DOCSLIB.ORG

Art Collector

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Collector #86 OCT – DEC 2018 ISSN 1440-8902 Print Post approved PP235387/00100 RRP AUD $19.95 (incl. GST) NZ $25.50 (incl. GST) ART COLLECTOR 86 THE GLOBAL ISSUE + NATSIAA PICKS + ELISABETH CUMMINGS + JOHN STEZAKER + MORE 9 772209 731009 > DAWN NG SULLIVAN+STRUMPF / SYDNEY 24 NOVEMBER – 22 DECEMBER 2018 SYDNEY BALL SULLIVAN+STRUMPF / SYDNEY 27 OCTOBER –17 NOVEMBER 2018 JAMES GEURTS SEISMIC FIELD 21 NOV - 21 DEC 2018 WWW.GAGPROJECTS.COM | [email protected] | 39 RUNDLE ST, KENT TOWN, ADELAIDE | +61 8 8362 6354 Image: James Geurts, Prime Meridian: International Date Line, 2018, neon light Darryn George Hikoi 31 October - 24 November 2018 Opening Preview: Tuesday 30 October, 5-7pm GOW LANGSFORD GALLERY 26 LORNE ST / CNR KITCHENER ST & WELLESLEY ST AUCKLAND NZ PO BOX 5461 T: +64 9 303 4290 WWW.GOWLANGSFORDGALLERY.COM JACQUI STOCKDALE GHOST HOOVANAH 21 NOVEMBER – 9 DECEMBER OLSENGALLERY.COM Jacqui Stockdale Duel of the Mount # 1 (detail) C Type Print 2018 JAKE WALKER 31 OCTOBER - 24 NOVEMBER 2018 gallery9.com.au 9 Darley St, Darlinghurst GALLERY 9 Sydney +61 2 9380 9909 [email protected] NGANAMPA NGURA KURUNTJARA THE PLACE OF OUR SPIRIT 31 OCTOBER – 18 NOVEMBER OLSENGALLERY.COM Yaritji Young Tjala Tjukurpa (detail) acrylic on linen 198 x 152 cm Tjala Arts 2018 CONTENTS THE GLOBAL ISSUE ON THE COVER: Paul Yore, Happy Are Ye Poor, 2017. Mixed media appliqué; found materials, iron-on printed fabric transfers, wool, beads, sequins buttons, 230 x 207cm. COURTESY: THE ARTIST AND NEON PARC, MELBOURNE. PHOTO: DEVON ACKERMANN. UPFRONT 29 52 NEWS & EVENTS BEHIND THE SCENES News and views on the art world. How does international success effect an Australian artist’s market back home? 34 IN THE WORKS 59 Visual Arts 101 with critic Edward Colless. SURVEY What makes a collection memorable? 38 EXHIBITION 62 Everything you need to know about the CULTURAL CAPITAL 9th Asia Pacific Triennial. Carrie Miller and Andrew Frost discuss some of the reasons people collect art. 44 ART FAIRS 70 The forthcoming art fairs on our calendars. ON THE COUCH We speak to the curators, directors and 47 gallerists at the coalface of the global stage. AGENDA What happens to an artist when a gallery closes? 76 Ingrid Periz asks. NOT TO BE MISSED The must-see exhibitions this quarter. 48 LIFECYCLE OF A COLLECTOR 88 Ideas for the collector who has already filled the IF I COULD HAVE… house (and the beach house) with art. Curator Kate Britton presents the artwork on her wish list. 9 ART COLLECTOR ARTISTS COLLECTING #86 OCT-DEC 2018 90 176 WHAT NOW? ART CENTRE: Our writers speak to three established THE INNOVATORS Editor-In-Chief Susan Borham artists about their recent work. Tjungu Palya Art Centre may be small, but its influence is profound. Publisher 96 Beatrice Spence WHAT NEXT? 182 Editor We introduce the work of three DEALER: IMAGINE WHAT artists for your radar. Camilla Wagstaff YOU DESIRE 106 Hobart-based dealer Michael Bugelli on Assistant Editor combining the old and the new. Kirsty Sier CRITIC’S CHOICE The artists who have recently captured 188 Art Director curator Francis McWhannell’s attention. COLLECTOR: Louise Summerton 114 THE ART MACHINE Senior Designer We roam through the five-level warehouse of Justine Scott NATSIAA PICK OF THE CROP Peter Wilson and James Emmet – complete Our wrap on some of the standout works from with its rotating moveable art racks. Interns this year’s National Aboriginal and Torres Strait Annie Tonkin, Rose Leake, Islander Art Awards. 196 Zoe Zheng PREVIEWS 124 Associate Editors Three notable commercial gallery exhibitions Dr Alan Cholodenko GLOBAL WARMING across Australia and New Zealand this quarter. Local artists setting the world stage on fire. Dr Edward Colless 204 Michael Hutak 138 John Young ONE SENTENCE REVIEWS BEING TIMELESS Dr Rex Butler Recent exhibitions reviewed by our writers in Professor James Choo Sasha Grishin discusses how Elisabeth 30 words or less. Cummings has made her mark on Australian Editorial Inquiries painting forever. 