Dale Harding Body of Objects Dale Harding Body of Objects 5 Dale Harding: Material Traces Foreword Dale Harding: Material Traces kilometres to the Southern Ocean. The Gorge is Angela Goddard Angela Goddard around 32 kilometres long, and the white walls of the 9 The Present Continuum: Dale Harding is a descendant of the Bidjara, sandstone cliffs can reach over 150 metres high. This A Conversation on Carnarvon Gorge, Garingbal, and Ghungalu peoples. His mother’s -based artist Dale Harding is a descendant place is of great sacred significance to Aboriginal Ambivalent Artefacts, and Reproduction as family is from the region of what is known as of the Bidjara, Ghungalu, and Garingbal peoples of people, and complex compositions are incised, Artistic Method in the Work Carnarvon Gorge in the Central Highlands of Central and Western , who has gained drawn, and painted into the sandstone. The rock Dale Harding and Hendrik Folkerts Queensland, an area marked by the violence and recognition for works that examine the political and formations and the activities of ancestors who made 1 3 Selected Works persecution of Aboriginal people from the late social histories of his family and community. art, performed ceremonies, and died here are 54 Biography and Bibliography nineteenth century onwards. Harding’s wall murals, Through the use of diverse media, Harding’s practice ancient: scientific excavations have dated the human 56 Acknowledgements sculptures, and installations explore the social and conveys these histories with sensitivity and poetic occupation of the Gorge to at least 3,800 years, with political histories and contemporary realities of his reverence. His works speak to, and of, his family and certain areas in the region found to have been family and people. their endurance of loss; and of their connection to occupied for at least 19,000 years. The stencil Harding employs diverse techniques and country, which stretches back tens of thousands of technique of blowing ochre or pigment over a hand traditions, including domestic handicrafts, ochre years. The word ‘speak’ is important here; Harding or implement that was used here is shared in all stencilling, woodcarving, and silicone casting. While privileges oral histories over written accounts, being inhabited continents; the world’s oldest examples Harding is in the early stages of his artistic career, his suspicious of the historical documentation produced were found recently on the Indonesian island of works have developed very quickly in scale and by non-Indigenous people of his family and their Sulawesi, dating to 37,900 BCE. ambition, and his installations have been incisive sacred places, which were often written with a lack Historical artefacts, ancient forms, and museum presences in major exhibitions throughout of context and respect, or inspired by self-interest. display strategies are just some of the primary and Asia. This publication has been developed by Born in 1982, Harding was raised in a coal- reference points for Harding’s artworks. In 2012, his Griffith University and documenta 14 to introduce mining town in . European first solo exhibition, Colour by Number, held at Metro Harding’s work to international audiences in pastoralists began to settle this region from the late Arts, Brisbane, looked at and through his family’s conjunction with his inclusion in documenta 14. 1840s, leading to widespread frontier violence as history. As noted in the catalogue essay, Harding Harding is currently a PhD candidate at Aboriginal people resisted these invaders.1 From 1897 “examined the policy of the Australian government Queensland College of Art, Griffith University, in a to the mid-twentieth century, the Queensland to attach numbers to Aboriginal children and to program from which many of Australia’s most Government exercised control over all aspects of the grade them in the tonality of their skin. Harding’s remarkable contemporary artists have emerged. He lives of Aboriginal and Torres Strait Islander people grandmother was given the new name W38.”2 Works joins fellow alumni such as Gordon Bennett, Tracey through The Aboriginals Protection and Restriction were featured utilising materials that were jolting Moffatt, Vernon Ah Kee, and Gordon Hookey in of the Sale of Opium Act and subsequent amending reminders of the historical realities of Harding’s achieving international acclaim. Acts. Under section 9 of the 1897 Act, government family: burnt surveyor’s pegs, ominously oversized Dale Harding: Body of Objects presents Harding’s representatives were granted the power “to cause needles, and a breastplate made of lead and steel works and processes, giving context and Aboriginals within any district to be removed to and wire with his grandmother’s number carved into its background to the specific histories he draws on to kept within the limits of any reserve situated in the surface.3 These works were interspersed with craft develop his works. We sincerely thank Hendrik same or any other district”, with forced removals work in the form of framed cross-stitch panels Folkerts for his interview with the artist, and continuing until 1970. Members of Harding’s family bearing light-hearted and empowering affirmations, acknowledge generous cooperation of Mousse were removed to the Woorabinda reserve (est. 1926), such as “I am the new Blak”, and “I [love] my brown Magazine in allowing us to reprint this interview. We where hunger and disease were rife among the family”. Thus, the selection of works played with also thank the artist’s representative Josh Milani hundreds of residents, due to chronic overcrowding contrasts: hard and soft, toxic and benign, denial and and his staff; designer Ziga Testen; photographer and inadequate water supplies, and children were comfort, servitude and domestic bliss. This debut Carl Warner; and the individuals and institutions separated from their parents in order to sever their exhibition introduced key themes that have who have provided images. connections to culture and prepare them for lives of continued to occupy Harding and inform his The production of this publication has been servitude, primarily on rural farms. Three process-based manner of working, which frequently made possible through funding from Griffith generations of Harding’s family—his mother, involves acquiring skills—such as sewing, University, and we acknowledge Professor Ian grandmother, and great-grandmother—worked as leatherwork, and woodcarving—often from family O’Connor, Vice Chancellor, and Professor Paul domestic servants in a system of indentured labour members. The following year, Harding was included Mazerolle, Pro Vice Chancellor (Arts, Education and that many Aboriginal women and girls were in a major group exhibition titled string theory: Focus Law), for their support. We also acknowledge the compelled to undertake in return for food and on contemporary Australian art at the Museum of particular generosity of The Sun Foundation, James accommodation. Contemporary Art Australia, Sydney. Interested in C. Sourris AM, Peter and Julie Bellas, and The While the last century and a half has been the intersections of handiwork crafts and Aboriginal Kurilpa Collection, who have recognised the marked by violence, control, and subjugation, a women’s experience through the matrilineal line of importance of supporting Australian artists on the much longer history of Harding’s family is carved his family, Harding included delicately stitched world stage. We thank them for their foresight and and painted throughout the rocky precipices and embroideries onto hessian, imagining the women of generous contributions to this publication. walls of what is now known as Carnarvon Gorge, in his family as young girls and sewing them soft collars Finally, we extend our sincere thanks and their lands in the Central Highlands of Queensland, for the rough flour sack dresses they were forced to appreciation to Dale Harding for his participation in almost 600 kilometres north-west of Brisbane. wear as punishment within the dormitory system. this project. Located at the nexus of river sources, remnant The artist took advice on the construction of these Angela Goddard, Director, rainforest is nourished by water that can take years to dresses from his mother. Griffith University Art Museum filter through the layers of rock to the lower crevices. It is instructive to consider Harding’s work in Derrick Cherrie, Director, Queensland College This site is connected to the Murray Darling River the context of recent contemporary Indigenous of Art, Griffith University system that snakes southwards over thousands of Australian art. Many of his fellow Brisbane-based

