’s Travels Perth Institute of James_Angus/ Contemporary Art, Perth; Institute of

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, #018, #017 (top) Lichtbild #013, #016, #019 #019 #016, #013, Lichtbild

Biography illuminated, a theatrical shadow dances through the layers of mesh panelling and shadowy bars from the Born in 1942, Hanover, Germany. internal structure spill out onto the surrounding Lives in Adelaide. walls. Under conditions of natural lighting they become abstract paintings, modernist in their 1971 Arrived in Australia geometric structure and coloured planes. 1965-69 Industrial Design and Architecture, Werkkunst Schule, Kassel and Hochschule Fuer Artist works Guestaltung, Hamburg, Germany Lichtbild #016 2003 Selected Solo Exhibitions anodised aluminium, stainless steel, 12 volt xenon 2004 Anibou, Sydney lamps, dye colours: purple, blue 2003 BMGART, Adelaide Collection: Art Gallery of South Australia Gift of Michael Drew, Penelope Hackett-Jones, Anne Selected Group Exhibitions Kidman, David McKee and Graham Prior through 2005 A Vast Terrain: Exploring Uncommon the Art Gallery Foundation Collectors’ Club 2004 Ground Form Gallery, Perth; Object Gallery, Sydney; Melbourne Museum Lichtbild #010 2003 2002 Material Culture: Aspects of contemporary anodised aluminium, stainless steel, 12 volt xenon Australian craft and design National Gallery of lamps, dye colours: clear, grey, black, blue Australia, Canberra courtesy of the artist; Anibou, Sydney & Melbourne; International Design, Aptos Cruz Gallery, Adelaide and BMG Gallery, Adelaide

Artwork information Lichtbild #023 2005 anodised aluminium, stainless steel, 12 volt xenon In 1984 Bauer began to develop ideas for low- lamps, LED lights, dye colours: clear, grey, black, voltage building block lighting systems that found electronics: Andrew Wilson. Courtesy of the artist; expression after 1989, when he took up full-time Anibou, Sydney & Melbourne; and BMG Gallery, studio practice. Since this time his lighting designs Adelaide have filled a niche market, and in aluminium and stainless steel he has forged a unique contribution Lichtbild Yellow 2003 Frank Bauer to the language of light perception. anodised aluminium, stainless steel, 12 volt xenon Bauer’s Lichtbilder series are a three-dimensional lamps, dye colour yellow expression that channels light through a cubic grid private collection, Adelaide of rods hung with perforated anodised aluminum panels. Delicate and highly sculptural, Bauer’s Lichtbild #021 2003 patent FB grid lighting system is extremely versatile, anodised aluminium, stainless steel, 12 volt xenon small diffused lamps being placed at regular lamps, dye colours: black, red, purple, blue intervals, one and two deep inside the cubic private collection, Adelaide structure. Websites The rectangular superstructure of Lichtbild #016 and Lichtbild #023 supports multiple layers of http://www.bmgart.com.au/individual_artists/ perforated anodised aluminium to create a sense bauer_frank/pages/main.htm of depth allied to foreground and background. When

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Shield Wall 2004-2005 (16 shields)

Biographies Pinakotech der Moderne, Munich; Printemps de Septembre, Toulouse, France Janet Burchill 2003 - This Is Not America Austelling Bei Horst Born in 1955, Melbourne. Lives in Melbourne. Schuler, Dusseldorf, Queensland College of Art 1983—Bachelor of Arts (Visual Arts), Sydney Gallery, Brisbane College of Arts Bethaniendamm David Pestorius Projects, Berlin

Jennifer McCamley 2002 - Burchill/McCamley, ADS Donaldson, Born in 1957, Brisbane. Lives in Melbourne. Gary Wilson, Stephen Bram, CNR, Melbourne 1981—Bachelor of Arts (Communications), Univer- 2001 - Parallel Structures Southbank Corporation, sity of Technology, Sydney Brisbane; Gertrude Contemporary Art Spaces, Melbourne nnifer McCamley The artists have been exhibiting individually and National Sculpture Prize and Exhibition National collaboratively since 1985. Gallery of Australia

Selected Collaborative Solo Exhibitions Artwork information 2005 - Interesting Times\; Focus on contempo- rary Australian art Museum of Contemporary Throughout their long career as collaborators Janet Projects Space, Art Gallery of NSW, Sydney Burchill & Jennifer McCamley have never made an Neon: Janet Burchill and Jennifer McCamley installation. From the very beginning of their career, Level 2 Contemporary Projects Space, Art Gallery it is furniture and design that has represented a of NSW, Sydney means for organising and presenting their work. 2004 - All That Rises Must Converge Anna It is almost as though the hard, reflective surface of Schwartz Gallery, Melbourne their works, their pristine, gestureless touch, their 2003 - 3 Neons Anna Schwartz Gallery, conceptual density and complexity, were designed Melbourne to keep the spectator out, with their difficult and One Location: Berlin 1992–1996 (1997), Art unbending nature doubling the artists’ own decision Gallery of New South Wales, Sydney to work in a deliberately unchanged manner 2001 Tip Of The Iceberg, Selected Works throughout all the different artistic styles. 1985–2001: Janet Burchill/Jennifer McCamley Throughout the history of modernism tables and University Art Museum, , chairs have been the subject of artistic attention: Brisbane; The Ian Potter Museum of Art, University the Constructivists, the Bauhaus, De Stijl and of Melbourne Donald Judd have all put their mind to them. In this exhibition Burchill & McCamley create a new Selected Collaborative Group Exhibitions piece Barbara Hepworth Table (2005). 2005 - Unscripted: Language in Contemporary Artists’ collaborative works Art Art Gallery of New South Wales, Sydney 2004 - 1 + 1 + 1 Yuill/Crowley, Sydney, curator: Barbara Hepworth Table 2005 Janet Burchill polyurethane, wood, steel Ed Kuepper's MFLL David Pestorius Projects; courtesy of the artists and Anna Schwartz Gallery, The Studio, Sydney Opera House; Institute of Melbourne Modern Art, Brisbane; Fondation Cartier pour l’art contemporain, Paris; Volksbuhne am Rose- Websites Luxemburg-Platz, Berlin; Austrian Film Museum, http://www.annaschwartzgallery.com/ Vienna; Burgtheater, Vienna; Musterraum;

Janet Janet Burchill & Je

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violet ectoplasm: backs and fronts (for John Brack) violetBrack) ectoplasm: backsJohn and fronts (for

