DOCSLIB.ORG

Togart Award 2009 Catalogue

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Togart Award 2009 Catalogue TOGART CONTEMPORARY ART AWARD (NT) 2009 DOUGLAS KWARLPLE ABBOTT KAWAYI NAMPITJINPA KOOLPINYAH BARNES GLEN NAMUNDJA CHRIS BARRY MAKINTI NAPANANGKA ROB BROWN FLORRIE WATSON NAPANGATI BRYAN BULLEY NINGURA NAPURRULA FARIDAH CAMERON HUBERT PAREROULTJA KIRSTY FLETCHER JOSIE KUNOTH PETYARRE GUNYBI GANAMBARR KATARZYNA POTOCKA GAWIRRIN GUMANA AO PETER QUINN ANGELINA GEORGE TOBIAS RICHARDSON CHAYNI HENRY CONSTANCE ROBINYA MATT HUTTLESTONE MERRAN SIERAKOWSKI TJUKAPATI JAMES TOMMY GONDORRA STEELE WINSOME JOBLING MARINA STROCCHI DINNI KUNOTH KEMARRE JENNY TAYLOR ADRIENNE KNEEBONE NYILYARI TJAPANGATI CATHY LAUDENBACH GEORGE TJUNGURRAYI CHIPS MACKINOLTY HARRY TJUTJUNA ANNIEBELL MARRNGAMARRNGA HAYLEY WEST NANCY MCDINNY LISA WOLFGRAMM PIP MCMANUS LENA YARINKURA PAULINE MORAN CONTENTS 3 Sharing a Vision — The Honourable Paul Henderson MLA 4 A Message from the Toga Group — Ervin H Vidor AM 5 Liquid Light — Dr Daena Murray 6 The Magician’s Hat — Ian McLean 8 The Judges — A brief biography 9 Douglas Kwarlple Abbott 10 Koolpinyah Barnes 11 Chris Barry 12 Rob Brown 13 Bryan Bulley 14 Faridah Cameron 15 Kirsty Fletcher 16 Gunybi Ganambarr 17 Gawirrin Gumana AO Togart Contemporary Art Award (NT) 2009 18 Angelina George 19 Chayni Henry 20 Matt Huttlestone 21 Tjukapati James 22 Winsome Jobling 23 Dinni Kunoth Kemarre 24 Adrienne Kneebone 25 Cathy Laudenbach 26 Chips Mackinolty 27 Anniebell Marrngamarrnga 28 Nancy McDinny 29 Pip McManus 30 Pauline Moran 31 Kawayi Nampitjinpa 32 Glen Namundja 33 Makinti Napanangka 34 Florrie Watson Napangati 35 Ningura Napurrula 36 Hubert Pareroultja 37 Josie Kunoth Petyarre 38 Katarzyna Potocka 39 Peter Quinn This publication is copyright. Apart from any dealing for the purpose of private study, research, criticism, review as permitted 40 Tobias Richardson under the Copyright Act, no part of this publication or its images 41 Constance Robinya can be reproduced, stored in a retrievable system or transmitted 42 Merran Sierakowski in any form, electronic, photocopying, mechanical recording or otherwise without prior permission. Enquiries can be made with 43 Tommy Gondorra Steele The Toga Group of Companies 44 Marina Strocchi Editor Felicity Green 45 Jenny Taylor Major Contributors Dr Daena Murray and Ian McLean 46 Nyilyari Tjapangati Award Pre-selection Panel Dr Sarah Scott, Dr Carol Wilson Dr Andrea Ash, Felicity Green, Ervin Vidor AM, and Allan Vidor 47 George Tjungurrayi Award Judging Panel Deborah Hart, Philip Bacon AM, 48 Harry Tjutjuna Franchesca Cubillo 49 Hayley West Graphic Design Designfront Printed by PR Print 50 Lisa Wolfgramm Exhibition Design Margie West AM 51 Lena Yarinkura © The Toga Group 52 Contacts SHARING A VISION The NT Government and the Toga Group have forged a close relationship through the development of the Waterfront with public art an important part of this visionary project. The results speak for themselves—you just have to walk through the parks and gardens to discover some of the impressive public art dotted throughout the Precinct. It is great to see couples entwined in Katrina Tyler’s Fragments outside the Convention Centre, children riding Janice Murray’s Jipiyontong beside the wave pool and visitors reading the Palm Trees by Dadang Christanto at the entrance to the Promenade. The Toga Group’s commitment to the Territory’s cultural environment started in 2006 with the inception of the Togart Contemporary Art Award. It has brought forward an eclectic collection of artists and artwork for public scrutiny. This year is no exception with a record number of fi nalists on display—recognition of the high esteem the Award is gaining. I invite everyone to enjoy these wonderful artworks. The Honourable Paul Henderson MLA Chief Minister of the Northern Territory Bush Football (detail), Josie Kunoth Petyarre CELEBRATING DIVERSITY Message from the Toga Group The fi rst stage of the Darwin Waterfront This