Heide Heide Museum of Museum of Modern Art Modern Art
Narelle Jubelin Cannibal Tours
Ann Stephen
Foreword Heide Museum of Modern Art is which draws on the Heide Collection 9–9 delighted to present Narelle Jubelin: and an iconic image associated with Cannibal Tours, the sixth exhibition Heide: Sidney Nolan’s Boy and the moon. to be held in the Albert & Barbara Alongside Trade Delivers People Jubelin Tucker Gallery and the first to presents eleven of her BOXED.SET extend into the adjacent Kerry works, typically exquisite petit-point Gardener & Andrew Myer Project renditions of photographs provided Gallery. Cannibal Tours is also the by artist friends that represent their first exhibition in the Tucker Gallery childhood encounters with modernism series to contextualise an aspect — from Jacky Redgate’s Mondrian of Albert Tucker’s practice with dress to Rafaat Ishak’s family’s the work of a contemporary artist. modernist apartment in Cairo. These Based in Madrid since 1997, Narelle are juxtaposed with Albert Tucker’s Jubelin graduated from Alexander photographs from his travels in Europe Mackie College of Fine Arts in Sydney and America, signalling an Australian in 1982 and has been exhibiting expatriate experience of modernism. extensively since 1989. Her projects are Cannibal Tours has been curated realised through a process of intensive by Ann Stephen, Senior Curator, research in which she sources objects University Art Collection, University with complex histories and re-creates of Sydney. Stephen has a long-standing them: sometimes literally, as petit- association with Jubelin, and Heide point renditions, at other times in appreciates their collaboration in combinations that refer to the historical, realising Cannibal Tours. The project cultural and geographical heritage of has been conceived specifically for the site in which they are presented. Heide as a contemporary adjunct to In 1990 Jubelin made her international the Powerhouse Museum travelling debut at the Venice Biennale in the exhibition Modern Times: The Untold Aperto section. Jubelin presented Trade Story of Modernism in Australia, and Delivers People, a conceptually layered it has been coordinated meticulously installation which met the challenge by Heide Curator Kendrah Morgan. of making her work accessible to an Narelle Jubelin’s work has been international audience by interrogating little seen in Melbourne, and it has issues of global colonisation and the been a privilege to work closely with shifting meanings of artefacts deriving her on the presentation of her inspired from cultural migration and exchange. and incisive art. The Museum also Following the Venice exhibition, thanks the public institutions and the multiple components of Trade private collectors who have lent their Delivers People were divided, added treasured works to Cannibal Tours: to and re-assembled, resulting in two National Gallery of Australia, National new versions of the work and a small Gallery of Victoria, Heide Patron Barbara Tucker, Jeff Hall and Sharon Opposite number of individual pieces. Cannibal Narelle Jubelin BOXED.SETS Grey, Jan McCulloch, Simon and 14 – 24 2005, and Albert Tucker Tours reunites all these elements photographs c.1939–60 for the first time, from public and Catriona Mordant, Mori Gallery, Installation view, Heide Museum Sydney, and Penelope Seidler, as of Modern Art, 2009 private collections. It offers a unique well as private donors for their support Overleaf opportunity to consider this ongoing Left: Photographer unknown, of the exhibition catalogue. Albert Tucker in Venice, project in its entirety, together August 1954 with a new incarnation of the work Right: Albert Tucker, Jason Smith Demi-mondaines, Paris c.1949 conceived specifically for Heide, Director
Face-to-Face We are all exposed …with our The art of the Australian expatriate 15–15 culos al aire as the Spanish Jubelin is one such nomadic practice, Ann Stephen would say in this attempt to salvaging narratives of exile, travel describe Australian modernism, and displacement from modernism, to think through what it is we do vernacular traditions and the museum. and how we came to it …opened In 1979 as a Sydney art student she up to a public conversation.1 met local disciples of late modernism Narelle Jubelin when taught by such artists as Michael Johnson and Sydney Ball, Cannibal Tours fuses several who were from a generation transfixed stories. One concerns tourism, by American formalist painting. While indicated by its borrowed title from trained as a formalist painter herself, Dennis O’Rourke’s disturbing she later renounced the rhetoric of documentary of a luxury cruise authority and heightened individualism 2 up the Sepik River. The other and for its nemesis, the amateur, domestic overlapping theme is modernism’s and then recently retrieved feminist global traffic. In a remarkable way, medium of needlework.4 Or that was Narelle Jubelin crisscrosses these how it looked in the 1980 s. For over two complex narratives of imperial . decades Jubelin has stitched renditions Conn., 1979 expansion and transforms them
staged and entangled them with readymade including into intimate encounters. objects and textual citations in various Haven, artists architectural, photographic and D’Oyley The
New Artists invent their own histories
members of the from Australia painterly encounters.
Budden Frances and despite successive efforts to feminist
The Vexations of Art , of Vexations The Press, . such as s mark the demise of modernism and It was the art historian Svetlana 1970 168–80 Alpers, its museums, some of the most Alpers who observed, in her study which toured pp. University , Robertson, Toni interesting contemporary art returns of Velasquez and the Spanish court, Marie McMahon, and Domestic Needlework Collective, a number of exhibitions women’s domestic crafts, Show, 2005 Yale to poke around the hallowed sites and the During
Svetlana the abstracting effects of needlework. 4. 5. ruins of twentieth-century modernism. She noted that: ‘a tapestry is difficult .
For Melbourne this has come to to make out. The problem in legibility 1988 . mean Heide. The genealogy of this results from the piecemeal nature 100 ,
95 movement originates in the late
of its making and the assertiveness pp. , ‘bottoms 1960s when artists began to question of the threads that shape and describe Culos al aire . , Tours Cannibal
1997 not only what qualified as art but 5 , a world’. Unlike paint that can be Place after ’One
2008 80 the spectacle and routines of display mixed to a liquid consistency to make Notes on Site Specificity’, Vol. in the modernist museum. These different colours, tones and textures,
December investigations led to installations, thread is an obdurate material that as literally translates to the air’. Another: October , 17 email to the author, Jubelin Narelle Miwon Kwon, Dennis O’Rourke, performances, site-specific practices, resists the mimetic, even when it is 1. 2. 3. and interdisciplinary and collaborative made to serve such ends. Nothing art that had an almost academic is more piecemeal than the small, engagement with archival sources stitched flecks of colour that Previous Narelle Jubelin BOXED.SETS and esoteric forms of knowledge. constitute a single petit point. In fact, 14 –24 2005, on McGlashan and Everist table c.1967 Miwon Kwon characterises this art of a fragmented form of abstract weaving Installation view, Heide Museum institutional critique as an attempt ‘to informs Jubelin’s process as she of Modern Art, 2009
Opposite reinvent site specificity as a nomadic assembles, bit by bit, her tiny nets Narelle Jubelin BOXED.SETS practice… whose path is articulated out of various tenuous connections. 16.BLACK 2005, on McGlashan and Everist table c.1967 by the passage of the artist’.3 A thread, as it is pulled and woven 16 through a cotton grid, is always and narrative values simultaneously. 17 caught between its own materiality As the artist Ian Burn observed: and the world of material things. ‘viewers are positioned with (and not by) the artist, encouraged to enter Since 1990 when Jubelin’s major discourses from places where politics work Trade Delivers People, the are spatially articulated, inextricable centrepiece of this display at Heide from place or moment’.7 Thus, in Museum of Modern Art, was in the viewing Jubelin’s work all encounters Venice Biennale, her installations have are localised and deliberately slowed spanned the hemispheres, inserting down by the necessity of close looking, an intimate register into the politics which mixes complicity, shock and and history of each site. Moreover, seduction in a sleight of hand. the extension of her installations into local spaces has been simultaneously Boxed Set accompanied by narratives on We conceived the building itself as architecture and the built environment, a sculpture set in a garden, in some whether modernist sublime or down ways reminiscent of a maze and we home and vernacular. For instance, adopted a modular and open-ended she traced the footprint of Mies van plan form, capable of extension.8 .
der Rohe’s Barcelona Pavilion of 53
McGlashan and Everist architects . p. 1929 in a silk-screened printed curtain , 1965 2006 Living in
(And Hence Rewritten) produced by At the threshold of Jubelin’s installation c.
exhibition ’, the Fabric Workshop and Museum, at Heide the visitor confronts a low II Heide Museum
Philadelphia in 1995 –96. For over half-wall, one metre high, protruding Archives, in a landscape: ‘Walks Melbourne,
a decade she has worked with her across the width of the gallery except Art Heide Museum of partner, the Madrid-based architect for a temporary passageway at one Art, Marcos Corrales Lantero, on end. It is built from blocks of Mount making of Heide The Building Concept, of Modern Landscape: Heide and Houses by Heide and Houses by Landscape: , McGlashan and Everist catalogue, Modern Philip Goad, Gambier limestone left over from McGlashan and Everist architects, temporary purpose-built displays 8. 9.