Biography Artist works

Domenico de Clario was born in Trieste, Italy, in seven times thank you 2004 1947 and migrated to Australia in 1956. From the industrial paint and lacquer on gesso and wood mid to the late nineteen-sixties he studied architec- a suite of seven paintings: ture at Melbourne University and contemporary art red ectoplasm: beaumaris cliffs (for Clarice in Milan’s Accademia di Belle Arti di Brera. He Beckett), private collection, Perth gained an MA (1998) and a PhD (2001) from Melbourne’s VUT with theses/performances orange ectoplasm: everlastings (for Grace focusing on Italo Calvino’s Invisible Cities. Cossington Smith), Collection: Victorian legal Aid

violet ectoplasm: backs and fronts Since 1966 he has held more than 120 solo (for John Brack) exhibitions and presented site-specific performances in museums and galleries worldwide. yellow ectoplasm: ghost gums and ranges He has been awarded numerous residencies and (for Albert Namatjira) grants by both the Australia Council (including the green ectaoplasm: matter painting Australia Council Fellowship in 1996-8) and by (for Ralph Balson) various other international institutions, and is represented in major public and private collections blue ectoplasm: yam dreaming both in Australia and overseas. His most recent (for Emily Kngwarreye) major project was titled a second simplicity, and indigo ectoplasm: tudor house was exhibited at the Australian Centre for (for Howard Arkley) Contemporary Art in Melbourne in 2005. Above works courtesy of the artist and Arc One He is currently Head of the School of Contempo- Gallery, Melbourne rary Arts at Edith Cowan University in Perth. Websites Artist comment http://www.spangalleries.com.au/arc/artists/ These seven paintings were conceived as domenicoDeClario/sevenTimesThankyou.asp homages to seven Australian artists no longer with us. Each painting refers to a specific work by each http://www.theage.com.au/news/Reviews/ of the artists as the initial reference point of the Domenico-De- homaging process, but no attempt is made to Clario/2005/02/22/1109046904965.html recreate the original work nor to appropriate it for a http://www.southproject.org/speakers/declario.htm new work; each homage-painting is made in one sitting, using sign-writing paint and industrial http://www.pica.org.au/art02/h-symp-declario.html brushes, and each is made after a four-week period of familiarisation with the reference work. http://home.vicnet.net.au/~herring/tonglen.htm

Each of the seven paintings is made using primarily http://www.thequietintheland.org/brazil/ one of seven spectrum colours. category.php?id=domenico-de-clario

My deepest thanks go to each of the seven artists http://www.accaonline.org.au/exhibitions? Domenico de Clario to whose memories seven times thank you is selector=exhibit:24 dedicated: Clarice Beckett, Grace Cossington http://www.cyclicdefrost.com/article.php? Smith, Albert Namatjira, Ralph Balson, Emily Kame article=150 Kngwarreye, Howard Arkley and John Brack.

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Biography Artist works

Born in 1966, Alice Springs, Northern Territory. Lives I need you to be there, so that I can be here 2005 in Brisbane. synthetic polymer paint on wood, private collection, , New Zealand Selected Solo Exhibitions 2004 - So far I still remember who you are but So far I still know who you are, but I wonder who wonder who you'll be Hamish McKay Gallery, you’ll be 2004 Wellington, New Zealand synthetic polymer paint on canvas, private collection, 2003 - Lost to the thing of it Hamish McKay Gallery, New Zealand Wellington, New Zealand 2002 - The Humanity of Abstract Painting This painting is all I know, I’ve got nothing else to Hamish McKay Gallery, Wellington, New Zealand show 2005 2001 - Hamish McKay Gallery, Wellington, NZ synthetic polymer paint on wood I hardly know her, and my life is nearly over Sarah Cottier Gallery, Sydney When I’m suffering bring me an animal, I don’t care if it’s alive or dead 2006 Selected Group Exhibitions synthetic polymer paint on canvas 2005 - Store 5 is... Anna Schwartz Gallery, Melbourne The Humanity of Abstract Painting 2005 Pitch Your Own Tent: Art Projects/Store 5/1st Flr synthetic polymer paint on canvas Museum of Art, Melbourne Makeover Govett-Brewster Art Gallery, The Civilisation of the Abstract 2006 New Plymouth synthetic polymer paint on canvas Predictive TXT curated by Hany Armanious, Hamish McKay Gallery, Wellington, New Zealand above works courtesy of the artist; Darren Knight Hamish McKay Gallery, NADA Art Fair, Miami, USA Gallery, Sydney; and Hamish McKay Gallery, Wel- 2004 - Post Contemporary Painting Institute of lington, New Zealand Modern Art, Brisbane Fantasy Island Michael Lett Gallery, Websites: Hamish McKay Gallery, Frieze Art Fair, London 2003 - 10 Sarah Cottier Gallery, Sydney http://www.darrenknightgallery.com/biograph/ Abstraction Monash University Museum of Art, geor_cv.html#top Melbourne http://www.hamishmckaygallery.com/ Home & Away: Place and Identity in Recent artist_home.php?artist=Diena%20Georgetti# Australian Art, Monash University Museum of Art http://www.absolutearts.com/ Melbourne; Swan Hill Gallery, Victoria artsnews/2005/05/16/33008.html 2002 - Final Exhibition First Floor, Melbourne Sarah Cottier Gallery, ARCO Art Fair, Madrid Sarah Cottier Gallery, Basel Art Fair, Basel Hamish McKay Gallery, Liste Art Fair, Basel 2001 - Painting: An arcane technology, Ian Potter Museum of Art, University of Melbourne, Melbourne Sarah Cottier Gallery, ARCO Art Fair, Madrid Sarah Cottier Gallery, Basel Art Fair, Basel

Artist comment

In making these paintings a desperation is felt. In starting there is a yes, yes. Days pass, and disappointment begins. The painting isn’t as you need it to be. I take it with me through my day, and night life. I set it in the bathroom while I bathe. I arrange it amongst my interior furnishings, and invite social events for it to be present at. I look for it in the glow of

Diena Georgetti Diena Georgetti the TV. I catch it in the mirror, all the while telling myself, ‘If you catch it unguarded, and you like it, it’s good. It’s a good painting’. I continue testing it like this until it proves to indeed be a construction made of every activity, design, thought, object of the situation. If I am forced to cry in that time and the painting comforts me, it has passed and will survive. If it fails to comfort, it mocks, and will be destroyed. I need you to be there, so that I can be here 2005

