DOCSLIB.ORG

Vincent Namatjira, Colourful Optimism, Artlink, By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vincent Namatjira, Colourful Optimism, Artlink, By Vincent Namatjira Colourful optimism Wes Hill Vincent Namatjira Vincent & Donald (Happy Birthday), 2018 synthetic polymer paint on canvas Courtesy the artist and THIS IS NO FANTASY, Diane Tanzer + Nicola Stein © Vincent Namatjira/Copyright Agency, 2019 Opposite: Vincent Namatjira Albert Namatjira in Sydney—Yeah! (from Albert’s Story series), 2014 synthetic polymer paint on linen Image courtesy the artist and Queensland Art Gallery | Gallery of Modern Art © Vincent Namatjira/Copyright Agency, 2019 22 | Artlink Issue 39:1 | March 2019 V Perceptions of colour cannot be trusted. This is something I know because I’m colour blind. Being colour blind means I’m mostly bored by the sunsets that other people enjoy (their vivid pinks just look like greys to me) and I’m also sceptical about the need for exactitude when naming what colour it is that one sees. No wonder the works of Vincent van Gogh first stood out to me. Here was an artist who used colour not to reproduce reality but, remarkably for the 1880s, as a conceptual tool, unafraid to use something like cerulean blue to render a corn field, every tone a metaphor for a particular life force (“What colour is in painting, enthusiasm is in life,” he wrote to Theo in 1886).1 Against in contemporary life, in part because It was the confident use of colour the unstructured inclinations of his colour, especially in urban capitalist that first struck me when I encountered Impressionist peers, colour in a van settings, “needs resistance and thrives the work of Western Arrernte artist Gogh painting is always in dialogue on opposition.”2 Just as censorship Vincent Namatjira. Like the other with his rigid, drawing-like forms, makes transgression more pleasurable, Vincent, he employs colour in an waging his own very different battle gloominess and grime can make colour utterly bold yet totally supportive with the chromophobic tendencies all the more luminous. Applying this way. The colour that lurks in the of Western art, which, at least to art, it is German artist Katharina background of his portraits—as the since the time of Aristotle, equated Grosse’s unusual use of dirt, sand and actual background—also, somehow, colourful extravagances with modes detritus that gives her in-situ colour- directs them. The great grandson of of vulgar, feminine, Orientalist, field works such intensity, in the same that supremely gifted and tragi-heroic primitive or infantile excess. way that Philip Guston’s fixation with figure of Australian art history, Albert Today, thanks in no small way grey makes his rusty orange daubs Namatjira, Vincent was born in Alice to the twentieth-century avant-gardes, so sweet to the eye. Not only do we Springs and raised in foster homes the dominant cultural perspective no tend to notice colour by taking for in Perth before moving to his great- longer automatically links indulgences granted the neutral tones that quietly grandfather’s birthplace in the Central in colour with ideals that are at once play their oppositional and supporting Desert region of Hermannsburg superficial and dangerous. But, as the roles, we also tend to overlook (Ntaria). When he was a young adult artist and writer David Batchelor’s how subjective our experiences of he relocated to the remote Aṉangu ongoing studies of chromophobia colour are, often eluding semantic Pitjantjatjara Yankunytjatjara (APY) reveal, a level of apprehension towards possession and differing wildly community of Indulkana, 500 colourful decadence is still discernible between persons and cultures. kilometres further south, where he is Issue 39:1 | March 2019 Artlink | 23 autobiography, non-traditional colours and comical, pop-cultural motifs. Vincent’s first foray into political portraiture was John Howard Congratulating Tony Abbott (2013). It is also an early masterpiece. The work shows a very basic, blobby-shaped, rendering of John Howard—cut in half by the left-hand frame— shaking hands with an even more unrecognisable Tony Abbott, modelled on a photograph taken after Abbott was elected Prime Minister in 2013. Above the two men in matching grey suits are two red-ochre Aboriginal still based. After trying his hand at paintings on the wall, separated by a the “dot painting” style advanced by blue clock. In this deceptively simple artists such as Alec Baker and Wenten composition, Vincent’s themes are Rubuntja, since 2013 Vincent has all laid bare. The ochre works in the focused largely on painting portraits background are like spirits on the of cultural figures. His unique style wall; unnoticed, all-observing and is not quite caricature but, upon first invoking remote Aboriginal Australia’s glance, it does conjure the perennially distinctly different measure of time. contentious and largely unavoidable They remind me of David Gulpilil’s categories of “self-taught” and quote from Another Country (2015): “outsider” art (one critic has described “whitefella culture never has enough his technique as “flamboyantly naïve” time. We Yolngu, we have