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COVER: James Nguyen, tunnels incorporated, 2016, HD Video, 20:34mins. © James Nguyen / Licensed by Viscopy ISBN 978-1-925404-02-9



The John Fries Award holds a special place for me because it was the first official event I attended as the new CEO of the Copyright Agency | Viscopy in August 2015.

The Copyright Agency | Viscopy is committed to artists’ rights – helping them to navigate the licensing of their artworks for catalogues and merchandise, and providing them with resale royalty payments and provenance information when their works are resold.

The event blew me away. It was exciting, it tapped into the energy of the emerging art scene, and it also clearly demonstrated, via the continuing generosity of the Fries family and this company, the value of arts support.

We were thrilled to learn that the Art Gallery of NSW recently acquired the award’s winning painting from 2015, My Country, by Ben Ward.

The award is a perfect touchstone for emerging artists. It introduces them to a professionally organised award with a decent amount of prize money ($10,000) and a high-profile exhibition in the heart of Sydney’s arts community.


Ben was the first Aboriginal artist and first West Australian artist to win the award. He only began painting in his 60s and so is an extraordinary success story. This is just one example of how the John Fries Award has made an impact in its seven years of existence and it continues to provide highly valuable support and exposure to artists in what is often an uneven landscape of grants and opportunities.

Our support to artists is reciprocated 100-fold by the quite unexpected artworks you will see in the pages of this catalogue and at the exhibition. I assure you their vivid expressions will challenge and delight you. I would like to once again thank Oliver Watts for another terrific year curating and judging the award, as well as our judges Mark Feary, Bianca Hester, Tony Albert and Kath Fries. We are also grateful to our event partner UNSW Galleries for the enthusiasm they bring and of course to Vivienne Fries for her continued generous patronage of the award.

Adam Suckling CEO Copyright Agency | Viscopy



Bringing together the work of artists from around Australia and New Zealand, the John Fries Award has, over its seven-year history, established itself, not just at UNSW Art & Design, but in the broader Australian art community as a key platform for the advancement of new work by emerging and early career artists. We are again very pleased to be partnering with the Copyright Agency | Viscopy in the exhibition of the John Fries Award, which this year features work in a variety of media by 14 artists. UNSW offers congratulations to all the finalists in this year’s exhibition and looks forward to presenting their work in the Galleries. Oliver Watts has again curated an engaging exhibition of diverse works that he describes collectively as “brave and and confronting, playful and surprising”.

Working alongside him is a panel of judges that includes Viscopy board member Kath Fries, artists Tony Albert and Bianca Hester, and curator Mark Feary. We are especially grateful to John Fries Award Producer Tristan Chant, who ably leads the project from inception through to installation. Since UNSW Galleries opened in 2014, the John Fries Award has become a much-anticipated annual event on our exhibition calendar. We are excited to continue as the award’s presenting partner and look forward to welcoming to the Galleries its many fans and followers, and audiences from around Sydney and beyond.

Dr Felicity Fenner Director UNSW Galleries


I am intrigued and inspired by the 14 artists in the John Fries Award 2016 exhibition. Their works are provocative and political, reflective and humorous. They are courageous in speaking freely and pointedly through their work, despite being caught up in the midst of particularly challenging times as humanitarian, ecological, economical, socio and political tensions are building around the world. Pursuing a career as an artist today may seem foolish, as national support and funding for the arts is being slashed and art schools are being closed. Those faint calls from the top to invest in creativity and innovation are drowned out by short-sighted profit margins. However, artists explore ways of communicating their diverse visions and diffracting voices, actively practising creative problem solving. They share with us a multiplicity of perspectives rather than capitulating to apathetic homogeneity. We must value our artists, now more than ever. 6