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Biography classified as domestic in both scale and intent. In this way, May’s works reiterate Born: Melbourne 1965 the value and potential of craft practice. Lives & Works Melbourne. Jeff Khan Studied at Victorian College, Melbourne 1984-87. Artists works

Recent Selected exhibitions include: Untitled 2005 Pitch Your Own Tent, Monash University felt, silkscreen Museum of Art Heide Museum of Modern Art, Melbourne, Store 5 is…, Anna Untitled 2005 Schwartz Gallery, Melbourne, Hamish felt, thread, dye Mackay Gallery, Wellington New Zealand, Untitled 2005 Uncommon World, National Gallery of felt, thread Australia, Canberra, Crystal Chain Gang, Auckland Art Gallery, Auckland Untitled 2005 New Zealand, Primavera, Museum of felt, silkscreen Contemporary Art, Sydney. Untitled 2005

Anne-Marie May is represented by Hamish felt, dye, thread Mackay Gallery, Wellington, Michael Lett, Untitled 2005 Auckland stretch cotton, thread, synthetic polymer sheet 5 parts Public collections include: National Gallery of Victoria, Melbourne, courtesy of the artist and Hamish McKay Museum of Contemporary Art, Sydney, Gallery, Wellington, New Zealand National Gallery of Australia, Canberra, Geelong Regional Art Websites: Gallery, Geelong, Art Bank. http://www.livingmuseum.org.au/Picnic/

anne-marie.html Selected Biography http://www.adelaidefestival.com.au/ • Carolyn Barnes, Elaborating the terms, program/AWTalksBiennial.aspx The practice of abstraction in some recent http://www.heide.com.au/pdf/media/ art, ex. cat, Geometric Painting in Australia media_AnneMay.pdf 1941 – 1997, University Art Museum, University of Queensland, 1997.

• Bronwyn Clark-Coolee, The Silence of Painting ex.cat, Sarah Cottier Gallery, Sydney 1996.

• Sue Cramer, ex. cat, 200 Gertrude St, Melbourne 1994.

•Linda Michael, Anne-Marie May at Heide II, ex cat, Heide Museum of Modern Art Melbourne 2004.

•Kevin Murray, foreword and interview, ex. cat, Anne-Marie May, 2002.

•Zara Stanhope, Interview, ex. cat, Heide Museum of Modern Art. Melbourne 2004.

Artwork information

Anne-Marie May Anne-Marie May’s work subtly merges modernist traditions of art and design with a heightened awareness of landscape and natural spaces. May’s sculptural works bear the traces of their making, the various processes of cutting, dyeing, sewing and folding which suggest an important link to traditions of handcraft and production methods which might ordinarily be Untitled, 2005

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Requiem to the Negativist Spectacle 2005

Biography playpen, dressed in an innocuous IKEA style. And, animated on a video monitor Born in 1978, Honiton, Devon, United on the floor, we can see the gang of Kingdom. Lives in Melbourne. unruly infants caught and corralled inside it. They make up an infamous if motley 1983 - Arrived in Australia. crew: Jake and Dinos Chapman, Marcel 1998 - Diploma of Fine Art, Western Duchamp, Patti Hearst, Johnny Rotten Australian College of Art and Sid Vicious, Guy Debord, Valerie 2002 - Bachelor of Fine Art (Sculpture), Solanas … Victorian College of the Arts They hold hands convivially and move Arlo works primarily with large-scale with the sweet decorum of an old- interactive installations paired with sound, fashioned schoolyard game: ring-a-ring-a- video and animation. His humorous and rosy. And, as that morbid children’s song often sardonic approach explores art goes, they all fall down. One by one, the history and the contextual relationship black bouncing balls that denote each between contemporary art practice and its character’s head are lopped off and perceived past. tumble to the ground as violently as if an invisible executioner was swinging an axe Arlo Mountford is a Melbourne based Art- to the beat. ist, who has exhibited regularly since Edward Colless finishing a Bachelor of Fine Arts at the VCA in 2002. In 2003 he took up a studio Artist works residency at Gertrude Contemporary Art Requiem to the Negativist Spectacle Spaces. 2005 untreated pine, steel balls, motion sensor, Recent Exhibitions in 2005 include: ball-release mechanism Universal Language – alternate reality, DVD animation featuring ‘Anarchy in the Centre for Contemporary Photography, UK’ by the Sex Pistols, DVD player & Fitzroy Melbourne. Requiem to the monitors Negativist spectacle, West Space, courtesy of the artist Anthony St, Melbourne. 20 Year studio

program, Gertrude Contemporary Art Websites Spaces, Fitzroy, Melbourne. Portable

Model Of…, Plimsoll Gallery, Tasmanian http://www.gertrude.org.au/ School of Art, .

Arlo Mountford studio_artists_template.php?id=74

Artwork information http://www.niagara-galleries.com.au/

artists/artistpages/theartists/ A spindly cage constructed from raw pine unsigned2003/mountford.html posts and slats held together by wire and

dowelling, Requiem could easily be taken http://www.unmagazine.org/un/ for a piece of cool, modern geometric un4_web.pdf abstraction. But if this is Minimalist sculpture, then it’s caricatured as a

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Metal Skelter 2005–06 2005–06 Skelter Metal

Biography objects often discarded by others. Observing the limitations of what is Born in 1963, Salvador, Brazil. already there is crucial to Netto’s project, Lives in Sydney. given she articulates the problem-solving Vanila Netto creates photographic approach of a modernist designer in her scenarios inspired by pop art, low-tech images. She refines, distils, clarifies what materials, science fiction, architecture and is already there, to provoke a renewed design. In 2001, she completed her way of seeing our contemporary Bachelor of Fine Arts (Honours Program) environment, to find a passionate future at COFA, University of New South Wales, by re-examining the past. Sydney, following which she received the Jacqueline Millner university’s Australian Postgraduate Award. She has twice been represented Artist works in the Helen Lempriere Travelling Art Scholarship and was included in the 2003 Milestone Frontier: Brancusi Citigroup Private Bank Australian Emaculated Here 2005–06 Photographic Portrait Prize at the Art Metal Skelter 2005–06 Gallery of New South Wales, Sydney. Detergent Cells 2005–06 Netto’s work has been exhibited internationally in Spain, China and the Site-geist 2005–06 United States. The Sound of Vision 2005–06