208 Camilla Wagstaff 148 OFF THE WALL Subscription Inquiries MONSTERS IN MASKS Tai Mitsuji explains why Daniel Buren’s recent + 61 2 9363 4324 exhibition at Carriageworks blew him away. John Hurrell on the eerie photo-collages of artcollector.net.au/subscribe John Stezaker. Advertising Inquiries + 61 2 9363 4324 156 THE TOOLS OF CHANGE Produced & Published by Jane O’Sullivan explores how and why Kawita Art Edited Pty Ltd Vatanajyankur turns her body into a machine. ABN 48 614 849 197 PO Box 1452, 162 Double Bay NSW 1360 THE INFINITE SKY Phone+ 61 2 9363 4324 Lucinda Bennett delves into the bold, visceral paintings of André Hemer Directors Susan Borham 168 Beatrice Spence PERFECT STRANGENESS Dawn Ng’s reflective practice touches a chord in us all, Micheal Do writes. Reproduction in whole or in part is not permitted without the written authorisation of the publisher. In the reproduction of artworks all reasonable efforts have been made to trace copyright holders where appropriate. ISSN 1440-8902 10 ART BASEL MIAMI BEACH VINCENT NAMATJIRA Luke Willis Thompson Turner Prize 2018 HOPKINSON MOSSMAN Level 1 19 Putiki Street Tate Britain Arch Hill Auckland 26 Sep 2018 — 06 Jan 2019 HOPKINSON MOSSMAN Ruth Buchanan Level 2 22 Garrett Street Te Aro Walters Prize 2018 Wellington Auckland Art Gallery ¥ 18 Aug 2018 — 20 Jan 2019 Nick Austin Dane Mitchell Ruth Buchanan Fiona Connor New Zealand Pavilion Bill Culbert Oscar Enberg 58th International Nicola Farquhar Milli Jannides Art Exhibition Nicholas Mangan Dane Mitchell Tahi Moore La Biennale di Venezia Emma McIntyre Oliver Perkins 11 May 2019 — Peter Robinson Renee So 24 Nov 2019 Shannon Te Ao Luke Willis Thompson hopkinsonmossman.com Denis O’Connor | Echo’s Tree 26 October - 24 November 2018 Two Rooms 16 Putiki St Newton, Auckland, New Zealand | 64(9) 360 5900 | [email protected] | tworooms.co.nz Denis O’Connor, Echo’s Tree, 2018, china clay on slate-capped tree stump. Photo: Haru Sameshima CONTRIBUTORS Lucinda Bennett is the 2017 curatorial in- Briony Downes has worked in the arts for more Francis McWhannell has contributed to a va- tern at Dunedin Public Art Gallery prior to than 20 years as a writer, actor and art theory riety of arts and culture magazines and web- which she was a curator at The University tutor, among other things. sites including Art News New Zealand, HOME of Auckland’s Window project space. She is and Runway Conversations. He is based in New based in Aotearoa. Gina Fairley is the current the visual arts editor Zealand and co-curated Project 18 as part of for ArtsHub Australia. this year’s Auckland Art Fair. Kate Britton’s current curatorial concerns centre around queer theory and practice, and Dr Andrew Frost is an art critic, broadcaster Joanna Mendelssohn is an art historian spe- the dialogue between writing, text and con- and lecturer. cialising in Australian art. temporary art. She is a Sydney-based writer and curator. Professor Sasha Grishin has published 17 books Carrie Miller is a freelance writer based in and more than 1,000 articles. He is an emeritus Wollongong. Dr Rex Butler’s research interests include of the school of literature, languages and linguis- Australian art and art criticism, post-war tics at the Australian National University. Tai Mitsuji holds a masters in art history from American art and critical theory. He is an art the University of Oxford. He has contributed historian and professor at Monash University Leonhard Hilzensauer is a photographer based to publications including Art and Australia, in Melbourne. in Vienna. Art Monthly Australasia, Art Guide Australia and The Sydney Morning Herald. Based in Laura Couttie is an independent writer, ed- Jesse Hunniford is a Tasmania-based photogra- Sydney, he also works as a curator. itor, curator and arts administrator