4 5 artists, such as Vernon Ah Kee, Richard Bell and traditional weapons. This is a palpable element of that he turns the conceptual/minimal paradigm into 1. Gordon Hookey, are known for agitprop posturing Know them in correct judgement (2017), included in the Aboriginal art, and conversely, politicises conceptual For example, see Lorna McDonald, : A History of City and District (St Lucia, Qld: University of 6 and vociferously political voices, deploying text and important survey The National: New Australian Art at and minimal strategies for art making”. Clearly, Queensland Press, 1981), 183–196; J. T. S. Bird, The Early image, primarily through painting and drawing. In the Art Gallery of New South Wales, Sydney. This Harding uses the semiotics of the gallery space and History of Rockhampton (Rockhampton, Qld: The contrast, many of Harding’s works meditate on multi-part installation work includes Harding’s its familiar conceptual strategies in his work, but Morning Bulletin, 1904), 196–205; Theresa Forde, absence, often through the use of negative space. In uncle’s oral history transcript of his testimony rather than de-materialising art objects or “Confinement and Control: A History of Woorabinda Aboriginal Community 1927–1990” (Bachelor of Arts 2015, a substantial installation titled their little black against the officials in charge at Woorabinda reserve; questioning their ability to create meaning, a key Honours Thesis, University of Queensland, 1990), 12–14; slaves, perished in isolation, which was shown at a reproduction of Harding’s great-great-grandmother feature of his works is the materialisation of hidden , “Woorabinda”, last updated Brisbane’s Gallery of Modern Art in a survey of Nanna Ada’s fighting stick; two smaller parrying past events and trauma through their re-iteration in 4 February 2015, https://www.qld.gov.au/atsi/ Queensland contemporary art, offered Harding the sticks used for close-combat fighting; and an ochre new contexts. The sanctifying, austere white walls cultural-awareness-heritage-arts/community-histories- woorabinda/. first opportunity to work at an ambitious scale. He wall painting made collaboratively by Harding, his and exhibition furniture give the works a new aura, 2. created a room in the manner of typical rural timber Uncle Milton, and a young cousin. The weapons with the implication being that these traces of spaces Hetti Perkins, Dale Harding: Colour by Number, ex. cat. houses, painted the colour of creamy butter. A were used as stencils for the painting, their shapes and remade objects speak more truthfully than (Brisbane: Metro Arts, 2012), unpaginated. narrow hallway led to a burnt-out bedroom, where a repeating along the wall in a staccato formation, as if official historical accounts. 3. Aboriginal breastplates, also known as king plates, metal bed sat in one corner, with no mattress or tracing the movements of an altercation. For Dale Harding and his family, the last gorgets, and brassplates, were given by Europeans to bedclothes. A low overhead light gave the merest For documenta 14 in Athens, Harding continues century and a half of occupation is a short moment individual Aboriginal people during the nineteenth and sense of orientation in the dark space, but the his exploration of forms of weaponry specific to his in their long history, albeit having wrought untold early twentieth centuries, and encapsulate the complex overarching feeling was one of claustrophobia, with people. His latest Body of Objects installation pain. Harding’s works claim his birthright, bringing histories between Aboriginal and non-Aboriginal people in Australia. See http://www.qm.qld.gov.au/ the persistent smell of smoke suggesting a terrible comprises cast-silicone reproductions of traditional to gallery walls and spaces the indexes of absences, Find+out+about/Aboriginal+and+Torres+Strait+Islander event. Only once outside did one notice the label Aboriginal weapons and tools, rendered impotent and the complex paradoxes of loss, identification, +Cultures/Politics/Breastplates#.WOhI-fmGOHs. quoting Harding’s Uncle Tim Kemp, recollecting a by pliant material and draped over plinths. While and opposition. While Harding draws on the specific 4. young woman who had been locked