year’s entries grew 25% on 2008 is now open to the public and offers and our recognition extends not only to a truly outstanding compilation of the fi ne works exhibited in this catalogue public art commissions that have been but also to the remainder of the entrants woven into the fabric of this world class who provided such strong competition environment. The cultural and heritage this year. signifi cance of these artworks will I would like to sincerely thank the pre- hopefully inspire Territorians and visitors selection panel for assisting us to make across future generations. Many of the the fi nal selection of artists for this year’s artists who have contributed towards exhibition and to those who have assisted this public art have also been exhibitors in managing this successful event. acknowledged in the current and previous Togart Contemporary Art Awards. The Chief Minister of the Northern Territory, The Honourable Paul Henderson MLA has The Togart Award evolved as part of been a committed supporter of the Togart our vision to support multi-cultural Award for some years now and again I contemporary artists from this region. express our gratitude to him and his staff It has grown from strength to strength for hosting this year’s exhibition at since it’s inception in 2006 and Toga is Parliament House. proud to continue to support this initiative. Turning back to the exhibited artworks, This year the Togart Award has again we could not present the fi nale without achieved what it set out to do and we our distinguish judges who have agreed are all proud to experience not only the to make the most challenging decision of quantum and cultural diversity of artists all—choosing one winner for the 2009 rising to the challenge but also the Togart Contemporary Art Award. For this increasing quality and breadth of we too are grateful. their artworks. Ervin Vidor AM Executive Chairman 4 LIQUID LIGHT: TOGART AWARD 2009 by Dr Daena Murray Memories of Childhood (Cat—detail), Constance Robinya When the Togart Contemporary Art Award sculptural interpretation from personal The fi ght for land and sea rights are was established three years ago it was history. Compare Hubert Pareroultja’s also evoked by Gunybi Ganambarr’s eagerly received by non-Indigenous artists magical wave of a desert mountain range impressive 3D painting Ngarraku mulkurr in the Top End, who had had few annual with another very different watercolour (my thinking). It depicts a site on Blue opportunities to show their current work. wave: Hayley West’s mountain of Mud Bay in east Arnhemland where the This initiative of the Toga Group in raising wet clothes. As is typical of art by spirit ancestor, Burrut’tji the lightning the profi le of Australian contemporary Territorians, everywhere there is humour, serpent, resides. At the onset of the art annually in the Darwin scene has led by court jester Rob Brown, and Wet season Burrut’tji is aroused and been embraced ever since. The only snake-charmer Tobias Richardson. sends lightning over the bay. Fresh water other major annual award shows in the fl ows from the fl ood plain at the site Many artists contemplate the signifi cance Territory are the National Aboriginal and and into Blue Mud Bay, symbolising of colonisation and cross-cultural Torres Strait Islander Art Award (NATSIAA) renewal, fertility and the power of kinship. exchange between Indigenous and at the Museum and Art Gallery of the Blue Mud Bay features in the earliest non-Indigenous people, matters of Northern Territory since 1984, and the extant images of the Northern Territory, such pervasive concern in the Territory. Alice Prize, mounted by the Alice Springs dating to 1802, when William Westall on Thus we have references to maritime Art Foundation since 1970. The winners the Flinders’ expedition captured aspects history and mapping in Merran of the 2008 Telstra NATSIAA award, of Yanyuwa country. Today in Togart we Sierakowski’s The global…, Winsome Makinti Napanangka, and the 2008 Alice