LiVEs and tiMEs - National Gallery of Victoria · National Gallery of Victoria, Melbourne ... In an...

Education REsouRcE

LiVEs and tiMEsa sELEction oF WoRKs on touR FRoM tHE VictoRian Foundation FoR LiVinG austRaLian aRtists

04 an introduction to the exhibition

06 - 07 clinton nain: in Focus

08 -13 an extended interview with Rosslynd Piggott

14 -15 Bronwyn oliver : sculpting poetry

– an artist’s story

Questions and activities for use before, during and after a visit to the exhibition, relating to works by featured artists

16 -19 Bronwyn oliver

20 - 25 tim Johnson

26 - 29 clinton nain

30 - 33 Peter Graham

34 - 37 Rosslynd Piggott

38 - 40 Walangkura napanangka

41- 42 VcE studio arts: art industry contexts - information related to the exhibition

43 Glossary

44-45 artists’ biographies

inFoRMation FoR tEacHERs

ThiseducationresourceisdesignedasastartingpointforteachersandstudentsinvestigatingLives and Times: a selection of works on tour from the VFLAA Collection.

TheresourceissuitableforVELS(Levels4-6)andVCEArtandStudioArtstudents.

Itissuggestedthatteachersselectrelevantsectionsoftheresourcetosuittheirowncurriculumrequirements.

Duringthegalleryvisit,itisrecommendedthattheLookingandThinking and discussingquestionsareaddressedasaclass,orinsmallgroupsofstudents,sothattheycanlearnfromandbuildoneachothers’ideas.

KEy tHEMEs

CultureNatureBeliefsIdentity

cuRRicuLuM LinKs

TheStudydesignsforVCEArtandStudioArt,andtheVictorianEssentialLearningStandards(VELS),inparticularthedomainsofTheArts,English,CivicsandCitizenship,ThinkingProcessesandInterpersonalDevelopmentunderpinthesuggestedquestionsandactivitiesrelatingtothekeythemesinthisresource.

Clinton NainMiriamMer/KuKuborn1971Erub has a bituman road now(detail)2004syntheticpolymerpaint,bitumen,enamelpaintoncanvas(diptych)152.2x244.0cm(overall)NationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2005©CourtesyoftheartistandNellieCastonGallery,Melbourne

Cover: BronwynOliverCrazed(2004)NationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2005©BronwynOliver,courtesyofRoslynOxley9Gallery,Sydney

PreparedbyNGVEducation,PublicProgramsandContemporaryArtDepartment.

Lives and Times: a selection of works on tour from the VFLAA Collection An Introduction to the exhibitionPage 04 Lives and Times: a selection of works on tour from the VFLAA Collection An Introduction to the exhibition

an intRoduction to tHE EXHiBition

VictoRian Foundation FoR LiVinG austRaLian aRtists

InNovember2002theVictorianGovernmentprovided$5milliontotheNationalGalleryofVictoria(NGV)toestablishtheVictorianFoundationforLivingAustralianArtists(VFLAA).KeyobjectivesoftheVFLAAareto:• extendtherepresentationofimportantcontemporaryAustralianartistsinthestatecollection

• promoteandsupportlivingAustralianartistsandtheAustralianvisualartssector

• supportandenhancethecollectionsofregionalandmetropolitangalleries

In2005,theNGVmatchedtheGovernment’scontributionbyadding$5milliontothefund.

TheNGVmanagestheVFLAAandutilisestheinterestgeneratedbythefundtoacquirenewworksonaquarterlybasis.PurchasesareofcontemporaryvisualartworksfromlivingAustralianartists.

VFLAAworksaremadeavailabletoregionalandoutermetropolitanpublicgalleriesthroughexhibitiontoursandloans.

ThisselectionofworksacquiredthroughtheVictorianFoundationforLivingAustralianArtistsreflectsthevitalityanddynamismofcontemporaryartinAustraliatoday.TheNationalGalleryofVictoriacollectsworkinallmedia,byartistsfromacrossgenerationsandfromabroadrangeofsocialandculturalbackgrounds.

Theworksinthisexhibitionrepresentaspectsoftheindividuallivesandtimesoftheartists.Theyalsocommunicatetothewidestpossibleaudiencesomethingofthebeauty,enigma,fragilityandhistoryofthecomplicatedtimesinwhichwelive.

Inpainting,drawing,fashionandtextiles,photographyandsculpture,artistsrenderimagesoftheirinnerlivesandexternalenvironmentsuncompromisingly,poetically,andexperimentally.Theydosowithasensethat,whilevisionandexperiencearedeeplypersonal,worksofarthavethecapacitytoconnectwiththewiderworld,universalhumanconditions,andprovokenewwaysofbeingandunderstanding.

Bronwyn OliverAustralia1959–2006Vine2005aluminum1650.0cmHiltonHotel,Sydney©EstateofBronwynOliver,courtesyofRoslynOxley9Gallery,Sydney IndemnificationforthisexhibitionisprovidedbytheVictorianGovernment

Lives and Times: a selection of works on tour from the VFLAA Collection In conversation with Clinton Nain

Nainworksinseriesandinpreparationforeachonehewilltypicallyspendsixmonthstravelling,meetingpeopleand‘huntingandgathering’beforeheisreadytostartworkinhisspaciousstudio,anoldfactory.Applyinghimselffeverishly,(sometimesstartingtwentycanvasesatonce),he‘worksalldayeverydayuntiltheseriesisfinished.’Hedescribestheprocessas‘liketellingastory–Ican’tstopuntilIfinish’.

Nainisaloyalchampionofpaintingasanartformdespitethefactthatduringhisstudentdaysintheearly1990s,itwasamediumthatheexplainswasdiscouragedbyhislecturers.Hehasbeendelightedtoseeitscurrentresurgenceincontemporaryartanddeclaresemphatically‘themoreofitthebetter.’

Theprocessofnaminghispaintingsisanimportantaspectwhichheseesasakinto‘namingchildrenthatyouhavebroughtintobeing.‘Thetitlesareoftenpoeticandhintatthemeaningscontainedwithintheworks.

Nainbelievespublicartgallerieshaveavitalroletoplayinthecommunicationofimportantideastoabroadaudience-art,hesays,hasauniquecapacityto‘speakmanylanguages’andcanbemoreaccessibleformanythanreadingabook.Inhisownpractice,heisdrivento‘holdthatground–tomakesurethatartisasimportantacommunicatorasbooksandfilm.’

Hevaluestheimportanceofdiversecreativityandexpresseshisideasthrougharangeofmediumswhichhebelievesenricheachotherandincludepainting,collage,mixedmedia,installationart,poetry,danceandstorytelling.

HeisnotinterestedinengagingwiththedebateastowhetherindigenousartistsworkingtodayshouldrefertothemselvesascontemporaryAustralianartistsorindigenousartists.HecallshimselfablackAustralianartistbutinhisopinion,theheadingsareunimportantcomparedwiththemoreimportantissueofbreakingdownthestereotypeofanindigenousartist.

Nainisquicktoacknowledgethatthemostupliftingexperienceofhisyoungadultlifewas‘gettinganeducationandgoingtouniversity’wherehedeeplyappreciatedthevalueofstudying,understandingandenjoyingartindepth.

ThemostchallengingaspectofbeinganartistforNainistryingtobeanindigenousartistinthesuburbsofMelbourne,wherehebattleswith‘notallowingpoliticstogetyoudownsothatyoustopcreating.’

NainisremarkablyfreeofasenseofbitternessandregardshimselfasanoptimisticpersonwhobelievesthatlifeforallAustralianscangetbetter.HearguesthatiftheAboriginalculturewasacceptedandembraced,manyofthepressingenvironmentalchallengescouldbeaddressedbybuildingasustainablefuturebasedonancientAboriginallandknowledge.

InaninterviewfortheAgenewspaperin2006,NainevokedhisloveofthelandwhenhedescribedhowhelikedtorelaxandescapetheworldonaSundayafternoon.

(I) jump on my bike and ride along the Yarra Trail. I love to ride my bike and follow the river. I ride along the track, the water follows me, and nothing else matters in the world. Once I’m done, it’s like I’m on a high from the serenity around me.

Myperfectweekend, The Age1/7/2006

Healsoverymuchenjoyslisteningtomusicandhasaneclectictastewhichincludestraditionalindigenous,Reggae,BluesandSpiritualmusic.

ClintonNain’smessageforyoungartistsstartingouttodayisto‘followyournaturalinstinct,yourheart–whatfeelsgoodforyou.’Hebelievespassionatelythatinorderforanartisttoexpressthemselvessuccessfully,theymustbeclearabouttheiridentityandwhotheyare.

ClintonNain’sdecisiontobecomeanartistwasbasedonhisfascinationwithartandartistsandadesiretobesurroundedbythisculture.Hewasraisedinahighlycreativefamilyandrememberslookinguptohiseldersiblings,DestinyDeacon,arenownedcontemporaryartistandJohnnyHarding,aplaywright,author,activistandperformer.

HewasborninCarltonin1971andgrewupinthenorthernsuburbsofMelbourne.Hismother,nowdeceased,wasoftheMiriamMer(TorresStraitIslander)andKuKu(Aboriginal)peoplesandhisfatherisofIrish,SpanishandDanishdecent.

Nain’smotherEmilyisastronginfluenceonhisworks,manyofwhichpayhomagetoherlife.Herecallshowsheinstilledinhimthenotionthat‘youcan’trespectyourselfunlessyoucanrespectothers’anddescribeshowthroughherhelearnttorespectculturesotherthanhisown.Emilywasacampaignerwhowasactivelyinvolvedinorganisationsconcernedwithdomesticviolenceandchildwelfare.ShesetupthefirsthostelforhomelessAboriginalgirlsinMelbourne.

Nainhasagentleempatheticnaturewhichisatoddswithsomecommentators’descriptionsofhimasan‘angryyoungman’,whosepowerfulmessagesliterallyscreamfromthecanvas.Helaughsatthisdescriptionbutagrees,however,thathisworkisdrivenbyapassiontomakepeopleawareofindigenouspeople’sconcernsthrough‘makingsurethatthepastispartofthepresentandthepresentisbroughtintothefuture.’TheoftenconfrontingimageryheemploysreflectsonhisculturalheritageandthebrutalconsequencesofEuropeansettlementonhispeople,communicating,oftenwithrawpainterlyenergytheirsenseofanger,griefandloss.

Whilehispotentmessagesareoftenconveyedwithstarkandharrowingforms,hispaintingshaveabeautifulmeditativequalitythatsuggestsNain’sdeepengagementwithaesthetics;hestronglybelievesthatanartistcanportrayuglinessandpainthroughbeauty,ametaphorheusesforthepotentialtotransformbadintogood.

Heisfascinatedbyotherindigenouspeoplesintheworld,wholikehimstruggletobe‘heard’andkeeptheirtraditionalculturesalivethroughtheirart.

Page 07 Lives and Times: a selection of works on tour from the VFLAA Collection In conversation with Clinton Nain

: in Focus octoBER 2007

Clinton Nain©CourtesyofNellieCastanGallery,Melbourne

Why did you become an artist? Were there any signs in your childhood that this was your destiny? Iwasbornintoafamilyofartists.Mymotherandfather,OwenPiggottandLynetteMoon,metatartschoolatRMITanddadisapainterandmymothermakesjewellery.Myuncle,MiltonMoon,isanAustralianceramicist.I’vebeengoingtogalleriesandopeningsandstudiossinceIcanremember,sothatwouldprobablybethemaininfluence.OthermembersoftheMoonfamilyweretalentedandeccentricpeople.Whatcanlsay-intheDNA!

Who or what are the major influences on your work, for example, family, travel, other artists, art movements, music, literature, philosophy?Familyinfluence,fromchildhood,hasbeenoneofthemaininfluences.Asafamilywealwaystravelled.Myparentswereteacherssotheyalwayshadthesameholidaysasuskids.Theywereveryadventurousasparentsandtheytookustoamazingplacesinthemiddleofthebushanddeserttrips.WhenIwastwo,myfatherdidaoneyearteachingexchangeinEnglandandwetravelledtherebyboat,asyoudidinthosedays.

ProbablythemostadventurousthingtheydidintermsoftravelwaswhenGoughWhitlamwasbootedoutofpower,theydecidedtosellthefamilyhomethattheyhadbuiltanddesignedthemselvestoliveinEuropeforayear.Andso,asafamilywiththreedaughterstheyboughtacampervanandwetravelledaroundEurope.MyfatherwaspassionateaboutarthistorywhichwasgreatformebecausewewentthrougheverymajorartmuseuminLondon,France,SpainandItalyandthenacrosstoarcheologicalsitesinGreece.Iwasseventeengoingoneighteenandsothat’sbeenaprettymajorinfluence.MyeighteenthbirthdaywasspentinDelphi!

AsanadultI’moftenthinkingaboutthenexttrip.lamquitehookedintoEurope.Inthepast10yearsI’vebeenpassionateaboutJapan.

In1997,IhadafourmonthresidencyinJapanandthathadaprofoundeffectonmeasapersonandalsoonmywork.