in her bedroom Australian Aboriginal objects are housed in context of his people and their histories—their Their little black slaves, perished in isolation 2015 exhibition label, QAGOMA. at night by her ‘employers’; she tragically perished museums all over the world, many stolen and seized vernaculars and their taxonomies—his work has far 5. when she knocked over the kerosene lamp in her as trophies, we also know through rock art stencils wider resonances, through the fabric of time and Dale Harding, artist talk given at Milani Gallery, room, “isolated and alone, away from home”.4 that the forms of the objects used as reference points space, to other bodies, objects and experiences. Brisbane, 5 March 2016. For Harding’s subsequent solo exhibition at by Harding pre-date, by thousands of years, 6. Darren Jorgensen, “The Minimalism, Hessian and Steel Brisbane’s Institute of Modern Art, White Collared European items found in museums and ancient sites of Dale Harding,” Das Superpaper, March 2014, 50. (2015), he arranged imagined historical artefacts, across Athens that are privileged as originary encoded with familial narratives recounted to him by moments of Western culture. The irony here is that his grandmother, around the gallery. Raw kangaroo sites such as Carnarvon Gorge challenge the hide that recalled the control imposed on Aboriginal authority of museums’ collections, whether of domestic servants was threaded through decorative Aboriginal or Western artefacts: in their continuity, lace collars, referencing colonial dress codes and on country, the rock art sites are both more ancient reflecting the social status of the households in which and authentic. In addition, the use of silicone, often the women served. Imbued with pathos, some collars black, renders many forms as sexually suggestive, were attached to found rattles and small buckles as if highlighting the undercurrent to many of the power made to be worn by very young children. relationships between the ‘collectors’ and those Harding next worked collaboratively with his from whom they were taken, as well as the family, inviting both adults and children to make wall intersections between Harding’s own Aboriginal and paintings for his 2016 solo exhibition I Refuse You My queer identities. Death at Milani Gallery, Brisbane. Here, ancient wall An altogether different register to the natural paintings from his family’s Central Queensland ochres and translucent raw hides of Harding’s country were the key: family members crushed and previous works has appeared in recent times on the prepared ochres, applying stencilled shapes of hands industrial warehouse walls of his studio. It is a bright and other objects, including a shotgun, to the walls. ultramarine blue. Instead of the colour’s association Stencils made in this manner indexically capture with the rare and expensive lapis lazuli prized by temporal moments as traces of objects as well as the Renaissance painters, for Harding, this colour is people who made them. Harding spoke of seeing the grounded in the labour of female domestic servants. installation as “extending as a continuation of our Reckitt’s Blue is a laundry whitener made from gallery walls out there in the Queensland sandstone synthetic ultramarine and baking soda; it was also belt”,5 and also as evoking the thousands of co-opted for decorative use on Aboriginal artefacts petroglyph formations found in these sites through in the late nineteenth and early twentieth centuries. the carving of images of water systems from For documenta 14 in Kassel, silkscreened copies of topographical viewpoints directly into the surface of rock art from Carnarvon Gorge will be reproduced the wall. Later that year, Harding again worked in onto the white gallery walls in this colour. The collaboration with his mother to make a large stencil original ancient traced images, in earthy Australian work in ochre for the Gwangju Biennale. ochres, are now speaking back to Europe in the Though steeped in sadness and injustice, anger transfer of the coloniser’s blue. and defiance are increasingly prominent in Harding’s According to Australian art academic Darren work, demonstrated through the presence of Jorgensen, Harding’s significance resides “in the way