have a work by Yanyuwa artist Nancy Jobling’s Lunar globe—res communis Prize, Pip McManus, are represented McDinny, Loading cattle onto steam and Matt Huttlestone’s sculpture, in this year’s Togart exhibition. train at Kujabi, interpreting with affection Charles Darwin. Whitefella mapping the results of colonisation on her family. The record number of entries in this can be compared with the very different year’s Togart Award is indicative of Aboriginal mapping of sites and the Presenting the art of different ethnicities the thriving contemporary art scene in associated jukurrpa (dreaming stories), and cultures in one exhibition is not the Northern Territory. Indigenous art such as in Kawayi Nampitjinpa’s and without challenges and comparing from this part of Australia is known and Nyilyari Tjapangati’s untitled works. them in order to award a prize is acclaimed nationally and internationally even more problematic. But that it One of the more exciting aspects of the and several artists represented in the happens at all, through this important exhibition is the wealth of metaphor used exhibition, including Gawirrin Gumana award sponsored by the Toga group, by the artists, to explore these themes. and Ningura Napurrula, are senior is to be welcomed and used. Katarzyna Potocka’s evocation of the practitioners of some years standing. shallow-rooted African mahogany tree Dr Daena Murray is a curator and writer Less well known but equally energetic in her sculpture Khaya’s veined diary of over twenty years standing, including are the non-Indigenous artists who have is a telling symbol of colonisation here. fourteen as the Curator of Visual Arts made the Territory their home or the In Adrian Kneebone’s Town and kantri at the Museum and Art Gallery of the basis for their practice for substantial Aboriginal weaving techniques create Northern Territory (1993–2007). Her most periods. Chips Mackinolty and Marina a stockman’s hat. Koolpinyah Barnes’ recent publication, The Sound of the Sky Strocchi are among these in Togart 2009.
Load more

Recommended publications
  • Sabine Cotte Education Professional Experience
    Sabine Cotte Paintings Conservation 31, Niagara Lane Melbourne Vic 3000 M: 04 02 843 543 E: [email protected] W: www.sabinecotte.com Nationalities: French and Australian. Arrived in Australia in 2001. Since 1990, works for mu- seums, galleries and private collectors in France, Australia and the Himalayas. Cultural Conservation Expert for UNESCO since 1997, focus on South East Asia Honorary fellow, University of Melbourne, Faculty of Arts, Grimwade Centre for Cultural Ma- terials Conservation Education 2017 PhD Arts, ‘Art in the making: Mirka Mora’s techniques and materials and their meaning in conservation’ University of Melbourne. 2011 Masters by Research. ‘Tibetan paintings in Australia: conservation of a living heritage’ University of Melbourne (First Class Honours) 1994 Certificate in Mural Paintings Conservation International Centre for the Preser- vation of Cultural Property in Rome (ICCROM) 1986-1990 Masters in Conservation and Restoration Institut National du Patrimoine (INP- IFROA) Paris. Easel painting conservation (High Distinction, Congratulations of the jury) 1982-1986 Honours Bachelor in Fine Arts, Ecole Nationale des Beaux-Arts, Paris, Screen- printing and Lithography (High Distinction). 1982-1986 Honours Bachelor in Art History. University of Paris I, History of Art and Ar- chaeology Professional experience Collaboration with contemporary artists Consultation with the artists, research and documentation of methods and materials. Work with Mirka Mora, Lara Merrett, David Keeling, Peter Booth, Paul Boston and Philip Wolf- hagen, Daniel Buren, Jean Pierre Raynaud, Pierre Soulages and Christian Boltanski. Survey of collections and condition reports Documentation, risk assessment, prioritisation of needs, preventive conservation recommen- dations and planning, condition assessment. Clients include museums, auction houses and art dealers.