Artwork information The Magnanimous Beige Wrap (Part 2 – Expansion) 2005–06 Netto is drawn to simple and economic forms, and to blocks of basic colour that Bricklaying 2005–06 enhance calm and harmony. In part, her Blueprint 2005–06 preference for the generic and the All digital prints mounted on aluminium standardised is a reaction to the Vanila Netto hyperstimulation of post-industrial visual Courtesy of the artist and Sherman culture, where brand logos and Galleries, Sydney customised designs glut every surface, including our very skin. In her Vanila Netto’s work has been assisted by photographs she hopes to evoke a small the Australian Government through the space of respite, of quiet and reflection, Australia Council, its arts funding and where we can better examine our advisory body. objectives and rationales as individuals and members of a society, at least Websites:

momentarily ‘off the grid’. http://www.shermangalleries.com.au/

In keeping with her ethos of sustainability, artists_exhib/artists/netto/

Netto works primarily with readymades, http://www.acmi.net.au/2004/content/ playing and improvising with found work.php?id=137&mode=h

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Biography Artist works

Born Sydney 1949. Nos 1–10 Lives in Melbourne. Orange Monochrome (with various colours and curved lines) 2004 First exhibition at Pinacotheca, enamel on MDF Melbourne 1973. Nos 11–20 Has exhibited regularly at Anna Schwartz Orange Monochrome (with various Gallery, Melbourne; Sarah Cottier Gallery, colours and curved lines) 2004 Sydney; Goddard de Fiddes Gallery, enamel on cardboard Perth; Sue Crockford Gallery, Auckland; Hamish McKay Gallery, Wellington; Nos 21–35 Galerie Mark Muller, Zurich. Scheurich Keramic glazed ceramic vases, West Germany, His work was included in Documenta 7, c.1960–1970, collection of the artist Kassel, Germany in 1982. courtesy of the artist and Anna Schwartz Gallery, Melbourne Since 2000, he has held large-scale solo exhibitions surveying aspects of his work Websites: from 1968 – 2005 at the Kunstmuseum Singen, Germany; Kunstmuseum http://www.cacsa.org.au/ Baselland, Basle, Switzerland; Stiftung fur cvap/2004/8_BS33_3/epw.pdf Konkrete Kunst, Reutlingen, Germany; Australian Centre for Contemporary Art, http://www.artnet.com/artist/12621/john- Melbourne; and the Art Gallery of nixon.html Western Australia, Perth. http://www.ngv.vic.gov.au/collection/ australian/painting/n/apa00489.html Artwork information http://www.artgallery.wa.gov.au/ As an artist, I am primarily interested in exhibitions/x_johnnixon.htm Minimal art. On a more personal level, I am also interested in modernist twentieth- century art and design, and in the simple, practical and pragmatic realisation of such art. As a side project, for nearly twenty years I have collected functional pottery (domestic ware) that is usually handmade, hand-glazed and wheel- thrown in a studio or factory. This pottery to me embodies modernist ideals of simplicity, functionalism and beauty.

The relationship of non-objective abstract painting to design has always interested me. In this exhibition, twenty paintings and fifteen vases are displayed together. The vases, from Germany, are mould-

John Nixon cast in various shapes and sizes, and function as vehicles for coloured and textured glazing, applied by hand in contrasting stripes in a loose organic manner. The orange paintings in this exhibition refer to aspects of these German vases. The vases were made by the factory Scheurich Keramic, which began in 1954 and eventually became the largest major producer of commercial art pottery in Germany.

Nos 1–10 Orange Monochrome (with various colours and curved lines) 2004

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Flat Flower 2004-06 (in background) Work

Biography Artwork information

Born in 1959, Melbourne. I say: a flower! And out of the Lives in Melbourne. forgetfulness where my voice banishes any contour, inasmuch as it is something Selected Solo Exhibitions other than known calyxes, musically arises, an idea itself and fragrant, the one 2005 - Extra Homework Anna Schwartz absent from all bouquets.1 Stéphane Gallery, Melbourne Mallarmé 2004 - Rose Nolan Hamish McKay Gallery, Wellington In Mallarmé’s prophetic words cited 2002 - More Rose Nolan Anna Schwartz above, art is not only that which is made Gallery, Melbourne of its own making, but also that which the Work in Progress #3 Ian Potter Museum artist herself brings to the work. The as- of Art, The University of Melbourne sertion of selfhood is proudly displayed in Help Me To Say More Hamish McKay Nolan’s many works which employ her Gallery, Wellington own name. If Nolan’s flowers present a A Big Word – ACE Blockland Projects, similar search for a point of origin, it is to Auckland modernism and not the natural world that 2001 - Rose Nolan 2001 Pestorius we are directed. Encoded in their four pet- Sweeney House, Brisbane als are the floral universes of Manet, Re- don, Matisse or Preston, plus significant Selected Group Exhibitions works by John Cage, Warhol, Gary Wil- son, and many others. If not intrinsically 2005 - re/thinking Bus, Melbourne associated with modernity, the flower is Wall Power Art Gallery of WA, Perth nevertheless ever-present throughout Pitch Your Own Tent: Art Projects / early and late modernism. Store 5 / 1st Floor Monash University Michael Graf Museum of Art, Melbourne

Rose Nolan Rose Unscripted: Language in Contempo- Artist works rary Art Art Gallery of New South Wales, Sydney Flat Flower Work 2004–06 Store 5 is... Anna Schwartz Gallery, synthetic polymer paint on cardboard Melbourne; Kaliman Gallery, Sydney Courtesy of the artist and Anna Schwartz 2003 - See Here Now: Vizard Founda- Gallery, Melbourne tion Art Collection of the 1990s, Ian Potter Museum of Art, University of Websites: Melbourne The future in every direction: http://www.contemporaryart.com.au/ nolan/nolantext.htm Joan Clemenger Endowment for Contemporary Australian Art The Ian http://www.cityofdunedin.com/city/? Potter Centre: NGV Australia, Melbourne page=feat_nolan

http:// www.gusfishergallery.auckland.ac.nz/

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2005 ethink Video still from