based in pher and videographer. Melbourne. Andrew Nicholls is an artist, writer and cura- John Hurrell is the editor of EyeContact and is tor based in Western Australia. Edward Colless lectures in critical and theo- a New Zealand-based writer, artist and curator. retical studies at the Victorian College of the Jane O’Sullivan has written for publications Arts, University of Melbourne. He is also the Victoria Hynes has been a columnist for the including the Australian Financial Review, editor of Art + Australia. Sydney Morning Herald and written for numer- Artnet, Art Guide and Ocula. She is a former ous Australian and international art magazines. editor of Art Collector. Dr Ashley Crawford is the author of a num- Based in Sydney, she is currently contributing ber of books on Australian art, including editor at Asian Art News magazine. Ingrid Periz writes about contemporary art Transformations: The Work of Sonia Payes from her home outside Princeton, New Jersey. and Spray: The Work of Howard Arkley. Paris Lettau is currently a sessional tutor in art history at the University of Melbourne. Tan Walter is a photographer and creative di- Ineke Dane is interested in overlaps between rector based in Singapore. architecture, politics, society and the envi- Jane Llewellyn, a former editor of Art Collector, ronment, and a progression towards seam- is based in Adelaide. Coen Young is a Sydney-based artist. lessness between art and life. She is a curator currently based in Brisbane where she works Jacquie Manning is a photographer based in with the international studio Urban Art Sydney. Projects. Louise Martin-Chew is a freelance arts writer. Micheal Do recently curated Soft Core, a travelling exhibition for Casula Powerhouse Helen McKenzie conducts international art Arts Centre and Not Niwe, Not Nieuw, Not tours for Art Collector subscribers and readers CORRECTION: In issue 85 of Art Collector, we stated Neu for 4A Centre for Contemporary Asian and works out of Sydney as an art adviser and that Anthea Polson Art was in Brisbane.
Load more

Recommended publications
  • Just Not Australian Cultural Mediation Training Pack
    JUST NOT AUSTRALIAN Just Not Australian brings CULTURAL MEDIATION TRAINING PACK together 20 artists across generations and diverse cultural backgrounds to deal broadly with the origins and implications of contemporary Australian nationhood. The show engages with the moral and ethical undertones of the loaded rejoinder ‘un- Australian’ – a pejorative now embedded in our national vocabulary that continues to be used to further political agendas and to spread nationalistic ideals of what it means to be Australian. This training pack outlines how the practice of Cultural Mediation can be engaged to translate the broad themes and manage the difficult conversations that this exhibition may ignite, as well as provide a vocabulary and further reading to encourage an inclusive and culturally safe space. Liam Benson, Black Flag, 2016, sequins, seed beads, cotton thread, cotton poplin, 30 x 59 cm. Courtesy the artist and Artereal Gallery, Sydney. Photos: Zan Wimberley Just Not Australian was curated by Artspace and developed in partnership with Sydney Festival and Museums & Galleries of NSW. The exhibition is touring nationally with Museums & Galleries of NSW. UQ ART MUSEUM Museums & Galleries of NSW (M&G NSW) has been ABOUT ANESHKA MORA ABOUT THIS researching and providing training on the practices of Cultural Mediation with the aim to equip gallery and museum staff with the tools to implement this Aneshka Mora is queer, scholar of colour living on TRAINING PACK engagement strategy across the sector. Cultural Cameraygal Country in the Eora Nation, who is broadly Mediation is about deepening the engagement of interested in contemporary art strategies of decoloniality audiences at a peer-to-peer level through personal within the limits of institutions and settler-colonialism.