    [Show full text]
  • MRAGM Newsletter March at 2Pm at MRAG
    Feb/March maitland regional art gallery 1 2008 members (MRAGM) newsletter Maitland Regional Art Gallery Members’ (MRAGM) primary role is to promote public awareness of Maitland Regional Art Gallery (MRAG) and its activities. MRAGM is recognised by the art gallery as a vital ingredient to the growth of the Cultural Precinct. Exhibitions at MRAG “Heads Up! “showcases the work of prominent Australian artists Vicki Varvaressos and Richard Larter. Vicki Varvaressos started exhibiting in 1975. She has held over 28 solo exhibitions and has been included in numerous group shows. Prizes included winning the Portia Geach Memorial Award - winner in 2002. Varvaressos is represented in many important collections in Australia, including the National Gallery of Australia, Art Gallery of New South Wales, National Gallery of Victoria and most Regional Galleries. She is also featured in overseas collections. Richard Larter came to Australia from London in 1962. He has been in many significant exhibitions and is well represented in the Australian National Gallery, State Galleries and numerous other collections. “Heads Up!” has been supported by Watters Gallery in Sydney – one of Australia’s most successful and longest running commercial art galleries. To complement this thought provoking exhibition MRAG has curated an exhibition of “Portraiture from the MRAG Collection” featuring unique paintings by Brett Whiteley and Charles Blackman. Other portrait paintings and works on paper by Peter Kingston, Salvatore Zofrea and Newcastle’s own Norma Allen are included in this exhibition along with a selection of photographs featuring famous Australian artists in their own homes such as Donald top: richard larter (detail) julie 143 2001 oil on Friend and Margaret Olley.
    [Show full text]
  • Course Number and Title: CAS AH 374 Australian Art and Architecture
    Course Number and Title: CAS AH 374 Australian Art and Architecture Instructor/s Name/s: Peter Barnes Course Dates: Spring Semester, Fall Semester Office Location: BU Sydney Programs, Australia, a division of BU Study Abroad Course Time: Two sessions per week in accordance with class schedule: one session of 4 + hours and one session of 2 hours in a 7-8 week teaching half of a semester. Location: Classrooms, BU Sydney Academic Centre, Sydney, Australia, and multiple out-of-classroom field trips as scheduled, one of which is a 12 hour day long field trip outside the city to Canberra, Australia’s national capital and home to National Art Galleries, and Museums. Course Credits: 4 BU credits plus 2 BU Hub units Contact Information: [email protected] Office Hours: 15 minutes prior to and following course delivery or by appointment. TA/TF/Learning Assistant information, if relevant: 0 Principal Lecturers: Peter Barnes Guest Lecturers: Vary in accordance with available artists. One example is: Tom Carment, a working artist Question-driven Course Description: *How have European art traditions influenced the art practice of Australia’s indigenous peoples and how in turn has Aboriginal culture impacting the art of non-indigenous Australians? *The 18th century voyages to the southern ocean placed artists in a prominent role as practitioners of the new science of observation and experimentation promoted by the Royal Society. How does this differ from the idealist aesthetics of the Royal academy and what impact did this have on art in Australia during