Biography 2000 - Republik Opera V1.2 (dur. 30:00 Born in 1961, Adelaide. mins), Chemistry Art Gallery of South Lives in Adelaide. Australia Republik Opera V1.3 (dur. 30:00 mins), Open Space 2000 Space Theatre, 1979–1982 Bachelor of Fine Art, South Adelaide Festival Centre. Projected with per- Australian School of Art, South Australian formance artists. College of Advanced Education 1983 Post Graduate Diploma (Sculpture), Andy Petrusevics is a conceptual artist with good hands. He uses the mediums of South Australian School of Art, South painting, sculpture, music, film making, Australian College of Advanced Education theatre, television and the web to look at

the place of the individual in an increas- Selected Films/Performances ingly controlling world. In Andy's work of- 2005 - OTTO in Its Senseless (dur. 3:12 ten early Russian ISM's are fused with mins), Dr Andy Warhola: The Match Song Contemporary propergander - e! (dur. 3:45 mins) South Australian Living Artists Moving Image Artwork information Project, Mercury Cinema, Adelaide Petrusevics employs all the latest tech- Andy P Mini Festival, seven films, niques of our most pervasive instrument Experimental Art Foundation Bookshop, of propaganda – television, echoing the Adelaide Constructivist use of public media to ad-

2004 - GLITLER! writer and performer, vertise the cause of the revolution. While Adelaide Cabaret Festival (dur. 30:00 mins) there is a wary distance from utopian ide- I love the machine (dur. 3:20 mins), Dr Andy als – his video characterises our time of paranoia and psychological turbulence Warhola in Space (dur. 4:10 mins), Rockin where no distance is possible from the Riga (dur. 3:30 mins) Are you watching TV? prevailing condition – Petrusevics retains (dur. 3:05 mins) South Australian Living the manic, fervent rhetoric that accompa- Artists, Moving Image Project, Mercury nied a belief in change. Cinema, Adelaide Linda Michael 2003 - Four television commercials for South Australian Living Artists festival, Adelaide Artist works

Return to e (dur. 20:00 mins) South Australian Laminex Maleviches and ethink 2005 Living Artists festival, Adelaide installation with DVD, laminex on wood

2002 - Berlin Kabaret, artistic director and DVD duration: 30 minutes courtesy of the artist performer in OTTO the Newsman, Weimar

Room, Adelaide Dumkopf Dancer (dur. 4:20 Websites: mins) To Der Klube (dur. 5:13 mins) The Spectre of Dr Foonks (dur. 12:03 mins), http://konstrukto.va.com.au/bigart/info.htm

Andrew Petrusevics Weimar Room, Adelaide e2 (dur. 12:00 mins) South Australian Living Artist’s Moving Image Project, Adelaide

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My Proposal for Gold Coast a New Art Gallery and Museum/First Preliminary Version 2003/2005

Biography bridges spanning murky rock pools, night clubs, Scott Redford is a Brisbane based artist and some- ‘fabulous floor shows’, ‘bikini bars’ selling floral time curator who was born on the Gold Coast in wisps of bathers and Hawaiian shirts through 1962. He has exhibited nationally since 1983 and windows open to the footpath, ill-lit cabarets, over internationally since 1997. In 2001/2003 Redford lighted cafes, indoor planting, outdoor denuding, was the recipient of the Australia Council Resi- beer gardens in no apparent hurry to close at 10, dency at the Kunstlerhaus Bethanien, Berlin. Major shops open as long as there are customers awake, exhibitions Redford has participated in include Sunday movies, signs, hoardings, posters, neon’s, 2004: Australian Culture Now at NGV Australia and primary colours – purple, green and orange straight ACMI, Melbourne; the 1993 and 1999 Australian from the brimming pot.’ Perspecta at AGNSW; the 1996 Adelaide Biennale of Australian Art at AGSA; Photographica Australis Robin Boyd, ‘Developing a Fibro-Cement Taipei Art Museum, Taiwan and Asian tour; Paradise’, The Melbourne Age Literary Fieldwork: Australian Contemporary Art 1968-2002 Supplement, 28 December 1957 at NGV Australia; Blondies and Brownies: Aspects I found the above text by architect Robin Boyd, of Racism and Multiculturalism in the New and Old Australia’s foremost architecture writer in the Worlds at Aktionsforum Praterinsel, Munich. In mid-twentieth century, in a publication by 2006 Redford’s work will be included in HIGH Alexander McRobbie titled The Fabulous Gold TIDE: Currents in Contemporary Australasian Art at Coast (Pan News, Surfers Paradise, 1984, p. 133). Zacheta National Gallery of Art, Warsaw, Poland This Boyd quote and indeed McRobbie’s entire and the Contemporary Art Centre, Vilnius, publication have been highly influential on my work Lithuania. and my views on the culture of the Gold Coast. Redford’s work has been the subject of five publications: “Surf or Die: Writings on the Art of Artist works

Scott Redford”, Art & Oceania Publications, Gold My Proposal for a New Gold Coast Art Gallery Coast 1996; “Scott Redford: Guy in the Dunes”, and Museum/ First Preliminary Version Institute of Modern Art, Brisbane 1997; and “1962: 2003/2005, laser cut acrylic and painted surfboard Scott Redford Selected Works 1983-92”, University on painted steel table. Fabricated by Geoff Laws Scott Redford Art Museum, University of Queensland, Brisbane and Chris Garrett private collection, Hobart 2003 and “Scott Redford: ½ Way: Collage Works 1994-2004” Griffith University, Brisbane 2004 and Surf Painting – Yellow Surf 2005 “The Content Of These Paintings Is Secret, Known fibreglass and resin over painted foam, private Only To The People Of Surfers Paradise: Scott collection Redford and the Gold Coast” 2005 published by the Gold Coast City Art Gallery. Surf Painting – Black Palms 2005 fibreglass and resin over painted form, BHP Billiton Art Collection Artwork information

‘Here is a fibro cement paradise under a rainbow of Scott Redford is represented by Criterion Gallery, plastic paint. It is any Australian country town plus Hobart. optimism. It is a Utopia of souvenir shops, bamboo

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STRAIGHTCUT 2001–04 – One of

Biography Award Campbelltown City Bicentennial Art Gallery, New South Wales; Points of View: University of Born in 1955, London, England. Lives in Sydney. Technology Sydney Art Collection University of 1967 Arrived in Australia Technology Sydney Gallery; The Enduring 1976–80 Bachelor of Arts, Fine Art, South Glance: 20th Century Australian Photography Australian School of Art, Adelaide from the Corrigan Collection Bendigo Art Gallery 1984–85 Post Graduate Diploma, Visual Arts, Travelling Exhibition, Victoria Sydney College of the Arts 1998 Master of Visual Arts, Sydney College of Arts, Artwork information