Over the past seven years the John Fries Award has played a small but significant role in supporting early career artists from Australia and New Zealand. This award was established in memory of my father, John Fries (1943-2009). Although he was not an artist, he is remembered as supporting the arts and valuing artists’ contributions to society. John was an accountant, engaging with the arts both from a position in the audience and contributing his corporate skills and financial knowledge as Viscopy’s Honorary Treasurer and Board member during the organisation’s formative years. John understood how greatly society benefits from the skills, passions and unique viewpoints of artists. The arts have a resounding impact on how we comprehend ourselves historically, critique the present, and how we imagine we want to live together and understand each other in the future. Annual lists of the richest and most influential people are soon lost in the noise of time, unless those people support the arts and humanitarian causes. John was not at all famous or even immensely wealthy, but his pragmatic and benevolent support of his family, friends, colleagues and community, and his efforts to assist them to develop their skills, explore opportunities and pursue

their dreams, is warmly remembered by many, and commemorated by this award. John possessed a true empathy with the financial challenges faced by artists, which he demonstrated through his work with Viscopy. His realistic and forwardthinking attitude still influences the organisation today and resonates in this annual award. The 14 artists in the John Fries Award 2016 are to be congratulated – their works are thoughtful, challenging and innovative. Although they are in the early stages of their careers, they demonstrate a serious commitment to developing their artistic practices, as well as engaging with their communities and giving back to society. These 14 are just one small tip of an immense iceberg; an exciting diverse taste of what we can anticipate in the future, so long as we all continue to support the arts and persist in valuing artists’ adventurous endeavours.

Kath Fries Artist and John Fries Award Committee Chair



There is a strong sense, in this year’s award, of a psychic malaise we feel ghosting contemporary life. CREATIVE INDUSTRIES AND FREEING YOUR THOUGHTS The exhibition evokes a world of uncertainty and disconnectedness. The works themselves are cool and dispassionate like a bureaucratic file and use the language of the businessman, the architecture of the institution and the gloss of an alienating social media. It is as if the artists have chosen to admit that they are part of a political and economic system that sees the artist as part of the creative class (as a subset of yoga instructors, interior designers, “creative bankers” and bloggers). It is up to the viewer to see any irony here, if there is any.

Oliver Watts Curator


Perhaps the work is best seen as normcore artwork — a strategy of doing the normal thing – of not being different, but with a little wink. There are no resistant outsiders or community engaged activists. There is only sameness, the commonplace, the normal, poetically or metaphorically framed. The exhibition sums up a contemporary anxiety, that you see not only in art but also in fashion or other activities connected to our identities. How do we speak in a language that is largely acceptable and social but at the same time stand out? It is a balance between transgression and compliance (in more psychoanalytical language) or (as Jean Baudrillard would have it) between autonomy and submission. This tension has been exacerbated by a society that promises total freedom unfettered from traditional authority, where we are told constantly to consume whatever and whoever we want, while at the same time being surveilled and ordered like no other time in history. Economically too, you would have to go back to the late 1920s and a Boardwalk Empire-world to find a more inequitable period. The Neo-normal is a world where we are post-sex, post-desire, post-taboo; where everything is allowed as long as it’s not actual sex, desire or taboo.

BEING TRUE TO OURSELVES There is an invisible, conceptual work in the show that sums up the tension that we experience about being “true to ourselves,” of being authentic while at the same time giving ourselves over to the rules of engagement. Jessie Bullivant has created a video acceptance speech on winning this award. She has said, as the conceptual basis of the work that no-one can see it (not me, the curator, not the director of the gallery nor the judges) unless of course she takes out the award and needs to accept it. It is a work that can win but not be judged. This work for me sums up that terrible anxiety we all have of being measured, examined, put into boxes by an ordered society and our desperate attempts to wrestle back some agency. Normcore is a fashion version of this where you neglect to play the game of fashion, giving no grounds for a fashionista's appraisal. It is anti-hipster but perhaps in that, as Wes Hill has recently outlined, normcore is a more conceptual hipsterism, the “wink” of irony is still there. It is what the cool hunters call “post-authenticity coolness.” Bullivant’s work is an action of refusal that is neat and final. It somehow breaks the bind of the award’s rules while still, paradoxically, remaining in


the game. It is an act of freedom while at the same time constrained. Perhaps that is the best we can hope for. It is a work that as a metaphor represents our daily struggles between our individual natures and society. The banality of James Nguyen’s work too is a provocation. The video is almost forensic, taking the same shots from the front and back of a car that you would expect from a cab or police car camera. The car travels through the tunnels and toll roads of Sydney. The work could be about urban sprawl pushing workers further and further from the CBD, or about the privatisation of infrastructure, or even about the existential drudgery of life.