    [Show full text]
  • Richard Larter 1929-2014
    RICHARD LARTER 1929-2014 Born 1929 in London, England. Died Canberra July, 2014. Migrated to Australia in 1962 1962-82 Lived and worked at Luddenham, New South Wales 1974 Visiting Senior Lecturer in Painting, University of Auckland, New Zealand 1978 Artist-in-Residence, University of New England, Armidale, New South Wales 1979 Artist-in-Residence, Riverina College of Advanced Education, Wagga Wagga, New South Wales 1982-99 Lived and worked at Yass, New South Wales 1999-2014 Lived and worked in Canberra Selected individual exhibitions 2016 Cycloidal Shifts and other works, Watters Gallery, Sydney 2015 Paintings from the Estate, Watters Gallery, Sydney Mining the Archive X – ’64, ’74, ’84, ’94, 2004, 2014, Niagara Galleries, Melbourne 2014 Larter’s Wall Review and other works from the 1970’s, Watters Gallery, Sydney Paintings and Two Prints, Watters Gallery, Sydney 2013 Mining The Archive VIII, Watters Gallery, Sydney 2012 Mining the Archive VII, Watters Gallery, Sydney 2011 Mining the Archive 6 – ’60, ‘70, ’80, ’90, ‘2000’ & 2010, Niagara Galleries, Melbourne Two Types of Painting – hypodermic and roller, Watters Gallery, Sydney 2010 Mining the Archive – ’59, ‘69, ’79, ’89, ‘99’ 2009, Watters Gallery, Sydney 2009 Mining the Archive – ’68, ’78, ’88, ’98, ’08 and recent works, Niagara Galleries, Melbourne Richard Larter: Georgia Tom with Numerals and other Works, Watters Gallery, Sydney 2008 Richard Larter – Expressionist / Impressionist, Watters Gallery, Sydney Richard Larter: a retrospective, National Gallery of Australia, Canberra, 20th
    [Show full text]
  • Paintings Sculpture and Drawings from the Collection of Frank Watters
    SHAPIRO PAINTINGS SCULPTURE AND DRAWINGS FROM THE COLLECTION OF FRANK WATTERS AUCTION Wednesday 20 March 2019 23 RICHARD LARTER (1929–2014) Loose Shift, (detail), 1970 acrylic on board, signed and dated l.c. ‘R. Larter, Sept. 1970’ 122.5 × 184 cm $10,000–15,000 SHAPIRO PAINTINGS SCULPTURE AND DRAWINGS FROM THE COLLECTION OF FRANK WATTERS AUCTION Wednesday 20 March 2019 6:30pm Woollahra Hotel 116 Queen Street Woollahra Sydney ON VIEW Saturday 9 – Wednesday 20 March 11am – 5pm Shapiro Gallery 162 Queen Street Woollahra NSW CATALOGUE shapiro.com.au ENQUIRIES (02) 9326 1588 | [email protected] ABSENTEE AND Absentee and telephone bids must be submitted by 4pm day of sale. TELEPHONE BIDDING IMPORTANT NOTICE This auction is sold subject to our standard terms and conditions which are available from our website and offices. Whilst Shapiro Auctioneers make every effort to ensure the catalogue content is accurate, we give no guarantee of the content being free of error and are not liable for errors and/or omissions. Prospective buyers should inspect each lot to satisfy themselves as to the condition and must understand that any statement made by Shapiro is merely a subjective, qualified opinion. BUYER’S PREMIUM 20% on the hammer price of each lot plus GST on the Buyer’s Premium only. GST also payable on the hammer price of any lot indicated in the catalogue or saleroom notices with a *, or any lot as announced by the auctioneer on sale night. PAYMENT OPTIONS Cash or Bank Draft in Australian currency payable to Shapiro Auctioneers; Direct Debit or International Bank Transfer (EFT, TT).