The Jacky Redgate’s photographs depict mass- produced household objects and their reflections in Selected Solo Exhibitions highly formal arrangements. As blue and orange 2005 - Jacky Redgate: Life of the System 1980– geometrical shapes within articulated planes of 2005 Museum of Contemporary Art, Sydney black and white, they embody abstract relations, 2004 - Jacky Redgate Survey 1980–2003 but also remain plastic boxes set up with mirrors Contemporary Art Centre of South Australia, and paper. Equal parts Mondrian, minimal art and Adelaide; Perth Institute Contemporary Arts, Perth modern design, the photographs deftly articulate a 2003 - STRAIGHTCUT Arc One Gallery, relationship between different modernisms. Melbourne Linda Michael 2002 - STRAIGHTCUT Sherman Galleries Goodhope, Sydney Artist works

Selected Group Exhibitions STRAIGHTCUT – One of 2001–04 2004 - Festivus 04 – One Of Sherman Galleries, c-type photograph on aluminium Sydney; ARC One Summer Show ARC One artist’s proof Gallery, Melbourne; The Dead Travel Slow STRAIGHTCUT #21 2005–06 Artspace, Sydney; Written with Darkness: c-type photograph on aluminium Selected Photographs from the Corrigan edition 5 Collection University of Technology Sydney STRAIGHTCUT #22 2005–06 Gallery; MIX-ED: Diverse Practice and c-type photograph on aluminium Geography Sherman Galleries, Sydney; Imaging edition 5 the Illawarra: 25 Takes Wollongong City Gallery, STRAIGHTCUT #23 2005–06 New South Wales; Pr8of Arc One Gallery, c-type photograph on aluminium Melbourne edition 5 Jackie Redgate Jackie Redgate 2003 - A Modelled World McClelland Gallery and STRAIGHTCUT #24 2005–06 Sculpture Park, Langwarrin, Victoria; The c-type photograph on aluminium Democracy of Objects Multiple Box, Conny edition 5 Dietzschold Gallery, Sydney; Shangri-La courtesy of the artist; Sherman Galleries, Sydney, Collective Artspace, Sydney; City of Hobart Art and Arc One Gallery, Melbourne Prize Carnegie Gallery, Hobart 2002 - A Silver Lining and A New Beginning: Websites: Fundraising Exhibition Ivan Dougherty Gallery, College of Fine Arts, University of New South http://www.mca.com.au/default.asp? Wales, Sydney; 32nd Alice Prize Araluen Centre, page_id=10&content_id=1494 Alice Springs; 40th Festival of Fisher’s Ghost 2006 Adelaide Biennial of Australian Art—Education Pack Page 17 of 24

2004 Parade Rearranged (After George Barbier) Barbier) George (After Rearranged Parade

Biography early interest in the collaborations between twentieth-century artists, composers, writers and Robert Rooney was born in Melbourne in 1937 choreographers that were a characteristic of Serge where he currently lives and works. He has been Diaghilev’s Ballets Russes, and Rolf de Maré’s rival exhibiting since 1954. He held regular solo exhibi- company, Ballet Suédois. tions at Pinacotheca, Melbourne between 1969 and 1999. Recent solo exhibitions include Balletomania, The notion of ballet as a total art continued in post- Tolarno Galleries, Melbourne 2005, Robert Rooney, war Paris with Roland Petit, whose ballets (for the The Modern Child Paintings and Prints, Tolarno short-lived Ballets des Champs-Élysées and Ballet Galleries, Melbourne 2003 and Robert Rooney, de Paris, which he co-founded in 1948) also Darren Knight Gallery, Sydney 2003. interested me greatly in the 1950s.

A selection of museum exhibitions in which Robert Although music came first, the works of composers Rooney has featured include Art in Focus, ROBERT such as Stravinsky, Erik Satie and members of Le ROONEY’S What Price Victory? at The Ian Potter Six (especially Darius Milhaud) soon led me to Museum of Art, Melbourne in 2001; Downtown: Picasso and other modern painters with whom they Rushca, Rooney, Arkley at Museum of Modern Art collaborated. at Heide, Melbourne in 1995; From the Home front: Rather than go directly to Picasso’s designs for the Robert Rooney: Works 1953-1988, Monash Univer- ballet Parade (1917), of which there are numerous sity Gallery, Melbourne in 1980; Survey 3: Robert examples, for Parade Rearranged (After George Rooney, National Gallery of Victoria, Melbourne in Barbier), I have slightly altered a black-and-white 1978 and Project 8: Robert Rooney, Art Gallery of drawing by the Art Deco illustrator George Barbier, New South Wales, Sydney in 1975. and added colour.

Robert Rooney’s work has also been included in Artist works numerous museum exhibitions including The Field, National Gallery of Victoria, Melbourne in 1968, Parade Rearranged (After George Barbier) 2004 Recent Australian Art, Art Gallery of New South synthetic polymer paint on canvas Wales, Sydney in 1973, POPISM, National Gallery private collection, Melbourne of Victoria, Melbourne and Australian Art of the Last Ten Years: The Philip Morris Collection, Australian Jeux d’Enfants (Miro at Play) 2004 National Gallery, Canberra in 1982, Origins, Origi- synthetic polymer paint on canvas nality and Beyond, The Sixth , Collection: Ee-Lynn & Eugene Wong Art Gallery of New South Wales, Sydney in 1986,

The Readymade Boomerang: Certain Relations in Icare Down Under (Homage to Sid and Serge) 20th Century Art, The Eighth Biennale of Sydney, Art 2004, synthetic polymer paint on canvas Gallery of New South Wales Sydney in 1990, and Collection: National Gallery of Australia, Canberra People, Places and Ideas: Celebrating four decades of the Monash University Collection, Monash Uni- Jeu de Cartes: The Joker (Portrait of Jean

Robert Rooney versity Museum of Art, Melbourne and Fieldwork: Babilée) 2004 Australian Art 1968-2002, The Ian Potter Centre: synthetic polymer paint on canvas The National Gallery of Victoria, Melbourne in 2002. BHP Billiton Art Collection

Robert Rooney is represented in all of the state and national galleries of Australia. In 2000, he was Petrouchka Dead (or A Bullet in the Ballet) 2004 awarded a Major Project Grant by the Australia synthetic polymer paint on canvas Council. courtesy of the artist and Tolarno Galleries, Melbourne Artwork information My Balletomania paintings have their origins in an