featuring combinations of his modular the construction in 1967 of Heide II, table/bench/shelves, which open the modular house that the young . . 2008
architectural firm of McGlashan and foundation
up an exhibition so that the entire 1992 Front and in Front Everist designed on the Templestowe Angeles then unit:
space and its surroundings become London, 2001
site for Melbourne’s modern ‘Medicis’, Sydney,
temporarily incorporated into the exhibition catalogue, in Los Parasol work. Most recently, in the company John and Sunday Reed. These dusty
white blocks are laid in a pattern 9th Rider: The Boundary is only half metropolis ‘The
of Corrales and others, she has Renton, Owner Builder of Modern mapped the displacement of the that echoes Heide II’s distinctive walls, which architectural historian the horizon’, , Biennale of Sydney Biennale of Sydney, Lantero, California House , Melbourne Festival, and of House with Ângela Ferreira Andrew modern Californian bungalow to art, for contemporary Ian Burn, Corrales with Marcos Jubelin Narelle
Australia, through the owner-built Philip Goad has characterised as 6. 7. home of her parents.6 a Mondrian-like ‘maze of walls Above 9 Wolfgang Sievers, in a landscape’. If left unadorned, Sweeney and Pamela Reed What now seems evident is that the half-wall in the gallery could be in Heide II living room 1968 © National Library her work is unusual among mistaken for a Minimal work gone of Australia contemporary installation practices, feral—instead, Jubelin domesticates Below Wolfgang Sievers, because of its capacity to revisit it by running a set of double-sided Heide II study, John and aspects of modernist perception for Sunday Reed’s house in frames along its ledge to display Templestowe, Victoria 1968 the twenty-first century, by making a row of black-and-white snaps taken © National Library of Australia things that mobilise both abstract by the artist Albert Tucker during his 18 self-imposed exile overseas between pristinely recorded in Wolfgang a stone where he had to stand’.14 a global voyage, and like Gulliver’s 19 the years 1947 and 1960. His travels Sievers’s photographs, revealing The grain in the original photograph Travels, which began when Gulliver abroad began with an official army a model of cosmopolitan living is enhanced by a coarse cotton grid was swept off-course from the visit to the devastated cities of in the suburban bush. that thickens the image, suggesting East Indies to the northwest of Van postwar Japan. The following year, not glamour but a lack of ease. Diemen’s Land, its origins are BOXED.SETS brings other ‘boxes’ like generations of Australian The final cameo shows Seidler’s antipodean. Jubelin’s journey into into Heide, like a postcard view of moderns, he went in search of the iconic house blasted by a fireball, ‘the heart of darkness’ adopts the the Rose Seidler house, now also avant-garde living ‘down and out its clean white frame and ramp just first person form of address to testify an historic modernist site of tourism in Paris’ with his lover Mary Dickson visible at the edge of a strange yellow and bear witness. However, as with on Sydney’s North Shore. As Harry and toured Italy in a homemade bloom, a literal twist to that avant- the old masters of fictional travel Seidler’s first Australian commission caravan. While snaps of his passage garde strategy of exploding the writing, Jonathon Swift and Joseph
.
in and his parent’s home, it was the exhibition Adelaide Adelaide from London’s Trafalgar Square canon, when modernism comes Conrad, her authorial voice should not 38–9
showpiece for how he could deploy 2006 to Piazza San Marco in Venice could face-to-face with its own inherent be taken at face value. Jubelin begins pp. be from any tourist album, these De Stijl principles of asymmetric logic. These memories of growing ‘Boxed Sets, with a stitched self-portrait silhouette,
Ann Stephen,
rectilinear geometry. He would sit uneasily back-to-back with up modern establish some distance a decidedly un-modern image, more Art Gallery of South Adelaide,
describe the house in formal terms rear-vision views of Left Bank peep from and some equivalence with that like an eighteenth-century cut-out as ‘a disposition of unequal glass unfinished business. Seen together st Century Modern: st Century Modern: shows and a blurred apartment from a shadow-play that withholds Biennale of Australian Art , Australian Biennale of catalogue, Australia, 21 Annotations’, areas to the left and to the right, Jubelin, Narelle interior taken at 2.00am of Beat with the Tucker snaps they unsettle psychological insight and basic
13. 12
in oppositional dynamic balance’. generation buddies Cindy Lee and the cool urbanity of Heide, offering information. She explains: ‘I needed
Art, Reduced by Jubelin to thread, it is Jack Kerouac in Greenwich Village. less regulated encounters. to cite myself in the critique … that
,
no longer a transparent Miesian box Ann I was part of it, particularly in relation University
1980 between Another kind of family album but is made homely and suburban. Delivers table Trade People to the Venice Biennale, that I was part
is laid out in Jubelin’s BOXED.SETS, Other boxes are taken from the lecture, filmed A Crew of Pyrates are driven of the trade …Though you can’t tell All further quotes Museu da Cidade, ,
. . ‘Round
adjacent to the temporary half-wall personal archives of fellow artists 56
‘Interactions whether it’s a man or woman, or Wales,
by a storm they know not whither; p. 2009 , on a terrazzo-tiled dining table. including Jacky Redgate and Callum ECRU at length a Boy discovers Land whether I’m black or white … It has Heide Museum of Modern and Morgan Kendrah 1998 architecture’, Engberg,
Its title derives from the description Morton. Their short accompanying Seidler, 17 from the Top-mast; they go on a deep-rooted ambiguity’. Her little and
of Adolf Loos’s modernist architecture annotations read as an anecdotal February Seidler family archive. art Lisboa, discussion’, of New South profile head extends an invitation to 10 Michael, Stephen, Shore to rob and plunder; they this interview. from the artist are from Harry Juliana 10 interview with Linda Jubelin Narelle
as ‘pristine boxes’. Two chairs history of the modern, as when 12. 11. see an harmless People, are the viewer to follow the direction of her 17. invite a close-up and informal view Morton notes of his snap, ‘The house entertained with Kindness, they gaze, indicating that the possibility of of the eleven palm-sized circular was designed by my dad. He had give the Country a new name, they revelation can only be glimpsed in the . New petit points in rubber photo-frames worked in Montreal under Moshe 1973 set up a rotten plank or a Stone spaces of encounter that are to follow.
that are each nested in a 1960s Safdie and John Andrews, and . for a Memorial, they murder two 275 Architecture Architecture
BOXED.SETS BOXED.SETS
. designer ‘clam’. Such domesticated Louis Kahn was his hero. So it’s 70s The centrality of scale in Jubelin’s work p. ,
or three Dozen of the Natives, bring University Oxford , 42–3 Serra by Richard
intersections in Jubelin’s work have brutalism but the formed concrete
echoes Gulliver’s Travels. The miniature Travels: Gulliver’s 2008
away a Couple more by Force for a 1726 pp. modernist Australian , been described by the critic Juliana has been replaced by unrendered stitches that she deploys to catch and University Press, Yale
Sample, return home, and get their 1993 Engberg as balancing ‘the rare concrete blocks and glass bricks hold attention require a level of visual Oxford, and the Eameses. Der Rohe Van
places Pardon … And this execrable Crew art and design object of adventurous and a bamboo garden!’13 The cameos intensity from the viewer that mirrors and the Text: The (S)cripts of Joyce and and Joyce of (S)cripts The Text: the and , Piranesi 1–13 by Harry Seidler and architecture alongside work by Glenn Murcutt Mies Haven Travels into Several remote Nations remote into Several Travels , World of the Press, of Butchers, employed in so pious text-based video work Television , People Delivers Schoolman, and Carlota Fay Swift, Jonathan Bloomer, See Jennifer an early title is adapted from The modernism with the realities of possess the same scale and register the inversions which Swift sprung Ibid. 10. an Expedition, is a modern colony 14. 15. 16. making a lived in space’.11 These as Tucker’s snaps, showing formative upon his readers for their amusement sent to convert and civilize an in-between spaces are also a feature childhood brushes with modernism, and discomfort in the lands of Lilliput idolatrous and barbarous People.15 of the Reeds’ very public ‘private like a family beach outing described and Brobdingnag. When Gulliver Jonathan Swift life’ in the open plan of Heide II, by Jacky Redgate: ‘My sister and I are observed the enhancement of close the original home of the dining table in the Mondrian dresses my mother Suburban worlds are turned upside- vision amongst the Lilliputians, and the two Eames prototype chairs made from a Vogue pattern. I think down by the dark Swiftian satire at he explained that ‘they see with great in Jubelin’s installation. Designed she replaced the blue square with the heart of Jubelin’s Trade Delivers Exactness, but at no great distance. as both a modern house and green … Whenever she was in the People.16 This work, in its three And to show the Sharpness of their gallery to live in, its first life is photo and my father took it she put extended sequences, constitutes sight towards Objects that are near, 20 I have been pleased with observing… those of his loved ones. The diminutive Other circumstances that shaped being damned as a neo-colonising 21 a young girl threading an invisible cameo softens up the viewer before Jubelin’s work were closer to home. project that ‘cannibalised’ non- Needle with invisible silk’.18 His the main assault of unlike pairs of The politics of display became European cultures to privilege worlds are imagined through the objects yoked in a series of dialetical a volatile subject with the opening Eurocentric innovation. The matter optical magnitude of a telescope dances that fan out along the wall of the National Gallery of Australia did not end there.23 or microscope, just as Jubelin’s in a diagonal projection and culminate in 1982 (then known as the minutely scaled petit points are in a final sequence more than ten Australian National Gallery) under A small but ambitious Australian designed to sharpen seeing, rather times the size of the little black head. the directorship of James Mollison. group exhibition Paraculture shows than to add refinement. For Gulliver, Its collection and architecture were ‘primitivism’ to have been more The tease of a portrait that masks the than an academic debate between
