June 2018 $6
Glenn Barkley Raquel Ormella David Ralph
Art Almanac June 2018
Subscribe Established in 1974, we are Australia’s longest running monthly art guide and the single print destination for artists, galleries and audiences. Art Almanac publishes 11 issues each year. Visit our website to sign-up for our free weekly eNewsletter. To subscribe go to artalmanac.com.au or mymagazines.com.au
Deadline for July 2018 issue: Wednesday 30 May, 2018.
We acknowledge and pay our respect to the many Aboriginal nations across this land, traditional custodians, Elders past and present; in particular the Guringai people of the Eora Nation where Art Almanac has been produced.
Artists who negotiate dichotomies, such as East and West, colonialism and Indigeneity or the personal and political, occupy our June issue. Glenn Barkley fuses the enduring medium of ceramics with ephemeral subjects like the Internet and Instagram, while David Ralph paints architectural spaces as extensions of human identity. The difficulties of representing Australia’s fraught past in ‘Colony’ at the National Gallery of Victoria are considered by Sasha Grishin, and Raquel Ormella’s intimate, personal textiles pack provocative social commentary.
Contact Editor – Chloe Mandryk firstname.lastname@example.org Assistant Editor – Elli Walsh email@example.com Deputy Editor – Kirsty Mulholland firstname.lastname@example.org Art Director – Paul Saint National Advertising – Laraine Deer email@example.com Digital Editor – Melissa Pesa firstname.lastname@example.org Editorial Assistant – Penny McCulloch email@example.com
Cover Glenn Barkley, large pot with extruded fluro carbuncles, 2018, earthenware, 43 x 23 x 23cm Courtesy the artist and Sullivan+Strumpf, Sydney | Singapore
Editorial Intern – Soo-Min Shim Accounts – Penny McCulloch firstname.lastname@example.org T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au
C3West Arts Project Through the Blacktown Native Institution Project, The Museum of Contemporary Art Australia and Blacktown Arts present ‘Ngara – Ngurangwa Byallara (Listen, hear, think – The Place Speaks)’, an arts initiative acknowledging the symbolic Aboriginal site in Sydney’s western suburbs – the former home of Blacktown Native Institution. Established in 1823, the residential school is one of the earliest known examples of institutional removal of Aboriginal children from their families. In collaboration with local communities, Indigenous artists Tony Albert, Sharyn Egan and Moogahlin Performing Arts, created new works that celebrate the continuum of Aboriginal culture – in particular the Darug peoples – and honour the place as a living memorial to Australia’s Stolen Generations. To be revealed at a free public event on Saturday 9 June, from 4-8pm. bniproject.com Moogahlin Performing Arts, NgAl-Lo-Wah Murrytula (Together we share/enjoy), Bundanon Trust Artist Residency, 2018 Photograph: James Photo Courtesy the artists and Blacktown Native Institution Project, Sydney
Bay of Fires Winter Arts Festival The east coast of Tasmania is set to light up with the ‘Bay of Fires Winter Arts Festival’ from 9 to 11 June, in a wide-reaching celebration of the arts. A dynamic program of exhibitions, craft, live music, performance, workshops, a writers studio and two-day Arts Market provides a platform for emerging artists, artisans and craftspeople to present their work and tell their stories. Festival highlights include the ‘Bay of Fires Art Prize and Exhibition’ and ‘Youth Art Prize’, both on show at Tidal Waters Resort, St Helens. Nine studios across Binalong Bay, Akaroa, Scamander, Four Mile Creek and St Mary’s will be open to the public with the work of 17 local artists on show and for sale. bayoffireswinterartsfestival.com.au Wolfgang Glowacki, Sunrise over Elephant Rock, Binalong Bay, 2017, photograph, 90 x 135cm Courtesy the artist and Bay of Fires Winter Arts Festival, Tasmania