    [Show full text]
  • Mossgreen Fine Australian & International Art
    mossgreen Fine Australian & International Art Melbourne Tuesday 2 June 2015 Mossgreen continues its push to join Sotheby’s, Menzies and Deutscher and Hackett in conducting regular mixed vendor sales featuring a wide range of material spanning colonial to contemporary. The current sale includes some significant works, the stand-outs being from the collections of Ian Gowrie Smith, Suncorp and an anonymous Perth collector. Unfortunately while their specialists have been able to pull in some good works, the time and attention they can give to each work is very limited. This is particularly noticeable in terms of researching individual works and establishing their exhibition history and provenance – very few details are provided, even for major works. Nor are they interested in essays or other supporting material that adds to our knowledge and to the experience of viewing the works. In addition to the fresh material, there are several lots unsold from the Boxer Collection, which was auctioned late last year. These include as interesting work by Arthur Boyd. Note that I have not been able to view this sale. When I was in Melbourne last weekend it was in Sydney, and vice versa. So I have asked a colleague to view it in Melbourne and report back. I’ve also received condition reports from Mossgreen and will point out in any issues in my notes. JOHN CRUTHERS rococo pop pty ltd 1. CLARICE MARJORIBANKS BECKETT (1887-1935) Still Life with Peonies oil on board 39 x 29 cm Estimate: $12,000 - $18,000 I often recommend the small paintings of Clarice Beckett, usually urban and suburban scenes of bayside Melbourne with a focus on atmospheric effects, painted from about 1920 to her premature death in 1935.
    [Show full text]
  • Art Gallery of New South Wales Annual Report 2018-19
    Annual Report 2018–19 The Art Gallery of New South Wales ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2018–19 2 ART GALLERY OF NEW SOUTH WALES ANNUAL REPORT 2018–19 The Gadigal people of the Eora nation are the traditional custodians of the land on which the Art Gallery of New South Wales is located. The Hon Don Harwin MLC Minister for the Arts Parliament of New South Wales Macquarie Street SYDNEY NSW 2000 Dear Minister, It is our pleasure to forward to you for presentation to the NSW Parliament the Annual Report for the Art Gallery of New South Wales for the year ended 30 June 2019. This report has been prepared in accordance with the provisions of the Annual Report (Statutory Bodies) Act 1984 and the Annual Reports (Statutory Bodies) Regulations 2010. Yours sincerely, Mr David Gonski AC Dr Michael Brand President Director Art Gallery of New South Wales Trust Art Gallery of New South Wales 12 October 2019 Contents 8 PRESIDENT’S FOREWORD 10 DIRECTOR’S STATEMENT 14 STRATEGIC GOAL 1: CAMPUS 16 STRATEGIC GOAL 2: ART 50 STRATEGIC GOAL 3: AUDIENCE 58 STRATEGIC GOAL 4: STRENGTH 68 STRATEGIC GOAL 5: PEOPLE 91 FINANCIAL REPORTS © Art Gallery of New South Wales Compiled by Emily Crocker Designed by Trudi Fletcher Edited by Lisa Girault Art Gallery of New South Wales ABN 24 934 492 575. Entity name: The Trustee for Art Gallery of NSW Trust. The Art Gallery of New South Wales is a statutory body established under the Art COVER: Grace Cossington Smith, The window 1956, Gallery of New South Wales Act 1980 and, oil on hardboard, 121.9 x 91.5 cm, Art Gallery of from 15 March 2017 to 30 June 2019, an New South Wales, gift of Graham and Judy Martin 2014, executive agency related to the Department assisted by the Australian Masterpiece Fund © Estate of of Planning and Environment.