needles and thread mimic figures particularly contentious because,
or forms of assault and entrapment. narrator signals the close but complex for the first time in Australia, anthropologists and art historians, Most famously, a ‘man-mountain’ mediations between Narelle Jubelin’s American late modernism was at its as the problems resonated for Narelle Foley, Fiona
work and her life. Earlier modernists many local artists. Conceived in the Gibson Ross
in Lilliput wakes to find himself centre, marked by Jackson Pollock’s Artists Space, were drawn to metropolitan centres. margins —by Artspace in Sydney—for
bound by a mass of ‘slender ligatures’ Blue Poles. Jubelin was provoked Gibson, Jeff exhibited Gordon However, the anti-imperialist critique exhibition in Artists Space in New York ,
and on attempting to break free by a review written by the artist by Sally Couacaud, curated 1990 Butler, Rex
that divided the art world in the for Sydney in early 1990, it proposed ‘a complexity Burchill, Janet and Lindy Lee; Johnson Tim is assailed by ‘an hundred arrows Ian Burn, ‘but when I finally went discharged on my left hand, which 1970s caused Jubelin’s generation I actually disagreed with Ian’s of cultures, positions, and visions, York, Artspace, New Bennett, Gerber, Matthys Jubelin, to consider engaging with other more operating coextensively … “without by Keith the catalogue included essays Broadfoot, and Meaghan Morris. pricked me like so many needles; interpretations about it being framed Paraculture, ‘peripheral’ places than, say, New York. fixed address”’.24 Up to this point 24. and besides … shot another flight into in terms of American imperialism’.21 Jubelin in fact made her first overseas Jubelin had been appropriating historic . the air, as we do bombs in Europe’.19 Subsequently she was struck by 1988
incursion to one of Australia’s closest Australian landmarks, redefining Bay Harvard The realism of this final line snaps the the attempts to integrate, however MA,
reader back from Gulliver’s imaginary ‘exotic’ ports, that of Port Moresby, awkwardly, Indigenous art and these representations of ‘national or white and James just six years after Papua New Guinea’s identity’ in feminist terms by sewn ; battles to a world of imperial wars. vernacular forms into the story of “primitive” 1985 Recodings: in Recodings:
independence from Australia, and it petit points in wild vernacular frames. Cambridge, ‘The This movement between imaginary Australian art. In fact Trade Delivers WA, proved to be a confronting encounter. For Paraculture she adopted a more play and global politics also haunts People ends on a tour de force carving layers ‘tramps’ ‘The tourism that we did in New Guinea international and discursive form of The Predicament of Culture:
Trade Delivers People. inspired by the turtle-shell scrimshaw Seattle, in 1981 black masks’, moved me towards a critique displayed in its Australian gallery. installation, with a triptych titled The the work of itinerant are frames These or workers of cigar boxes and other wood scraps. Ethnographiy, Literature, Art , Literature, Ethnographiy, University Press, Clifford, , Politics Cultural Spectacle, Art, Press, skin, unconscious of modern art,
Like all of Jubelin’s petit points, about Australia’s own imperial past, Wear and Tear of Life in the Cash Nexus See Hal Foster,
A tiny black silhouette of the The Bark 22. 23.
her introductory self-portrait was so it made sense to be dealing with Venus of Hobart Town is stitched over that paired three so-called primitive conceived with a particular frame New Guinea in the first version of Trade masks with framed needlepoint densely mottled shell patterns like in mind, in this case a rough and Delivers People’. Her decision was renditions, including the small Routledge, a miniature Papunya painting, Australian readymade metal rectangle, as wide galvanised by the release of O’Rourke’s self portrait in its coin frame at its Summer . surrounded by an elaborate Tramp
as the Australian sixpence coins film Cannibal Tours—shot on a luxury centre, partnered with a diminutive See his article 30–1 22
Empty Meeting Art frame with gold silk beneath
pp. on its front. Currency of all types— liner the Melanesian Explorer up
, African Puma region mask, a hybrid , Travels Gulliver’s diamond and scroll timber fretwork. . Australia. 1992 a string of Venetian trading beads, the Sepik River—which had turned object decorated with pennies populism or a new cultural
: . . 51
and between black white 18
41 p. a New Guinea bride-price armlet a scorching eye on such tourism. His Inflaming this volatile mix of from the former British colony of p. p. York, ANG cit.,
of German porcelain buttons and a camera records an unhappy complicity institutional and post-colonial Tanganyika (now Tanzania). The mask, 983, Ian Burn highlighted the differences between international and galleries, in cultures , Art Network federalism?’ 1 op. , Papers Tourist The Grounds: New ‘The Dean MacCannell, Ibid., Swift, Jonathan plethora of coins—provides a subtext on both sides of the exchange— critique was the highly influential redeemed from the commercial traffic 21. 18. 19. 20. of exchange through the narrative an angry local woman complains to exhibition Primitivism in Twentieth in ‘primitive’ artefacts, was inserted of ‘a modern colony sent to convert camera that ‘white men got money… Century Art: Affinity of the Tribal into a new uneasy encounter, framed and civilize an idolatrous and you have all the money’, then the and the Modern, curated by William between Jubelin’s self portrait barbarous People’. Her black profile pan reveals her strings of shell money. Rubin at The Museum of Modern (sharing the same sovereign) and faces in the opposite direction of ‘She knows herself to be … trading in Art, New York, in 1984. Its formalist two grand renditions—of a turtle shell the eight ‘heads’ of King George VI currencies under unfavorable exchange aesthetics exhibited early twentieth incised with a nineteenth-century Overleaf (1937–52), crudely soldered to conditions. The tourists think they are century modernist art for its affinities sailing vessel and of a vessel framed Narelle Jubelin, parts 5 and 6 from decorate a personal commemoration, buying beads’.20 Both are diminished with so-called ‘primitive’ art. It in tortoiseshell. In several months the Trade Delivers People #3 1989–97 Installation view, Heide Museum perhaps for a soldier’s portrait or in the squabble over small change. proved a controversial watershed, self portrait and turtle-shell rendition of Modern Art, 2009
24 would be reconfigured to introduce elements of Australian culture into façades in Piazza San Marco—of The dark traffic in imperial 25 and conclude Trade Delivers People. a global trade, to bring the margins green and various shades of white— suppression or ‘guidance’ is played In the Venice catalogue the Puma to bear on the centre, with women’s provide the ground for two rolling out in the two surviving ‘cannibalised’ mask was interpreted by Vivian needlework and local modernism curves, one made from the PNG versions of Trade Delivers People Johnson as ‘an inspired act of reverse drawn into its web of correspondences. bride-price armlet, the other a piece (hereafter referred to as TDP#2 and appropriation’, with its coins ‘like For instance the proselytising of Venetian Burano lace in the shape TDP#3) that were commissioned terrible growths breaking out across ‘Aboriginal primitivism’ of Margaret of a gondola. ‘The first time I went after parts of the original were the brooding countenance’.25 Now, Preston takes the guise of a crude, to Venice I was looking for material sold.30 They are brought face-to- it is not so clear whether the unknown black ‘boomerang and flower’ print I could use as a ground to foreground face for the first time here at Heide. African artist intended a display of re-created on an off-white petit another discursive debate. It was Both begin with Jubelin’s little wealth or an anti-colonial gesture. point that could almost be an Agnes really risky attempting to tease out the profile, though the new self portrait Martin grid. In another penny frame is complexity of tourism … while at the in TDP#2 has two conjoined heads At the time, ‘post-colonial’ debates in a modernist souvenir that mimics (or is same time being a participant in the looking back and forward as if in Australia focused on the appropriation mimicked by) the curve of its companion, grand tourist event of the Biennale.’ an awkward Siamese twist, like on of landscape and land rights as a necklace of Venetian trade beads, a playing card, to catch the sense of The oceanic metaphor is sealed at its Indigenous protests had framed the strung with amber, silver and bone. doubling that she was now involved imaginary centre by a single crystal bicentenary of European occupation A piece of home-front crochet from in.31 Jubelin recalls that for TDP#2, goblet that Jubelin had seen at the in 1988. The Paraculture exhibition World War I, with the patriotic slogan commissioned by James Mollison Metropolitan Museum of Art while in argued for ‘rejecting the frontier ‘Our Bit’ emblazoned across a map for the National Gallery of Victoria New York. Etched into its bowl of glass
imagery and its spectres of cultural (NGV) in 1992, ‘I said I wouldn’t
of the Australian continent, previously
is a Lilliputian sailing vessel, just and degeneracy menacing from the Other reclaimed by 1970s feminism, returns want to revisit the “primitivism” side’.26 In its place was to be a far more discernable through gold, olive and debates via masks and so he invited .
to haunt, implicating even the domestic Australian pale green threads. It represents Australia’, 28
1979 furtive act, in which ‘the landscape me to use the NGV’s collection.