MyfirstcontactwithJapaneseculturewasthroughmyuncleMilton.IusedtostaywithhimandBetteandDamon,mycousins,intheirbeautifulrestoredbarninSummertown,intheAdelaidehills,whenIwasateenager.MiltonandBetteandDamonhadspenttimeinJapan,particularlyinKyotointhe60sand70s.TheirhouseisfullofJapaneseobjectsandwonderfulartandIwasinstinctivelyattractedtothem.MiltonandBetteusedtosaytomeevenwhenIwasachild,‘Ros,youwouldloveJapanandtheywouldloveyou’.IwasveryinterestedinthewaytheJapaneseputthingstogetheraesthetically.ThewaytheythinkaboutobjectsandmakingpicturesiscompletelydifferenttotheWesternview.Fromanaestheticpointofview,Iwassweptawaybytheirapproachtothingslikegardening.Itreallystruckmysenses,butappealedtomymindaswell.It’sanintellectualwayoflookingatnature,inparticular,l’mattractedtotheirversionofNature/Culture-itsincrediblyrefined.Primarily,likemostforeigners,IhavebeeninterestedinoldJapan,pre-warJapan,butpostwarisprettyfascinatingtoo-theirincredibletenaciousapproachtotechnology,forinstance.

How has teaching influenced your practice? Ienjoytheprocessoftalkingtoyoungerartistsandgivingsomethingtothem.Butitisatwowaysituationaswell.Itisgreattobeabletostepoutofthestudioandtobeinanenvironmentwherestudentsaretryingtofigureoutsomethingaswell.Soit’sgreattohavethatkindofexchangeofenergy.

Some of your works have been described as the ‘merest wisp of the ungraspable’. Can you discuss this?It’salwaysoddrespondingtootherpeoples’viewsaboutyourwork.CertainlyI’mtryingtoworkwiththeimmeasurableinmywork.Myrecentpaintingsareaboutabigspace,perhapsanimmeasurablespaceandthenakindofhumanattempttograspthat.

What particular qualities do you strive to achieve in your work – do you regard these as universal qualities? YesIdo.Iwouldhopethatwhenpeoplelookattheworksthattheycanconnectintosomekindofuniversalplace,perhapsoneweallshare.I’minterestedinairandbigspace.Thisspaceisaveryancientspaceandofcoursethatiswhereweallcomefrom.I’minterestedinscience,toanextent.Ofcourse,scientistsarestill,andperhapsalwayswillbe,tryingtofigureoutwherewecomefrom.l’minterestedintheseareasofthoughtandinquirythatbumpintoeachother!Buddhistshavebeendeeplyinterestedintimeandspaceformanythousandsofyears.Insomewaystheirthoughtsonthispre-emptedrecenttheoriesofphysics.

Many artists today call their works, ‘Untitled’. Your titles are like poetry – they capture a fleeting essence. How important are they to the appreciation and understanding of the work by the viewer?OccasionallyI’vecalledmywork‘Untitled’butnotveryoften.Idothinkaboutthetitlesalotandtheyareincrediblyimportantformeandforthework.Manypeopledon’treadthetitleofthework,butiftheydo,theymayfindapointatwhichtheycouldperhapsunlockit,soit’sliketakingakeyandturningitandyougetalittlegapthroughthedoorintoaspacewhereIwouldhopetoleadyou.

You have created many art objects such as glass flasks filled with air from a Japanese temple garden. Can you explain your fascination with this process? Are there any bizarre or humorous stories attached to the making of these objects?I’vemadequiteafeweditionsofaircollectionandthatissomethingthatIwillcontinuetodo,it’saveryfascinatingthingforme.ThefirstcollectionImadeinvolvedsixty-twotesttubeswhichrelatedtoeachdayIwasawayonajourneybetweenMelbourneandEurope.WhenIgothomeIlabelledthemwithalltheinformation.ItwasperhapstheairofPariswhichwasobviouslyinfluencedbyMarcelDuchamp’s1919workThe air of Parisbutotherswereveryspecific,forexample,theairoftheSistineChapel,theairofRodin’sGates of Hell,airfromtheArezzoChapel,nearPierodellaFrancesca’sLegend of the true cross -fromquiteimportantartsitesinEurope.

WhenIexhibitedtheworkIreallywasn’tquitesurehowtheaudiencewouldrespondtoit,butpeoplewerelininguptoreadtheinformation.Iwasblownawaybywhattheywereengagingwith.Itwasthesignonthevesselinitiallybutafterthat,thevesselitselfactuallyhadnothinginittotheeye.Sotheywereengagingwithinvisibility.Theideawastheywouldreadthesignandlookintothisemptyspaceandimaginewhatthatspacemightbe,orwhatthatmomentmightbe.InmypaintingsI’minterestedinimmeasurabilityandthiswasactuallyaphysicalwayofdoingthat.

I’vehadverymanyinterestingstoriesaboutthemakingoftheseworks.OnefromtheJapanesetemplegardenswasquitebeautifulanditsumsuphowtheJapanese,incontrastperhapstoWesterners,completelyunderstandthisprocess.IwascollectingtheairunderneaththecherryblossomtreesandIhadallthevesselsthereandmyfatherwashelpingme.ThisveryelegantJapanesecouplepassedbyandIwasalittlebitembarrassed,thisfunnyladywithherbottlesunderacherryblossomtree.IfeltIhadtoexplainmyself,

“We’recapturingtheairheretotakebacktoMelbourne”.Andtheyjustlookedandnoddedandsaid,“Thankyou”.

AnotherstorythatmightbeofinteresttoyouwaswhenIexhibitedthecollectionofairinCanberra.AscientistfromtheCommonwealthScientificandIndustrialResearchOrganisation(CSIRO)wasattheopeningandhecameuptomeandsaid,“Thisisafascinatingwork”.Ididn’tknowthisbuttheCSIROhasairlibraries.Scientistsactuallydocollectairfromvariouspointsontheearthandtheyareabletokeepairlibrariesandtesttheairforfuturereference.Hesaidthatiftheytookoneofthesesealedtesttubesintotheirlabstheycouldextracttheairfromitandfindoutwhatthetemperaturewasonthedayofcollectionandwhichwaythewindwasblowing.Icouldn’tbelieveit!Itjustgoestoshowthatsometimesasanartistyoudon’tactuallyknowwhatyouaremaking,youareoperatingonaninstinctandaccordingtosomepoeticnotioninyourownmind.Yetinsomeotherfield,someoneisdoingexactlythesamethingtoadifferentendanditisquitefascinating.

an EXtEndEd intERViEW WitH RossLynd PiGGott octoBER 2007

Page 09 Lives and Times: a selection of works on tour from the VFLAA Collection An extended interview with Rosslynd PiggottPage 08 Lives and Times: a selection of works on tour from the VFLAA Collection An extended interview with Rosslynd Piggott

What would you like viewers to discover or experience in response to your recent works such as Unfolding flower – cloud space no. 2 ?Thatparticularworkisabouttheexperienceofstandinginfrontoftheworkandlookingatit.Iwasveryhappywiththatpainting.It’squiteafinepainting,iflcansayso!Iwanttheviewertobeimmersedinabigspacebutitalsoworksretinallyontheeyesoit’sunfolding. It’sliterallyandphysicallyunfolding. Itdoesthismovement infrontofyou.Sotheviewercouldbecomeinvolvedinthisphysicalresponse,thatmayremindthemofananoormolecularspace.Itcanbecomevisceral,abodyreaction,itcanbecomeadreamything.Youknow,likelyingonyourbackandlookingintothesky.Youalmostbecomethesky–immersion.Thereasonwhythatpaintingissolargeissothattheprocessofimmersioncanoccur.

To what extent can your work be seen as a quest to make sense of the world or to find inner peace?CertainlyIthinkthatmostpeoplewhocreateareeithertryingtomakesenseofthemselvesorsenseoftheworld.Artistsdothatindifferentways.Asayoungerartistmyworkwasmuchmoreaboutmyselfandinasenseitisstillaboutmyself.It’sjustthatIamnotpicturedthere.Mypaintingsarereallyinoppositiontotheworldoutthere,theworldofthestreet.Iguessit’ssomethingIcan’thelp.Formeithastobethatway,almostlikeameditation,butinasenseIguessI’malsoofferingthatspaceforotherpeopleaswell.SoI’mmoreinterestedinakindofslowtime.Alotofthingsinourworld,especiallyinpeoples’workinglivesareverymuchabouttheoppositeandwhatcanbedoneinthequickesttime.Ioperatelikethataswell.We’reallbeingsuckedtowardsthissuperfastvortexbutIthinkit’sveryimportanttohaveslowtimeinourlivesandinourbodies.

What is the most challenging aspect of being an artist? Oneofthemostchallengingthingsaboutbeinganartistismoneybecauseyoudohaveyourdowndaysandsometimesyouhavelongdowndays,weeks,monthsandoftenthat’saboutmoney.SometimesIfeelthatanartistmakingsubtleworkisnotentirelyunderstoodinthiscountry.Sometimesonelinerartreceivesthemostattention.lgetdisappointedbythat,butI’malsophilosophical,atthispointandalmostresigned.

What has been the most uplifting experience of your career to date?TherehavebeenmanywhenIlookback,andIamatthestageofmylifewhereIamnowlookingbackaswellaslookingforwards,comingtowardsanotherdecade.I’vebeenveryfortunatetotravelsomuch.Myexperiencesoftravellingandtheresidencieslhaveheld.MyresidencyinItalyin1987/88wasreallywonderfulandmyresidenciesinParis,1994/95andinJapan,1997.ButalsotheexperienceofhavingmywonderfulshowattheNGVin1998wasanextraordinaryexperience.I’dhavetocallthataprincessmomentofmycareerandworkingwithJasonSmith(formerCuratorofContemporaryArtattheNGV)wasfantastic.IhavethisothershowcomingupnextyearthatIamsurewillbeaprettyamazingexperience.LastyearIexhibitedoverseasandIhadthreeshowsinTokyoinonemonth.ThatwasquiteextraordinaryandIhadtopinchmyselftoseeifthatwasreallyreal.

In what ways has working in multiple mediums contributed to your development as an artist? Iamcurrentlyworkingonabigproject.I’mcollaboratingwithafilmmaker,amirrormaker,aglassblower,adiamonddealer,metalworkers,anarchitect, amagnoliabreeder.Theseprojectsareverychallengingandverystimulating.Theprocessofworkingasapainterisoneonone,andverysolitary.OfcourseIlovepaintingandwillalwayscomebacktothatnecessaryandsolitaryspace.Formeasapersonandanartist,llovedippingbetweenthetwowaysofcreating.I’mactuallyrunningofftotheglassfactorytodaytocollectmyworksothatitcangoofftoanengravertomorrow.Soyouarealwaysuncoveringnewtechniquesandpossibilities.Connectingwithpeopleandskillsthatcanstimulatenewideasorwaysofworking.

Could you outline the working process involved in making works such as Unfolding flower – cloud space no. 2?AtthemomentIamhavingsomecanvasesstretchedforme,Ihavesomeverygoodpeoplewhomakethecanvasesandbringthemtothestudio.IusedtodothismyselfforverymanyyearsbutnowIhavedecidedtolettheexpertsdoit.Then,initiallyIwillputonaveryloose,verybroadsiennacoloredwash.Iworkwiththeoilpaintinvery,veryfineandverythinlayers.InsomewaysIworkwiththeoilpaintalittlelikewatercoloursoit’sjustaprocessofbuildinguplayeroverlayer.OverthesiennawashI’llbringoverthinlayersoftransparentwhitessothebackgroundwouldprobablybefourorfivelayersoftransparentwhite.Then

Imakeagridoverthepaintingwithchalkwhicheventuallydisappears.Iusepaperstencilstomakethecloudshapes.AfterI’veputdowntheinitialmatrixofflowercloudsthenIbringthemajorshapesoflargeflowercloudsoverthat.Idohavetowaitforthemtodryinbetween,andthenwitheachlayerit’sjustonelayerofthinpaintuntilgraduallyyoustarttogetthismesmerizingvibratingsortofthinghappening.Someoftheprocessisquitemethodicalandsomeofitismoreintuitive,whereIjustputdownshapesandwatchtoseewhatishappening.

Could you describe the qualities of your ideal studio environment? Ihavestillnotfoundmyidealstudio.I’vegonearoundthecompassnow.I’vehadeast,north,westandsouth.Northlightisdefinitelythemostidealbecauseyougetaconsistentlightfrommorningtillevening.Nostairwaystoclimb.Groundfloor,rollupthedoor,bringthecanvasin,putitontheeasel,thankyou.Bigspace,anicebigspacetoworkinwithagoodstoragearea,ventilationandwouldn’titbegoodtohavethat

rollerdooropenedupontoabeautifulgardenandmaybealittlecoffeeshopnottoofaraway.I’mstilltornbetweentheurbanenvironmentandcountry,buturbanisrightformenow.

How important is it for you to be involved in the display and presentation of your work in public spaces and galleries?Itdependsonthetypeofwork.Withpaintings,onewouldhopethatthecuratorswouldhavethesensitivitytolocatethepaintingswithappropriateworks.RecentlywhenUnfolding flower – cloud space no. 2wasexhibitedatNGVAustralia,FederationSquare,itwashungwellandIwasreallyhappywiththat.Intermsofinstallationworks,aslongasI’maliveIthinkit’sveryimportantthatIaminvolved,soforinstanceattheendofthisweekI’mgoinguptotheArtGalleryofNewSouthWalestosetoneup.Theyboughtitafewyearsagobuthaven’tyetdisplayedit.Sowe’llsetitupandmakeverydetailednotesabouthowitallgoestogether.

Page 10 Lives and Times: a selection of works on tour from the VFLAA Collection An extended interview with Rosslynd Piggott Page 11 Lives and Times: a selection of works on tour from the VFLAA Collection An extended interview with Rosslynd Piggott

Rosslynd PiggottbornAustralia1958Blossom face 102005-06digitalprintonHahnemulepaper34.0x48.0cm(sheet)ed.of10©Courtesyoftheartist

How do you work – do you stick to a disciplined routine or are you more fluid in your approach?I’mnotanartistwhohastobeinmystudiobynineorteninthemorning.ldon’thavethesameroutinefromdaytoday.Iswimatthestartofthedayandalsolistentomyownbody.IfI’mtired,Igivemyselftimebecausehopefully,thisisalongtermpath.There’salotofworktomakesoI’dlikebearoundforalongtime.SoImakesurethatI’mworkinginsoundmindandbody.Idolookaftermyself.SometimesIjustcomeintothestudioforacoupleofhourstodoparticulartasks.Othertimes,ofcourse,lspendmuchlonger.ItreallydependsonwhatIamdoing.