    [Show full text]
  • Richard Larter
    Richard Larter Press Release Dates: 4 April - 2 May Iconic Pat Richard Larter's imagination of Pat Larter. Richard Larter’s representational genius turns wife and muse Pat Larter into a feminist and sixties icon with a surprising survey show at Utopia Art Sydney beginning April 4. The show displays 35 of Larter's works until recently stored in dusty industrial back rooms. "Pat was Larter's partner in ideas, art, and life. He painted Pat more than any other image and these works show the confidence and understanding he developed about a fiercely creative and strong woman" says Christopher Hodges, Utopia Art Sydney Director. "Larter makes Pat a living physical presence in the gallery with these paintings” The show confirms Larter as one of Australia’s art stars after he and Pat migrated from England in the early sixties. "Larter captured Pat's character then turned her into a symbol of the times” Hodges comments. Larter's Australian legacy was kept in nondescript storerooms in Sydney's Industrial heartland. Recently discovered, fresh rolls of works, as pristine as the day they were painted, twenty, thirty, forty, and fifty years ago, are now being seen for the first time. This show of Pat emerges from those newly discovered works. "Larter confirms his place at the top of Australian art with this range of Pat paintings" says Hodges. "Over many many years, he repeatedly painted Pat, every time showing us new things about her. "The strength of movement, the dazzle of colour, the range of gestures, the placement of marks, the intensity of the work, is so clear and confidant.
    [Show full text]
  • Artwork Presentation John Cruthers
    ARTWORK PRESENTATION Contemporary Art 14 August 2015 JOHN CRUTHERS rococo pop pty ltd CONTENTS David Aspden 3 Brian Blanchower 7 Stephen Bush 11 William Delaeld Cook 15 Lesley Dumbrell 19 Dale Frank 23 Robert Jacks 27 Tim Johnson 31 Ildiko Kovaks 35 Richard Larter 39 William Mackinnon 43 Gareth Sansom 47 Imants Tillers 51 2 o only one tone. This signalled the end o the modernist peers managed to navigate this tricky divide but Aspden, DAVID painting project and led directly to conceptual art, where as a pure and instinctive painter, could not. the idea o the art was more important than the artwork ASPDEN itsel - indeed, there was often no artwork. Through the later 1980s Aspden struggled. In a more negative critical environment he found less support, and Born England 1935. Arrived Australia 1950. Died 2005. Painter. David Aspden did not proceed into conceptual art, commercial prospects for his work toughened. Leading recognising that it was pointless for him as a painter. galleries still wanted to show him, however, and in Sydney David Aspden’s father was a carpenter/pattern-maker and After experimenting with pouring and staining, he hit both Roslyn Oxley9 and Annandale Galleries had solo his grandfather a picture framer, so he was aware o art upon a style that immediately clicked. It was based on the shows. But sales were few and Aspden sought other rep- from an early age. When he was 15 the family migrated to coloured stripes o earlier paintings, but with their edges resentation - or did it himsel with his wife Karen Coote.
    [Show full text]
  • The Commercial
    THE COMMERCIAL LILLIAN O’NEIL Lillian O’Neil (b. 1985, Melbourne) works in large-scale, kaleidoscopic, analogue collage cut from pre-digital books and magazines. The ongoing search for and mass accumulation of material is an important component of her process. Her vast library of material forms a kind of atlas of human activities, interests and beliefs from which she cuts images. O’Neil’s works bring latent content to a conscious plane through both poetic constraint and accumulated fragments. Poetic constraint allows her to make unexpected combinations by re-contextualising imagery while accumulated fragments provide immense variation within generalised repetition. The outcomes of these two distinct threads are a kind of pop-sci-fi imagery structured by architectonic human figures and a decidedly more monochromatic melancholia. In the former, humans are the players within an ambiguous narrative. In the latter, humans are absent and her imagery operates more like a mood or texture of thought. Both types sit side-by-side in her practice. 2018 marks a year of significant international research for O'Neil. In April, she will be traveling to the United Kingdom to attend Collage, Montage, Assemblage: Collected and Composite Forms, 1700 – Present, a major conference at the University of Edinburgh, followed by a period of research at the National Archives, London, supported by a grant from the Australia Council for the Arts. Later in the year, she will be taking up a three-month studio residency at Youkobo Art Space, Tokyo, supported by Asialink and Creative Victoria. O'Neil completed a Master of Fine Art at Sydney College of the Arts, The University of Sydney in 2012 supervised by artist, Mikala Dwyer.