Thomas Picketty’s book Capital in the Twenty-First Century and its narrative of continuing and growing inequality of wealth distribution is an inspiration for much of McEwen’s recent work. One symptom is the rise of precarious labour, characterised by uncertainty and instability. Promises, Promises, Promises, a metaphor for this situation, reworks the Hollywood trope of falling US dollar bills as the marker of wealth acquisition, often in slow motion. Here the bills are empty, like promissory notes that you can never cash. In the new economy, we are all sole traders, who are advised to be on the hunt for the bigger better deal (BBD). We are taught that we are free to choose our work and that we will change jobs multiple times.

But I think the best way to approach the work, especially in relation to some of his recent archival work about revolutionary moments, is that it is about nothing. Again it is a disavowal of our current funk by giving the viewer a pause on the wall, a space to daydream and think like you do when you are travelling mindlessly in a car. It counters our normal imperatives by actively creating a lack of production and space for mental rest.

The art worker (a cognitive-creative thinker) by the way, is implicated in these shifts and the likes of Damien Hirst and Jeff Koons are just the most spectacular forms of the artist-entrepreneur. Artists and other workers are forced to chase unattainable dreams and when they are not reached, when the Hollywood ending fails to appear, it engenders feelings of guilt and inadequacy. In the broader scheme of things, the failing is not the fault of the worker.

Daniel McEwen’s work most directly approaches the hypocrisy of our current ideology of free choice.

Angela Tiatia shows that the artist is not merely a cognitive worker but a labouring body too. The performers

enact violence, constant and slow violence, as (artistic) work. Again, there is an incessant imperative here, somewhere outside the frame that might be merely Tiatia’s authorship but could potentially be an oppressive state or an inequitable and violent disenfranchisement in the economy. It is like a primal scene of a proto-society, of a first pair, like Cain and Abel, beating each other down into submission and in the end, in a Bruce Nauman-like piece of styling, the tape (read memory card) runs out. The ‘everydayness’ of the weeds in the cement, the simplicity of the activewear, allow the theatrical device to remain immediate and affecting to the audience. In the end though, Tiatia’s piece is one of the most uplifting works in the exhibition. As the performance continues and the action becomes more and more difficult, you can see that the performers begin to prop each other up, slow down for merciful breaks and show other micro-gestures of tenderness. Even within the simple rules of the piece, the agency of the performers, their individuality and humanity, quietly but strongly appears. In Uri Auerbach’s work the architecture of the institution is referenced but made more poetic.

One of his works up for selection was the simple installation of five or so battery powered smell atomisers that you find in toilet blocks. The work looked like a neat minimalist series high up on the walls, white against plastic white. The smell produced was artificial, and suggested the control of space by invisible hands like a room from the movie Gattacca. The work takes the artefacts of our offices and factories up a notch until they are disarming if not menacing. In A River the fluorescent tubes (obviously reminiscent of Flavin’s minimalist classics) pulsate in a trembling loop to the sounds of electromagnetic switches. There is a real beauty here, which is unreadable and infinite. It is grounded though in the mechanical and electric real, as if the buildings insides have been turned outwards, as if we were on a crumbling set from the future.

“The works in this award account for artefacts in our contemporary society that have been insufficiently explored by culture, our literature and art.”


REAL LIFE (RL) TROUBLES AND VIRTUAL MOTHER FIGURES Tim Gregory’s work squarely attacks the ideology of capitalism and biopolitics head on. Or at least it does until it lurches quickly down a hole of perversity and sophistry, “the human is a donut.” Gregory fronts a docoshort which feels as if John Berger has been forcibly removed from his quaint French village and brought into a post-internet studio run by an unhinged artificial intelligence (AI). Although seemingly pedagogical (in a mode of performance lecture that engages with real problems) the work undermines its own logic; perhaps the most deviant thing is that the mad but earnest poetry that remains is weirdly familiar and acceptable. The inside and the outside are confused in bio-politics: the police don’t come to our front door with a warrant – but through AI – virtual networks and insidious drones come inside our body. Likewise, as Gregory highlights, we want the world to see our innermost secrets, and this is a part of the new subjecthood; as Gregory intones “our soul is nothing more than the gold standard for immaterial capital”. Using the language of what the TV world calls “factual programing” he shows that the fact of life is that we are living a fantasy.