What do you believe should be the role of art in contemporary society?Ialwaysthinkthattheroleofartinanycontemporarysocietywhetherit’snow,inthepastorinthefuture,istomoveagainstthecurrentgrain.Inmyviewthereisalotofartaroundthatillustratescontemporarysocietyanditsmodusoperandi.I’mnotareallybigbelieverinthatsortofart.Ithinkthepurposeofartistoofferupsomethingelse–againstthegrain,toquestionnotdepict.

Thebestoldartisstillverymuchalivehundredsormaybethousandsofyearslater.

What effect, do you believe, globalization has had on contemporary art?Globalization hashadaneffectcertainly,duetothedispersalofinformation.Itdoesn’tmatterthoughbecausethebestartistsarealwaysdoingtheirownthingandthat’swhatremains.ThereareobviouslyAboriginalartistswhoareexamplesofthat,peoplewhoareworkingwiththesubstanceofthelandandthereareotherpeopleroundtheworldwhoaredoingthat.

To what extent do you agree or disagree with the argument that we are so bombarded with facts and intellectual commentary when we visit an art gallery or art website today that we have forgotten how to look closely at art. We no longer appreciate the aesthetics and sense of humanity within it?Thishasalwaysbeenabugbearofmine.Ithink,evenwithintheartworld,Ifindinmyexperiencethattherearepreciousfewpeoplewhoactuallydoknowhowtolook.Ithinkoursocietyplacestoomuchvalueonwordsandthepoweroftext.Lookingisanotherformofknowledge.Itisnotnecessarilyhighlyregardedasaformofknowledgeinoursocietyanditisone

thattakesagreatdealofpracticeandagreatdealoftraining.Intheworldofsport,torunahundredmetresintenseconds,forexample,whichisanextraordinaryfeat,theathletehastotrainveryhardandoveralongtime.Thisisabouttrainingandakindoffaithinthattrainingaswell.Ofcourseit’sadifficultthingtoteachandadifficultthingtoknowbecausewe’velostsomehowthatabilitytodoit.Thisisaskill–theskilloflooking.

Thisalsogoesbacktoslowtime,takingtimetoconnect,tolookatacloudoraflower.TheJapanesepeopleareveryhighlytunedinthisareabecauseintheirculturetheconnectiontoNatureishighlyvalued.Theeverydaypersonwillnoticevery,veryfinedetailsthatinourculturewemiss.We’retoobusygettingsomewheretoactuallynoticethepetalsonthegroundorbebotheredreportingwhenthecherryblossomsareopeningthroughoutthecountry.NowthatiswhattheJapanesedo.(Strangebecausetheytoo,areveryofteninarealhurry-asanyonewhohasbeeninShinjukiStationatrushhourwilltellyou!)Theweatherreportsinspringtimewilltellyouwhenthecherryblossomsareopeningfromthenorthtothesouthofthecountry.

ThisisanotherlevelofawarenessandsoIthinkinrelationtoyourquestion,thepoweroftheword,thepoweroftext,eventhepowerofspeechismorehighlyvaluedoverthatquietcontemplativespaceofconnectingwiththethingorthesurfaceorthesubstance,whetheritbenaturalorwhetheritcomesafternature.Soyes,Ithinktherearefewpeopleintheartworldwhoperhapsgivethetimetolookingclosely,orwhohavetheexperienceonthatlevel.Inoticethatwhencuratorsorpeoplecomeintothestudio.I’minthestudioallthetimelooking.That’swhatIdo,sothatparticularsenseisextremelyheightenedandsowhenotherpeoplecomeinIcantellifthey’reusedtospendingtimelooking.

Do you have a message for young people starting out as practising artists today?Ithinkyouneedtobeverysureaboutwhatyouwanttodoandperhapskeepanopenmind,becauseit’salongpathandit’snotaneasypath.Iguessit’sapathwhereyouhavetobepreparedtogoagainstthegrainandinsomewaysit’slikeservitudeandyouhavetobepreparedforthat.Also,Ithinkthethingthathashelpedmealotalongthewayishavingfriendsandsupportersaroundme.Someofthosepeopleareartistsandsomeofthemhavebeenmyfriendssincemytwenties,whichisprettyfantastic.I’vebeenluckytohavefriendswhoareartistsandinmanyotherprofessions.Itisreallyimportanttoachieveabalancethatcangiveyouakindofperspectiveonyourobsessionalservitude.Ifyoucanachieveabalancelikethatinyourlife,thenthatisgoingtobeoneofyoursurvivalmechanisms.

Page 12 Lives and Times: a selection of works on tour from the VFLAA Collection An extended interview with Rosslynd Piggott Page 13 Lives and Times: a selection of works on tour from the VFLAA Collection An extended interview with Rosslynd Piggott

Bronwyn Oliver had that rarest of all skills: she knew how to create beauty

HannahFink,RoslynOxley9Gallerywebsite

As well as having a bold, classical symmetry, her sculptures have a private feeling about them, as of something freshly observed on a solitary walk.

SebastianSmee,Natureofsinglemindeddevotion,The Australian,14/7/06

I think about sculpture as a kind of physical poetry, and I construct my sculpture like constructing sentences, in the sense that I try to exclude associations that are clouding the centre and leave in only associations that add meaning to the core.

FelicityFennerquoting*Oliver,1995,Möet & ChandonFellowshipawardcatalogue.

BronwynOliverhasbeendescribedasoneofAustralia’smostacclaimedandtalentedartists.Herdelicateandfinelywroughtpoeticsculptures,oftenechoingorganicforms,aregenerallycraftedfrompatinatedcopperandbronze.Theirfragileappearance,whichtranscendstherobustandindustrialcharacteroftheirmaterial,beliesastrengththatisoftenbasedonsuccessfulgeometryfoundinnaturesuchastubes,spiralsandmembranes.

BronwynOliverwasrearedonafarminGumFlatinNewSouthWales.Fromanearlyagethereweresignsthatshewasdestinedtobecomeanartist.Shewasfascinatedbyhowthingsweremadeandrememberspullingthingsaparttoseehowtheyworked.AteightyearsofageshebeganSaturdayartclassesundertheguidanceofIanHoward,nowtheDeanoftheCollegeofFineArtsinPaddington.

AsduxofherhighschoolherparentshadexpectedhertogotouniversitybutshewasdeterminedtopursueanartisticcareerandlefthometostudyartattheAlexanderMackieCollegeofAdvancedEducationinSydney.Anoddserendipitousevent

determinedherstudiesinsculpture,whenacomputererrorputherinasculptureclassratherthanthepaintinganddrawingclassesshehadtriedtoenrolin.

Despitethis,afterherfirstclassshewashookedandknewshewasintherightplace.

I’m a loner, I don’t socialise very much. I just work. I love working.

GumflattograndKorea, The Sydney Morning Herald,JoyceMorgan,quotingOliver,17/7/06

Oliverwasanintrovertedpersonwhoshunnedthesocialsideoftheartworld.Makingartwasthedrivingforceinherlifeandshespentuptofourteenhoursadayinherstudio.Shewasknownforherdisciplineddailyregimewhichbeganwithajogbeforedawn.

FornineteenyearsshecomplementedherartpracticewithteachingatSydney’sCranbrookPreparatorySchoolwheresheisrememberedasaninspiringandmuchlovedteacher.Sheisknowntohavethrivedontheenergyandcreativityofthefivetoeightyearoldstudentswhomshetaughtart.

Oliverwasinfluencedbytherenownedsculptors RichardDeacon,AntonyGormleyandMartinPuryearwhomshestudiedunderat ChelseaSchoolofArt,LondonwhereshewasawardedaMastersdegreein1983.

Afterinitiallyworkingwithpaper,caneandfibreglass,shewasinspiredtousecopperwirefollowingavisittothe BritishMuseumandtheLouvreinPariswhereherimaginationwascaughtbyancientmetalworkfromEgypt,SumerandBritain.Oftenmadefromtwistedcoilsofwireandrivetstheseworkswereintendedfordomesticuse.

SheenjoyedbushwalkingintheBlueMountains,NewZealandandTasmaniaandremembersbeingsoinspiredbyanobjectshefoundwhileonarareholidaythatherinclinationwastoreturnhomeimmediatelytoworkonit.

Ratherthanadefinitivechronologicalprogression,herworkcanbedescribedasthecontinualevolutionofathemeguidedbyconstantinnovationinhertechniques.

TheintricatewebbingandmeshinginOliver’ssculpturesrequiredextraordinarytechnicalvirtuosityinvolvingthemanipulationofmaterialssuchascopperwire,bronzeandaluminium.Theprocessofconstructingintricatelabyrinthsofinterlockingcell-likestructureswaspainstakingandphysicallylaborious.

Surroundedbyplasticinemodelsandtanksofoxygenandacetyleneshewasabletoconstructthesmallersculpturesbyusingthetechniquesofsolderingandbrazinginherownstudio.However,herlarger,sturdierpieceswereforseventeenyearsconstructedatCrawfordsCastinginEnfield,afoundrywhereshedirectedwelderswhowouldtransformhertiny,copperwiremaquettesintosculpturesofimposingscale.

Just as one finds an object washed up on the beach and examines it for clues as to its past, I hope my works will ask questions of the viewer. Where did it come from? What kind of history does it have?

Artist’sstatementinThe Third Dimension: Sculptures, Assemblages and Installations, Post -1960,

TheWomens’sArtRegisterInc.Melbourne,1992,p.30

ItissignificantthatOliverwasanadmirerofAustralianartistRosalieGascoigne’sworkGreat blonde paddockswhichevokesthelandscapethroughanarrangementofpiecesofdiscardedwoodencrates.Oliverwasfascinatedbytheirevolutionaryjourneyfromwoodtocratestorubbishtoart.Shewantedherownworkstosparktheimaginationofviewersinthesamewayaspoetry,simultaneouslydistillinganessencewhilstopeningdoorstomultipleinterpretations.

Oliverisknowntohavedislikedtheintellectualisationofherworkandwouldprefertotalkabouttheprocessratherthananylayersofmeaning.

Somecommentatorssuggestherworkisinspiredbynature.However,althoughsomeofherworkrelatestobotanicalformssuchasfrondsorveinsofleaves,thisideasuggeststooliteralanassociationandfailstoacknowledgehermuchdeeperconcernwithstructureandthenaturalpropertiesofthematerialssheused.Ratherthanmimickingorabstractingnature,herworks

suggestaprofoundinterestinthetimelessformsofgeometryocurringinthenaturalworld.ThisisperhapsbestexpressedinwordswrittenbyHannahFinkshortlyafterherdeath:

Her most successful works are like a flourish, a single expressive gesture. The idea of the work was always perfectly worked out which gave the finished object a wholeness, an authority and sense of inevitability, as though it had always existed.

HannahFink,July2006,RoslynOxley9Gallerywebsite

Thedelicatetraceryoftheshadowscastbyhersculpturesisintegraltotheworksthemselves,lendingthemaquiet,meditativequality.Oliver’ssculptureshavetheabilitytocomplementtheenvironmentandsomeofherbestknownworksgracetheRoyalBotanicGardensinSydney.Palm,1999, andhergigantictwometrehighMagnoliabud,1999,whichrisesfromaclumpofagapanthus,exemplifythetranquilbeautyofherworks.Vine, 2005,themosttechnicallychallengingprojectofhercareerandoneofthelongestsculpturalworksinAustraliahangsinSydney’sHiltonHotel.Spanning16.5metresandmadefromaluminiumweighing380kgitisafeatofengineeringwhichtookateamofweldersandanengineerninemonthstoinstall.Thismonumentalyetseeminglylightandfloatingsculptureissuspendedfromaspeciallydesignedrodfixedtotheceiling.Itwasintendedbytheartisttosuggestagianttendrilspirallinguptothelightechoingthepathofguestsastheymeanderedthroughthefour-tieredfoyer.

Oliverdiedin2006.Shehadasuretyofvisionwhichwastotallyuniqueandutterlyfreeofassociationwithaparticularschoolormovement.Hertimelesssculptureswhichfuseasenseofhumanity,wit,optimismandelegancesurviveher.

scuLPtinG PoEtRy – an aRtist’s stoRy

Page 14 Lives and Times: a selection of works on tour from the VFLAA Collection Sculpting poetry – an artist’s story Page 15 Lives and Times: a selection of works on tour from the VFLAA Collection Sculpting poetry – an artist’s story

* Möet & Chandon Touring Exhibition, publishedbyMöet&ChandonAustralianArtFoundation,1994

Bronwyn OliverAustralia1959–2006Crazed(2004)copper205.2x21.4x18.6cmNationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2005©EstateofBronwynOliver,courtesyofRoslynOxley9Gallery,Sydney

dEscRiPtion oF WoRK

Crazed isasinuous,elongatedcoppervesselconstructedfromwirebrazedtoconstructacrazedpattern.Openatthetop,theformtaperstoapointedend.TheobjectresemblesanindigenousAustralianwovenfishtrap,butalsoevokes curvesandpatternsfoundinnature.

LooKinG

• Whatareyourfirstthoughtswhenyoulookatthiswork?

• Howdoesitmakeyoufeel?Whatdoesitmakeyouthinkorwonderabout?