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Biography 2003 - The Future in Every Direction National Gallery of Victoria, Melbourne; Gertrude Studios Born in 1970, Melbourne. 2003 Gertrude Contemporary Art Spaces, Lives in Melbourne. Melbourne; Face Up: Contemporary Art from Australia Hamburger Bahnhof, Museum for the 1988–1992 Bachelor of Fine Arts (Painting) Present, Berlin Victorian College of the Arts, Melbourne

Selected Solo Exhibitions Artwork information

2005 - Self Defence Contemporary Art Centre of Drawing from the traditions of portraiture, David South Australia, Adelaide Rosetzky’s elaborate video scenarios fuse 2004 - Sutton Gallery, Melbourne; Without You elements of reality and fantasy, as they present Kaliman Gallery, Sydney personal narratives within idealised modern 2003 - Commune Studio 12, Gertrude interiors. Maniac de Luxe explores our need to Contemporary Art Spaces, Melbourne; Kaliman form meaningful relationships, and the basis of Gallery, Sydney relationships in both traditional familial roles and 2002 - Weekender Kaliman Gallery, Sydney the formulaic stylings of popular culture. In a Living together is easy Hero Apartments, series of direct-to-camera monologues, Melbourne Rosetzky’s characters deliver upfront, sincere and 2001 - Weekender 1st Floor Melbourne confessional narratives. Their stories fade in and out over each other, so that the characters seem Selected Group Exhibitions to inhabit each other’s monologues. 2005 - Remote Control National Gallery of Maniac de Luxe plays with conventions of social Victoria, Melbourne; Press pause: Recent engagement, deliberately creating an uncertain Australian Video installations Queensland Art and ambiguous space through stories inconsis- Gallery, Brisbane; Pitch Your Own Tent: Art tent with their public location. Alexie Glass Projects / Store 5 / 1st Floor Monash University Museum of Art, Melbourne; Gallery Artists Artist works Kaliman Gallery, Sydney 2004 - Slow Rushes Contemporary Art Centre, Maniac de Luxe 2004 Vilnius, Lithuania; Australian Culture Now two-channel, synchronised digital video National Gallery of Victoria and Australian Centre projection, flokati rug, Tom Dixon Star lights, for the Moving Image, Melbourne; Swoon wood veneer benches and shelving unit David Rosetzky Australian Centre for Contemporary Art, video duration: 14:32 minutes Melbourne; Living Together is Easy Art Tower Camera and edit operator: Cormac Lally; Lighting: Mito, Mito, Japan and National Gallery of Victoria, Cormac Lally and Peter Rosetzky; Make-up and Melbourne; 2004 Adelaide Biennial of set styling: Nadja Mott @ +create; Clothes styling: Australian Art Art Gallery of South Australia, Moira Rogers; Sound design: David Franzke Adelaide; Anne Landa Art Award Art Gallery of New South Wales, Sydney; I thought I knew but Courtesy of the artist, Sutton Gallery, Melbourne I was wrong an Asialink & Australian Centre for and Kaliman Gallery, Sydney Moving Image, Melbourne

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Eames Chair 2004

Biography Artwork information

Born in 1970, Brisbane. There are three scenes: all interiors, all Lives in Brisbane. psychodramas featuring modernist décor. In each, Anne Wallace politely violates the admonition not 1994–96 Master of Arts (Distinction), Slade School to make a scene (at least not in public). Instead of Fine Art, University College, London she makes a scene, over and over again. We 1990 Bachelor of Arts (Visual Arts), Queensland witness, in other words, a public display of private University of Technology, Brisbane scene-making. Selected Solo Exhibitions In fact, Wallace makes a scene of modernism, 2005 - Song Cycle Darren Knight Gallery at which is here experienced languidly – despite the silvershot, Melbourne sexually animated scenarios – as if expectations 2004 - Darren Knight Gallery, Sydney were always compromised. She treats modern 2002 - High Anxiety Institute of Modern Art, design like stage props. The design objects appear Brisbane (with Michael Harrison); van Anthony sharp and fresh like museum exhibits, thus Gallery, Auckland, New Zealand; providing a vivid contrast to the waxen mood of the The Go-Betweens Paintings Darren Knight human scenes depicted. Gallery, Sydney Wallace’s scenes are not unlike modernist design, 2001 - The Go-Betweens Paintings Pestorius with its interplay between objects and their Sweeney House, Brisbane; Darren Knight Gallery, environment. Except, rather than animate form and Sydney its context, her works emphasise theatrical veiling. Selected Group Exhibitions Curtains or screens are prevalent, highlighting a 2005 -Repositioning Photography, Number 2: theatrical staging. Idiosyncrasy: Painting and Photography Andrew McNamara Queensland; Centre for Photography, Brisbane; 2005: The year in art SH Ervin Gallery, National Artist works Trust, Sydney; The Influence of Anxiety Blindside Eames Chair 2004 Artist Run Space Inc., Melbourne; The Sound of oil on canvas Painting The Arts Centre, George Adams Gallery, Collection: Warren Tease and Katherine Green, Victoria 2004 - Kindle and Swag. The Samstag Effect Sydney Anne Wallace University of South Australia Art Museum, Vinyl 2004 Adelaide; Queensland University of Technology Art oil on canvas Museum, Brisbane; Blur Redland Art Gallery, private collection, Sydney Cleveland, Queensland; The Ten Commandments Deutsches Hygiene-Museum, The Lonely Nights 2005 Dresden, Germany oil on canvas 2003 - Art Australia touring Germany: Kunst private collection, Melbourne Raum Sylt-Quelle, Gallerie Seippel, Köln; Stätische Gallerie, Delmenhorst, Germany; Hothouse, the Anne Wallace is represented by Flower in Contemporary Art State Library of Darren Knight Gallery. Victoria; Geelong; Art Gallery; Ballarat Fine Art Gallery; McClelland Art Gallery

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Abstract art: art that does not depict objects in the natural world, but instead uses shapes and colours in a non-representational or subjective way.

Animation: is the illusion of motion created by the consecutive display of images of static elements. In film and video production, this refers to techniques by which each frame of a film or movie is produced individually. These frames may be generated by computers, or by photographing a drawn or painted image, or by repeatedly making small changes to a model unit

Anodized: a process used to protect aluminum from abrasion and corrosion and to allow it to be dyed in a wide range of colours.

Appropriation: refers to the use of borrowed elements in the creation of new work. The borrowed elements may include images, forms or styles from art history or from popular culture, or materials and techniques from non-art contexts.

Collaborative: working together with one or more other people.