    [Show full text]
  • Ready Lajamanu Emerged of Families Going Without Food and Some It’S Hurting
    FREE November 2016 VOLUME 6. NUMBER 3. PG. ## MARLENE’S FUTURE P.22 IS IN HER HANDS ROYAL COMMISSION WATARRKA POKIES? BREAK OUT YEAR FOR WORRIES WIYA! PRISONER TEAM P. 4 PG. # P. 5 PG. # P. 26 ISSN 1839-5279ISSN NEWS EDITORIAL Want our trust? This time, keep your promises. Land Rights News Central Australia is published by the Central Land Council three We’ll hold you to these election promises: times a year. Aboriginal Hand control to local organisations, develop The Central Land Council workforce training plans and leadership courses with 27 Stuart Hwy organisations them and provide “outposted” public servants to help. Alice Springs Housing $1.1 billion over 10 years for 6500 “additional NT 0870 living spaces”, locally controlled tenancy management and repairs and maintenance, tel: 89516211 capacity development support for local housing www.clc.org.au organisations. email [email protected] Outstations Increase Homelands Extra funding and work with outstation organisations to provide jointly funded Contributions are welcome new houses. As opposition leader, Michael Gunner pleaded with CLC delegates to give Labor a chance to regain their trust. Education Create community led schools with local boards, plan education outcomes for each school region SUBSCRIPTIONS THE MOST extensive return recognises the critically with communities, back community decisions about bilingual education, expand Families as Land Rights News Central of local decision making to important role that control Aboriginal communities since over life circumstances plays First Teachers program, $8 million for nurse Australia subscriptions are self-government, overseen by in improving indigenous home visits of pre-schoolers, support parent $22 per year.
    [Show full text]
  • Presentation Tile
    Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017,
    [Show full text]
  • The Essential Introduction to Aboriginal Art (25 Facts)
    INTRODUCTION TO ABORIGINAL ART INTRODUCTION TO THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) Authors Jilda Andrews, Fenelle Belle, Nici Cumpston and Lauren Maupin The Art Gallery of South Australia acknowledges and pays respect to the Kaurna people as the Traditional Custodians of the land on which the Gallery stands. Aboriginal and Torres Strait Islander people are respectfully advised that this publication may contain the names of people who have passed away. INTRODUCTION TO ABORIGINAL ART ABORIGINAL TO INTRODUCTION THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) artgallery.sa.gov.au/learning There’s a lot of misinformation out there about Aboriginal and Torres Strait Islander peoples and art. That’s why this guide was created, in collaboration with leading Aboriginal curators. | Learning at the Gallery | Art Gallery of South Australia Aboriginal and Torres Strait Islander art and culture is In our increasingly globalised world, this ability to the oldest continuous tradition on the planet. In recent speak across cultural borders without forsaking decades it has also emerged as one of the world’s most any of its distinctive identity makes Aboriginal and important contemporary art movements. Whether on Torres Strait Islander art some of the most innovative bark, canvas or in new media, Aboriginal and Torres and challenging contemporary art being produced Strait Islander artists have used art to express the power anywhere today. and beauty of their culture, across cultures: to show their enduring connection to, and responsibility for, ancestral lands and the continuity of their identities and beliefs. image: Daniel Boyd, Kudjla/Gangalu peoples, far north Queensland, born 1982, Cairns, Queensland, Treasure Island, 2005, Canberra, oil on canvas, 192.5 x 220.0 cm; Purchased 2006, National Gallery of Australia, Canberra, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.