• Explorethesculpturefromasmanydifferentanglesaspossible–fronton,fromeitherside,lookingup.Explainwhichviewyoupreferandwhy.

• Howwouldyourappreciationoftheworkchangeifitwashungupsidedownorsideways?

• Lookcloselyattheartelementsoftheworkincludingline,shape,colour,texture,pattern.Discussallthethingsthattheyremindyouof:

• Whatdoestheshaperemindyouofe.g.aneel,acalligraphicmark,arootoragazelle’shorn?

• Howwouldyoudescribethecolour?

• Tracetheoutlineofthesculptureintheairwithyourfinger.Whatwordswouldyouusetodescribethewaythelinemoves?

• Isthepatternregularorirregular?Whatisitsimilartoe.g.veinsonaleaf,acellstructure?

• Discusswhichartelementyoubelieveismostimportantintheartworkandwhy.

• Lookatthequalitiesofthepatinatedcopper(seeglossary),thattheworkismadefrom.Howdoesitcontributetotheatmosphereofthework?

tHinKinG and discussinG

• WhydoyouthinktheartisthascalledthisworkCrazed?Whatideasdoesthewordsuggesttoyou?

• Thinkofallthewordsyoucanfindtodescribethework.Tryalsotofindoppositesofthosewordsinthesculpturee.g.delicate/sturdy,soft/hard.

• Discusstowhatextentyoubelievetheshadowisintegraltotheessentialcharacterofthework?Considerwhetheritcontributestothemoodoratmosphereofthework.

• Oliver’sworkissometimesdescribedasopen-ended,withnobeginningorend.Discusswhytheartistmighthavewantedtoevokethisfeeling.

• Artistscanbeinspiredtocreateartbymanythings,suchascurrentissues,philosophies,religions,thebeautyofnature,music,science.Whatelementsoftheworkmightsuggestthattheartistwasinspiredbyancientartefactsinmuseums?Discusswhatotherstimulimayhaveinfluencedher.

I think about sculpture as a kind of physical poetry, and I construct my sculpture like constructing sentences, in the sense that I try to exclude associations that are clouding the centre and leave in only associations that add meaning to the core.


Page 16 Lives and Times: a selection of works on tour from the VFLAA Collection Bronwyn Oliver Page 17 Lives and Times: a selection of works on tour from the VFLAA Collection Bronwyn Oliver

BRonWyn oLiVER CRAZED


• Whydoestheartistlikenherworktopoetry?Considerwhatmakespoetrydifferentfromotherformsofwriting,suchasnarrativesormagazinearticles.

• Discusswhatyouthinktheartistwouldhavelikedviewerstofeel,understandorlearnbylookingatthiswork.

• Doesanythingpuzzleyouaboutthissculpture?Ifyoucouldinterviewtheartistaboutthiswork,whatquestionswouldyouliketoaskher?

SUGGESTED POST-VISIT ACTIVITIESMIDDLE YEARS (LEVELS 4-6)

Just as one finds an object washed up on the beach and examines it for clues as to its past, I hope my works will ask questions of the viewer. Where did it come from? What kind of history does it have?

Artist’sstatementinThe Third Dimension: Sculptures, Assemblages and Installations, Post -1960,

TheWomens’sArtRegisterInc.Melbourne,1992,p.30

• Readthearticle Sculpting Poetry – an artist’s story inthiseducationresource.

• Findanobjectthatyouhavegatheredonawalkinthebushorbythesea.Lookatitveryclosely.Imagineyouaredescribingittosomeonewhohasneverseenitbeforeandwriteadetaileddescriptionwhichwould‘paintapicture’ofitintheirimagination.

• Imagineyouaretheobject–allowyourimaginationtorunfreeandwritea shortstoryaboutthejourneyofitslifeandhowithasbeenchangedovertime.

• Usetheobjectasinspirationforasculpture–considertheartelements,materialsandtechniqueswhichwouldbestexpressthecharacterandstructureoftheobject.Considerhowyoumightplaceorhangthesculpturetocastaninterestingshadow.

• Photographordrawtheshadow.Howmightyourepeat,

enlarge,colourtheshadowtomakeaninterestingtwo-dimensionalworkwhichevokestheoriginalfoundobject.

• Oliver’sworksrevealadeepinterestinthemathematicalstructuresunderlyingnature.ResearchtheFibonacciSequence,wellknownindifferentareasofmathsandscience.WorkasagrouptoprepareavideoorPowerpointpresentationwhichexploreshowthesequenceoccursinnature.Considerorganisingafieldtriptocollectrealexamples.

• Usetheinternetand/orlibrariestofindoutaboutsomeofOliver’smostfamousworkssuchasPalmandMagnoliaintheRoyalBotanicGardens,SydneyandVine, oneofthelongestsculpturesinAustralia whichhangsinthefoyeroftheHiltonHotel,Sydney.

SUGGESTED POST-VISIT ACTIVITIESVCE

• Readthearticle Sculpting Poetry – an artist’s story inthiseducationresource.

coMPaRE and contRast

• Researchtheworkoftwentieth-centuryBritishsculptorsHenryMooreandAndyGoldsworthy.LocatemoreimagesofworksbyBronwynOliver.CompareandcontrastaworkbyMooreorGoldsworthywithonebyOliver.Inwhatwaysaretheysimilarordifferent?Considertheartelements,purpose,meanings,materials,styleandtechnique.

• ResearchtheworkofAustraliantwentieth-centuryartistRosalieGascoigne.WhatqualitiesdoyoubelieveherworkmighthaveincommonwithOliver’s?Discusswithreferencetoaworkfromeachartist.Considermeaningsandinfluencesinparticular.

MatERiaLs, tEcHniquEs and PRocEssEs

• Theartistusesthetechniqueofbrazing(seeglossary),aprocesssimilartowelding,tojointheindividualcopperwiresinherwork.Tanksofoxygenandacetyleneareutilisedinthisprocess.Discussthephysicaldemandsontheartistandthesafetyimplicationsofthispractice.

• FindoutaboutthemakingofOliver’sVine, whichhangsfromtherooftotheground,inthefoyeroftheHiltonHotel,Sydney.Discussallthefacetsoforganisingtheinstallationofthiswork.Considertypesofpeoplesheneededtoliaisewith,technicaldifficulties,safetyissues,timeandcosts.

aRt and BEauty

Bronwyn Oliver had that rarest of all skills: she knew how to create beauty.

HannahFink,RoslynOxley9Gallerywebsite,2007.

• Howdoyoudefinebeautyinart?WithreferencetoanartworkbyOliverexplainwhatcriteriayouusetodecideifanartworkisbeautifulornot.

coMMEntaRiEs and oPinions

At a deeper level, they strike an emotional chord in viewers hardened by the cynicism of much contemporary art practice. The poetic resonance of her deftly imaginative and delightfully quirky creations provide rare moments of reprieve from today’s didactic obsession with lobbying socio-political issues.


• ReadthistextdescribingOliver’sworkwhenshewontheMöet&ChandonFellowshipawardin1994.Doyouagreewiththeauthor’sperspective?DiscusswithreferencetoworksbyOliverandothercontemporaryartists.

Page 18 Lives and Times: a selection of works on tour from the VFLAA Collection Bronwyn Oliver Page 19w Lives and Times: a selection of works on tour from the VFLAA Collection Bronwyn Oliver


Tim JohnsonbornAustralia1947Imitating art2005syntheticpolymerandmetallicpaintoncanvas183.2x592.3cm(overall)NationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2005©Courtesyoftheartist

dEscRiPtion oF WoRK

Imitating artwaspaintedincollaborationwithfellowartistsKarmaPhuntsok(atrainedthankapainterfromTibet),BrendonSmithandMyLeThi.TheninepanelscomprisingthisworkareindicativeofwhathasbeendescribedasJohnson’s‘floatingworlds’–spacesinwhichtheartistbringstogethersymbolsfromavarietyofculturalbackgroundsandiconographyrepresentingdiversespiritualitiesandreligions.InthisworkhejuxtaposesAustralianindigenouspaintingofPapunyaTula,thedeitiesofTibetanBuddhism,andthepopculturalcyborgfiguresofJapaneseanimé.Imitating artwasinspiredbyJohnson’sexperiencesoftravelincentralAustralia,India,Nepal,ChinaandJapan.Thetitleoftheworkrefersinparttotheglobalcirculationofimagesandsymbols,andthewaysinwhichwecometounderstandtheirmeaning.

Adetaileddescriptionofeachpanelprovidedbytheartistcanbefoundattheendofthissection.

LooKinG

• Holdacommunityofinquiryinfrontofthiswork.Withoutconsultingexistingknowledge,suchasinformationonthedidacticpanel,discussasagrouphowtheworkmakesyoufeelandwhatitmakesyouthinkordreamabout.Buildonothers’ideastocreateacomprehensive‘picture’ofalltheissuesandideastheworkraises.Discusshowyouroriginalideasabouttheworkmayhavechangedafterlisteningtoyourpeersdiscussthework.

Manyoftheresponsestothefollowingquestionsmayariseinthecommunityofinquiry.Ifnot,theymaybeusedtofurtherunderstandandappreciatetheartwork.

• Whatcanyouseeinthework?Whatstandsoutandwhy?

• Lookcloselyattheartelementsoftheworkincludingline,shape,colour,textureandform.Giveexamplesofwhereyoubelievetheartisthasusedthemeffectively.

• Howcanyoutellthishasbeenmadebyfourdifferentartists?

• Identifythecharacteristicsofthedifferentstylesofartinthiswork?

• TheartisthasusedtwooftheeightTibetanBuddhismauspicioussymbolsinhiswork.Findthewheelandlotusflower.Discusswhattheymightrepresent.

• Chooseapaneloftheworkthatparticularlyinterestsyou.Whatsigns,symbolsorimagesdoyourecognise?Howcanyoutellwhichculturestheycomefrom?Whatdoyouthinktheyrepresent?

• Whataretheadvantagesofcomingtoagallerytoseetheactualworkofartratherthanlookingatareproductionofitontheinternet,apostcardorabook?


• WhydoyoubelievetheartistcalledthisworkImitating art?

• Whatclueswouldsuggestthatthisworkwasmadeinthetwenty-firstcentury?

• Whatmessageormeaningmighttheartistbecommunicating?Considerwhathehopedviewersmightdiscoverbylookingandthinkingaboutthiswork.

• Discusswhetherornotthemeaningoftheworkwouldalterifthepanelswereplacedinadifferentconfiguration.

• Whatmightbethebenefitsofworkingcollaborativelyonapaintinglikethisone?ConsiderwhatJohnsonmighthavelearntfromtheotherartists.

• JohnsonisagreatadmirerandcollectorofAboriginalart.Inhisearliercareer,heusedtoappropriateimagesfromAboriginalandotherculturesinhispaintings.InthisworkthebackgroundresemblesPapunyadotpaintings.Discusswhatissuesthismayraise.

• Discussinwhatwaystheculturesyouhaveidentifiedinthisworkmaybesimilarordifferent.

• LocatetheUFOsinPanel9.DiscusswhatyouknowaboutUFOsalreadyandwhytheartistmighthaveincludedthem.

tiM JoHnson IMITATING ART

Page 20 Lives and Times: a selection of works on tour from the VFLAA Collection Tim Johnson Page 21 Lives and Times: a selection of works on tour from the VFLAA Collection Tim Johnson

• Imitating artandotherJohnsonpaintingsinthisstylehavebeencalled‘floatingworlds’.Thinkaboutallthepossiblemeaningsofa‘floatingworld’.Considernaturalphenomenalikeshadowsandreflections,technologyliketheinternetandaspectsofbeinghumanlikestatesofmind.Explainhowyouthinktheterm‘floatingworlds’appliestothiswork.

Like a one-man UN, Johnson crosses the borders, eschews the bureaucracy and gets down to the real feat of presenting a world that is multi-hued in every way – from the colours of religious icons to the skin colour of those who have made them. All of a sudden these ideas are redundant; on his canvases they live without mistrust or clash, without petty differences. Just a sublime beauty.

AshleyCrawfordreviewingImitating Art@TolarnoGalleries,Melbourne,The Age,2005.

• DiscussCrawford’sideawithreferencetothispainting.Whydoyouagreeordisagreewithhim?

• Discusswhattheartistmighthavemeantwhenhesaid:

Creating images, like music and writing, is a way of looking into your soul.

NevillDruryandAnnaVoigt,Fire and Shadow: Spirituality in Contemporary Australian

Art,CraftsmanHouse,Sydney,1996,p.114

• Discusswhetherornotcontemporaryartcanplayapartinencouragingpeaceandharmonyintheworld.

• Discusswhetherornotlookingatanddiscussingthisartworkmadeyouconsideranewpointofvieworidea.

• ImagineyouwerelivinginAustralianinthe1940s–howwouldyouhavefoundoutaboutotherculturesandreligions?Howwouldyougainthesameknowledgetoday?Considerthesimilaritiesanddifferences.Considertheinternetandtheimpactofglobalisation.


• ResearchthepracticeofTibetanBuddhistthankapainting.

• ChooseoneoftheartstylespicturedinJohnson’swork–researchthematerials,techniquesandprincipleswhichunderliethestyle.Prepareapresentationonthestylethatincludesvisualmaterialandwrittenorspokentexts.

• Createanartworkbasedonthethemeofanimaginaryworld.Considerdreams,youridealworldorafantasticalorsurrealstoryfromyourimagination.

• Asaclass,workouthowyoumightcreateacollaborativeworkofartwhichcouldrepresentthenationalitiesorculturalbackgroundsofeveryoneinyourclass.

