A couple of weeks ago I was asked by The Guardian Australia to write a preview on the soon-to-open Margaret Olley Art Centre. The Centre provides a home for the studio of the late Australian artist Margaret Olley (1923 – 2011) – a space that’s incredibly been recreated at Tweed Regional Gallery in Murwillumbah.
I also spoke to Australian artist, Ben Quilty, a friend of the late artist about her life in art. Read the full story in The Guardian.
The photograph below was taken of Margaret Olley’s original home in Paddington by another of her friends, Steven Alderton.
“Exotic Lies Sacred Ties, a 12-year survey of artist Danie Mellor’s practice at the University of Queensland Art Museum, deals with the ongoing legacies of colonialism. More charmer than pretender, Mellor’s art disarms the viewer with glamour and beauty while probing the flaws in our accepted view of history.”
“The ‘My Country’ title of the exhibition is derived from the subject matter of much Indigenous art – and perhaps the most common concern for the artists in this show. Curator Bruce McLean has conceived the exhibition over three general areas – My History, My Life, My Country. Despite the thematic approach, the majority of these 300-plus works represent an amalgam of all three themes in one. From the outset the use of ‘My’ in the titles is a political and contextual term. The art displayed is both a reflection and a reinforcement of the social values and beliefs of numerous Indigenous cultures, each with a unique history. We [the non-Indigenous] might call this place ‘Australia’ but it’s worth noting that many Indigenous people consider it a constructed version of nation.”
The 7th Asia Pacific Triennial runs until 14 April 2013 at the Queensland Art Gallery | Gallery of Modern Art in Brisbane, Australia.
“APT7 feels more like the future than the past … The exhibition illustrates the way Australia grapples with its sense of belonging in the Asia Pacific microworld. The denseness of this show, however, suggests that the question of how we resolve our place has become even more complex. The weaving together of work by so many artists means national borders become blurred and what emerges are our similarities and not our differences. APT7 recommends we turn our gaze both inward and outward. If you’ve never been to QAGOMA then maybe it’s time you went”.
To coincide with Sydney’s Head On Photo Festival, this week I’ve interviewed artist (and Sydney Morning Herald photographer) Tamara Dean who is currently exhibiting her show ‘Only Human‘ at Tim Olsen Gallery in Sydney:
“I am [also] interested in the relationship between humans and nature, or more specifically the Australian bush. How we interact and engage with the natural world and with each other…”
If you’re into social media you’re probably already heard about the new platform called ‘Pinterest’. ‘Pinterest lets you organize and share all the beautiful things you find on the web’. But there’s a proviso …and it’s called copyright.
Read my article about Pinterest, art, artists and copyright (and Italian Vanity Fair!) at The Art Life.
Kathryn Brimblecombe-Fox launches her new book ‘For Everyone: Words & Paintings’ at FireWorks Gallery in Brisbane this Thursday 23 February. An exhibition of 30 original paintings from the book will also be on show at the Gallery. ‘Asleep’, one of the images from the book, together with the accompanying prose appears below.
Last week in Hobart we caught the opening night of Natalie Puantulura’s first solo show entitled Puwangari (‘Lots of Dots’) at Art Mob – Aboriginal Fine Art .
Natalie was taught to paint by her grandfather, Declan Apuatimi (Senior) the late husband of renowned Tiwi artist Jean Baptiste. As Jean’s grandaughter, Natalie was also taught about Tiwi culture and painting by her grandmother.
Natalie painted with Tiwi Design art centre up until 2004, after which she and her partner, Edward Malati Yunupingu, moved to Pirlangimpi and began working with Munupi Arts and Crafts.
Natalie’s paintings tell the ‘Pwoja Story’:
“During ceremony on the Tiwi Islands a series of ‘yoi’ (dances), are performed; some are totemic (inherited from the person’s Mother) and some serve to act out the narrative of newly composed songs. Participants in these ceremonies are painted with turtiyanginari (the different natural ochre colours) in varying designs, transforming the dancers and, in some cases, providing protection.”
The word ‘Jilamara’ is the Tiwi term for the natural ochre design applied to the body face of participants during important ceremonies.
Now showing at Retrospect Galleries Broadbeach (Queensland) until 25 January 2012 is ‘The Magic of Racing’ exhibition.
Queensland artist Kathy Mackey is exhibiting her photograph ‘Equine Collection 2‘.
The artist says:
“The sport of horse racing has had a long tradition of celebration by nobility. A gentleman was noted for his possessions that included racehorse and personalised dinner ware that marked wealth and status in the community. Racing carnivals historically and in the present also represent the opportunity for people to gather in social groups and celebrate , not only the sport itself ,but the social expectations real or imagined that accompany it.”