Debbie Symonds also uses an educational mode. In icons that reference ATARI games as much as the stock market LED screens, numbers move like an endless flow of economic information. The screen floats like a futuristic scene from a movie. Like all good science fiction though, the work is still grounded in current concerns. The information is about species extinction, over farming, unconstrained export of natural resources. This is neither irony nor caricature but looks to an immediate future where this sort of accounting will have to become commonplace. Xanthe Dobbie is the closest in this show to full-blown satire but she shows, that in today’s world, it is easy to self-satirise. She connects the internet icons to the icons of the past, showing in the process how our traditional touchstones, our religious figures and other figureheads have been replaced by other equally functioning gods of the internet, what are now called with their legion of followers “influencers”. Individuated and alienated from real cultural memory and social communion, millions seek solace and comfort in Insta-stars. Her character, Damielou Shavelle becomes a friend to her fans which she calls #pychoz; she is always


upbeat, and an ever available GF. Andrew Ucles is another in a long line of Australian wild men from Dundee to Irwin. Dubbed the Dapto Tarzan by the Illawarra Mercury, his catch phrase is “we are all born wild but it is a choice to be tame.” This is a simple answer to what is a real tension between submission and autonomy, wildness and tameness. A nostalgic throw back to a less complicated time, he counters the real current anxieties of gender relations, with the man’s man. But Lauren Otrowski-Fenton is undoubtedly my favourite subject. She is a contemporary Madonna figure, here referencing a Renaissance altar piece of Lorenzo Lotto. On her blog, she sips tea and is calm supposedly aiding anxious people to sleep; she is a motherfigure for adult bedtime. Seriously you cannot make this stuff up and Dobbie heightens the focus on these strange mediatic symptoms. The use of collage is not used to undermine middle class pretentions (as say Dada, Surrealism and Situationism did) but on the contrary to take their brands and extend them (like a good Leibovitz-style commercial portraitist). Sam Clague and Jake Preval in painting and installation respectively also trawl over the stuff of the everyday world including our virtual

worlds, reinterpreting them and reorganising them. Clague paints green-screens, flashing text and softcore porn all flying around in strange spatial constructions on his canvases. There is something close to acceptance that this is the new realism for our world and that the old genres of painting do not cut it. Grounded absolutely in highly skilled realism, he is able to play with the ubiquitous photo real of the mediascape. Jake Preval similarly in his installation practice brings disparate parts together in beautifully unified wholes, often framed by coloured walls or niches. In his work Beefcake Comedown the modern invention of the beefcake, bodybuilder is convincingly brought into connection with a form of neo-neo-classism. In both these artist’s work, there is the straight-edge approach mentioned above, a form of reframing but also celebration of the hyperreal world in which we live. The beefcake is set through with the ‘ra ra dazzle’ of pom poms which can be seen from behind. The handles of which end up looking like cigarette butts or even plastic dildos in the context of the sexualised body. The approach in this satire is almost like Stephen Colbert where the comic apes the stylings of middleclass and

conservative convention. In the work of Clague, Preval and Dobbie, the long history of art, of painting and traditional sculpture, is referenced not as pastiche or direct irony but as part of the living culture. It is there but half understood. The painting of Sam Clague, this unwieldy and time consuming medium, really sums up the position of art as a form of unproductive labour; painting as play which is the last thing utilitarian capitalism wants. The referencing of the Renaissance in Dobbie’s work, the neo-classical in Preval’s work, also talk to a contemporary approach to time where the past and present fuse against linear notions of time until we are all living in a pressing now, ever moving although we do not know to where. These artists ask questions of the place of real cultural memory in our society and how we have been uncoupled from a sense of history and groundedness. They all show the immense plurality of our world and highlight its ideology of choice. In front of these works I feel that guilt and inadequacy are strong feelings; that we are not following our goals enough, that we are not giving into our desires enough. They show images of enjoyment and aspiration but definitely without relief.


“These artists ask questions of the place of real cultural memory in our society and how we have been uncoupled from a sense of history and groundedness. They all show the immense plurality of our world and highlight its ideology of choice.”