Discusswhichmediumwouldbestsuityourproject–consideramural,amosaicofceramictiles,acollageofphotographsandtextmanipulatedonacomputerprogramsuchasPhotoshoporaperformancewhichincludesdanceandmusic.

• ResearchtheeightauspicioussymbolsofTibetanBuddhismwhichrepresentaspectsofBuddhistteaching.

Insmallgroups,discusswhatkeyprinciplesshouldbetaughttoensurethatpeoplelivearewarding,unselfishlifethatwillpromoteharmonyandtoleranceintheworld.

Decideoneightprinciplesthatyoubelievearemostimportant.Designandmakeavisualsymbolforeachone.Howmightyoupresentthemasacharterwhichwillcommunicateyourideastoabroadaudience?Considercreatingablogaboutthechartertoencouragedebateaboutyourideas.

• ResearchthelifeandheritageofthefourteenthDalaiLamawhoispicturedinJohnson’sImitating art.WhatishisroleandwhyishesoimportanttothepeopleofTibet?

• LocatesometraditionalstoriesfromAboriginal,TibetanorChinesecultures.Howaretheysimilarordifferent?Prepareanoralpresentationaboutoneofthestories–considerusingdrama,musicandvisualimagerytoengageyouraudience.

• FindoutabouttheroleoftheUnitedNations.VisittheofficialUNwebsite:http://www.un.org/english/

• Prepareforandholdadebateonthepositiveandnegativeaspectsofreligion.

• Chooseoneoftheissuesthatarosefromthecommunityofinquiryinthegallery.Clarify,research,andifapplicable,actonsomeofyourideasorconclusions.

• Haveyourideaschangedsinceyoufirstbegantoconsiderthisissue?Ifso,howandwhyhasthishappened?Considerwhattypesofthinkingyouhaveusedinthisproject.


• LocatetheTimJohnsonartsiteontheinternettodiscovermoreabouthisvariedcareerandotherinterests:http://members.ozemail.com.au/~tmjohnsn/home.htm

• Researchtheworkoftheotherartistsinvolvedinthiswork:SydneybasedartistBrendanSmith,MyLeThi,originallyfromVietnamandKarmaPhuntsok,aBuddhistthankapainteroriginallyfromTibet.

• Johnsoncomparespaintingwiththeprocessofperformingmusic.Whymightthisbe?Discussthesimilarities.


...It would seem that for Johnson art is simply the most liberating way of traversing and transcending time, difference, restriction, culture and space – here virtually anything and everything is possible in the journey towards enlightenment.

AnnaVoigt,LauraMurrayCreeandNevillDrury,Australian Painting Now,CraftsmanHouse,NorthRyde,2000,p.164

DiscussthisviewwithreferencetoImitating art.

aRt issuEs

• DiscusswhatmayhaveledJohnsontostopthepracticeofappropriationandworkcollaborativelywithartistsfromdifferentculturalbackgrounds.

• DiscusstheissuesraisedbyJohnson’scollaborativepractice.

• Whateffects,ifany,doyouthinkglobalisationcouldhaveontraditionalartstylesfromaroundtheworld?.

intERPREtinG aRt

DiscusswhatfactorsmayinfluencethewaydifferentpeopleinterpretImitating art,suchasageandculturalbackground.

• AnalyseandinterpretImitating art usingthreedifferentinterpretiveframeworks.Includeaformalinterpretation(artelements,principlesofdesign,styleandtechnique)andtwootherframeworkssuchascultureandPost-modernism.

MEaninGs and MEssaGEs

• Identifytwooppositeconceptswhichcanbefoundinthiswork(e.g.tradition/modernity,unified/segmented).Howdoyoubelievetheyaddtothemeaningofthepainting?

• Findfiveimagesintheworkwhichparticularlyappealtoyou.WhatdoyoubelieveeachofthesesymbolizeinJohnson’swork?


• Howdothequalitiesofpaintaddtotheatmosphereofthiswork?IfyouweremakingaworkofartonthesamethemesasJohnson,whatmediumwouldyouchooseandwhy?

Page 23 Lives and Times: a selection of works on tour from the VFLAA Collection Tim JohnsonPage 22 Lives and Times: a selection of works on tour from the VFLAA Collection Tim Johnson

PAnEL 1

GreenTara(source:Ebay)whoisshowninthecentreistheTibetan“motheroftheBuddhas”.Belowherisanappliquétextileshowinga”wheeloflaw”anda“vajra”,symbolsofBuddhistteaching.ThereisaVietnamesewoman(fromaHongKongmoviecalledThe Vietnamese Lady),aJapanesewoodblockprintofatraditionalmusicianandinthetophalfabirdtakenfroma19thcenturyembroideredChineserankbadge.

PAnEL 2

Manjusri,bodhisattvaofwisdom,holdsaswordthatisusedtocutthroughignorance.HeisTibetan.BelowhimarethreetraditionalJapanesemusiciansandbelowthemisan8thcenturystatueofAshura,a“divinewarringbeing”withthreeheadsandsixarms.BelowthatisatraditionalChinesedesignusedintextilesdepictingsea,cloudsandmountains.AtthetopisanotherrankbadgebirdandastampofMtMeru,theBuddhistcentreoftheuniverse.

PAnEL 3

ThedeerinthecentreistheKasugaDeerandisfromJapanesepaintingsofMtKasuga.HeisaShintodeityandtherearedeeratthetempleinNaraeventoday.Belowthis,ontheright,arethechakrasandtotheleftagroupofAboriginalmenpaintingatPapunya.ThiscomesfromaphotoItookin1981.Theywereworkingonalargecanvas.Thegroupincludes(lefttoright)seniorPintubiartistsYumpululu,YalaYalaGibson,JohnJagamarra,AnatjariNo1,UtaUtaJangalaandTimmyPayunka.BelowthemisaTibetanascetic(sourceEbay).TopleftisatensyllableMantragramthatcombinesthetensyllablesoftheessencemantraoftheKalachakraBuddhadeity.Theselettersformamatrixthatholdstogethertheelementsofearth,water,fire,air,consciousnessandwisdomwhichsustainstheuniverseasatheatrefortheenlightenmentofallbeings.

PAnEL 4

Buddhaisshowninateachingpose,makingtheDharmachakramudrawiththehands.BelowareaVietnamesewomanontheleftandaPapunyaartistontheright.BelowthemareofferingstotheBuddha,wish-fulfillinggemsandothersacredobjects.Topcentreistheearth.

PAnEL 5

Thecentralimageshowsastupaorchorten,aTibetanreceptacleforsacredrelics.Itcanbealignedwiththebody(thechakras)andMtMeru(whenalignedwiththeearth’saxisasthecentreoftheuniverse)anditsymbolisesfrombottomtotop,the4continentsandthe4directions,13stepsofenlightenment,twinunity(thesunandthemoonatthetop)andenlightenment.BelowisaVietnameseboatandbelowthataTibetanmedicineillustrationshowingpartsofthebody.BelowthataregirlswearingtraditionalVietnameseclothingandThaimonks.InthetophalfaredetailsfromtemplecomplexesinNaraandinthecentreanastrologicalsymbolfromanew“antique”Ebaythangka.

PAnEL 6

TheBuddhaismakingamudraofrenunciationwiththerighthandandagift-bestowinggesturewiththelefthand.BelowhimisagirldoingyogaandonherleftamodernJapanesegirlwearingfashionableshoes.BelowthemisaTibetanofferingvasesmadewiththe8auspicioussymbols.BelowthisisagiantAlbatrosswithoutstretchedwings.Inthetophalfaremorebirds.

PAnEL 7

AnotherTibetanmedicaldiagramisatthecentreofthispanel.Itconcernsorgansfoundinthehead.BelowaretwoanimefiguresfromthecultJapaneseanimemovieNeonEvangelion.Theyareevangelions-“athingcreatedbymaninman’simage”.Theoneontherightisatestmodeldesignatedasnumber01andtheoneontheleftisaproductionmodeldesignatedasnumber02.BelowthemisablackandwhiteversionofaJapaneseBuddhistangrydeitywithanaureoleofflames.Belowthatisadigitallotus.AtthetopofthepaintingisadepictionoftheMedicineBuddha,colouredblueandtheDalaiLama.Totheleftisamediaevalangel.

PAnEL 8

TheBuddhaisShakyamuni,makingtheearthtouchingmudraandholdingavase.Belowhimtotheleftisa“swordmaster”fromFireEmblem,aNintendovideogame.IwaslookingatexamplesofanimeontheinternetandlikedthisimagebecauseofitsvisualconnectiontoManjusri.Belowhimisameditatingfigureshowingthechakrasandbelowhimanotheranime/mangadrawingofasmallgirlusingalaptopcomputer.Atthetopisarankbadgebird,thistimeamandarinduckandaTibetanbannerwithauspicioussymbolsembroideredonit.

PAnEL 9

ThecentralimageisofaTibetanholyman.Belowhimare2cranes,alotusflowerandvarioustraditionalofferingsthatareusuallyshowninTibetanthankas.InthetophalfisasmallstampedTibetanwish-fulfillingponyor“windhorse”,aBuddhaonacloudwithrainbowsandagroupofstampedUFOs.(1)

(1)Correspondencewiththeartist.FromTimJohnson’swrittennotesonImitating art2005,suppliedJuly2005[NGVartistfile].

PANEL1 PANEL2 PANEL3 PANEL4 PANEL5 PANEL6 PANEL7 PANEL8 PANEL9

Page 24 Lives and Times: a selection of works on tour from the VFLAA Collection Tim Johnson Page 25 Lives and Times: a selection of works on tour from the VFLAA Collection Tim Johnson

Clinton NainMiriamMer/KuKuborn1971Erub has a bituman road now2004syntheticpolymerpaint,bitumen,enamelpaintoncanvas(diptych)152.2x244.0cm(overall)NationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2005©CourtesyoftheartistandNellieCastonGallery,Melbourne

dEscRiPtion oF WoRK

Thisdiptychdescribes the island where Nain’s mother was born.describestheislandwhereNain’smotherwasborn.Itcontains the very best elements of Nains’s work includingcontainstheverybestelementsofNains’sworkincludingstrongemotionalcontent,compositionalintegrity,dynamicshiftsinperspectiveandimmediacyofgesture.Itfocusesonissuesoffamily,identityandhistoryandthenotionofappearinganddisappearing.

DuringarecenttriptoErubforhismother’sfuneral,Nainwassoconcernedaboutabitumenroadthatwasbeingbuiltthroughhisfamily’svillagethathepaintedthiswork.

Thelefthandpanelpresentsabird’seyeviewofCemeteryRoad(asitisknown)onErub(DarnleyIsland)alongwhichClinton’smotherwascarriedforthelasttime.Whileitisabird’seyeview,theviewer’seyeiscapturedbyaspectsshowninlateralperspective,documentingareasthatsurroundthisroad.ThehousesinthelowercentreofthispanelimagethevillagewhereClinton’smothergrewup.Thebeginningoftheroadintheupperlefteventuallyleadstravellerspastthecemeteryandtothelocalairport.

Asonetravelsfromthehousesinthedirectionoftheairport,onestumblesuponwhatappearsasagardenofhibiscusflowers,whereClinton’smother’sashesarestrewn.Headingintheotherdirection,astheviewertravelsalongtheroadandpastthehousesandintotherighthandpanel,theplanarperspectiveshiftsandtheviewerisfoundinfrontofanErubpalmtree,fromtheleavesofwhichthefigureofhismothercascadesanddisappearsintothewater.

LooKinG

Itissuggestedthatstudentslookatthisworkcloselybeforereadingthedidacticpanelnexttoit.



• Whatshapescanyouidentify?

• Describethecolourstheartisthasused.Whatmoodoratmospheredotheyevoke?

• Whichwordswouldyouchoosetodescribetheprominentlinesinthispainting?

• Describethebrushstrokesyoucansee.Whatsortoftoolsdoyouthinktheartistused,forexamplepaintbrushes,sticks.Describehowyouthinkhecreatedthetexturaleffects.

• Whatcluesaretheretosuggestthispaintingillustratesalandscape?

• Whatdoyounoticeaboutthetypesofviewtheartisthasrecordedineachpanel?Explainwithreferencetotheimagesyousee.

• Whyhastheartistusedadiptychformatforhispainting?


• Readthedidacticpanelnexttothepainting.

• Howdoesthischangeyourinterpretationofthework?

• Whymighttheartisthavebeenupsetthatabitumenroadhasbeenbuiltthroughhismother’svillage?

• Explainwhatmessagesyoubelievetheartististryingtocommunicatethroughthiswork.

• Whichoftheartelementsinparticularcontributetoconveyinghismessage?Considertone,colour,line,textureandshape.

• Howmightthetitlecommunicatetheartist’sfeelings?

cLinton nain ERUB HAS A BITUMEN ROAD NOW

Page 26 Lives and Times: a selection of works on tour from the VFLAA Collection Clinton Nain Page 27 Lives and Times: a selection of works on tour from the VFLAA Collection Clinton Nain

• Doyoubelievetheartisthassuggestedstrongemotionsinthiswork?Ifso,howhasheachievedthis?

• Whydoyoubelievetheartisthaschosentopaintwithbitumenaswellaspaint?

• Whyhastheartistdepictedhismotherafterherdeathasfallinginacascadefromthepalmtreeintothewaterbelow?Whatmightthiseventsymbolize?

• Whatotheraspectsofthepaintingsuggesttheartistisreflectingonhisculturalheritage?

• Discusswhichaspectsofthepaintingyoufindbeautifuland/orugly.

• Theartistbelievesartisapowerfulwaytocommunicatebecauseitcan‘speakmanylanguages’.Explainwhathemeans?Howisvisuallanguagedifferentfromwrittenandspokenlanguage,suchasbooks,playsandfilms?