    [Show full text]
  • Copying and Mimicry in Social Interaction
    The copy as a paradox of change: Copying and mimicry in social interaction A dissertation submitted in fulfillment of the requirements for the degree of Doctor of Philosophy Joel Gailer, PhD candidate Diploma Visual Arts, Bachelor of Fine Art, Bachelor Fine Art Honours, Monash University School of Art College of Design and Social Context RMIT University Month of submission: November 2016 Declaration I certify that except where due acknowledgment has been made, the work is that of the author alone; the work has not been submitted previously, in whole or part, to qualify for any other academic award; the content of the exegesis/project is the result of the work that has been carried out since the official commencement date of the approved program; and any editorial work, paid or unpaid, carried out by a third party is acknowledged. Joel Gailer March 30 2017 ii CONTENTS vii Title page viii Acknowledgments ix Abstract ix Research questions x Major projects documentation xxviii List of works INTRODUCTION Soapbox oration 1……………………………………………………….. 1 Soapbox oration 2……………………………………………………….. 2 Chapter summaries……………………………………………………… 2 CHAPTER ONE Positioning the research Methodology………………..…………………………………………….. 5 Mimicry……………………………...…………………………………….. 6 Social interaction…………………………………………………………. 6 The copy in current practice...………………………………………….. 7 The pre-modern copy……………………………………………………. 10 The performed copy……..………………………………………….…… 10 Motivating the research…………………………………………….……. 11 CHAPTER TWO Defining the research Soapbox oration 3………….…………………………………………….. 14 iii Relative research………………………………….………..................... 15 CHAPTER THREE The authority of the stamp and the mass production of knowledge A division of two parts………………………………………………… 17 The truth is a copy……..……………………………………………… 17 Questioning truth and origins…..…………………………………......... 18 Gold and the symbology of truth……………………………………….. 19 Current artistic practice..……………………………………………......
    [Show full text]
  • The Triumph of Landscape Painting • Australian
    AUSTRALIAN SURREALISM • THE TRIUMPHTHE LANDSCAPE OF PAINTING artonview ISSUE No.53 autumn 2008 artonview ISSUE No.53 AUTUMN 2007 NATIONAL GALLERY OF AUSTRALIA Z00 31853 Z00 1830s (detail) oil on canvas 35.0 x 44.5 cm Galerie Hans, Hamburg Hans, Galerie cm 44.5 x 35.0 canvas on oil (detail) 1830s h ~ 9 Junenga.gov.au 2008 9 ~ h C Two men observing men moon the Two Caspar David Friedrich David Caspar Canberra only 14 Mar 14 Canberraonly AUSTRALIAN SURREALISM the Agapitos/ Wilson collection A National Gallery of Australia Travelling Exhibition James GLEESON James The attitude of lightning towards a lady-mountain attitude of lightning towards The 1939 oil on canvas Purchased with the assistance of James Agapitos OAM and Ray Wilson OAM, 2007 OAM, Wilson and Ray OAM with the assistance of James Agapitos Purchased 1939 oil on canvas The National Gallery of Australia is an Australian Government Agency 16 February – 11 May 2008 National Gallery of Australia, Canberra Otto Dix Lens wird mit Bomben belegt [Lens being bombed] etching, drypoint National Gallery of Australia, Canberra © Otto Dix, licenced by VISCOPY, Australia 2008 artonview contents Issue 53, autumn 2008 (March–May) published quarterly by National Gallery of Australia GPO Box 1150 Canberra ACT 2601 2 Director’s foreword nga.gov.au ISSN 1323-4552 5 Foundation and Development Print Post Approved pp255003/00078 8 Turner to Monet: the triumph of landscape © National Gallery of Australia 2008 Copyright for reproductions of artworks is 16 Australian Surrealism: the Agapitos/Wilson collection held by the artists or their estates. Apart from uses permitted under the Copyright Act 1968, no part of Artonview may be reproduced, 20 Richard Larter: a retrospective transmitted or copied without the prior permission of the National Gallery of Australia.
    [Show full text]