Consumerism: is a term used to describe the effects of equating personal happiness with purchasing material possessions and consumption.

Constructivism: an artistic and architectural movement in Russia from 1914 onward, and a term often used in modern art today, which dismissed "pure" art in favour of art used as an instrument for social purposes, namely, the construction of the socialist system.

Contemporary art: generally refers to art being done now. The use of the literal adjective "contemporary" to define this period in art history is partly due to the lack of any distinct or dominant school of art as recognized by artists, art historians and critics. It tends to include art made from the late 1960s to the present, or after the end of modern art or the Modernist period.

Critic: is a person who offers judgment or analysis, value judgment, interpretation, or observation.

Curator: a person who cares for an institution's collections or a person who organizes an

Glossary exhibition. Thus, to curate means to arrange a collection to achieve a desired effect. A new figure in contemporary art is the freelance curator, who does not have affiliation with any particular gallery or museum.

Found objects: are materials 'found' (such as pebbles, industrial cast-offs, candy wrappers) and not specifically made for artistic purposes (such as inks, paints, and crayons) but which are nonetheless found to have aesthetic appeal. Some artists collect and use them to make art. Such art is called found art.

Homage is generally used in modern English to mean any public show of respect to someone to whom you feel indebted. In this sense, a reference within a creative work to someone who greatly influenced the artist would be an homage. It is typically used to denote a reference in a work of art or literature to another, at least somewhat widely known, work.

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IKEA: is a Swedish home furnishings retailer. IKEA is famous for its affordable furniture which consumers are required to assemble for themselves.

Installation art: art that, through the use of sculptural materials and other media, seeks to modify the way we experience a particular space. Installation art is not necessarily confined to gallery spaces and can refer to any material intervention in everyday public or private spaces.

Modern art: is a general term used for most of the artistic production from the late 19th century until approximately the 1970s. (Recent art production is more often called Contemporary art or Postmodern art). Modern art refers to the then new approach to art where it was no longer important to represent a subject realistically — the invention of photography had made this function of art obsolete. Instead, artists started experimenting with new ways of seeing, with fresh ideas about the nature, materials and functions of art, often moving further toward abstraction. The notion of modern art is closely related to Modernism.

Modernism: is a cultural movement that generally includes progressive art and architecture, music and literature which emerged in the decades before 1914, as artists rebelled against late 19th century academic and historicist traditions.

Niche market: the process of finding and serving small but potentially profitable market segments and designing custom-made products or services for them.

Parquetry: is a mosaic of wood used for ornamental flooring. Materials contrasting in colour and grain, such as oak, walnut, cherry, pine, maple etc. are employed. The patterns of parquet flooring are entirely geometrical and angular.

Pop- Art: was a visual artistic movement that emerged in the late 1950s in England and the United States. Pop Art was characterized by themes and techniques drawn from mass culture, such as advertising and comic books.

Popular culture: is the vernacular (people's) culture that prevails in any given society. The

Glossary content of popular culture is determined by the daily interactions, needs and desires, and cultural 'moments' that make up the everyday lives of the mainstream.

Readymades: The term found art—more commonly found object (French: objet trouvé) or ready made—describes art created from the undisguised use of objects that are not normally considered art, usually because they have a mundane, utilitarian function. Marcel Duchamp was the originator of this in the early twentieth-century.

Utopian: in its most common and general positive meaning, refers to the human efforts to create a better, or perhaps perfect society. Ideas which could/are considered able to radically change our world are often called utopian ideas.

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ACCESS AND RESOURCES AVAILABLE IN THE GALLERY

The exhibition contains DVD presentations. The duration of the DVD’s are indicated on the artist pages. For this reason it is recommended that additional time be allowed where possible, for viewing and evaluating. To complement the Biennial exhibition, The Art Gallery of South Australia has presented an exhibition of modernist art and design from its collection, including works by Roland Wakelin, Ralph Balson, Grace Crowley, Ludwig Hirschfeld Mack, Margaret Wirth, Frances Burke, Clement Meadmore, and Stanislaus Ostoja-Kotkowski. (gallery 6)

Additionally the Francis Bacon Triptych, on loan from the National Gallery of Australia will be on display for the period 24 February - 2 April. (gallery 16)

The Bookshop at Art Gallery of SA has for sale an exhibition catalogue, which is an excellent resource. All artists have examples of works illustrated and are supported with critical commentaries.

Also available are The Art Gallery of South Australia’s Newsletter, post cards and a wide range of related text materials:

21st Century Modern 2006 Adelaide Jacky Redgate Survey 1980-2003 Biennial of Australia Art By Ken Bolton Linda Michaels CACSA $29.95 $49.95

John Nixon 2004 Debra Dawes Australian Centre for Contemporary Art Ross Gibson $12.95 net Price TBA

Hope and Peace Debra Dawes Everyday Now Brook Andrew Price TBA $15 Frank Bauer 2000 Robert Owen Different Lights Cast Powerhouse Museum Different Shadows $35 Art Gallery of NSW $19.95 Frank Bauer Lichtbilder Wendy Walker Robert Owen Flickering Light $15 net Alex Selenitsch $3 Photogenic Essays/Photography/CCP 2000-2004 Seven Times Thank You Paintings by Edited by Daniel Palmer Domenico de Clario $29.95 net John Mateer $3 The Contents of These Paintings is Secret, Known only to the People of ADS Donaldson Surfers Paradise Queensland University Art Museum Scott Redfern $39.95 net Price TBA

Tip of the Iceberg Selected Works Daniel von Sturmer: Into a Vacuum of 1985-2001 Future Events By Janet Burchill and Jennifer McCamley Price TBA Queensland University Art Museum $25

All titles available through: Anne Marie May The Bookshop, Art Gallery of SA Museum of Modern Art Heide Ph 8207 7029, Fax 8207 7069, $11.95 net [email protected]

Access & Resources

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Art Gallery of South Australia website www.artgallery.sa.gov.au

2006 Adelaide Festival http://www.adelaidefestival.com.au/program/visualarts.aspx

*This Education Pack incorporates sections of text from the catalogue, written by Linda Michael, Curator of the 2006 Adelaide Biennial of Australian Art: 21st Century Modern, with excerpts from contributing writers and artists.

Websites Websites

The Art Gallery’s Outreach Education Program is made possible by the partnership between the Art Gallery of South Australia and Department of Education and Children Services. Outreach is a team of seconded teachers based in public institutions. They are managed through the Open Access College.

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