• ReadthearticleIn conversation with Clinton Naininthiseducationresource.

• Theartist’spaintingErub has a bitumen road now isaverypersonalworkwhichdescribesaplaceofgreatsignificancetohim.

Createanartworkwhichmapsaplaceveryspecialtoyou.Considerthemedia,viewpointandstylethatwouldbestexpresstheatmosphereoftheplace.

• Theworkofmanyindigenousartiststodayisconcernedwithcommunicatingasenseofanger,griefandlosscausedbytheeffectsofcolonisationontheirpeople.

• ResearchtheworkofartistssuchasJulieDowling,JulieGough,GordonHookeyandBrookAndrew.Chooseaworkbyoneoftheseartistswhichparticularlyinterestsyou.

ReadthefollowingpoembyClintonNain.DiscussthemessagesconveyedinitandhowtheyrelatetoNain’sErub has a bitumen road now andtheworkbyanotherartistyouhavechosen.

I am the target I wear it on my face.My heart is in here, inside my chest.My skin is the Mission Brown Colour.Fences surround me and I have to wear this dress.

Paramatta Red,Over my head.Brunswick green, a place I’ve never seen.Colonial Crème,It makes me want to scream.

Coming down the track we have black beauty,Followed by black velvet.Next around the bend is Touch of the Tar,Followed by a police car.Well I suppose it is Better than being dog food.

• DiscussthecontinuinghardshipsfacingAboriginalpeople.Whatcreativenewmeasuresdoyoubelievethegovernmentshouldtaketoaddressthem?

CompileyourideasclearlyanddocumenttheminalettertoyourlocalMP.



• Theartisthasexplainedthathelikesthetextureofbitumenbutthathealsousesitmetaphorically.Discusswhatitmightsymbolisewithreferenceto Erub has a bitumen road now.

• InthedescriptionofErub has a bitumen road now,thecurator describesNains’sstrongemotionalcontent,compositionalintegrity,dynamicshiftsinperspectiveandimmediacyofgesture.

Makeanannotatedsketchoftheworkwhichexplainswherethesequalitiesoccur.


• ResearchtheworkofcontemporaryindigenousartistJulieDowling.SelectoneofherworksandcompareitwithErub has a bitumen road now.Discussthesimilaritiesanddifferences.Considertheartelements,materials,style,meaningandmood.

I think he’s the Brett Whiteley of Aboriginal artists.

CouncillorClaudeUllindefendinghiswishthatStonningtonCouncilshouldpurchaseaworkbyClintonNain,Councilart

splitStonnington Leader,2006

ResearchtheworkofWhiteley.CompareandcontrastalandscapebyWhiteleywithErub has a bitumen road now. Considertheculturalbackgroundsoftheartists,style,materials,techniquesandmood.


Indigenous people were killed with bullets and books, and it’s taken the art of painting to be able to see it.

RobertNelson,Agonisedvoiceofscreamandhowl,The Age,2006

Usingtheinternet,locateotherpaintingsbyNain.Discussoneormoreoftheseworkswithreferencetothecommentaryabove.Considertheirmeaningsandtheuniquequalitiesthatpaintbringstothem.

inFLuEncEs

• Nainexpresseshisideasthrougharangeofmediumsthatincludepoetry,danceandstorytelling.Discussinwhatwaystheymightinfluencehisartpractice.

Page 28 Lives and Times: a selection of works on tour from the VFLAA Collection Clinton Nain Page 29 Lives and Times: a selection of works on tour from the VFLAA Collection Clinton Nain

Peter GrahambornAustralia1970When my desert blooms2005oiloncanvas191.4x152.0cmNationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2005©PeterGraham,courtesyofKalimanGallery,SydneyandTolarnoGalleries,Melbourne

dEscRiPtion oF WoRK

Inthispaintingalargegroupofskulls,openatthetoplikevessels,aremassedattheforegroundofthecanvas.Fromtheseformsemergeconicalopen-endedshapesthatseemtoevokeasenseofgrowthandnewlife.Desertflowersbloomthroughoutthework,patterningthesurface,andapeacockfloatsacrossthescene,proudlydisplayingitsdecorativetail.

LooKinG



• Describealltheshapesyoucanseeinthepainting.

• Howmanydifferentwayscanyoudescribethecolours(e.g.chalky,misty,likelichen)?

• Describeatextureyoucanseeinthework.Whereelsemightyouhaveseenatexturelikethis?

• Describethepatternsyoucanfindinthispainting.

• Howcanyoutellfromthepaintingthattheartistisparticularlyinterestedindrawing?

• Describethedifferentmediumstheartisthasusedinthiswork.

• Whataspectsofthepaintingdoyoumostappreciateandwhy?

• Whatwordswouldyouchoosetodescribethemoodoratmosphereofthepainting?

• Doestheworkremindyouofabookorfilmthatyouhaveenjoyed?Discuss.


• Discussthedifferentwaysthetitleofthiswork,When my desert blooms, couldbeinterpreted.

• Howhastheartistusedcolour,form,patternandlinetocreatemoodandatmosphere?

• Thispaintinghasbeendescribedasshimmering.Howhastheartistachievedthiseffect?

• Whatevidenceistheretosuggestthattheartistisinspiredbynaturalforms?

• Whichimagesinthepaintingcouldberegardedassymbolsofdeathandnewlife?

• Whydoyoubelievetheartisthasmadetheskullslooklikeopen-endedvessels?

• Imagineyouhaveclimbedintothepainting.Whataspectsofitintrigueyouandwhy?Whattimeofdayisit?Whatdoyouhear,feelandsmell?

• WhataspectsofthisworkcouldberegardedassimilartoatraditionalAboriginalpaintingdepictingtheland?

• Createyourowntitlewhichsuitstheatmosphereofthework.

• Imaginethisimagewasusedasthefrontcoverofabook–whatmightthebookbeabout?Considerfictionandnon-fictiontopics.

PEtER GRaHaM WHEN MY DESERT BLOOMS

Page 30 Lives and Times: a selection of works on tour from the VFLAA Collection Peter Graham Page 31 Lives and Times: a selection of works on tour from the VFLAA Collection Peter Graham

• Theartistisinterestedinthecreativeprocessandhowourimaginationtransformsanideaintoaphysicalformsuchasaworkofart.Hesays:

The art of this extraction is laborious, so that images may be borne up like sweat on the brow. Images are spells, sparking from our heads like fire from stone, igniting darkness so that we may see.

PeterGrahaminCharlesGreen(ed.),2004: Australian Culture Now,exh.cat.,NationalGalleryofVictoria,

Melbourne,2004,p.146.

The head is a thinking rock. It is a magic stone…



Thinkofaworkofartorpieceofwritingthatyouhavecreated.Describethecreativejourneyyoutook.Wheredidtheideacomefrom?Didyouexaggerateordistortit?Whatsortofdifficultiesdidyouencounterwhenyoutriedtomaketheideaareality,afinishedwork?Wasitaneasyordifficultprocess?

• Discusswhatyouthinktheartistwouldlikeviewerstofeel,understandorlearnbylookingatthiswork.


• Makeacollectionofnaturalformswhichinspireyou.Lookatthemcloselyandthinkabouttheirparticularqualitiesofline,shape,colour,textureandpattern.Makedetaileddrawingsandphotographsofthem.Howcouldyouusetheseasinspirationforanartworkthatsuggestsasurrealordreamlikequality?Considerthematerialsandtechniquesthatwouldbestsuitthemoodyouhaveinmind.

• Thevocabularygame–makealistofalltheimagesyousawinthepaintingduringyourvisittothegallery.Makeanotherlistofwordsandphraseswhichalsoexpressthoseimages(e.g.skulls,likebonyflowerpots,brokenheads,volcanicrocks).Writeasurrealpoembasedonthiscollectionofwords.

• Imagineyouareabutterflysittingontheedgeofaskullinthepainting.Describewhatyouwouldseefromtheperspectiveofthisinsect.

• Imaginethispaintingisachapterinafantasynovel.Writethechapterbeforeorafterit,asifyouweretheauthor.



• CompareandcontrastRosslyndPiggot’swork,Unfolding flower- cloud space no. 2, (alsointheexhibitionandeducationresource),withPeterGraham’sWhen my desert blooms.In what ways are they similar or different? ConsiderInwhatwaysaretheysimilarordifferent?Considerthetitles,purpose,meanings,materials,styleandtechnique.


• Makeanannotatedsketchwhichexplainswhereyoucanseeevidenceofthedrawing,paintingandprintmakinginthework.


• Whatdoyoubelievetheskulls,peacockanddesertflowersmightsymbolizeinWhen my desert blooms?Howdoyoubelievethematerialsandtechniquestheartisthasusedcontributetothepoweroftheirsymbolism?


DiscussbothofthesecommentarieswithreferencetoWhen my desert blooms

The head is a thinking rock. It is a magic stone, though it may weep and mourn, abandoned by everything it imagines. It is a radiant conductor, yet it is constructed from the same material decay that surrounds it. My work describes the processes through which images come into being, unearthed from the dry loam of the head; from inanimate matter, animated forms that are spirited. The art of this extraction is laborious, so that images may be borne up like sweat on the brow. Images are spells, sparking from our heads like fire from stone, igniting darkness so that we may see.



This is a garden of dangerous delights. A fin-de-siecle phantasmagoria of excess where thoughts and dreams are the rancid fertiliser of new growth. These are worlds that have been explored before to be sure, in recent times in such literary works as J. G. Ballard’s The Day of Creation and Neil aiman’s epic graphic novel series The Sandman. These are pagan dreams that filter through the history of painting. They are also post-millennial tapestries of angst, of alien abductions and shifting realities.

Like the recall of powerful dreams, Graham has illustrated a world that we rarely see in waking hours.

AshleyCrawford,PeterGraham:FertileGround,The Sunday Age,April,2005.

Page 32 Lives and Times: a selection of works on tour from the VFLAA Collection Peter Graham Page 33 Lives and Times: a selection of works on tour from the VFLAA Collection Peter Graham

Rosslynd PiggottbornAustralia1958Unfolding flower - cloud space no. 22005–06oiloncanvas185.6x370.2cmNationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2006©Courtesyoftheartist

dEscRiPtion oF WoRK

Theworkisalargescalepaintingwithalightpinkground.OverthegroundPiggotthasusedvariouslyscaledstencilstomarkoutarepeatingpatternofstylizedfloralforms.Thebackgroundisauniformlygriddedpatternofthesefloralforms,paintedintranslucentwhiteoilpaint.Thepictorialfieldismadedynamicwiththeapplicationofmultiplelayersofincreasinglylargerfloralmotifsinaseeminglyrandompattern.Theresultingfieldisoneinwhichopticaldynamismisachievedthroughtheoverlayingofprimarilysphericalforms,andthevaryingopacityandtranslucencyofthemotifs.ThepaintinghasbeenmadeinPiggott’stypicallyorderedworkingprocess.Itpoeticallyevokesshiftingclouds,etherealatmosphereandthetransienceoftheblossom,whileinformaltermsitextendsPiggott’slong-termresearchesintominimalism,abstractionandpermutationsofthestilllifeandlandscapegenres.

LooKinG

• Lookattheworkfirstwithoutreadingthetitle.



• Whatimagescanyouseeinthework?

• Nowreadthetitle.In what way does it affect the way youInwhatwaydoesitaffectthewayyouappreciateandunderstandthework?

• Piggott’sworkhasbeendescribedasfragileandairy.Discusswhatotherqualitiesyoubelievethisworkhas.

• Doestheworkhaveanystrangeeffectsonyoureyes?Discuss.

• Theartistsaysinherinterview,inthiseducationresource,thatshewants‘theviewersofthisworktofeelimmersedinabigspace’.Discusswhetherornotyoufeelthiswaywhenyoulookatthework.

• Whateffectdoesthescaleofthisworkhaveonthewayyouappreciateit?

• Whatsortofflowersdoesthisworkremindyouofandwhy?

• Withoutusingthewords‘pink’and‘white’describethecoloursinthepaintingascreativelyapossible(e.g.magnolia,pearl,mist,porcelain).

• Areline, shape, colour, texture and tone important in thisline,shape,colour,textureandtone important in thisimportantinthiswork?Why?


• Whattechniqueshastheartistusedtocreateashimmering,opticaleffect?

• TheartisthascalledthisworkUnfolding flower –cloud space no. 2.

Discusshowyoubelieveshehassuggestedthequalityof‘unfolding’.

• Couldthisworkbedescribedasabstract?Discusswhyorwhynot.

• Inwhatwayshastheartistsuggestedherloveofnatureinthiswork?

• ComparethisworkwiththesculptureCrazedbyBronwynOliver,inthisexhibitionandeducationresource.Discussinwhatwaysyoubelievetheyaresimilaranddifferent.

• Colourscanconveyemotionsandsuggestparticularobjects.Discussalthethingsthatthecolourpinksuggeststoyou.

• Piggotthassaidthatshelovesperfume–discusswhatsmellsthisworkevokesforyou.

• Whatsortofmusicdoyoubelievewouldreflectthequalitiesofthiswork?

• Closeyoureyesandimagineyouarefloatinginthispainting.Describewhatyouwouldsee,feel,touchandhear.

RossLynd PiGGott UNFOLDING FLOWER - CLOUD SPACE NO. 2

Page 34 Lives and Times: a selection of works on tour from the VFLAA Collection Rosslynd Piggott Page 35 Lives and Times: a selection of works on tour from the VFLAA Collection Rosslynd Piggott

• Whatstatesofminddoesthispaintingconveytoyou?

• Whatdoesinfinitymean?Discusswhythismightbeadifficultconceptforhumanstounderstandorgrasp.Whataspectsofthisdilemmamightberepresentedinthiswork?