Dark Mofo From 13 to 24 June, the Museum of Old and New Art’s (Mona) winter solstice celebrations return to Tasmania with a colourful line-up of art, music, food and more. ‘Dark Mofo’ delves into human rituals to explore the links between ancient and contemporary mythology, man and nature, religious and secular traditions, darkness and light, birth, death and renewal. The sixth annual festival kicks off with the Prelude from 7 to 10 June, featuring ‘Dark + Dangerous Thoughts’ – a confluence of film, literature, performance and ideas, plus a masked costume ball. Major show openings include ‘ZERO’ at Mona and ‘A Journey to Freedom’ at the Tasmanian Museum and Art Gallery. Weeks one and two will see musical performances by Laurie Anderson (USA), St. Vincent (USA), Chrysta Bell (USA), Electric Wizard (UK), Alice Glass (CAN), Marlon Williams (NZ), Lydia Lunch (USA) and others. Art to travel for includes Ryoji Ikeda (JPN), United Visual Artists (UK) and Matthew Schreiber (USA). Exhibitions will be staged across the city of Hobart and beyond, such as a collaboration between Constance ARI and Risdon Prison inmates and immersive after-dark experiences at historic sites. Tim Minchin will present his first Australian solo performance in nearly a decade, while journalist Peter Greste will interview former violent jihadist Muhammad Manwar Ali. Other notable events include the Winter Feast, Dark Park, and the Nude Solstice Swim. darkmofo.net.au Matthew Schreiber, Ricochet, 2017, Day for Night, Houston, Texas Photograph: Theo Civitello Courtesy the artist and Dark Mofo, Tasmania
Tjunguṉutja (from having come together) Edited by Luke Scholes
Museum and Art Gallery of the Northern Territory
Drawn from the collection of the Museum and Art Gallery of the Northern Territory (MAGNT), a spread of over 130 images of paintings by Aboriginal men of the Papunya Western Desert art movement dated 1971-1972 is a vibrant visual introduction to this book. In a palette of burnt umbers, warm yellows and deep reds, stories of Country, ceremony and dreaming are told. Written works by 13 contributors including Indigenous curators Long Jack Phillipus Tjakamarra, Michael Nelson Jagamarra AM, Sid Anderson, Joseph Jurrah Tjapaltjari, Bobby West Tjupurrula, and MAGNT Curator of Aboriginal Art, Luke Scholes, present remarkable insight into the artistic practices and journeys of these contemporary Aboriginal artists. Developed by MAGNT, this publication was designed to accompany the exhibition ‘Tjunguṉutja’ (July 2017-February 2018).
Never standing on two feet Clare Rae
Published to coincide with the exhibition ‘Entre Nous: Claude Cahun and Clare Rae’ at the Centre for Contemporary Photography, Clare Rae’s first book presents the Melbourne artist’s monochrome photographs created during a 2017 residency on the island of Jersey, near the coast of France. Rae pays homage to avant-garde artist Claude Cahun (1894-1954) who had lived there, drawing upon Cahun’s photographic archive to explore the female body, selfhood, ritual and the fe/male gaze in cultural and geographical landscapes.
Raquel Ormella I hope you get this Macushla Robinson
There is a poetic sadness to Raquel Ormella’s work that is politically charged, expressing deeply felt approaches to issues of labour, class, migration and nationalism. I spoke with Raquel a week before the opening of her survey show at Shepparton Regional Gallery. The relationship between politics and textiles is rich. As Roszika Parker famously wrote, ‘To know the history of embroidery is to know the history of women.’ It’s also the history of working class protest movements. How did you arrive at textiles? I had grown up doing craft. My mother taught me sewing and needlework, which were also taught to girls at state school. They were essential life skills for a working-class person: you needed to know how to repair your clothes. When I went to art school I was influenced by the feminists around me – Jenny Watson, Narelle Jubelin and Vivian Binns, among others. There was this rethinking of modernism through a feminist perspective and that involved resuscitating textile practices; so class and feminism became intertwined in my work. A lot of this is about different kinds of labour. Whenever I see something that’s embroidered I want to see the back of it because it tells you how it’s made, and the time it took. The pieces comprising my new work All these small intensities (2018) will be displayed so you can see both sides, keeping that labour on display, presenting them as objects rather than just images.