You will forgive me for bracketing the works of Lilly Morton and Barbara Moore as an approach of contemporary Indigenous art. But I think it is as contemporary Indigenous art that they perhaps embody the most radical of attacks against the legal, political and economic systems of our day. Although there is obviously some compliance to Western art expectations, there is also a complete resistance to not only mainstream discourses but also to questions of Western sovereignty altogether. Lilly Morton’s paintings represent a careful survey of the landscape from decidedly her and her nation’s perspective. Plants and features are precisely mapped and ordered. The rhythms set up in the painting are in themselves beautiful and her shorthand for representing flora and the land is complex and exacting. The community of Ampilatwatja do not paint dreaming stories but decided early on to paint the land where those stories belong; this is a negotiation with the greater Australian audience that thoroughly maintains the community's autonomy. The painting embodies a quality of ‘un-selfing’ where the land and its flora seem to speak through the work and, to some

extent, Morton’s authorship is effaced. It is a quality seen in some of the best Western naturalist tradition, its photography, literature and drawing from Thoreau to Annie Dillard. The works sing with the humility of quiet contemplation and observation over time. Morton’s work manifests art’s role in meaningful encounters between our cultures. Barbara Moore’s work even more self-reflectively plays with the tensions of compliance and freedom within Western discourse, particularly art discourses. Her motifs spring directly from the Tjala community (the Ken Sister’s winning work for the Wynne Prize this year is an example). But the shift in scale, with loose expressive marks, brings the work into connection with the gestural abstraction of Western high modernity. As Terry Smith and others have noted, the term contemporary art almost had to be coined for a discussion of Indigenous art that was neither modern nor postmodern. It was not a pastiche but had in it a long historical underpinning of socially embedded forms that were then brought to modernist painting techniques. This bold conflation is an innovative and particularly contemporary form of elision.


“These works highlight art’s role in furthering our understanding of our blind spots and heightening our awareness of the anxieties and feelings that we are often overwhelmed by. ”

NOSTALGIA AS A SYMPTOM OF THE NOW The work of Sarah Poulgrain and Eric Demetriou represent another approach to contemporary anxiety: total withdrawal into nostalgia and personal biography. It is another form of freedom where you do not enter the fast stream of contemporary life. Poulgrain has coupled a real painting done by her grandmother, with her grandmother’s effigy. I use the term effigy because unlike a sculpture, this object becomes almost like a horcrux from the Harry Potter books, a standin rather than merely representation; it has image-magic. The work’s authenticity acts as a counter point to the alienation and artificiality of our culture. The apparent crudeness of the making also references the homely and the actual hand of the artist (both Poulgrain’s hand and her grandmother’s painterly gesture). On the other hand, this failure in realism (not that I would add a problem in the efficacy of effigies) also might suggest nostalgia’s incompleteness. There is definitely love in this work, an authentic connection, but perhaps there is sadness and loss too. Finally Eric Demetriou seems to reference the drover or cowboy depending on how far from the local

you stray. The sound and effects of lashing whips are the subject. A heroic sound, a Man from Snowy River sound, but here mediated through pop culture, art and technical recording devices. Again I would say that this work is equivocal. It is exciting and strong but on the other hand undermines itself through certain contemporary art stylings. This dual purpose is what marks it as part of the neo-normal, presenting both sides with a cowboy’s wry smile and a toothpick in the side of the mouth. CONCLUSION The works in this award account for artefacts in our contemporary society that have been insufficiently explored by culture, our literature and art. This award has been able to bring together, from almost 1000 entries, 14 of the most exciting and vibrant artists working in New Zealand and Australia today. They tackle the world in which we live with great courage and insight. There is no doubt that the ethics of our world need to be recalibrated, which I suppose is an ongoing project of civil society. These works highlight art’s role in furthering our understanding of our blind spots and heightening our awareness of the anxieties and feelings that often overwhelm us.