amateur in an imperialising mission. . Domestic Women’s Exploration,
the trading empire of the world’s first . is imitated not as a product, a thing I encountered the Egypt Exploration
Its dense crosshatching mimics the 1899 13 Show: D’Oyley The global monopoly the Dutch United p. in Sydney,
on a map, but a process, its mapping Fund pots that were excavated by Egypt rick-rack patterned frame, while East India Company, established in
27 the
a similar derived from itself’. On Jubelin’s rendition of the threads match the extraordinary the grandson of Matthew Flinders, NGV of
sixteenth-century Batavia, now Java. Flinders Petrie Matthew William the incised turtle shell, an incomplete blue and white saucer eyes of which linked back to the original Fancywork, in posters for An Exhibition of
, Paraculture Slow in Dead double self-portrait subsequently donated they were to the Flinders who of Matthew (grandson mapped portions of the these jars when coast) excavated part (1992), Napoleon image. of fearful sphere ‘The design also appears filet crochet This Sir also used a white-on-white, Jubelin Butler, and Rex Broadfoot Keith One of Jubelin’s black jokes or visual Trade Delivers People, with its 27. 28. 31. outline of the Australian coast is a neighbouring Ivory Coast mask. 32. shocks is contained within and echoed faintly visible, marking not only the Such affinities ape Rubin’s ‘primitivist’ scrimshaw outline of part of the . the
by its dark frame. Out of the goblet’s 37
limits of European charting but the morphology, while the vernacular Australian coast, a mapping which p. live,
silhouette she has teased two 61. Flinders had contributed to’.32 and the contingencies of seeing itself, where p.
references contaminate MoMA’s symmetrical profiles of black heads, commissioned
The staggered row of four Egyptian commissioned the line of sight actually drops out high formalism. As Jubelin admits: 2008,
n.p. face-to-face on either side of the Victoria, , Paraculture of vision. ‘I am constantly setting up banal formal clay jars—their aged surfaces ‘Panorama:
glass. These people delivered by trade deliver art’, ‘People relations, that are like bad puns … marked by salt deposits, with exhibition catalogue, Sydney, , When Trade Delivers People appeared flicker in and out of vision, alternatively rims blackened from firing—are Morris,
I often use formalism as a means 1990 Aperto, La Biennale di Aperto, six months later in Venice on the exposing and suppressing the master/ suspended at intervals along the of entrapment, like the repetition of the Classics, Penguin rough brick walls of the Arsenale slave relations at the heart of empires. wall, beginning on the left with Mori Gallery, Narelle Jubelin: Trade Delivers Delivers Trade Jubelin: in Narelle , People , Venezia dead and the living’, Trade Delivers People #2 , People Delivers Trade Mollison for the by James in 1992 National Gallery of #3 People Delivers Trade by Bernice Murphy for in 1997 collection. a private curves or boomerangs … in the same 1902,
Johnson, Vivien , Heart of Darkness Conrad, Joseph Meaghan (formerly a vast Venetian rope-making 25. 26. way that I use the traditions of sewing’. a small round globe, with each one 29. 30. factory serving its maritime trade) Cannibalising progressively longer and ending on it had doubled in size and complexity. As an inventory of colonial traffic, All Europe contributed to the one extended, pale, pendulous jar. In the interim Jubelin had been Trade Delivers People propels the making of Kurtz; and by and bye As ancient objects they sculpt out a raiding not only the modernist viewer in an expansive movement from I learned that, most appropriately, dramatic presence (equivalent to the museum displays of New York and left to right, along expanding diagonal the International Society for the worn Corderia wall of the Arsenale
Paris, but also tourist markets from sight-lines, as the eye is carried in Suppression of Savage Customs had in the Venice installation) in between Overleaf Narelle Jubelin, Venice and Sydney, to assemble a series of wave motions from one trade entrusted him with the making of the row of Tramp Art frames that parts 4 and 5 from Trade a work that might hold modernism object to another. A pair of geometric a report, for its future guidance.29 imparts a dark vernacular beat Delivers People #2 1989–93 Installation view, Heide to ransom. Her strategy was to tie sampler patterns inspired by Venetian Joseph Conrad, Heart of Darkness to the theme of mobility and trade. Museum of Modern Art, 2009
28 Three new renditions address its of an Irish linen tablecloth hand- locality, alongside the pots and hemmed by Tiwi women at other trading vessels on the wall, the Franco-Irish Catholic Mission by inscribing specific reference to on Bathurst Island, a legacy Australia art. For instance, in place of successive white initiatives to of the Preston, Jubelin rendered establish art and craft industries Sidney Nolan’s early almost abstract in Indigenous communities.34 painting Boy and the Moon (c.1939–40), By 1997, when working on TDP#3, its flat yellow globe rhyming with the Jubelin brought into its orbit another small moon-shaped pot by its side. story gleaned from living and working Nolan’s iconoclastic blank head between Madrid and Lisbon. It was had divided the art world when first the unfolding fate of Portugal’s former exhibited at the Contemporary Art colony of East Timor / Timor Leste Society’s annual exhibition in 1940. that played heavily on the mind Such a copy both acknowledges its of this expatriate Australian.35 One power and brings it low, rendering new rendition describes a betel-nut the Nolan as no more than a container made in the shape of ‘thumbnail sketch’ in a folk art frame. a woven house, a homely thing for .
1998 a nation of refugees. Jubelin placed
The institutional context of TDP#2 is marked by a frontispiece copied the initial of her first name between
Lisbon, this and another Timorese-inspired
Jubelin from the NGV’s Art Bulletin, like , a foundation stone marking the petit point, a long vertical timeline ECRU listing the events of 1975 in Fretilin’s
, Heart of Darkness year of the move into the modernist Similar to Gulliver’s . liberation war. The red, white home return Marlow’s geometry of Roy Grounds’s new NGV. 88
Museo da Cidade,
p. The work’s commissioner, James and blue stitched words are those Africa is filled with disgust cit., on the glass massacres Timorese Mollison, appears as a contributor of Timor’s current President, Jose experience, from and resentment. testimony and translated transcribed of Branco walls of the modernist Pavilhao pavilion, op. Joseph Conrad, work, In a related 33 Ramos-Horta, implicating all three
35. 36. in the stitched list of contents. Such petit-point texts effectively blur regional powers—Portugal, Australia
. s. the separate sphere that Jubelin’s and Indonesia—in Timor’s annexation.
1970 The original masks and trading (1992) notes and annotations had previously Tiwi
early occupied, bringing them into the beads of Trade Delivers People have ‘Note cover
lent by Diana visual centre of the work. been retrieved and joined in TDP#3 with a pair of Zaire masks and coordinator In place of the crystal goblet in an extraordinary ventral mask Island, Bathurst the original Trade Delivers People, from Tanzania, of a pregnant torso, tablecloth also appears Tiwi Pilakui, Antoinette both new versions have at their bringing the sequence to a dramatic Slow work Dead in Jubelin’s The Art Bulletin cover: The view Coming South by illustration Roberts’. Tom original was by Miriam Babui The & Conroy, Wood Designs, The annotation on the back cites Jubelin’s centre a ‘burnt orange’ cloth,
33. 34. and confronting conclusion. Like reworked in petit point with a line Conrad’s narrator, who recognises Opposite or border fringe of loose thread Narelle Jubelin, part 9 from with horror at the end of his journey Trade Delivers People #2 at its centre. A barely perceptible for Kurtz, the infamous ivory trader, 1989–93 Installation view, Heide Museum passage worked in a slightly different that ‘it is his extremity that I seem of Modern Art, 2009 orange thread signifies a stain. to have lived through’, the viewer Overleaf Narelle Jubelin, part 14 from Only through the annotation does is unavoidably implicated as voyeur Trade Delivers People #3 the source object become evident, 1989–97 facing Sidney Nolan, looking upon the dark wooden Boy and the moon c.1939–40 as a 1970s ‘Aboriginal’ trade cloth, breasts and belly, suspended at Installation view, Heide Museum of Modern Art, 2009 or rather the magnified corner eye level.36 Jubelin makes, through 31–31 32 of ModernArt, 2009 Installation view, HeideMuseum of QueenVictoria1993 and NarelleJubelin,Rendition Sidney NolanMoonboy, 1940 Overleaf of ModernArt,2009 Installation view, HeideMuseum Trade Delivers People #21989–93 Narelle Jubelin,part3from Opposite 37. Nolan painted a large version of 39. Conrad, Heart of Darkness, 42. Conrad, Heart of Darkness, op. cit., ‘Moonboy’ on the roof of Heide I op. cit., p. 11. p. 61. The scrawl at the end of Kurtz’s