Colony: Australia 1770-1861 / Frontier wars Sasha Grishin In all of the silliness that surrounded the bicentennial celebrations in 1988, in Canberra there was one sober note. On the approaches to the yet-to-be officially opened new parliament house, there appeared a piece of graffiti that in bold white letters proclaimed: ‘White Australia has a black history’. This seemed to sum up more poignantly many of the problems associated with Australia’s nationhood than a dozen cultural programs funded by Australia Council for the Arts. There has always been heartache and anguish over the marking of Australia Day, which only recently boiled over into open dissent between those who celebrate the founding of a British colony and those who lament dispossession and genocide. It is a dilemma that confronts any institution that attempts to present an account of Australian colonial art. The National Gallery of Victoria (NGV), in a heroic attempt to cut this Gordian knot for its major colonial art exhibition, decided to stage a two-part presentation – ‘Colony Australia 1770-1861’ and ‘Colony: Frontier Wars’. The first show is situated on the ground floor of the NGV’s Federation Square building and is a sprawling array of over 600 items with some amazing clustering of unique, rarely seen objects drawn from art galleries, museums and libraries throughout the country. The cross-medium displays of colonial art here are pushed to a new level. Dixson Galleries Collector’s chest from the second decade of the 19th century, complete with its natural history exhibits, vies for space with the oil painting after Thomas Watling’s View of the town of Sydney in the colony of New South Wales (c. 1799) from the Art Gallery of South Australia and a panorama of Melbourne in 1841 that previously I have only seen in reproductions. Unique
Tjala Arts, Ken Sisters Collaborative Seven Sisters
Jan Murphy Gallery Until 23 June, 2018 Queensland
‘Seven Sisters’ is a Tjukurpa Story about the constellations of Pleiades (the sisters) and Orion the Nyiru or Nyirunya – a lusty, or bad man. Known for their use of vibrant colour and energetic mark making, the Ken Sisters Collaborative – Tjungkara Ken, Yaritji Young, Freda Brady, Maringka Tunkin and Sandra Ken, together with Sylvia Ken, all artists from Tjala Arts centre in the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of South Australia – present a captivating visual narration of this ancient Aboriginal creation story.
Sylvia Ken, Seven Sisters, 2017, acrylic on linen, 197 x 198cm Photograph: Jon Linkins Courtesy the artist, Tjala Arts, South Australia and Jan Murphy Gallery, Queensland
Beyond the Veil BLINDSIDE Until 16 June, 2018 Melbourne ‘Beyond the Veil’, curated by Jake Treacy, seeks to expand and transform the perceptions, traditions and experiences of the white cube as an exhibition model. Through architectural interventions, site-specific responses and newly commissioned pieces as well as renewed curatorial vision for existing works, 12 artists conjure a liminal experience within the gallery space. ‘Beyond the Veil’ is a haunting, intangible place of ghost sculptures, punctured vessels, reflective shifting walls and portals to interior and exterior worlds, where Jungian archetypes can be imagined.
Anastasia Booth, Portrait of Scylla, 2016, video Courtesy the artist and BLINDSIDE, Melbourne
Hunter Red: Corpus
Newcastle Art Gallery Until 27 July, 2018 New South Wales
Geraldton Regional Art Gallery Until 16 June, 2018 Western Australia
Local, national and international artists consider the elements of life, death, blood, reproduction and mortality in ‘Corpus’. With the evocative associations of the colour red as a theme, this exhibition is charged with symbolic interpretations of the beauty and fragility of humanity, interpreting diverse perspectives across the fields of painting, photography, sculpture, works on paper and video.
Curated by Abdul-Rahman Abdullah and Anna Louise Richardson, ‘Dead Centre’ brings together photographic and video works by ten artists and artist groups exploring and celebrating the cultural diversity of Australian identity. Drawing on personal connections to marginalised communities including Aboriginal, Polynesian, Persian, Thai, Greek, Italian, Malay, LGBQTI and Muslim, the artists articulate individual experiences of trying to forge an identity in a socio-political landscape marked by simplistic and divisive rhetoric. ‘Dead Centre’ is an ART ON THE MOVE touring exhibition.
Artists include Vernon Ah Kee, Anne Ferran, Francisco Goya, Bill Henson, Emily Kame Kngwarreye, Nell, David Rosetzky, Judy Watson and Juz Kitson among others.