6 7 The Present Continuum: A Conversation on HF Carnarvon Gorge, Ambivalent Artefacts, and The act of copying is a recurrent element Reproduction as Artistic Method in the Work in your work; in this case, the act of Dale Harding and Hendrik Folkerts reproducing historical images and objects is a way to demonstrate how histories of Hendrik Folkerts (HF) colonialism in Australia determine the The Carnarvon Gorge, located in what is interpretation of certain cultural objects now Central Queensland in Australia, has vis-à-vis an archaeology of those objects been a crucial reference throughout your within the specificity of the cultural project for documenta 14, but also the place framework they emerge from. Let’s where longer lines of inquiry within your continue with Carnarvon Gorge, which has practice converge. In addition to being one directly inspired your installation for of the most important historical landmarks documenta 14 in Kassel. You use a in Australia, Carnarvon Gorge can almost stencilling method to copy—in a particular be considered a canvas on which the history shade of blue—on the walls of the of your ancestors has been inscribed in the exhibition those images that can be found numerous rock art panels the Gorge holds. in the actual Gorge. These murals in the Can you tell me how your own history is tied landscape are often the result of many in with this natural landmark and how images superimposed on each other by Carnarvon Gorge has come to inform so generations of artists throughout many much of your own thinking? centuries. Through this method of stencilling and of reproduction, you unveil Dale Harding (DH) the layers of history that together create this My extended family and I know and love culturally iconic image, yet, precisely for Carnarvon Gorge as a home—our home, the that reason, it is a fragile copy—a copy that original home. Many family groups and multiple almost cannot exist on its own, because it is cultural groups certainly know and visit Carnarvon taken out of time, out of its own history. Gorge and its surrounding sandstone ranges as Can you elaborate on this method of their home, each with an intent and respect that stencilling and how you perceive the images acknowledges what lies there; who lies there; what of Carnarvon Gorge that you reproduce as has been kept intact there; what we interact with separate from each other? What does the act and what we receive when we go home to that of copying produce in this context? country. I have no hesitation in describing that I am my full self out there. DH Throughout my adult life, when my matrilineal In a similar way to how oral histories are solidified grandmother Margaret Lawton would share her oral through repetition and corroboration, rock art panels histories and pass on some relevant knowledge, she inside and surrounding Carnarvon Gorge are would naturally relate and even contradict the corroborating compositions of continuity and contemporary world we live in through an immovable belonging. Through a knowing of some of the art and sensibility of knowing her country and its stories. As cultural sites of the region, I’m often able to locate an an Aboriginal woman, she was born a ward of the image reproduced from one of our art panels through state, an inmate on her own country, Ghungalu a familiarity with the colours of our ochres and our country. My grandmother’s oral histories and lived regionally specific styles and motifs. experiences contradict popular versions of Australian As you’ve described, these compositions are histories. I see that the Australian colonial mission made up of many superimposed contributions by systems have always intended to deny me any knowing many artists of many individual artworks that of my country and of my truth. sequentially speak for periods of time and thus a I am a Bidjara man in the lineage of my cultural lineage. Compositionally, the layers of the grandfather Edward Lawton, and my grandmother many contributions that together make up the surface Margaret is a Ghungalu woman who carries her of a rock art eventually compress to be readable as a grandmother’s Garingbal line. Much of my unified plane. My inherited interpretations of some of grandparents’ countries fall under the bounds of the individual art sites across the country each , and we continue an contribute to one big story about place. unbroken connection to those places. My work as an Among published images of rock art that artist and researcher is only one extension of this surfaced during my research online as well as printed cultural continuum, and my family and I view my/our material are certain negative ochre stencils of work as contributing to the canon of our cultural regionally specific cultural objects that, for me, are production. The countless sandstone rock art instantly re-locatable, though published out of place, galleries and natural spaces out on my grandparents’ to the sandstone ranges of Central Queensland. countries colour my sensibilities as an artist. These cultural objects, now also known to us as