    [Show full text]
  • Vincent Namatjira Unveils His Largest Commission at the Mca
    VINCENT NAMATJIRA UNVEILS HIS LARGEST COMMISSION AT THE MCA [Sydney, 25 February 2021] The Museum of Contemporary Art Australia (MCA) has revealed the Image: Vincent seventh iteration of the Circular Quay Foyer Wall Commission by renowned Western Arrernte Namatjira, P.P.F. painter Vincent Namatjira. (Past-Present- Future), 2021, Namatjira hand-painted directly onto the Museum’s 15-metre-long wall over a two-week period, synthetic polymer paint, commissioned creating the artist’s largest work to date. The work titled P.P.F. (Past-Present-Future) depicts a group by the Museum of seven Aboriginal male figures, including a self-portrait, painted on the desert landscape of the of Contemporary artist’s home community of Indulkana in the Anangu Pitjantjatjara Yankunytjatjara (APY) region in Art Australia, 2021, South Australia. supported by Veolia Environmental Each portrait has been painted in Namajtira’s signature-style caricature, and Namatjira has Services, image incorporated influential figures, some well-known and others less so, who have been important in courtesy the the artist’s life. These portraits include former AFL football player and 2014 Australian on the Year, artist; Museum of Adam Goodes; land-rights campaigner, Eddie Koiki Mabo; famous bantamweight boxer, Lionel Rose; Contemporary Art Australia, Sydney; and his great-grandfather, Albert Namatjira; the artist’s late father-in-law and musician, Kunmanara Iwantja Arts, South (Jimmy) Pompey; and an Aboriginal stockman who represents male elders from his community. Australia © the artist, photograph Daniel For the foyer wall commission, the artist has responded directly to the unique dimensions, location, Boud. and history of this site, in particular its significance in Australian colonial history as the site of first contact between Aboriginal and Torres Strait Islander and British peoples.
    [Show full text]
  • Aboriginal Art Festival, Australia: New Generation of Central Desert Artists Captivating the Art World by Kathy Marks
    Aboriginal art festival, Australia: New generation of Central Desert artists captivating the art world By Kathy Marks Traveller, 11 September 2015 http://www.traveller.com.au/aboriginal-art--a-new-generation-of-central-desert-artists-gjeapv The sun-bleached scene is straight out of an Albert Namatjira painting: a dry creek bed in an ochre landscape dotted with rocky outcrops and stately ghost gums. But we’re not at Hermannsburg, the former Lutheran mission near Alice Springs where the celebrated Aboriginal artist produced his pastel-hued watercolours, but 500 kilometres to the south, where Namatjira’s great-grandson, Vincent, has settled after a turbulent early life marked by family tragedy and cultural dislocation. The 32-year-old is among a new generation of Central Desert artists whose work will be one of the highlights of the inaugural Festival of Contemporary Aboriginal and Torres Strait Islander Art in Adelaide next month. He lives at Indulkana, one of a dozen communities sprinkled across the remote, beautiful and troubled Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in South Australia’s far north-west. It’s an area which, as a lover of Aboriginal desert art, I’ve been hankering to visit for years. Now I’m rattling along a rough gravel road with the manager of Indulkana’s art centre, Beth Conway, who whips up clouds of red dust as she expertly dodges potholes and a pack of wild horses skittering across our path. We’re travelling with Nici Cumpston, the festival’s artistic director, and Nick Mitzevich, director of the Art Gallery of South Australia.
    [Show full text]
  • THE DESART ART CENTRE GUIDEBOOK Third Edition
    Third edition Manage an art centre in Central Australia. It’ll change your life! THE DESART ART CENTRE GUIDEBOOK Third edition Manage an art centre in Central Australia. It’ll change your life! THE DESART ART CENTRE GUIDEBOOK WELCOME ABOUT THIS Werte! Welcome to your new job in an GUIDEBOOK Aboriginal art centre. Desart has a million stories to share This book has been made to help you from our 25+ year history! This in your new job. There are stories about guidebook has been collated from the how to do your job, where to go for Desart archives and the expertise of help, and problems new workers in art Desart and member art centre staff and centres have and how to solve them. artists, past and present. We talked with It also includes important information Desart directors and staff, art centre about working the right way with us on directors and staff, industry peers and our country, staying happy and healthy, colleagues, friends and supporters and keeping safe. about what to include: the key message is that you are not alone. You have Kele. resources and people at your disposal. CONTENTS Publisher: Desart Inc. 11/54 Todd Mall (Reg Harris Lane), Alice Springs, NT, Australia Art centre team 1 PO Box 9219, Alice Springs, NT 0871, Australia Art centres 2 Copyright © Desart Inc. and contributors as credited, 2018 Welcome 7 All rights reserved. Apart from any Fair Dealing as permitted under the Australian Copyright Act, no part of this publication may be reproduced in whole or part without prior written permission from Desart and the relevant copyright holders.