during his wartime stay with the report, written in an unsteady hand, Julius Lips, The Savage Hits Back, Reeds. However it was deemed by 40. was very simple, ‘Exterminate all or the White Man through Native Eyes, military intelligence to be a potential the brutes!’ Lovat Dickson Ltd, London, 1937, aerial target and was erased. chapter XI, fig. 205. 38. Heide curator Kendrah Morgan Ian Burn, ‘The metropolis is only has generously made available her 41. half the horizon’, op. cit., p. 32. research on these Nolan works. The provocation takes a cue from Sandwiched between a Papua Sidney Nolan’s majorpaintingBoy N for Timor,pullingthewooden initial from Heide’s own collection are Province, South-East Africa’ which Lips’s HitsBack, classic TheSavage thread from an illustration in Julius New Guinea feathered maskshown temporary grouping intheHeide Directly facing thissequence is these objects, a final mute cry the originalTrade People Delivers , trade goblet, ‘left over’ from Heide’s anecdotal associations with the expressionless mugshotsand the features from thispig-tailed Dulux house-paint,buterasing to paper,intheotherto aform of ‘ ‘moonfaced’ blanks.Oneofthese ‘Moonboy’ aswell asitsscaled-down ‘Moongirl’. copy ofQueen Victoria’s photograph. of ‘a Bushman painting in the Cape of ‘aBushmanpaintingintheCape is a petit-point effigy of that British is apetit-pointeffigyofthatBritish exhibition. If modernism still exerts on velvet andoutliningon itsplush amount of red’ on nineteenth-century and acarved ‘ appearance in any hold, it lies in such confrontations. abject ‘tourist picture’, bypainting and theMoon, the first work in a pregnant belly. maps. monarch whoruled over ‘the vast reunited withtheiralterego onthe known variations of‘Moonboy’ by itsneighbouringcopper frame returns asaleitmotif to this pile asilhouette ingoldandred was in turn based upon a lithographic was inturnbaseduponalithographic wall. Inone,Nolanresorted to loose group, looking bothwaysalong graffiti-like scribbles transferred ’ into linewiththesquare ‘ 39 Here itis translated into 38 Thepeople-delivering W TDP#2 ’ scarified on the ’ scarified onthe . 37 Two lesser- O
’ made ’ made
40
Trade People Delivers are suspended Trade People Delivers hasgenerated Two decades after itsVenetian the viewer to judgewhether such time and space. It remains for the framed-and-framing objects the work doesnotoffer thecomfort the formal, exotic and the feminine, Kurtz ‘atcertain midnightdances literalises aconceptual tracking some inspired readings. IanBurn shell back,they form amotley crew ‘report, for future guidance’, still spectator’. slowly unfolds to ensnare the in an elongated narrow gallery of distance. Infact theinstallation on the wall intervals, theliteral space between observed how theliteral space of crowned heads. is why the work demands attention, is whythework demandsattention, ending withunspeakable rites colonising vision of the (modernist) an eloquent, vibrating high-strung an extended project, launchedas at Heide intensifies its peripheral here together. Yet even withtime reception allpartsandversions of between itspartsworked ‘like filmic back-to-front, exposing itsturtle- herself presiding like a latter-day modernist paradigm, intrading beholden to andnotbeyond the because she finds herself still which were offered up to him’. why it slaps the viewer in the face, glimpses andbrazen leaps across delivers, orwhetherJubelinfinds glances between cultures. 41 … If Burn is right, this IfBurnisright,this
A linear viewing of 42
Postscript Ideas have special itineraries. In 1991 the National Gallery of Victoria The jars were excavated by Sir William employed in an art museum in 37 A genealogy Concepts have biographies. (NGV) purchased five pieces from Matthew Flinders Petrie (fastidious Australia (Hoff commenced work at of Trade Exhibitions are the outcome of Trade Delivers People: the assembled himself about provenance), grandson the NGV in 1943, appointed as Assistant Delivers particular journeys and conditions. New Guinea bride-price armlet with of the naval explorer Matthew Flinders, Keeper of the Prints by then Director People #2 Through ever-evolving circumstances petit-point ground, the assembled and were presented to the NGV in Daryl Lindsay). in our intellectual, social and Venetian Burano lace gondola with 1899 by the Egypt Exploration Fund. Jason Smith In her catalogue introduction to the cultural engagements with each petit-point ground, a New Guinea The provenance of the jars is crucial Aperto exhibition, Jo Holder noted other, we maintain the puzzling Sepik region yam mask, the rendition particularly to the final component that Jubelin’s play on the ideas of the endeavour to describe how we of a tortoiseshell waterline half-model of the installation, and to Jubelin’s ‘exchange’ operate between the artist’s construct and experience the of USN Olympia, and the rendition positioning of herself within modern ‘scholarly research methodology world, and through our picturing, of a South American turtle shell incised and postmodern Australian and (with the particular and the factual) to readjust or transform it.1 with The Bark Venus of Hobart Town. international art histories. The turtle and the aesthetic functioning of her shell (c.1830–35) rendered by her Jubelin’s synthesis of national and object-collections (the general and The above statement by curator in petit point was acquired by the Bernice Murphy focused on the core international histories and contemporary the suggestive). These installations National Gallery of Australia (NGA) in conditions led James Mollison, then pivot around the relationship of the aims of her 1994 exhibition project 1988 and bears an incised partial map Director of the NGV, to discuss with fetishised miniature to the totality Localities of Desire: Contemporary of Australia. It was Matthew Flinders’s her how additions to this group of five of the group as a museum ensemble’.3 Art in an International World, circumnavigation that completed namely, to reveal unpredictable objects could reflect the work’s original the mapping of the continent. The final composition of Trade Delivers intersections between disparate composition and the artist’s intent, People #2 represents a unique form works of art and cultural forms of ongoing research and practice. James Mollison had positioned this of acquisition for an art museum: wide-ranging origins, and to rethink object at the entrance to his final Jubelin agreed to produce four as a work of art it cannot be constituted the processes and acts of exhibition- installation of the Australian collection additional petit-point renditions and to without objects from the Gallery’s making in a complex, pre-millennial, at the NGA, before his departure for recontextualise her work’s elaborations collection. It illustrates the potential post-colonial world. the NGV in 1989. The installation was of the issues of trade and exchange. for museum collections to be inspirational for Jubelin. Mollison Cultural engagement, readjustment configured in discursive, imaginative, The additional petit points were had led a new direction in curatorial and transformation are activated informative contexts.
n.p. completed in 1992 and in July 1993 practice at the NGA, in which works in and by Narelle Jubelin’s art.
40. Jubelin concentrated her negotiations in all media and from across disciplines p. For Localities of Desire Murphy Sydney, with Mollison and relevant NGV were installed to provide an ever more Localities of of Localities
1994, collaborated with Jubelin, and private complex and densely layered picture of Museum curatorial staff to complete Trade and public collections, to reassemble Delivers People #2 by incorporating Australian visual cultures and practices. Sydney, Mori Gallery,
the original Trade Delivers People, Mollison and his curators’ revaluing
Art, objects from the NGV collection. ‘Exhibition as cultural the twelve parts of which had been Jubelin regarded this as essential to of certain traditions — particularly Narelle Jubelin: Trade Delivers Delivers Trade Jubelin: Narelle
catalogue,
in separated after its presentation
her ongoing construction of narrative those associated with crafts — background’, Theoretical 19.