• TheartisthassaidthatshehasbeeninfluencedbytraditionalJapaneseculture.Researchthebeliefsthatunderliethisculture. Discuss what aspects of Japanese culture areDiscusswhataspectsofJapaneseculturearesuggestedinUnfolding flower –cloud space no. 2.

• Brainstormallthewordsthatcometomindwhenyouthinkofclouds.Considertheirparticularqualities,suchasthewaytheymove,theirshapes,textures,associationswithweather.Drawandphotographcloudsatdifferenttimesofdayandindifferentenvironments.Createasculptureortwodimensionalworkthatevokesclouds.Consideraninstallationwhichcouldincludephotography,foundobjects,poetryandsoundeffectsormusic.

• ResearchthestructureofahaikupoemanditsimportanceintraditionalJapaneseculture.Belowisanexample:

One magnolia Landed upon another In the dew-wet grass.

www.terebess.hu/english/haiku/wright.html

InwhatwayscouldthisformofpoetrybecomparedwithUnfolding flower –cloud space no. 2.

Writeahaikupoeminresponsetothispainting.Considerincorporatingwordsfromthetitle.


inFLuEncEs

• ResearchthebeliefsthatunderlieBuddhism.Withreferenceto Unfolding flower –cloud space no. 2,andoneotherworkbyPiggottthatyouhavelocated,discusswhereyoucanseeevidenceofBuddhisminherpractice.


Rosslynd Piggott works slowly and subtly so that the tonal differences in her paintings can be barely visible. Long influenced by Japanese culture (she has a show lined up in Tokyo immediately after this one ends), her pictures are delicate and airy, offering the merest wisp of the ungraspable. She takes observations of nature as her starting point (a blossom for instance), but her interpretations aren’t literal so much as open-ended and metaphorical. Lightness and darkness, as well as our human relation to the endlessness of space, are the sort of themes visited here.

MeganBackhouse,The Age MagazineMarch2006

DiscussthiscommentaryinrelationtoUnfolding flower –cloud space no. 2.


• Piggottbelievesthatengaginginmultiplepracticeshasbeenastronginfluenceonthedevelopmentofherart(seeinterviewinthisresource).ResearchanotherAustraliancontemporaryartistwhoalsoworksinseveraldifferentfields,suchasFionaHall.Chooseoneworkbyeachartist.Compareandcontrasttheworks.Inwhatwaysaretheysimilaranddifferent?Consideratmosphereormood,meaning,materials,styleandtechnique.

aRt issuEs

I always think that the role of art in any contemporary society whether its now, previous or in the future, is to move against the current grain. I think that in my view there is a lot of art around that illustrates contemporary society and its modus operandi. I’m not a really big believer in that sort of art. I think its purpose is to offer up something else.

The best old art is still very much alive hundreds or maybe thousands of years later.

InterviewwithRosslyndPiggottpublishedinthiseducationresource,2007

DiscusswhetherornotyouagreewithPiggott’scommentsoncontemporaryart.

Page 36 Lives and Times: a selection of works on tour from the VFLAA Collection Rosslynd Piggott Page 37 Lives and Times: a selection of works on tour from the VFLAA Collection Rosslynd Piggott

Walangkura Napanangka Pintupibornc.1946Old woman’s travelling story2004syntheticpolymerpaintoncanvas182.2x244.0cmNationalGalleryofVictoria,MelbournePurchasedwithfundsfromtheVictorianFoundationforLivingAustralianArtists,2005©WalangkuraNapanangka,courtesyofAboriginalArtistsAgencyLtd,Sydney

dEscRiPtion oF WoRK

Thispaintingdepictsdesignsassociatedwiththeareathroughwhichanoldwoman,KutungkaNapanangka,passedduringhertravelsfromthewest.Theroundelsdepictrockholes.

ShetravelledfromMalparingya,north-westoftheKintoreCommunityandvisitedthesiteofTjintjintjin,wherethereisanundergroundcave,alsothesoakagewatersitesofNgatangaandYarangawhichareallwestofMantatiOutstation,whichisapproximatelyseventykilometerswestoftheKintoreCommunity.ShethentravelledfurthereasttoMuruntji,south-westofMt.Liebig.

AtMuruntjishewasaccostedbyoneofagroupofboyssoshechasedthemandcaughtallbuttheculpritwhomanagedtoescape.Shekilledtheothersandcookedtheminafire.ShethentravelledtoKaltarrawheresheenteredtheearth.

LooKinG



• WhatelementsofthisworkmightsuggestitispaintedbyanAboriginalartist?

• Lookcloselyatthelinesinthepainting–aretheycontinuousorbroken?

• Whichwordswouldyouusetodescribethemovementofthelinesinthispainting(e.g.meandering,swirling).

• Findwordstodescribethequalitiesofthelinesuchasthin,fragile,delicateaslinesonaspider’sweb.

• Identifythepatternsinthework–howwouldyoudescribethem?Whatdotheyremindyouof?

• Howwouldyoudescribethemoodoratmosphereofthispainting?Howdoesthecolourcontributetothis?

• Howwouldtheatmosphereofthispaintingchangeifitwaspaintedinbrightcolours?

• Discusshowthescaleofthispaintingmightcontributetoyourfeelingsaboutthework.

• Discusswhichartelementsyoubelievearemostimportantintheartworkandwhy.

• Fromwhatperspectivehastheartistpaintedthiswork?


• Whatcluesdoesthetitleofthiswork,Old woman’s travelling story, givetothepossiblemeaningofthelinesandpatterns?

• Discusswhetheryoucanseeanypatternsinnaturewithinthispainting(e.g.ripplesonwater,trailsleftbygrubscrawlingunderbark).

• TheartistwasonlytenyearsoldwhenherfamilywalkedhundredsofkilometresacrossthelandinordertoreachthesuppliesoffoodandwateratthesettlementofHaastsBluff.Whatcanyouseeinthepaintingthatmaysuggesttheartisthasstrongmemoriesofherjourney?

• Discussthedifficultiestheartistmayhaveencounteredwhenshewaspaintingonthislargescale.

• Theartisthasusedsyntheticpolymerpaintforthiswork.DiscusshowAboriginalartiststraditionallymadetheirownpaints.

• WhatisthepurposeoftraditionalAboriginalart?DiscusshowitcompareswiththepurposeofAustraliancolonialart.

• Whywoulditbeinappropriatetocopythepatternsandlinesofthispaintinginyourownartwork?

WaLanGKuRa naPananGKa OLD WOMAN’S TRAVELLING STORY

Page 38 Lives and Times: a selection of works on tour from the VFLAA Collection Walangkura Napanangka Page 39 Lives and Times: a selection of works on tour from the VFLAA Collection Walangkura Napanangka


• TheartistbegantopaintwiththePapunyaTulaArtMovementin1996.Researchthehistoryandsignificanceofthismovement.

• CompareOld woman’s travelling storywithErub has a bitumen road nowbyAboriginalcontemporaryartistClintonNain,alsointhisexhibition. In what ways are they similar andInwhatwaysaretheysimilaranddifferent?Consideratmosphereormood,meaning,materials,styleandtechnique.

• LocateatraditionalAboriginalworkinyourlocalpublicgallery,orinabook.ResearchtheDreamtimestorybehinditandthematerials,styleandtechniquesparticulartotheclantowhomtheartistbelongs.Imagineyouareaguideinagallerypresentingtheworktomembersofthepublic.Considerhowyouwouldshowrespectfortheartist’sculture,howyouwouldengageyouraudienceandwhatquestionsyoumightaskthem.

• Discussallthepatternsinnatureyoucanthinkof.Buildupaportfolioofnaturalpatterns.Usetheinternetandlibrariestodiscovermorepatternsinnaturethatyoumaynothaveconsidered.Photographandsketchpatternsinnaturefirsthand.Photographtheminclose-upandfromunusualangles.

• Someoftheartistsinthiseducationresourcehaveusednatureasinspiration.Theyextractanessenceorsenseofstructureinnature,withoutactuallycopyingitdirectly.Createanartworkwhichcelebratesthebeautyofnatureinthisway.Considerusingyourresourcematerialininterestingways(e.g.changingthescaleorcolourdramatically,repeatingormanipulatingwithacomputerprogramsuchasPhotoshop orcreatingamotifforlinoprinting).



• ResearchtheworkofindigenousartistEmilyKngwarreye.CompareandcontrastaworkthatappealstoyoubythisartistwithOld woman’s travelling story.Discussthesimilaritiesanddifferences.Considermaterials,style,meaningandpurpose.

aRt issuEs

• TheartistpaintswithPapunyaTulaartists,whosepaintingstyleisbasedonknowledgeoftraditionalbodyandsandpaintingassociatedwithceremony.ResearchwhyitisnecessaryfortheartistswhoportraytheseDreamtimecreationstoriestoremovethesacredsymbolsandcarefullymonitortheancestraldesignsthatarepresentedinartworksforthegeneralpublic.

• ResearchanddiscusstheissueswhichsurroundthesaleoftraditionalAboriginalart.

cuRatoRsHiP

How were the works selected and by whom?CuratorsfromthedepartmentofContemporaryArtattheNationalGalleryofVictoriaselectedtheworkstoreflectthediversityanddynamismofcontemporaryAustralianart.TheworkswereacquiredthroughtheVictorianFoundationforLivingAustralianArtists.Thecuratorsintentionwastoselectabroadrangeofworksofartincludingphotography,paintings,drawings,fashionandtextilesandsculpturebyarangeofartistsfromdifferentgenerationsandfromdiverseculturalbackgrounds.Workswereselectedwiththeoverallthemeoftheexhibitioninmind:thatis,ourworld,ourlivesandthetimesinwhichwelive.

Who is responsible for writing the wall texts and didactic panels for each work? Curatorsareresponsibleforwritingtextsforindividualworksanddidacticpanelsthatexplainthethematicsectionsoftheexhibition.

As the selection of works varies slightly from one venue to another, who oversees the curation and exhibition design at each gallery on the tour? CuratorsfromtheNationalGalleryofVictorialiaisewithcuratorsanddirectorsfromthehostvenuestofinalisetheselectionofworksthattourtoeachregionalgallery.StaffmembersfromtheNGVandthehostvenuesalsoworkcollaborativelyduringtheexhibitiondesignandinstallationstages.Withthisparticularexhibition,anNGVcuratorwillbepresentfortheinstallationorthe“hang”.

What particular challenges are associated with a touring exhibition?Giventhatexhibitionspacesdifferfromgallerytogallery,hanginganexhibitioninexactlythesamewayeachtimeisalmostimpossible.Curatorsandexhibitiondesignersmustbeflexible,oftenworkingwiththearchitectureofeachindividualspacetoensurethebestpossibleresult.

Travellingworksofartinvolvesinherentrisks.WorksofartmustbepackedandhandledcarefullyaccordingtoconservationstandardstoensurethattheyarriveandreturninthesameconditionthattheylefttheNGV.EachofthegalleriesprovidestheNGVwithafacilitiesreport.Thisreportcoversinformationregardingtemperatureandhumiditycontrols,accesspointsfordelivery,securityarrangementsandstorage.

What, in your opinion, is the value of touring NGV exhibitions?TheNGViscommittedtomakingitscollectionaccessibletothebroadestpossibleaudience.Touringexhibitionsareanexcellentwayofconnectingwithcommunitiesinregionalareasandprovidingopportunitiesfornewaudiencestoengagewiththelatestdevelopmentsinvisualculture.

What are the associated costs involved in running an exhibition? Someoftheprimarycostsinvolvedwithtouringexhibitionsincludepacking,transportation,handlingandinstallation.

EXHiBition dEsiGn

What factors have influenced the presentation and display of this exhibition? Eachgalleryundertakestheirowndesignthatissympathetictoboththeworksandthegalleryinwhichitisinstalled.Particularworksrequirespecificmountsandattachmentstoenablethemtobedisplayed,suchasCrazedbyBronwynOliver.Fashionandtextilesrequiremannequinsfortheireffectivedisplay.

consERVation

What are the conservation procedures put into place when the works travel from one gallery in Victoria to another?TheNationalGalleryofVictoriasupportsanactiveloansprogram,includingloansfortouringexhibitionssuchasLives and Times.TheGalleryneedstobalancetheworkinvolvedwithtouringexhibitionswithitsownprogramofinternalexhibitionsandgallerydisplays.

AlloftheworkshaveconditionreportscompletedbeforetheyleavetheNGV,uponarrivalatthehostvenue,priortodeparturefromthehostvenueanduponarrivalbackattheNGV.Thisensuresthatanychangesinconditionordamagesarenotedimmediatelyandanyareasofconcerncanbeaddressed.

Theworksarepackedandtransportedinaclimatecontrolledtruckandarepackedappropriately,eitherontravellingframesorinarchiveboxes.

VcE studio aRts: aRt industRy contEXts inFoRMation RELatEd to tHE EXHiBition

Page 41 Lives and Times: a selection of works on tour from the VFLAA Collection VCE Studio Arts: Art Industry ContextsPage 40 Lives and Times: a selection of works on tour from the VFLAA Collection Walangkura Napanangka

TheNGVundertakestocompileinformationaboutthegallerytowhomtheworksaretobeloaned.Thisisreferredtoasafacilitiesreport.Thisdetailseverythingaboutthehostgalleryincludinginformationaboutenvironmentcontrols,securityandfireprotectionarrangements,staffdetails,insurance,throughtomaterialsthebuildingisconstructedfrom.