    [Show full text]
  • A Study Guide by Katy Marriner
    A DOCUMENTARY BY CREATED WITH THE NAMATJIRA FAMILY © ATOM 2017 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-76061-079-1 http://theeducationshop.com.au Mt Sonder by Kevin Namatjira Image courtesy Iltja Ntjarra, Many Hands Art Centre ‘THIS FILM IS ABOUT ALBERT NAMATJIRA ... WE COME TO TELL THE STORIES, HOW HE LIVED. ALBERT TAUGHT ALL THE FAMILY TO CARRY ON PAINTING. WE’RE TRYING TO TEACH OUR YOUNGER GENERATION, AND OUR KIDS, OUR GRANDKIDS. KEEP THIS LEGACY STRONG.’ – Gloria Pannka, granddaughter of Albert Namatjira Namatjira Project (2017), a feature documentary, directed In collaboration with arts for social change organisation Big by Sera Davies, tells the iconic story of Aboriginal artist hART, Namatjira’s descendants have embarked on a quest Albert Namatjira, and of his descendants’ attempt to re- for justice and reconciliation that will hopefully see the claim the copyright of his life’s work. The documentary was copyright of his paintings returned to the Namatjira family. created with the Namatjira family and is dedicated to them, and artists of the Hermannsburg Watercolour movement. Namatjira Project acknowledges Western Aranda* Elders of the Central Australian Desert - past, present and future - From Western Aranda* Country in the Central Australian and their stunning Country on which this project is based. Desert, Albert Namatjira and his watercolour paintings pioneered the Aboriginal Art movement that is celebrated Always was, always will be, Aboriginal Land. today. His descendants continue to paint the desert landscapes in watercolours, yet despite this art tradition’s http://www.namatjiradocumentary.org/ success over five generations, they continue to struggle for survival.
    [Show full text]
  • Vincent Namatjira
    1 Vincent Namatjira Vincent Namatjira, Western Arrernte people, was born in 1983, Alice Springs, Northern Territory. He spent most of his childhood in Perth and returned to Hermannsburg after he finished high school. It was not until he returned to Hermannsburg that Vincent learnt about his famous great-grandfather, Albert Namatjira and family of renowned artists. Vincent would watch his aunty, Eileen Namatjira, make pots in the Hermannsburg ceramic studio. Vincent Namatjira began painting with his wife at Iwantja Arts, in the Indulkana Community, Anangu Pitjantjatjara Yankunytjatjara (APY) Lands in the north-west of South Australia. With the help of his wife he first started painting in a traditional dot painting style and after a few years he felt confident to paint a portrait of his great-grandfather Albert Namatjira. Vincent has continued to develop his distinctive figurative Vincent Namatjira with his winning work Close Contact, 2019 photo: Nat Rogers style, expressively painting portraits of politicians, historical figures and members of his family and community. 2 "Art has given me joy, prosperity and it's given me power also, because with a paint brush you can do anything." Vincent Namatjira quoted by Mathew Smith ‘Indigenous artist Vincent Namatjira wins the $100,000 Ramsay Art Prize’, ABC News, 24 May 2019 3 2019 Ramsay Art Prize Winner Vincent Namatjira’s Close Contact was the winner of the 2019 Ramsay Art Prize. The painting is a double-sided portrait in acrylic paint on plywood, with a depiction of Captain James Cook on one side and a self-portrait of Vincent Namatjira on the other.