Juz Kitson, Thousands of words exist silently in your memory, 2017, hand-blown glass, merino wool, rabbit fur, polyester string, marine ply and treated pine, 200 x 78 x 60cm Artist collection Courtesy the artist, GAGPROJECTS | Greenaway Art Gallery, South Australia and Newcastle Art Gallery, New South Wales
Tony Albert, Brother (Our present), 2013, pigment print on paper Courtesy the artist, Sullivan+Strumpf, Sydney and Geraldton Regional Art Gallery, Western Australia
Subscribe 11 issues for $59 Huge savings on the cover price Free delivery to your door Never miss an issue artalmanac.com.au mymagazines.com.au Call 1300 361 146 or +61 2 9901 6111 for international callers
120 Langford Street, North Melbourne 3051. T (03) 9328-8658. E Langford120@gmail.com W www.langford120.com.au Directors: Irene Barberis and Wilma Tabacco. H Thurs-Sat 12.00 to 6.00, Sun 12.00 to 5.00. To June 24 George Matoulas: TIME (bomb), and Theo Strasser: New Paintings. Ellipsis: Irene Barberis & Wilma Tabacco: Who’s afraid…?
The Larwill Studio
48 Flemington Road, Parkville 3052. T (03) 90329111. W www.artserieshotels.com.au/larwill A boutique hotel in Melbourne’s north dedicated to the work of Australian artist David Larwill.
RMIT Project Space / Spare Room
RMIT Building 94.2, 23-27 Cardigan Street, Carlton 3053. T (03) 9925-4971. E email@example.com W intersect.rmit.edu.au Free entry, wheelchair access. H Wed and Fri 10.00 to 5.00, Thurs 10.00 to 8.00, Sat 12.00 to 4.00. To June 21 Project Space: City Colour: The 2018 Taiwanese Arts Residency Exchange by Chien-Ju Chia (TWN). Spare Room: Walking Backwards (towards the precipice) by Lucie McIntosh. June 29 to Aug 9 (opening Thurs June 28, 5-7pm) Project Space: Selected works from Martumili Artists – Nora Wompi, Nora Nungabar and Bugai Whyoulter, curated by Dr Damian Smith. Spare Room: Art at the Heart: An artist residency in the East Pilbara – Hannah Quinlivan, Yasuaki Onishi and Olaniyi Rasheed Akindiya, curated by Dr Damian Smith.
Fitzroy Collingwood Abbotsford Alcaston Gallery
11 Brunswick Street, Fitzroy 3065. T (03) 9418-6444 F 9418-6499. E firstname.lastname@example.org W www.alcastongallery.com.au Director: Beverly Knight (approved to value Aboriginal paintings, ceramics, sculpture, textiles and artefacts for the Cultural Gifts Program). H Wed-Sat 11.00 to 5.00, or by appt. To June 16 Mirdidingkingathi Juwarnda Sally Gabori: Kaiadilt Eyes – The Art of Seeing. June 27 to July 14 Tiger Yaltangki: Rock n Roll.
Mirdidingkingathi Juwarnda Sally Gabori, My Country, 2011, synthetic polymer paint on linen, 136 x 121cm © The Estate of the Artist and Alcaston Gallery, Melbourne 2018 Courtesy Alcaston Gallery Hannah Quinlivan, Mirage, 2017, salt, led lights, wire Photograph: Chloe Bartram Courtesy the artist and RMIT Project Space / Spare Room
62 Lygon Street, Carlton South 3053. T (03) 9650-3577. W miesf.com.au/steps-gallery H Daily 10.00 to 4.00. June 14 to 28 (opening Thurs June 14, 6.30pm) A Prelude paintings by Joanna Kordos. www.joannakordosfineart.com See ad page 85.
35 Derby Street, Collingwood 3066. T (03) 9417-4303 F 9419-7769. E email@example.com W www.australiangalleries.com.au Director: Stuart Purves AM. H Daily 10.00 to 6.00. May 29 to June 17 Pretty Delicate by Peter Neilson. Also, St Petersburg by Kit Hiller.
9 Darley Street, Darlinghurst 2010. T (02) 9380-9909. E firstname.lastname@example.org W www.gallery9.com.au Director: Allan Cooley. Manager: Octavia Knox. H Wed-Sat 11.00 to 6.00, Sun-Tue by appt. To June 9 Naomi Eller. June 13 to July 7 (opening Wed June 13, 6-8pm) David Ralph, and Mark Titmarsh (see ad page 7).