exhibition catalogue, in the Aperto section of the 1990 p. lines along her installations and established a model that eventually Holder Venice Biennale. The installation’s project: art in an international Contemporary Desire: , world of Contemporary People, Aperto, La Biennale di Venezia, 1990 , Venezia, La Biennale di Aperto, People, exhibitoin to creating provocative dialogues would see the routine incorporation Jo Ibid., Bernice Murphy,
1. 2. 3. provocative, unsettling critique of between her sewn renditions and of indigenous Australian art in the colonisation and context, of the objects from other points of origin. art history proposed by the Gallery. circulation and exchange of cultural artefacts, and of appropriation and After two mornings travelling and In her rendition of the frontispiece misappropriation disclosed (as Murphy searching through collection storage of The Art Bulletin, published by the sought for the exhibition as a whole) during which she writes she felt like NGV in 1967–68, Jubelin pays homage ‘the multiple centres of meaning that a ‘bull in a china shop’, Jubelin resolved to Mollison, listed as he is among may be operable within a particular that four Egyptian pre-dynastic and other authors including one of his culture, within a group of works, early dynastic jars would complete great mentors, Ursula Hoff — the first or even a single work.’2 the installation. academically trained art historian List of works Narelle Jubelin 8. Assembled New Guinea bride- Narelle Jubelin 8. EGYPT, Diospolis Parva, Jar, 39 price armlet composed of German 3700–3500 BC, Predynastic period, Trade Delivers People 1989–90 Trade Delivers People #2 1989–93 porcelain buttons with cotton petit-point Naqada I–II, c.4000–3200 BC, Note: This work no longer exists, ground, armlet purchased Sydney 1990, cotton petit point, porcelain buttons, 35.7 x 15.7 cm (diam.) but is listed as the originary work from cotton petit point produced Sydney 1990, string, cotton lace, copper sheet, copper 9. Rendition of frontispiece of The which individual parts were dispersed Tramp Art frame purchased New York hanging devices, satin mount, wood Art Bulletin, published by the National and incorporated into the later versions 1990, 33 x 28 cm frames, four pre-dynastic Egyptian Gallery of Victoria 1967– 8, cotton exhibited here and listed below earthenware pots from the collection 9. Assembled Venetian Burano lace petit point produced Sydney 1992, of the National Gallery of Victoria, Left to right (see image pp. 2–3): gondola with cotton petit-point ground, Tramp Art frame purchased New York Melbourne lace purchased Venice 1990, cotton 1990, 43.6 x 38.8 x 3.6 cm Silhouette self portrait, cotton petit 1. petit point produced Sydney 1990, Left to right (see image pp. 4–5): Rendition of a tortoiseshell point produced Sydney 1989, metal frame Tramp Art frame purchased Sydney 10. waterline half-model of USN Olympia with Australian coins, purchased Sydney 1989, 30.5 x 30.5 cm 1. Silhouette double self-portrait, 1988, 9.5 x 7.7 cm cotton petit point produced Sydney 1992, c.1895, included in Christie’s maritime 10. Rendition of a tortoiseshell waterline Tramp Art frame purchased Sydney sale of September 1988, cotton petit African Puma region (Tanzania) 2. half-model of USN Olympia c.1895, 1992, 20.6 x 13.2 x 2.8 cm point produced Sydney 1990, copper mask with British coins, purchased included in Christie’s maritime sale mat produced by Raymond Jubelin Sydney 1989, 29 x 13.3 x 7 cm of September 1988, cotton petit point 2. EGYPT, Diospolis Parva, cemetery Sydney 1990, Tramp Art frame purchased B, grave 388, Jar, Predynastic period, Rendition of Margaret Preston’s produced Sydney 1990, Tramp Art frame Melbourne 1988, 77.5 x 90.5 cm 3. Naqada II, c.3500–3200 BC, Nile silt clay, ‘boomerang & flower’ book plate 1946, purchased Melbourne 1988, 7 7. 5 x 90.5 cm 13.5 x 11.2 cm (diam.) 11. EGYPT, Diospolis Parva, Jar, from the collection of the Art Gallery 11. New Guinea Sepik region yam mask, 3300–2647 BC, Predynastic period, of New South Wales, cotton petit point purchased Sydney 1989, 29 x 13.3 x 7 cm 3. Rendition of Sidney Nolan’s Boy Naqada III, c.3200–3000 BC, produced Sydney 1990, metal frame with and the Moon, c.1939–40, collection of Marl clay, 47.5 x 22.1 cm (diam.) Australian coins produced by Raymond 12. Rendition of The Bark Venus the National Gallery of Australia, cotton Jubelin Sydney 1990, 22.5 x 20 cm of Hobart Town, incised South American petit point produced Sydney 1992, Tramp 12. Rendition of The Bark Venus of turtle shell, c.1830–35, purchased by Art frame purchased New York 1990, Hobart Town, incised South American Necklace composed of antique 4. the Australian National Gallery 1988, 29.8 x 34.6 x 2.4 cm turtle shell, c.1830–35 purchased by Venetian glass trading beads, African cotton petit point produced Sydney 1989, the Australian National Gallery 1988, silver and amber beads, bone pendant, Tramp Art frame purchased Mildura 4. Assembled New Guinea bride- cotton petit point produced Sydney 1989, purchased Venice 1990 1988, 81.3 x 64 cm price armlet composed of German Tramp Art frame purchased Mildura porcelain buttons with cotton petit-point African Ivory Coast wooden mask, 1988, 81.3 x 64 cm 5. Provenance ground, armlet purchased Sydney 1990, purchased New York 1990, 27 x 16.5 x 7 cm Exhibited in Aperto, Venice Biennale cotton petit point produced Sydney 1990, Collection National Gallery of Victoria, Melbourne 6. Rendition of ‘OUR BIT’ milk-jug 1990 and Frames of Reference: Aspects Tramp Art frame purchased New York of Feminism and Art, Pier 4, Sydney 1991 1990 33 28 cover from the collection of the Pioneer , x cm Parts 4, 5, 10 & 12 from the first version Women’s Hut, Tumbarumba, Australia, of Trade Delivers People 1989–90, Then dispersed, with individual parts 5. Assembled Venetian Burano lace cotton petit point produced 1990, Tramp exhibited in Looking at Seeing & Reading, gondola with cotton petit-point ground, purchased through the Art Foundation Art frame purchased New York 1990, Ivan Dougherty Gallery, University of lace purchased Venice 1990, cotton of Victoria with the assistance of the 25.5 x 30 cm New South Wales, Sydney, 1–31 July 1993 petit point produced Sydney 1990, Rudy Komon Fund, Governor, 1991 Tramp Art frame purchased Sydney 7. Rendition of dutch wheel-engraved Individual parts formed the genesis Parts 2, 6, 8 & 11 presented to the 1989, 30.5 x 30.5 cm goblet of the United East India Company, of the second and third versions of National Gallery of Victoria by the collection of Metropolitan Museum of Egypt Exploration Fund, 1899, added Trade Delivers People (see listings below) 6. EGYPT, Diospolis Parva, Art, New York, cotton petit point produced cemetery B, grave 17, Jar, 3800–3300 BC, to the work in 1992 Sydney 1990, found Tramp Art frame Parts 1–6 Sharon Grey and Jeff Hall Predynastic period, Naqada I–II, 1990, 31 x 24 cm collection Parts 1, 3, 7 & 9 commissioned in 1993 c.4000–3200 BC, 25.1 x 12.2 cm (diam.) Part 7 Private collection, Sydney 7. Rendition of Tiwi cloth, Bathurst Parts 8–12 National Gallery of Victoria, Island Mission, hemmed linen 1974, Melbourne cotton petit point produced Sydney 1992, Tramp Art frame purchased Sydney 1991, 29.4 x 40.8 x 5.6 cm 40 Narelle Jubelin 8. Rendition of a corner of an Irish Sidney Nolan Narelle Jubelin 41 linen tablecloth, hand-hemmed in 1974 Trade Delivers People #3 1989–97 Boy and the moon c.1939–40 BOXED.SETS 14–24 Madrid 2005 by Miriam Babui & Antoinette, Tiwi oil on canvas, mounted on cotton petit point, glass, bone, silver, women at the Franco-Irish Catholic cotton thread on silk net, composition board amber, natural pigments, coins, copper, Mission at Bathurst Island, collection rubber, melamine 73.3 x 88.2 cm linen, wood, natural fibres, string of Diana Wood Conroy, then working presented at Heide on dining National Gallery of Australia, as coordinator of Tiwi Designs, Nguiu, table with swivel chairs Canberra Left to right (see gatefold image): Bathurst Island, Northern Territory, Clam ashtray: black, ecru, beige Silhouette self portrait, cotton cotton petit point produced Madrid Moonboy 1940 1. Design: Alan Fletcher for Mebel, petit point produced Sydney 1989, 1996, Tramp Art frame purchased oil on velvet on board Italy, 1965 metal frame with Australian coins Sydney 1996, 42 x 33.5 cm 21.7 x 22.8 cm 11 parts, each 9 x 15.5 cm (diam.) purchased Sydney 1988, 9.5 x 7.7 cm Heide Museum of Modern Art, 9. Zaire mask, wood and hemp, Melbourne Frame: rubber photo-frame, brown African Puma region (Tanzania) purchased Madrid 1996, copper bracket 2. Bequest of Barrett Reid, 2000 Design: Oops! 956420 mask with British coins, purchased produced by Raymond Jubelin 2009, Distribution: Habitat Sydney 1989, 29 x 13.3 x 7 cm 25.5 x 16 x 26 cm Moonboy c.1940 10 x 10 x 6 cm, 8 cm aperture transfer print on paper Rendition of Margaret Preston’s 10. Zaire mask, wood and hemp, 3. 