Angela Tiatia, Soft Power (performers Angela Tiatia and Sun Hailiang), 2015, HD Video, 31:31 mins. Courtesy of the artist and Alcaston Gallery, Narrm Melbourne. © Angela Tiatia / Licensed by Viscopy



Daniel McKewen, Promises, Promises, Promises, 2016, 3 Channel HD Video, Infinite loop. Courtesy the artist and Milani Gallery, Brisbane. © Daniel McKewen / Licensed by Viscopy



Barbara Moore, Ngayuku ngura – My Country, 2016, Acrylic on canvas, 196x244cm. Courtesy the artist and Tjala Arts. © Barbara Moore / Licensed by Viscopy


Barbara Moore, Ngayuku ngura – My Country, 2016, Acrylic on canvas, 244x196cm. Courtesy the artist and Tjala Arts. © Barbara Moore / Licensed by Viscopy


Debbie Symons, Counting One to Four: Nature morten, 2015, HD Video, 6:52mins. © Debbie Symons / Licensed by Viscopy


Jake Preval, Beefcake comedown (Gold), 2014, Inkjet Print, Plywood, Pom Poms, 240x150x60cm. © Jake Preval / Licensed by Viscopy


Jake Preval, Untitled (Self Portrait with Socks), 2014, Bronze, Socks, 23x30x20cm. © Jake Preval / Licensed by Viscopy

Jake Preval, Arena #8, 2014, Bronze, Barrier, 110x200x30cm. © Jake Preval / Licensed by Viscopy


Acceptance Speech.docx

Jessie Bullivant, in the event of winning, 2016, acceptance speech delivered on the artist’s behalf in the event of winning. Š Jessie Bullivant / Licensed by Viscopy



James Nguyen, tunnels incorporated, 2016, HD Video, 20:34mins. © James Nguyen / Licensed by Viscopy



Lilly Kemarre Morton & Julieanne Ngwarraye, My Country Antarrengeny, 2016, Acrylic on Linen, 183x152cm. Courtesy of the artist and Artists of Ampilatwatja. © Lilly Kemarre Morton & Julieane Ngwarraye / Licensed by Viscopy


Sarah Poulgrain, Anne with her painting, 2016, Acrylic on clay, pine and fabric, with still life painting by Anne Collis, Dimensions variable. Š Sarah Poulgrain / Licensed by Viscopy



Tim Gregory, Inside Out, 2016, 2 Channel Video, 9min. © Tim Gregory / Licensed by Viscopy



Tim Gregory, Inside Out, 2016, 2 Channel Video, 9min. © Tim Gregory / Licensed by Viscopy


Uri Auerbach, A River, 2015, Fluorescent light fittings, computerised electronic components, Dimensions variable. Š Uri Auerbach / Licensed by Viscopy



Xanthe Dobbie, Portrait of Damielou Shavelle (2016), based on Giovanni Bellini’s “Virgin in Glory with Saints” (1515), HD Video, Infinite loop. © Xanthe Dobbie / Licensed by Viscopy


Xanthe Dobbie, Portrait of Andrew Ucles (2016) based on Michelangelo’s “Torment of St. Anthony” (c. 1487–1488), which is based on Martin Schongauer’s etching “The Temptation of St. Anthony” (c. 1470-75), HD Video, Infinite loop. © Xanthe Dobbie / Licensed by Viscopy

Xanthe Dobbie, Portrait of Lauren Ostrowski-Fenton (2016), based on Lorenzo Lotto’s “Madonna ofthe Rosary” (1539) HD Video, Infinite loop. © Xanthe Dobbie / Licensed by Viscopy

www.onemillionviews.com.au This work is best experienced online. Go to www.onemillionviews.com.au to view


Sam Clague, #CryingWithLaughter, 2016, Oil on board, 120x69cm. © Sam Clague / Licensed by Viscopy



Sam Clague, greenscreen_realismo, 2016, Oil on board, 68.8x120x3cm. © Sam Clague / Licensed by Viscopy


Eric Demetriou & Herbert Jercher An Afternoon with Herb Jercher (performers Eric Demetriou & Herbert Jercher), 2016, Performance still. Photo by Christo Crocker. Courtesy of Lindberg Galleries. © Eric Demetriou / Licensed by Viscopy




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ISBN 978-1-925404-02-9

Profile for Copyright Agency

John Fries Award 2016: Neo-Normal  

The catalogue featuring the fourteen finalists that form the 2016 John Fries Award Exhibition 2016: Neo-Normal, Curated by Oliver Watts.

John Fries Award 2016: Neo-Normal  

The catalogue featuring the fourteen finalists that form the 2016 John Fries Award Exhibition 2016: Neo-Normal, Curated by Oliver Watts.


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