Forbes Street, Darlinghurst 2010. T (02) 9339-8686. E email@example.com W www.nas.edu.au/place/ gallery Free entry. H Mon-Sat 11.00 to 5.00.
National Association for the Visual Arts (NAVA)
T (02) 9368-1900. E firstname.lastname@example.org W www.nava.net.au NAVA is the peak body representing and advancing the professional interests of the Australian visual arts, craft and design sector.
Robin Gibson Gallery
278 Liverpool Street, Darlinghurst 2010. T (02) 9331-6692. W www.robingibson.net H Tues-Sat 11.00 to 6.00. June 9 to July 4 Gina Bruce, Marilyn McGrath and Terry Stringer.
David Ralph, Strange Stairs, 2014, oil on canvas Courtesy the artist and Gallery 9
King Street Gallery on William
177 William Street, Darlinghurst 2010. T (02) 9360-9727. E email@example.com W www.kingstreetgallery.com.au H Tues-Sat 10.00 to 6.00. To June 16 John Bokor and James Jones. June 19 to July 14 Andrew Christofides.
191 Victoria Street, Potts Point 2011. E firstname.lastname@example.org W www.stacksprojects.com Directors: Chloe Gunn, Zachary Harold, Annelies Jahn, Jane Lush and Joanne Makas. H Thurs-Sat 11.00 to 6.00, Sun 11.00 to 4.00. To June 10 Site Gesture by Meg Driver. June 11 to 17 Project Space: Web of Time by Jeffrey Wood and Lisa Sharp â€“ an experimental and collaborative work, an attempted synthesis of different ways of looking and thinking about time. June 21 to July 8 (opening Wed June 20, 6-8pm) RELIC by Deborah Burdett and Annelies Jahn â€“ a body of work constructed from objects saved from destruction and given new lives, new uses. RELIC will bring together the rural and urban discarded, to create a new place and dialogue of materiality and relationship.
John Bokor, An Apartment in Paris, 2017, oil on board, 60 x 70cm Courtesy the artist and King Street Gallery on William
Liverpool Street Gallery
243a Liverpool Street, East Sydney 2010. T (02) 8353-7799. E email@example.com W www.liverpoolstgallery.com.au Director: James Erskine. H Tues-Sat 10.00 to 6.00. To June 6 Inland Mariner by Joe Furlonger. Through June Ryan Hoffmann. 128 Sydney
Annelies Jahn, float (detail), 2017, found cream charges, dimensions variable Courtesy the artist and STACKS Projects
Central Tablelands Western Districts Greater NSW
Cowra Regional Art Gallery
77 Darling Street, Cowra 2794. T (02) 6340-2190. E firstname.lastname@example.org W www.cowraartgallery.com.au Admission free. H Tues-Sat 10.00 to 4.00, Sun 2.00 to 4.00. Extended to June 17, 2018 Calleen Art Award – acquisitive painting prize winner receives $20,000. This year featuring 46 finalists. 2018 winner of the Calleen Art Award is Brian Robinson see website for more information. Gallery closed from June 18 for maintenance, call (02) 6340-2190 for gallery staff.
Bathurst Regional Art Gallery
70-78 Keppel Street, Bathurst 2795. T (02) 63336555. W www.bathurstart.com.au Free entry. H Tues-Sat 10.00 to 5.00, Sun and public hols 11.00 to 2.00. June 8 to Aug 5 Sustaining Light by Rachel Ellis. A Bathurst Regional Art Gallery exhibition. Also, STEEL: art design architecture. A JamFactory touring exhibition.
Brian Robinson, Sowing the Crops and Reading the Stars, 2018, enamel spray paint, Liquitex paint marker, 152 x 122cm Winner of the 2018 Calleen Art Award Courtesy the artist and Cowra Regional Art Gallery Rachel Ellis, Bentinck Street, Bathurst, 2017, oil on board, 40 x 30cm NSW Parliament Collection Courtesy the artist and Bathurst Regional Art Gallery
Broken Hill Regional Art Gallery
404-408 Argent Street, Broken Hill 2880. T (08) 8080-3440. E email@example.com W www.bhartgallery.com.au Entry by gold coin donation. H Open daily. June 8 to July 30 (opening Fri June 8, 6pm) Desert Landscapes: Broken Hill and Beyond by Steffie Wallace. See ad page 149.