34.2 x 40.5 cm Dining table: terrazzo tiles, ‘boomerang & flower’ book plate 1946, purchased Madrid 1996, copper bracket Heide Museum of Modern Art, chromed steel, wood from the collection of the Art Gallery produced by Raymond Jubelin 2009, Melbourne Design: McGlashan and Everist, of New South Wales, cotton petit point 25.5 x 18 x 25 cm Bequest of Barrett Reid 2000 for the Reed House (Heide II) c.1967 produced Sydney 1990, metal frame with 11. Rendition of a Timorese betel-nut 75.3 x 152 x 91.5 cm Australian coins produced Sydney by container with compartments, woven Narelle Jubelin John and Sunday Reed Personal Raymond Jubelin 1990, 22.5 x 20 cm and coloured hemp in the form of Effects Collection Rendition of Queen Victoria, a house, from the collection of Musée Heide Museum of Modern Art, 4. Necklace composed of antique from Julius E. Lips, The Savage de l´Homme, Paris, cotton petit point Melbourne Venetian glass trading beads, African Hits Back, 1937 1993 silver and amber beads, bone pendant, produced Madrid 19 9 7, metal frame produced by Raymond Jubelin Sydney cotton petit point, wood, velvet Swivel chairs: fibreglass, aluminium purchased Venice 1990 35.7 x 29.5 x 1.5 cm 1997, 39 x 35 cm Design: A9282 chair, 5. African Ivory Coast wooden mask, Private collection, Sydney Charles Eames, c.1958 12. Wooden letter/signage die, from Manufacturer: Herman Miller purchased New York 1990, 27 x 16.5 x 7 cm Rendition of dutch wheel-engraved foundry in Rua de Santiago, Lisbon, from the Reed house (Heide II) 1967 goblet of the United East India 6. Rendition of ‘OUR BIT’ milk-jug Portugal, May 1996 80 x 60 x 60 cm Company, collection of Metropolitan cover from the collection of the Pioneer John and Sunday Reed Personal 13. Rendition of ‘Chronology’, Museum of Art, New York 1990 Women’s Hut, Tumbarumba, Australia, Effects Collection pp. 200–201, Funu [Tétun for liberation cotton petit point, wood cotton petit point produced 1990, Heide Museum of Modern Art, war]: The Unfinished Saga of East Private collection, Sydney (part 7 Tramp Art frame purchased New York Melbourne 1990, 25.5 x 30 cm Timor by José Ramos-Horta, held from Trade Delivers People 1989–90) in the collection of Por Timor Lisbon, Colour key for Clam ashtrays 7. Batak (North Sumatra) with frontispiece dedication, cotton Unknown maker ECRU: citing references to porhalaan: bone plaque inscribed petit point produced Madrid 1997, absent objects and precedents New Guinea Sepik River mask with calendar containing twelve columns metal frame produced by Raymond BLACK: footnotes (reversed), purchased 1990 corresponding to the months of the Jubelin Sydney 1997, 55 x 30 cm BEIGE: autobiographical evocations year and thirty corresponding to the tortoise shell, natural fibres, clay, cowrie days of the month, purchased Madrid 14. Ventral mask, Makonde carved shells, feathers, natural pigments BOXED.SET 14.ECRU 1996, 30 x 14 cm wood, Tanzania, purchased Madrid 19 9 7, 30 x 21 x 7 cm Av. dos Cronistas 109, Sommershield 54 x 30 x 17 cm Private collection, Sydney Maputo, Mozambique, 1958 Collection architect: José Joäo Tinoco Sharon Grey and Jeff Hall collection photographer: Pedro Ventura, 1999 reproduced courtesy: Ângela Ferreira Parts 1–6 were part of the first version ‘Casa Maputo: An Intimate of Trade Delivers People 1989–90 Portrait’, 1999
Parts 7–14 commissioned in 1996–97 42 BOXED.SETS continued BOXED.SET 18.BEIGE collage on Historic Houses Albert Tucker 43 14 Abdel Azim Rashed Street, Trust postcard photographs 1939–1959 …photographs of my place Agouza, Giza, Egypt reproduced courtesy: Luke Parker of birth…a typical assimilation 22 digital reproductions of gelatin architect unknown, circa 1950s In 2001 Narelle asked me to document of a European model of modernist silver photographs, 2009 photographer: Hussain Amin, 1999 the footprint of the Rose Seidler each 10.4 x 15.4 cm, unless architecture, however, all around it reproduced courtesy: Raafat Ishak House. I traced my way around otherwise specified are the marks of the actual setting… My old home in Cairo, Middle Eastern the whole house filming the point Albert Tucker Archive Mordant family collection brutalism … the interior of my parents’ where the walls meet the floor. I had Heide Museum of Modern Art, BOXED.SET 15.BEIGE apartment, Middle Eastern Bauhaus … been in LA just before September 11, Melbourne Ladeira Conego Pereira, no. 11, It is a modernist apartment block and my time there had circled On loan from Barbara Tucker 2005 Barão de Macaúbas, Salvador with washing hung on the line like around Narelle’s project on the Reproduced courtesy Barbara Tucker Bahia, Brazil ornamentation, not my washing, this Case Study houses. Not long after architect unknown was taken quite recently by a friend. I sent her the collage. All photographs presented photographer: (my mother) Courtesy Mori Gallery, Sydney Private collection, Sydney in Habitat photo-frames on a wall Gilda Netto, 1967 of Mount Gambier limestone blocks, BOXED.SET 19.BLACK BOXED.SET 22.BEIGE originally used in the construction reproduced courtesy: Vanila Netto The Esplanade, St Kilda, 5 Turner Avenue, Lara, Some old photos of my family’s house of the Reed House (Heide II), Victoria 3182, Australia Victoria 3212, Australia … I thought the brise-soleil element 19 6 7, in this exhibition constructed photographer: Martin Munz, 1973 unknown Australian architect, 1970 by Dan Argyle and Tom Zagami interesting. They were commonplace reproduced courtesy: Ann Stephen photographer: Gwenda May frames: 11.4 x 16 x 3 cm in houses with a modernist bent My mother first encountered reproduced courtesy: Anne-Marie May 60 wall: 100 x 333 x 29 cm in the s over there. They are called modernism in the office of the The house I grew up in was designed combogós. Niemeyer used a lot in his Melbourne architect Molly Shaw, in the late sixties for a fee of $80.00, Photographer: Albert Tucker quadras residencias blocks in Brasilia. where she worked in the 1940s. part of Robin Boyd’s vision for Street scene, Australia Mordant family collection affordable architect-designed housing My mum made me the Marimekko (loctaion unknown), c.1939 [the Small Homes Service]. Large BOXED.SET 16.BLACK dress in 1972 which I wore through windows allowed the garden and light Photographer unknown 71 Sinclair Road, London W14, England winter and two moratoriums … to enter expanding the actual floor plan. Albert Tucker in Japan, 1947 photographer and frock designer: Courtesy Mori Gallery, Sydney Mordant family collection Ian Burn, 1966 Photographer unknown BOXED.SET 20.ECRU reproduced courtesy: Avril Burn Albert Tucker, Trafalgar Square, MLC Centre, 19 Martin Place, BOXED.SET 23.BEIGE Mondrian—cool, intellectual, obsessive, London, 1947 Sydney 2000, Australia 10 Myoora Road, Toorak, rigorous with a strong ethical idealism architect: Harry Seidler, 1972–77 Victoria 3142, Australia Photographer: Albert Tucker … those early and very late paintings architect: Ian Morton photographer: Robyn Backen Piccadilly Circus, London, 1947 of Mondrian found new friends postcard: Late Modernist 1996 reproduced courtesy: Photographer: Albert Tucker and admirers, myself among them. reproduced courtesy: Barbara Campbell Callum Morton 2005 Osaka, 1947 Private collection, Sydney Seidler doesn’t like any of his buildings The house was designed by my dad. He had worked in Montreal under BOXED.SET 17.BLACK to be photographed in ‘aberrant light’; Photographer: John McHale Moshe Safdie and John Andrews, Henley Beach, South Australia ie, pretty pinks and oranges of dawn Albert Tucker at Notre Dame, and Louis Kahn was his hero. So it’s 5022, Australia and dusk … the other reference is Diane Paris, 1948 70s brutalism but the formed concrete Redgate family, September 1967 Arbus Child with a toy hand grenade has been replaced by unrendered Photographer: Albert Tucker reproduced courtesy: Jacky Redgate in Central Park, 1962. You could read concrete blocks and glass bricks, View from Tucker’s hotel room, My sister and I are in the Mondrian the building as my hand grenade … and a bamboo garden! Hotel Chausée d’Antin, Paris, 1948 The full glare of sunlight distorted dresses my mother made from Mordant family collection a Vogue pattern. I think she replaced my head but the building looks perfect. Photographer: Albert Tucker the blue square with green … Thanks Harry! BOXED.SET 24.ECRU from the series of photographs (Whenever my mother was in the Courtesy Mori Gallery, Sydney Rose Seidler House, 71 Clissold Road, Nuit de Montparnasse, Paris, c.1948 photo and my father took it she put Wahroonga, NSW 2076, Australia BOXED.SET 21.ECRU Photographer unknown a stone where he had to stand.) architect: Harry Seidler, 1948–50 71 Clissold Road, Wahroonga, Albert Tucker at Pisa, Italy, c.1949 Mordant family collection photographer: Richard Bryant NSW 2076, Australia 15.4 x 10.4 cm collage on Historic Houses architect: Harry Seidler, 1948–50 Trust postcard Photographer unknown photographer: Richard Bryant Private collection, Sydney Albert Tucker, Florence, c.1949 44 Albert Tucker photographs continued Photographer: Albert Tucker For over two decades Narelle Lisbon (1998), with Marcos Corrales Narelle Jubelin Albert Tucker’s caravan in Piazza Jubelin has stitched miniature Lantero at Lord Mori Gallery, Los Biography Photographer: Albert Tucker del Popolo, Rome, 1953 petit points and combined them Angeles; Mori Gallery Sydney; and Demi-mondaines, Paris, c.1949 15.4 x 10.4 cm with readymade objects and Centre for Contemporary Photography, Photographer: Albert Tucker Photographer: Giorgio de Giorgi textual citations in architectural, Melbourne (2001– 2), John Curtin Rue Pigalle, Paris, c.1949 Albert Tucker, Mary Dickson and photographic and painterly Gallery, Perth (2002), with Andrew 15.4 x 10.4 cm Giorgio de Chirico at exhibition installations. Her stitched renditions Renton, Artists Space, Jerusalem (2002); Photographer: Albert Tucker opening, Rome, c.1954 mark the journeys that objects Mori Gallery, Sydney (2003), Art Gallery Street corner, Paris, c.1949 and images make through the of South Australia, Adelaide (2006), Photographer unknown 15.4 x 10.4 cm world as part of a global history Centro José Guerrero, Granada (2006), Albert Tucker, Venice, August 1954 of travel, trade and tourism. Her with Luke Parker, Marcos Corrales Photographer: Albert Tucker Photographer: Albert Tucker frequently collaborative projects Lantero and David Norrie at Mori Streetside peepshow, Paris, c.1949 Cindy Lee, girlfriend of Robert involve narratives on modernism, Gallery, Sydney (2008), with Marcos Photographer: Albert Tucker Graves, and Jack Kerouac in Albert vernacular traditions and the built Corrales, Angela Ferreira, Andrew Trip with friends, Italy 1949 Tucker’s apartment, Charles Street, environment, fraught with exile Renton, at Parasol unit: foundation Greenwich Village, New York, 1959 and displacement. for contemporary art, London (2008) Photographer: Albert Tucker and with Angela Ferriera at the Mary Dickson sunbathing, Narelle was born in Sydney in Art Gallery of New South Wales, Black Forest, Germany, 1951 19 60 and studied art at Alexander Sydney (2009). Photographer unknown Mackie College of Advanced Education Albert Tucker at his solo exhibition, and then at the College of Fine Galerie Huit, Paris, June 1952 Arts, University of New South Wales Selected bibliography between 1979 and 19 83. She was Photographer: Albert Tucker co-founder, with Roger Crawford, 2008 Andrew Renton (ed.), Front of Mary Dickson and caravan on Tess Horwitz and Paul Saint, of First House, Parasol unit: foundation the banks of the Seine, next to Draft Gallery, Sydney, 19 8 5 – 8 7 . She for contemporary art, London. Pont de l’Archevêché, Paris, 1952 undertook residencies at the Australia 2006 Ann Stephen, ‘Annotations’, Council Tokyo Studio in 19 91 and in Linda Michael (curator), at the Fabric Workshop and Museum, 21st Century Modern: 2006 Philadelphia in 19 95, and has Adelaide Biennale of Contemporary lived in Spain since 1997. In 1997 Australian Art, Art Gallery she was awarded a Paul Keating of South Australia. Fellowship and during 2001– 02 she was working with a Fellowship Helen Grace, ‘“The presence Grant from the Australia Council. of black”: Narelle Jubelin and reconciliation’, María Her work has been presented in Teresa Muñoz, ‘Written on the many group, collaborative and solo threshold’, and Narelle Jubelin, exhibitions including at George Paton ‘Ungrammatical landscape Gallery, Melbourne (1989), Artists annotations’, in Francisco Space, New York (1990), Venice Baena Díaz, Paisaje agramatical Biennale, Venice (1990), Centre for [Ungrammatical Landscape]: Contemporary Art, Glasgow (1992), Narelle Jubelin 2003 – 2006, 9th Biennale of Sydney (1992), Centro José Guerrero, Diputación The Renaissance Society, University de Granada. of Chicago; Grey Art Gallery, New York; and Monash University Gallery, 2001 Margaret Morgan, ‘Housing’, Melbourne (1994–5), Art Gallery of Narelle Jubelin and Marcos Ontario, Toronto and York University Corrales Lantero: Owner Builder Gallery, Toronto (1997), Pavilhão of Modern California House, Branco Branco — Museu Da Cidade, untitled catalogue for the 46 visual arts program of the 1992 Mary Jane Jacob, Places with Heide Museum of Modern Art Narelle Jubelin and Ann Stephen Acknowledgements Melbourne Festival, curated a Past: New Site Specific Art in would like to acknowledge and would also like to thank: by Juliana Engberg. Charleston, Rizzoli, New York, NY. extend thanks to the institutions The staff at Heide, in particular and private collectors who have 1996 Max Delany, ‘Fabrication and Ian Burn, ‘The metropolis is only Jason Smith, Kendrah Morgan, lent works to this exhibition: frame: Narelle Jubelin and the half the horizon…’, in Tony Bond Linda Michael, Katarina Paseta, colonial panorama’, in Juliana (curator), The Boundary Rider, National Gallery of Australia, Laura Stedman and Paul Galassi. Engberg (curator), Colonial Post 9th Biennale of Sydney, Sydney. National Gallery of Victoria, Colonial, Museum of Modern Our grateful thanks also to all Lynne Cooke, Bice Curiger and Jeff Hall and Sharon Grey, Jan Art at Heide, Melbourne. the lenders to the exhibition. Greg Hilty, Doubletake: Collective McCulloch, Simon and Catriona Isabel Carlos, ‘Words and Memory and Current Art, South Mordant, Mori Gallery, Sydney, We would also like to extend walls’, Sean Cubitt, ‘Simple Bank Centre, London and and Penelope Seidler. thanks to the University of tools’, and Juliana Engberg, Parkett Verlag AG, Zurich. Melbourne, particularly the We are also grateful to David ‘Round table discussion’, Macgeorge Bequest for providing Ann Stephen, Dead Slow, Narelle Jubelin: Ecru, Pavilhão Pidgeon and Nick Lewis at Design Centre for Contemporary Art, Ann Stephen with a fellowship; Branco — Museu Da Cidade, By Pidgeon, Gunn & Taylor Glasgow, Scotland, in association Professors Jaynie Anderson, published by Instituto de Arte Printers, Spicers Paper, John with the Biennale of Sydney. Barbara Creed, Jeanette Hoorn Contemporânea, Lisbon, 1998. Gollings, John Brash at Fotograffiti, and Philip Goad; and Jane Devery 1991 Clare Roberts, ‘Legacies of the ExhibitOne installation team 1995 Dan Cameron, Cocido y crudo, and Alex Baker at the National travel and trade’, Decorative Arts and Madga Petkoff from Purple Museo Nacional Centro de Arte Gallery of Victoria. and Design from the Powerhouse Reina Sofia, Madrid. Media. Thanks also to Emma Agius, Museum, Powerhouse Publishing, Helen Hughes and Penny Peckham. A number of other people deserve Jacky Redgate, ‘A photograph Museum of Applied Arts and special mention for their support Particular thanks to Heide Patron is no substitute for anything’, Sciences, Sydney. and contributions to the project: photographic essay in Natalie Barbara Tucker for her support Keith Broadfoot and Rex Butler, Louise Adler, Barbara Campbell, King (curator), Narelle Jubelin: 1990 of this exhibition. ‘The fearful sphere of Australia’, Marcos Corrales, Jo Holder, Soft and Slow, Monash in Sally Coaucaud (curator), University Gallery, Clayton, Vic. A final thank you to the Raafat Ishak, Raymond and Merle Paraculture, Artspace, Sydney dedicated staff and volunteers Jubelin, Severine Levrel, Anne-Marie 1994 Juliana Engberg, ‘Free association and Artists Space, New York. at Heide Museum of Modern Art, May, James Mollison, Stephen is the delight of good friends’, Vivienne Johnson, ‘People deliver especially the Heide programming Mori, Callum Morton, Bernice and Mary Jane Jacob and Russell art’, Trade Delivers People: Aperto, team and communications and Murphy, Vanila Netto, Luke Parker, Lewis, ‘Softshoulderbigshoulder’, La Biennale di Venezia, 1990, in Susanne Ghez (curator), Soft development staff. Leon Paroissien, Jacky Redgate, Mori Gallery, Sydney Shoulder, The Renaissance Society Penelope Seidler, Barbara Tucker at the University of Chicago and Peter Tyndall. and Grey Art Gallery & Study Centre, New York University, NY.
1993 Elizabeth Gertsakis, ‘A Pure Language of Heresy’, in Ewen McDonald and Juliana Engberg (eds), Binocular: Focusing, Material, Histories, Moet & Chandon Contemporary Edition, Sydney. Front and back cover Narelle Jubelin Catalogue: National Library of Narelle Jubelin, part 1 from Cannibal Tours Design: Design By Pidgeon Australia Cataloguing-in- Trade Delivers People #3 Editor: Linda Michael Publication entry 1989–97 28 February 2009 – Printing: Gunn & Taylor Printers Inside cover 12 July 2009 Author: Stephen, Ann Narelle Jubelin, part 7 from Stock: Spicers Paper Trade Delivers People 1989–90 Heide Museum Hello Silk 150gsm Title: Narelle Jubelin: Gatefold of Modern Art Environment 270gsm cannibal tours Narelle Jubelin Trade Delivers Edition: 500 People #3 1989–97 7 Templestowe Road Ann Stephen Installation view, Heide Museum Bulleen Victoria 3105 Photographs: of Modern Art, 2009 Australia ISBN: 9781921330094 (pbk.) John Brash: pp. 6–7, Spread 1 (pp. 2–3) T + 61 3 9850 1500 9, 30–31, 34–35 Subjects: Jubelin, Narelle, Narelle Jubelin installing F + 61 3 9852 0154 Trade Delivers People 1989–90, John Gollings: pp. 4–5, 1960– Exhibitions Venice Biennale 1990 www.heide.com.au 10–11, 12–13, 15, 22–23, Modernism (Art) Exhibitions Spread 2 (pp. 4–5) Exhibition Curator: 26–27, 29, 33 Narelle Jubelin Trade Delivers Other Authors/Contributors: Paul Saint: pp. 2–3 People #2 1989–93 Ann Stephen Jubelin, Narelle, 1960– Installation view, Heide Museum of Modern Art, 2009 Project Curator: © Heide Museum of Heide Museum of Modern Art Modern Art, the artists, Spread 3 (pp. 6–7) Kendrah Morgan Dewey Number: 700.4112 Albert Tucker authors, photographer photographs c.1939–59 and designers. Installation view, Heide Museum of Modern Art, 2009 Images © the artist, unless otherwise stated
Sidney Nolan’s works © The Sidney Nolan Trust
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