    [Show full text]
  • VINCENT NAMATJIRA Born, Alice Springs, Northern Territory Lives and Works in Indulkana, South Australia
    VINCENT NAMATJIRA Born, Alice Springs, Northern Territory Lives and works in Indulkana, South Australia SELECTED SOLO EXHIBITIONS 2017 Sydney Contemporary, THIS IS NO FANTASY + Dianne Tanzer Gallery, Sydney (Forthcoming) 2016 THIS IS NO FANTASY + Dianne Tanzer Gallery, Melbourne SELECTED GROUP EXHIBITIONS 2017 UQ Museum National Self Portrait Prize, University of Queensland, Brisbane (Forthcoming) 2016 Art16 Art Fair, London, United Kingdom TarraWarra Biennial 2016: Endless Circulation, TarraWarra Museum of Art, Victora 2015 Indigenous Australia: Enduring Civilisation, British Museum, London, United Kingdom Tarnanthi Festival of Contemporary Aboriginal and Torres Strait Islander Art, Art Gallery of South Australia, Adelaide 10th Mildura Palimpsest Biennale, Mildura, Victoria Sydney Contemporary, THIS IS NO FANTASY + Dianne Tanzer Gallery, Sydney Rising Stars, Outstation, Darwin, Northern Territory Desert Mob, Alice Springs, Northern Territory 2014 Alberts Story, Marshall Arts, Adelaide, South Australia Desert Mob, Alice Springs, Northern Territory Adelaide Airport, on behalf of Marshall Arts, Adelaide Aboriginal Art from the Eastern APY Lands, Kelch Gallery, Freiburg, Germany 2013 Desert Mob, Alice Springs, Northern Territory Outstation, Darwin Iwantja Paintings, Japingka Gallery, Perth, Western Australia APY Lands Survey Exhibition, Outstation, Darwin Northern Territory Our Mob, Anita Chan Lai Ling Gallery, Hong Kong Art Mob, Hobart, Tasmania Vincent Namatjira, Marshall Arts, Adelaide, South Australia Salon des Refuse, Outstation Gallery,
    [Show full text]
  • Australian Collection Portraits
    PRIMARY STUDENT WORKSHEET AUSTRALIAN COLLECTION PORTRAITS You can find these Australian Collection portraits in ARCHIBALD PRIZE QAG Gallery 2 and Gallery 10. The Archibald Prize is a major prize for portraiture in Australia and is awarded each year to the best ‘So long as people expect paintings to be portrait painted by an Australian artist. Many portraits in simply coloured photographs they get no the QAGOMA Collection have either won or been shortlisted individuality and in the case of portraits, in the Archibald Prize, or have been painted by an artist no characterisation. The real artist is striving recognised in the Archibald Prize. to depict his subject’s character and to stress the caricature.’1 – William Dobell WHAT IS A PORTRAIT? FIGURATIVE Figurative style refers to any form of art that resembles something that exists in the real world. The term is often applied to human figures. EXPRESSIONISM Expressionism is an artistic style that emphasises the feelings and emotions of the artist rather than reality. ABSTRACT Abstract art does not attempt to accurately represent the real world, but uses a variety of shapes, colours, forms and lines. 1 Michael Zavros, Bad dad 2013 Archibald Prize Finalist 2013 Bad dad captures a moment in which the artist has cast himself in the role of Narcissus, a figure from ancient Greek mythology who fell in love with his own reflection. What first catches your eye when you look at this painting? Is anything missing? Why do you think the artist has called this painting Bad dad? Discuss your ideas with a friend.
    [Show full text]
  • Archibald Prize 2020 Education
    EDUCATION KIT FOR K-6 CREATIVE ARTS AND 7-12 VISUAL ARTS ARCHIBALD PRIZE 2020 ART GALLERY OF NEW SOUTH WALES 2020 ARCHIBALD PRIZE Analysing the winner Vincent Namatjira Stand strong for who you are Unpacking the prize: themes Identity and place Process and practice Familiar faces Self-portrait Focus works Neil Tomkins Digby Webster, Ernest brothers Kaylene Whiskey Dolly visits Indulkana Ramesh Mario Nithiyendran Self-portrait with outstretched arms Karen Black Madonna ARCHIBALD PRIZE 2020 WINNER Vincent Namatjira Stand strong for who you are acrylic on linen 3 Archibald Prize Art Gallery of New South Wales Education Kit ANALYSING THE WINNER Vincent Namatjira describes his portrait subject, Adam Goodes, as ‘a proud Aboriginal man who stands strong for his people’. He says: ‘I first met Adam in 2018, when he visited the school in Indulkana where I live, as part of his work promoting Indigenous literacy. When I saw the documentary The final quarter about Adam’s final season of AFL, my guts were churning as I relived Adam’s experiences of relentless racism on and off the field. Memories of my own experiences were stirred up and I wanted to reach out and reconnect with Adam. ‘We share some similar stories and experiences – of disconnection from culture, language and Country, and the constant pressures of being an Aboriginal man in this country. We’ve also both got young daughters and don’t want them to have to go through those same experiences. ‘When I was younger and growing up in the foster system in Perth, Indigenous footballers were like heroes to me.
    [Show full text]