8 9 artefacts, have been indexed by Aboriginal artists in knowledgeable than any young Aboriginal person wooden objects that are often associated negative two-dimensional copies of physical objects present regardless of their situation or access to with Aboriginal masculinity, the copies are in sandstone art galleries. From this original copy, a information. Uncle Milton asserts that they each soft objects—fetishised and de-phallicised subsequent copy can be made. From an original possess the same potential and intelligence as him (if that’s not a word, I’m ready to introduce stencilled painting, a copy of an original object can because they were born with the same knowledge that it). The extreme ambiguity of these copies then be formed. he was born with, and all they have to do is to read as a critique of both Aboriginal For documenta 14 in Kassel, my work consists of remember it. masculinity and its colonial representation carbon copy stencils—via silkscreen prints—of Certainly, my making art has gathered intent and in addition to expanding your intellectual historical rock art sites from Aboriginal territories opened up to further readings and framings the more investment in the artefact. But most rendered in ultramarine blue. By copying the surface I bring my family’s artistic traditions into my importantly, it brings your work to the site of a historical rock art site from the Carnarvons contemporary practice. where so many battles are actually fought in directly onto the gallery walls in Kassel, I seek to A stencil copy in the aforementioned colour and over: the body. The original spears and position my iteration of my sovereign artistic Reckitt’s Blue on the white gallery walls in Kassel shields were used as extensions of the body, tradition both within and without time and place. carries with it the cues that trigger my inherited the silicone reproductions are corporeal The specificity of this ultramarine blue jolts and interpretations of the original site. In addition, it is tissue in their own right. extends the colour palettes associated with the intended to carry some of the histories of Aboriginal Can you talk about the relationship original artworks and methodologies and it tints the experience on that same country after British between object and body in terms of both contemporary copy with histories of colonialism and colonisation in the mid-nineteenth century. Reckitt’s the original objects you use and their displacement. This specific ultramarine blue has its Blue was taken over into the decoration of clubs and silicone reproductions? And, if I may conceptual and material origins in the domestic shields in what is now Central Queensland as a provoke you with a more personal question, laundry whitener Reckitt’s Blue. brilliant blue addition to extend the existing vivid how do you yourself relate to these objects The act of copying produces new interfaces for ochre palettes. These makers were of their time. In through your body? engagement with place and time, and for new entry the past, I have lovingly referred to these clubs and and exit points along a continuum. shields as artefacts, objects, cultural items, works, DH and so on, depending on whom I was in discussion As part of my primary research for my documenta HF with and their relationship with them/me. I might be 14 work, I visited historical objects currently housed I am triggered by the word ‘artefact’, as it bold and say that because I identify with such objects in museum collections. Some of the sculptural speaks to many conversations that we’ve in a familial sense, how we define our interpersonal forms of these original objects are not commonly previously had. Though its original relationship will reflect the level of intimacy with still in production by members of my family and meaning could be considered fairly neutral, which I address the objects. our communities. Because of the brutal an artefact is regarded as different from a In dialogue with this addition of ultramarine displacement enforced by the Queensland mission work of art—which puts us right at the blue entering the practice of object-making in the systems, some of these forms were even unknown to centre of the discussion on the relationship region, I have employed the same blue to introduce us when we visited them. between ethnography and art history. In the histories of the indentured domestic servitude of One of the amazing things that emerged from addition, we discussed the artefact is Aboriginal girls and women in the twentieth century this research was a greater understanding of the something that is possessed: with history, through its reference to the domestic laundry object and its direct relationship to the body of the with different temporalities, or even with whitener. It is my intent that a blue stencil panel in a maker and the user. Each club or digging stick could the spirit of ancestors. It is not so different white cube gallery should not be read as possessing only be formed in the proportions suitable for the from the word ‘fetish’, used to denote an the ceremonial and cultural significance of the practical ergonomics of its application by a specific object possessed with divine and/or original in situ, but I do see that a copy can be body. So, a collection of clubs that measure ancestral spirit. Without wanting to imbued with histories and memories of its making. approximately 600mm in length each speak of a reiterate existing qualifications that direct reference to the arm span and even the overall distinguish art from artefact, I would like HF size of a user/maker. The proportions of these to take my cue from your last answer and Before we continue, I would like to thank particular objects were interpreted to me by my ask if and how you distinguish between the you for sharing the anecdote of your Uncle uncles as being for their body size, at around 180cm copy and the original in the degree that it Milton—it invokes the complexity of in height. Me being much taller than my uncles is imbued with history? collective memory and shared history that meant that my clubs should be longer and possibly can often be overlooked forms of heavier at the bulb because of my larger arm span. DH knowledge. You end your last answer with So, a collection of the silicone copies of these This continues to be a dance that I do as an artist the assertion that a copy can be imbued wooden objects ranging in various proportions among lineages and canons of artistic and cultural with histories and memories of its speaks not to a relationship to a general, universal ale Harding and Hendrik Folkerts” was first published in Mousse Magazine, Magazine, Mousse published in first was Folkerts” and Hendrik ale Harding production, as a researcher entering archaeological production. body, but to individual bodies, even specifically to and ethnographic discourses, and as a Bidjara man Arguably, the act of producing copies sovereign bodies. whose body and knowing of self reflects the also destabilises history and has the capacity The deliberate selection of soft and transient disjunctions between pigeonholing and identity to change the very nature of the original. silicone rubber makes available multiple and politics. Maybe I could couch an answer by offering The objects that together form your conflicting readings of the present floppy forms, the an anecdote that my Uncle Milton shares with installation for documenta 14 in Athens are wooden objects they were cast from, and, by Aboriginal school groups when he hosts them at art silicone reproductions of traditional extension, my own body. sites on his parents’ countries. He has many times Aboriginal weaponry and craft materials— insisted that he should not be considered more shields, spears, etc. While the originals are “The Present Continuum: A Conversation on Carnarvon Gorge, Ambivalent Artefacts, and Reproduction as and Reproduction Artefacts, Ambivalent Gorge, on Carnarvon A Conversation Continuum: Present “The with D in the Work Method Artistic #58, (April-May, 2017), ed. Edoardo Bonaspetti. Reproduced here with kind permission. here Bonaspetti. Reproduced ed. Edoardo 2017), (April-May, #58, 10 11 Dale Harding Selected Works