plenty of even if politically savvy).3 But such time.”4 As with much of Vincent’s categorisations quickly dissolve when work, this at first innocuous‑looking his larger body of work is encountered, painting slows everything down. as his highly nuanced palette and Placing the symbolic politics of the painterly sophistication become handshake front and centre, the work apparent. Vincent’s standout success renders this gesture of unspoken power over the last few years is testament to and allegiance as a feeble whitefella the fostering of individual expression act, part of a secret but ultimately at Indulkana’s Iwantja Arts, which impotent political ceremony. Given has seen singular artists such as David its topical subject matter, it would Frank, Kaylene Whiskey, and Jimmy have been easy to overlook its Pompey (Vincent’s father-in-law) sophisticated palette when it was adopt practices that use figuration, first painted. Here, colour is used not 24 | Artlink Issue 39:1 | March 2019 Opposite: Above (from top): Vincent Namatjira Vincent Namatjira John Howard Congratulating Tony Abbott, 2013 Prime Ministers series, 2016, The van Aanholt Family Collection; Seven Leaders series, 2016, synthetic polymer paint on canvas Arthur Rowe Collection, Melbourne; The Richest series, 2016; synthetic polymer paint on Courtesy the artist and Queensland Art Gallery | canvas. Courtesy the artist, Iwantja Arts, Indulkana Community and THIS IS NO FANTASY, Gallery of Modern Art Diane Tanzer + Nicola Stein. Image courtesy Queensland Art Gallery | Gallery of Modern Art © Vincent Namatjira/Copyright Agency, 2019 © Vincent Namatjira/Copyright Agency, 2019 Issue 39:1 | March 2019 Artlink | 25 only to support his political jabs but they are about the magic of painting, Triennial of Contemporary Art they also to make them into something presenting the medium itself as a were responsible for hanging three more than just reactive commentary. powerful agent of historical fantasy. previously distinct portrait series In front of the work, I just can’t help Oliver Watts has claimed that together as one, shown in such a way but rest my eye on that dirty-blue “instead of finding relief in some that each was improved. Paintings clock. All the other elements of the perverse inversion” of history, Vincent from the series Seven Leaders (2016), picture look busy making connections, Namatjira wants his contentious The Richest (2017) and Prime but it sits there mysteriously blue, postcolonial subjects (such as the Ministers (2016) were displayed in as if holding everything together. Queen, Captain Cook and various a 7 x 3 grid, immediately conjuring In Albert’s Story (2014)— Prime Ministers) to live within Gerhard Richter’s legendary 48 which stages key moments in Albert contemporary society, interrogating Tafeln (48 Portraits) which was Namatjira’s life across thirteen them “as one would question a unveiled in the German Pavilion at works—and in an untitled series of friend.”5 Interestingly, on an ABC the 1971 Venice Biennale. Richter’s paintings of Captain Cook that the television profile piece, the artist series, made especially for the artist refers to as a “timeline”—a described a surprising admiration for Germanic architecture of the Venice desire to reconnect with history is Captain Cook, stating that: “to travel to locale, comprises black and white prominent. Reconnection was, in fact, here and to travel around the world, he photo-realist paintings of historical the impulse behind Vincent’s very first was pretty courageous.”6 Evading the figures whose achievements spanned attempts at making art, in an effort polemics of postcolonial revisionism, literary, scientific, philosophical, to reclaim lost time—including his it is easy to detect a kind of Warholian and music fields. The subjects relation to country—after being forced openness in Vincent’s approach, where were reportedly chosen by Richter to spend his formative years estranged Cook is as much a noble (even if without any determinable logic, from his extended family in a foreign ignorant) servant of the British Empire yet all are white, central European city. In many of the works, such as as he is a pirate or malevolent colonial or North American males. Cook (2015) and Albert Namatjira ghost. Finding beauty in simple colour Aligning a crisis of national Convicted of Supplying Alcohol—Long combinations and serial studies, his identity in Germany with a crisis of Finger of the Law (2015), colourful paintings recurrently provide ample medium specificity in art, Richter’s monochromatic backgrounds focus breathing space for interpretation. deadpan portraits invoke the serial attention on the overt dress codes of In works depicting President neutrality of conceptual art and his subjects. Importantly, these large Trump, such as Vincent & Donald minimalism, as well as the gloomy, areas of colour are often painted (Happy Birthday) (2018), Vincent’s “fatherless” state of post-WW2 German after the central subjects have been larrikinism is turned up a notch—at culture.
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]
  • 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.
    [Show full text]