Ceramic Break Sculpture Park
‘Bondi’, Warialda 2402. T (02) 6729-4147. E firstname.lastname@example.org W www.cbreaksculpturepark.com.au H Thurs-Sun 10.00 to 5.00, or by appt. Mon June 11 brings the opening of our annual Myall Creek Memorial Exhibition – showcasing artworks by Indigenous artists Colin Isaacs, Brian Irvine and Elenore Harrison. Exhibition continues through June.
152 New South Wales
Goulburn Regional Art Gallery
Goulburn Mulwaree Council, Civic Centre, Cnr Bourke and Church streets, Goulburn 2580. T (02) 4823-4494. E email@example.com W www.grag.com.au Free entry. H Mon-Fri 10.00 to 5.00, Sat 1.00 to 4.00. To June 23 Deep Revolt by Arlo Mountford. June 29 to Aug 19, 2017 Archibald Prize.
Griffith Regional Art Gallery
167 Banna Avenue, Griffith 2680. T (02) 6962-8444. E firstname.lastname@example.org W www.griffithregionalartgallery.com.au H Wed-Fri 10.00 to 5.00, Sat-Sun 11.00 to 2.00. May 30 to June 10 Expose. June 16 to July 22 For Country, For Nation. A touring exhibition from the Australian War Memorial, Canberra.
Hobart Sullivans Cove Battery Point Art Mob
29 Hunter Street, Hobart 7000. T (03) 6236-9200, 0419-393-122. E email@example.com W www.artmob.com.au Director: Euan Hills. H Daily 10.00 to 6.00. Aboriginal fine art, including Tasmanian Aboriginal artists.
91a Salamanca Place, Hobart 7004. T (03) 62244088, 0419-292-626. E firstname.lastname@example.org W www.colvillegallery.com.au H Daily 10.00 to 5.00. June 10 to 20 Into the Deep Wide Open by Milan Milojevic. June 23 to July 13 Gallery 2: Tracks by Patricia Giles. June 29 to July 13 Native Engagement by Kylie Elkington.
Hadley’s Orient Hotel
34 Murray Street, Hobart 7000. T (03) 6237-2999. E email@example.com W www.hadleysartprize.com.au July 21 to Aug 25 Hadley’s Art Prize Finalists’ Exhibition. For prizerelated events and accommodation packages visit hadleyshotel.com.au
Unique Tasmanian Art & Design, 77 Salamanca Place, Hobart 7000. Also, 2 Russell Street, Evandale, 7212. T Hobart: (03) 6223-7895, Evandale: (03) 6391-8193. E Hobart: firstname.lastname@example.org, Evandale: email@example.com W www.handmark.com.au Hobart: to June 11 Jock Young new paintings. June 15 to July 2 Black and White new sculpture by Sally Curry. Evandale: to June 13 Robyn McKinnon new paintings. June 17 to July 18 Still Life new works.
The Henry Jones Art Hotel
25 Hunter Street, Hobart 7000. T (03) 6210-7700. E firstname.lastname@example.org W www.thehenryjones.com Showcasing leading and emerging Tasmanian artists with a changing display of original contemporary artworks.
Mona Museum of Old and New Art
655 Main Road, Berriedale, Hobart 7011. T (03) 6277-9900. E email@example.com W www.mona.net.au Visit website for details. June 13 to 24 (opening: Sat June 9, 6pm) Dark Mofo. Prelude: June 7 to 10. June 9 to April 22, 2019 ZERO.
Milan Milojevic, Into the deep wide open (detail), 2018, digital print with woodblock overlays, 4 panels 80 x 60cm Courtesy the artist and Colville Gallery
James Turrell, Event Horizon, 2017 © James Turrell Photograph: mona/Jesse Hunniford Courtesy the artist and mona Museum of Old and New Art
Level 1, 15 Castray Esplanade, Hobart 7000. T (03) 6223-8266. E firstname.lastname@example.org W www.despard-gallery.com.au H Mon-Fri 11.00 to 6.00, Sat 10.00 to 4.00, Sun 11.00 to 4.00. June 1 to 24 Jenny Orchard and Dale Richards. June 27 to July 22 The Crossings by Anne Morrison. Tasmania 159
Supporting the art community since 1974.