13 14 16 17 18 19 20 21 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 Painted panel at the Cathedral Cave site, Carnarvon Gorge, Queensland, 2017. Photographer: Marisa Giorgi. Marisa Photographer: 2017. Queensland, Gorge, Carnarvon site, Cave the Cathedral panel at Painted 44 45 46 48 49 50 51 Plates p. 47 Body of Objects 2017, silicone, steel nails, timber, pp. 15–19 and dimensions variable. Installation view, pp. 21–28 National Museum of Contemporary Art Dale Harding’s studio, 25 January 2017. (EMST), Athens, documenta 14. Photographer: Photographer: Carl Warner. Mathias Völzke.

p. 30 pp. 48–49 Unnamed 2009, lead and steel wire, 35 × 26 × 3cm. Body of Objects 2017, silicone, steel nails, timber. Collection: Queensland Art Gallery. Installation view, EMST, Athens, documenta 14. Gift of Julie Ewington through the Queensland Photographer: Mathias Völzke. Art Gallery Foundation, 2013. Photographer: QAGOMA. pp. 50–52 Body of Objects (details) 2016, silicone, steel p. 31 nails, timber. Installation view, I Refuse You My White collared (single) 2015, found collar, Death, Milani Gallery, Brisbane. Photographer: rawhide, thread, brass, 40 × 40 × 3cm. Sam Cranstoun. Collection: Griffith University Art Collection. Purchased 2015. Photographer: Dale Harding.