The majority of items on display are paintings and works on paper including photography. What specific conservation requirements do they have? Acuratorandconservatorwillcheckeachworkonpapertodecideifitissuitableforloanforaspecificlengthoftime.Worksonpaperaregenerallyonlyloanedforamaximumofthreemonths, which is why some works on paper are not travellingwhichiswhysomeworksonpaperarenottravellingtoallvenues.

Allworksonpaperforthetouraremountedandframed.

Worksonpapermustbedisplayedatatemperaturebetween20+/-2°Candrelativehumidityof50+/-5%withnomorethan3%changeinrelativehumidityovertwentyfourhours.Bycontractualarrangement,theNGValsospecifiesmaximumlightlevels.Worksonpapermustbedisplayedunderlightingconditionsof50luxwiththemaximumUVcontentofthelightcontrolledtolessthan75microWattsperLumen.

MaRKEtinG and PuBLicity

How is the exhibition promoted to the public?Thisexhibitionwillbepromotedtothepublicviaeditorialcoverageandadvertisements.Advertisementswillbeplacedbythehostgallery.

Who is the target audience for this exhibition?Theexhibitionistargetedatpeoplewithaninterestincontemporaryart,regionalgalleryvisitorsandschools.

What media will be targeted for this exhibition?Localmediawillbetargetedforthisexhibition,withadditionalmentionsontheNGVwebsite.

What will be included in a media kit to promote the exhibition to journalists?Alistofworks,amediareleaseandadiskofimageswillbeincludedaspartofthemediakitforthisexhibition.

GRaPHic dEsiGn/ MuLtiMEdia

What associated products have been developed for this exhibition?Mostofthematerialproducedforthisexhibitionisrelatedtomarketing,includingpostersandbookmarks.Adesigntemplatewascreatedfortheexhibitionmastheadandinvitation.

aPPRoPRiation Aterminarthistoryandcriticismthatreferstothedirecttakingoverintoaworkofartofarealobjectorevenanexistingworkofart.Appropriationartraisesquestionsoforiginality,authenticityandauthorshipandquestionsthenatureofartitself.

BRazinG Aprocessforjoiningsimilarordissimilarmetalsusingafillermetalthattypicallyincludesabaseofcoppercombinedwithsilver,nickel,zincorphosphorus.Brazingcoversatemperaturerangeof900ºF-2200ºF(470ºC-1190ºC).Brazingdiffersfromweldinginthatbrazingdoesnotmeltthebasemetals,thereforebrazingtemperaturesarelowerthanthemeltingpointsofthebasemetals.Forthesamereason,brazingisasuperiorchoiceinjoiningdissimilarmetals.Brazedjointsarestrong.Aproperly-madejoint(likeaweldedjoint)willinmanycasesbeasstrongorstrongerthanthebasedmetalsbeingjoined.

diPtycHApaintingintwopanels.

Found oBJEctAnaturalorman-madeobjectfoundbyanartist.Foundobjectsmaybeputonashelfandtreatedasworksofartinthemselves,aswellasprovidinginspirationfortheartist.Theycouldalsobeincorporatedintoanewworkofart.

MaquEttEAsmallmodelforalargerpieceofsculpture.Theyareoftenworksofartinthemselveswhichconveytheartist’sfirstrealisationofanidea.

PatinaAdistinctgreenorbrownsurfacelayerusuallyonbronzesculpture.Patinacanoccurnaturallythroughtheoxidisingeffectoftheatmosphereandweather,orartificiallybytheapplicationofchemicals.

RiVEtAmetalpinorboltwithaheadatoneend,usedforjoiningpiecesofmetal,thatarepassedthroughaholeineachofthepieces,thenhammeringtheprotrudingendflat.

suRREaLisM Thisbeganintheearly1920sasaliterarymovementundertheleadershipoftheFrenchwriterAndréBreton.Surrealistartistssoughttofuseeverydayrealitywiththeexperienceofdreamsandthesubconscioustocreatea‘super’reality.Surrealistimagesoftencombinelogicallyunconnectedobjectsusingameticulous,almostphotographictechnique,thatsometimesevokingadream–likequality.Otherartistsexploredtheunconsciousmindbyusingtechniquesof‘automatism’.The‘reality’ofthesubconsciousmindandtheworldofdreamswerepreferredoverthematteroffactrealityandlogicofeverydaylife.MajorexponentswereSalvadorDali,MaxErnst,JeanArpandJoanMiro.

tHanKaATibetanreligiousiconusuallypaintedoncotton.

GLossaRy

Page 43 Lives and Times: a selection of works on tour from the VFLAA Collection GlossaryPage 42 Lives and Times: a selection of works on tour from the VFLAA Collection VCE Studio Arts: Art Industry Contexts

PEtER GRaHaMPeterGrahamwasborninSydneyin1970andlivesandworksinMelbourne.SincegraduatingwithaBachelorofFineArts(Painting)fromVictoriaCollege,Melbournein1991hehasexhibitedwidely,participatinginanumberofgroupexhibitionsincludingPrimal DrawingsatMichaelWardellGallery,Melbourneand(Un) authorised duplicationat200GertrudeStreet,Melbournein1993;Poltergeist I, II and III,atrespectively,ShermanGalleries,Melbourne,Goodhope,SydneyandCanberraSchoolofArtGalleryin1995;GraphicatMonashUniversityGallery,Melbournein1998;andCrossing: New Art from AustraliaattheUniversityofArtandDesign,Helsinkiin2002.GrahamhasshownhisworkinseveralexhibitionsattheNationalGalleryofVictoriaincludingAspects of Australian Printmakingin1995;Recent Acquisitions of Contemporary Australian Art in1996;In Relief: Australian Wood Engravings, Woodcuts and Linocutsin1997,and2004: Australian Culture Now in2004.HewasalsoselectedfortheNational Works on Paper exhibitionatMorningtonPeninsulaArtGallery,Victoriain1999and2000.

PeterGrahamisrepresentedinthecollectionsofMorningtonPeninsulaRegionalGallery,Victoria;NewcastleRegionalGallery,NewSouthWales;BendigoArtGallery,Victoria;MonashUniversity,MelbourneandtheNationalGalleryofVictoria.

tiM JoHnsonTimJohnsonwasborninSydneyin1947andcontinuestoliveandworkthere.Hefirstexhibitedhisworkin1970,thesameyearthathecompletedstudyattheUniversityofNewSouthWalesandtheUniversityofSydney.SincethattimehehasshownhisworkextensivelyinAustraliaandinternationally.Hisworkhasbeenincludedinimportantforumssuchasthe1986and1992BiennalesofSydney;Flight PatternsattheMuseumofContemporaryArt,LosAngelesin2000;the3rd Asia Pacific Triennial of Contemporary ArtatQueenslandArtGallery,Brisbanein1999,andDocumenta IXatKassel,Germanyin1992.

JohnsonwasawardedanAustraliaCouncilFellowshipin1997andwasVisitingFellowatCanberraSchoolofArt,AustralianNationalUniversityin1999.HeheldateachingpositionatSydneyCollegeoftheArtsbetween2001and2003.HisworkfrequentlyinvolvescollaborationwithartistsfromotherareasandhehasproducedworkswithCliffordPossumTjapaltjarri,KarmaPhuntsokandMeLiThi.

TimJohnsonisrepresentedinthecollectionsoftheNationalGalleryofAustralia,CanberraandallAustralianstategalleries.HisworksarealsoheldintheFairfaxCollection;theKerryStokesCollection,andthecollectionsoftheMuseumofContemporaryArt,Brisbane;MonashUniversity,Melbourne;GriffithsUniversity,Queensland,andtheUniversityofNewSouthWales.

cLinton nainMiriamMer/KuKuborn1971

ClintonNainwasborninCarlton,Victoria1971.HismotherwasofMiriamMer(TorresStraitIslander)andKuKu(Aboriginal)descentandhisfatherisofIrishdescent.HegrewupinthenorthernsuburbsofMelbourneandlivesandworksintheinnercity.Hisworkfocusesontheironiesofbeinganurbanindigenousperson,asexpressedthroughmulti-levelledimages,collage,mixedmediaandinstallationart.Hisoeuvreisatonceconcernedwithissuesofurbanisation,sexualidentityandchallengingstereotypesabouthislivedidentity.

ClintonNainperformsAboriginalandTorresStraitIslandercontemporaryandtraditionaldanceandhasmodelledforbothfashionandvisualartists.In1989hebeganaBachelorofFineArtsdegreeattheVictorianCollegeoftheArtsandfirstexhibitedin1990attheFringeFestivalMultiMediaExhibition.Hehasexhibitedregularlyingroupshowssince1990andobtainedhisBachelorofFineArtsdegreein1994.HisworkwasincludedinBlakness: Blak City Culture,AustralianCentreforContemporaryArt,MelbourneandBeyond The Pale: 2000 Adelaide Biennale of Australian Art.

SincecompletinghisMasterofFineArts(COFA)attheUniversityofNewSouthWales,Sydneyin2003,ClintonNainhassecuredasignificantplaceincriticaldebatesconcerningcontemporaryAustralianart.Adanceperformeraswellasanartist,NainisanIndigenousAustralianwhoseworknegotiateshisculturalcondition.Hetakespartinnumerouspublicevents,suchastheMelbourneFestivalOpeningin2000,andMelbourneFringeFestivalartexhibitions.HisworkfeaturedintheCairnsRegionalGallerytouringexhibitionIlan Pasin (This is our Way):Torres Strait Art,andthe2000AdelaideBiennialofAustralianArtattheArtGalleryofSouthAustralia.HeisrepresentedbyShermanGalleries,Sydney.

RossLynd PiGGottRosslyndPiggottwasborninFrankston,Victoria1958.AftertravellingthroughGreatBritainandEuropein1976sheattendedtheInstituteofEducation,UniversityofMelbournefrom1977to1980andwasawardedaBachelorofEducation(ArtandCraft).ShehastaughtatvarioustertiaryinstitutionsinVictoria.Shehasexhibitedsince1981andheldherfirstsoloexhibitionat200GertrudeStreet,Melbournein1987.In1987and1988sheoccupiedtheVisualArts/CraftBoardstudioatParetaio,Italy,andin1993thePowerStudiooftheUniversityofSydneyattheCitéInternationaledesArts,Paris.In1990herPalaceinstallationwasexhibitedattheIanPotterGallery,UniversityofMelbourneandin1992Palace 2attheContemporaryArtCentreofSouthAustralia.In1997sheheldasoloexhibitionSwallowing nightattheKitamotoCulturalCentre,Saitama,Japanandin1998wasthesubjectofamajorsurveyattheNationalGalleryofVictoria,titledSuspended breath.ShehasbeenincludedinnumerousgroupexhibitionsincludingThe aberrant object: Women, Dada andSurrealismin1993–94andtheLiverpoolBiennialin1999.Since2000shehasexhibitedregularlyinJapanandin2005wasawardedamajorpubliccommissionforTheUrbanWorkshop(architectJohnWardle)at50LonsdaleStreet,Melbourne.

BRonWyn oLiVERBronwynOliverwasborninInverell,NewSouthWales,1959.In1977sheattendedtheAlexanderMackieCollegeofAdvancedEducationandin1980graduatedwithaBachelorofEducation(Art).In1981shewasawardedtheNewSouthWalesTravellingArtScholarship,whichenabledhertotraveloverseasfortwoyears.DuringthistimesheattendedtheChelseaSchoolofArt,London,whereshewasawardedaMasterofArts(Sculpture)in1983.In1988shewasresidentinBrest,France,aspartofanartistexchangeprogramme.In1989and1990sheoccupiedtheVisualArts/CraftsBoardstudioattheCitéInternationaledesArts,ParisandheldtheMartenBequestforSculpturescholarshipinParis.In1990shewasanartist-in-residenceattheAucklandCityArtGalleryinNewZealand.In1994shewasawardedtheMöet&ChandonFellowship.Shehasexhibitedherworkregularlysince1981andheldherfirstsoloexhibitionin1986.In2001shewasaparticipantintheinauguralHelenLempriereSculptureAward.Oliver’sworkisheldinnumerousstateandregionalpubliccollectionsandmanyprivatecollectionsinAustraliaandoverseas.

WaLanGKuRa naPananGKaPintupibornc.1946

WalangkuraNapanangkawasbornatTjiturulnga,westofWalungurru(Kintore).SheisthedaughterofTutumaTjapangatiandInyuwaNampitjinandsisterofPirrmangkaNapanangka.HerfamilywasamongstagroupofPintupipeoplewhomadetheirwaytoHaastsBluffin1956.TheywalkedhundredsofkilometresfromwestofthesaltlakeofKarrkurutinyinya(LakeMacKay)toaccessthesuppliesoffoodandwateronofferatthesettlement.ThefamilyreturnedtotheirhomelandscommunityofWalungurruin1981.

WalangkurabeganhercareerthroughparticipatinginthehistoricKintore/HaastsBluffcollaborativecanvasprojectMinyma Tjukurrpa in1995,andsubsequentlybeganpaintingforPapunyaTulaArtistsin1996.ShenowlivesatKiwirrkurawithherhusbandandfellowartistJohnnyYungutTjupurrula.Walangkurahasexhibitedextensively,includingPapunya Tula: Genesis and Genius attheArtGalleryofNewSouthWales,Sydneyin2000andhadsoloexhibitionsatUtopiaArt,SydneyandGalleryGabriellePizziMelbournein2004.HerworkwasstronglyrepresentedinMythology and Reality: Contemporary Desert Art from the Gabielle Pizzi Collection at HeideMueumofModernArt,Melbourne,2004.

aRtists’ BioGRaPHiEs

Page 44 Lives and Times: a selection of works on tour from the VFLAA Collection Artist’s biographies Page 45 Lives and Times: a selection of works on tour from the VFLAA Collection Artist’s biographies

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