pp. 32–35 Their little black slaves, perished in isolation 2015, charred wood, antique furniture, wood stain, scent diffuser, dimensions variable. Installation view, GOMA Q: Contemporary Queensland Art, Queensland Art Gallery | Gallery of Modern Art (QAGOMA), Brisbane. Photographer: Natasha Harth, QAGOMA.

p. 36 Bright eyed little dormitory girls (detail) 2013, hessian, mohair wool, 190 × 35 × 3cm. Collection: Museum of Contemporary Art Australia (MCA), Sydney. Purchased with funds provided by the MCA Foundation, 2013. Photographer: Dale Harding.

pp. 38–39 Know them in correct judgement 2017, mixed media, dimensions variable. Installation view, The National 2017: New Australian Art, Art Gallery of New South Wales (AGNSW). Photographer: Felicity Jenkins, AGNSW Archive.

pp. 40–41 Know them in correct judgement (detail) 2017, mixed media, dimensions variable. Installation view, The National 2017: New Australian Art. Photographer: Felicity Jenkins, AGNSW Archive.

pp. 42–43 Untitled: wall painting 2016, ochre, dimensions variable. Installation view, 11th Gwangju Biennale, Gwangju, Republic of Korea. Photographer: Gwangju Biennale

pp. 44–45 Painted panel at the Cathedral Cave site, Carnarvon Gorge, Queensland, 2017. Photographer: Marisa Giorgi.

52 53 dale harding 2013 Barkley, Glenn. string theory: Focus on contemporary b. 1982 , Queensland Macquarie Group Emerging Artist Prize 2013, Brisbane Australian art. Sydney: Museum of Contemporary Lives and works, Brisbane The GAS: Graduate Art Show, Griffith University Art Art Australia, 2013. Exhibition catalogue. Bidjara, Ghungalu, and Garingbal peoples, Gallery, Brisbane Bryan-Brown, Lisa. Addition 3. Brisbane: Central Queensland On Men, FELTspace, Adelaide Addition Editions, 2012. Exhibition catalogue. string theory: Focus on contemporary Australian art, “Colour by Number.” Aired on AWAYE!, Education Museum of Contemporary Art Australia, Sydney Radio National, 29 September 2012. 2013 Down the Rabbit Hole, Project Gallery, Webb and POP Howell, Angelita. “Colour by Number.” Bachelor of Fine Art with First Class Honours, Galleries, QCA, Brisbane; University of Artlink 32, no.4 (2012): 94. Queensland College of Art (QCA), Brisbane Southern Queensland Art Gallery, Sunshine Jorgensen, Darren. “The Minimalism, Hessian 2009–2012 Coast and Steel of Dale Harding.” Das Superpaper, Bachelor of Contemporary Australian Indigenous interconnectivity, The Backdoor Gallery, Brisbane March 2014, 50–53. Art, QCA, Griffith University, Brisbane My Country, I Still Call Australia Home: Contemporary Lane, Carly, and Franchesca Cubillo, eds. undisclosed: Art from Black Australia, QAGOMA, Brisbane 2nd National Indigenous Art Triennial. Solo exhibitions Projecting our Future (installation by Tony Albert), Canberra: National Gallery of Australia, 2012. 2016 AGNSW, Sydney Exhibition catalogue. I Refuse You My Death, Milani Gallery, Brisbane 2012 McDonald, John. “String Theory.” 2015 Apertivo, Project Gallery, QCA, Brisbane Sydney Morning Herald, 31 August 2013. White Collared, Institute of Modern Art, Brisbane Sovereignty, Webb Gallery, QCA, Brisbane McGregor, Carol. “My Country, I Still Call Australia 2012 Addition3, Addition Gallery, Brisbane Home: Contemporary Art from Black Colour by Number, Metro Arts, Brisbane The GAS: Graduate Art Show, Griffith University Australia.” Artlink 33, no. 3 (2013): 94. Art Gallery, Brisbane My Country, I Still Call Australia Home: Group exhibitions Pay Attention (project by Tony Albert), undisclosed: 2nd Contemporary Art from Black Australia. Brisbane: 2017 National Indigenous Art Triennial, NGA, Canberra Queensland Art Gallery | Queensland Art Defying Empire: 3rd National Indigenous Art Triennial, 2011 Gallery, 2013. Exhibition catalogue. National Gallery of Australia (NGA), Canberra Second Year Sculpture, Project Gallery, QCA, Brisbane Outlaws. Linden, Victoria: Linden Centre documenta 14, Athens, Greece, and Kassel, Germany 2010 for Contemporary Arts, 2014. Exhibition The Dust Never Settles, The University of Queensland Pay Attention (project by Tony Albert), City Gallery catalogue. Art Museum, Brisbane Wellington, New Zealand Perkins, Hetti. Colour by Number. Brisbane: The National: New Australian Art, Art Gallery of Metro Arts Galleries, 2012. Exhibition catalogue. New South Wales (AGNSW), Sydney Awards Saines, Christopher. GOMA Q. Brisbane: Close Enough: Young Queensland Artists, Caloundra 2016 Queensland Art Gallery | Gallery of Modern Regional Gallery, Sunshine Coast, Queensland 15 Artists Acquisitive Art Prize, Moreton Bay Regional Art, 2015. Exhibition catalogue. 2016 Council/Redcliffe City Art Gallery, Queensland Revisioning Histories, Bundoora Homestead, 2013 Darebin, Victoria University Medal, Griffith University, Brisbane 11th Gwangju Biennale, Gwangju, Republic of Korea 2012 With Secrecy and Dispatch, Campbelltown Arts Centre, GAS 2012, Graduate Art Show Award, Griffith Sydney University Art Gallery, Brisbane For Collective Unconscious, Artspace, Auckland, 2009–13 New Zealand Griffith Award for Academic Excellence, Bachelor of Ua numi le fau, Gertrude Contemporary, Next Wave Contemporary Australian Indigenous Art, Festival, Melbourne Griffith University, Brisbane 2015 GOMA Q, Queensland Art Gallery | Gallery of Collections Modern Art (QAGOMA), Brisbane Artspace Mackay, Mackay, Queensland Shimmer, South Australian Museum, Jam Factory, Griffith University, Brisbane Adelaide Museum of Contemporary Art Australia, Sydney 2014 Queensland Art Gallery | Gallery of Modern Art, Seoul–Sydney: Contemporary Korean and Australian Prints, Brisbane Chugye University for the Arts, Seoul, South The University of Queensland, Brisbane Korea; UNSW Art and Design Campus, Sydney Outlaws, Linden Centre for Contemporary Arts, Selected Bibliography Melbourne Atfield, Cameron. “GOMA Turns Its Attention Solid!, Cairns Regional Gallery, Cairns Close to Home in New Exhibition.” SafARI 2014, Cross Arts Projects, Sydney The Sydney Morning Herald, 10 July 2015. Barker, Lauren. “Dale Harding, Artist.” The Weekend Edition, 13 March 2014.

54 55 Authors Image Permissions Dale Harding documenta 14 Hendrik Folkerts Queensland Art Gallery | Gallery of Modern Art Angela Goddard The Art Gallery of New South Wales Gwangju Biennale Publishers Griffith University, 170 Kessels Rd, Supporters Nathan Queensland 4111, Australia Griffith University Art Museum, Griffith University The Queensland College of Art, Griffith University The Sun Foundation James C. Sourris AM documenta 14, documenta und Museum Peter and Julie Bellas Fridericianum gGmbH, Friedrichsplatz 18 The Kurilpa Collection D-34117, Kassel, Germany © The publishers, artist, authors and photographers. Editor This work is copyrighted and all rights are reserved. Apart from Angela Goddard any use permitted under the Australian Copyright Act 1968, no Copy Editor part may be reproduced by any process without the prior written Evie Franzidis permission from the publishers. Design Žiga Testen Pre-press and production Sebastiaan Hanekroot Print production Wilco, Amersfoort Edition of 2000 ISBN 978-1-92545-546-5 Photography Carl Warner Marisa Giorgi Dale Harding Mathias Völzke Natasha Harth Felicity Jenkins Sam Cranstoun

Artist representative Milani Gallery, Brisbane: Josh Milani and staff Project Support The artist's family Professor Ian O’Connor, Vice Chancellor, Griffith University Professor Paul Mazerolle, Pro Vice Chancellor (Arts Education and Law), Griffith University Professor Paul S. C. Taçon FAHA FSA, Griffith University Marisa Giorgi Michelangelo Corsaro Paul Hey Mousse Magazine Julie Ewington Judy Gunning Aileen Burns and Johan Lundh Bruce McLean Allan McLardy Bianca Beetson Queensland College of Art Advisory Board Bree Richards, Karen La Rocca, Carrie McCarthy, Simone Eisler and all staff and volunteers of Griffith University Art Museum

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