KIM AH SAM IN 11TH ASIA PACIFIC TRIENNIAL

A big congratulations to gallery-represented artist Kim Ah Sam for her inclusion in the 11th Asia Pacific Triennial with an ambitious new commission.

Kim has produced a suite of eight woven conical sculptures using both traditional and contemporary weaving techniques with unpredictable intrigue, at once referencing towering termite mounds, meandering landscapes, bodily arteries and painful massacre sites.

Seventy artists, collectives and projects from more than 3O countries will feature in this chapter of the flagship Queensland Art Gallery | Gallery of Modern Art (QAGOMA) exhibition series.

The triennial officially opens to the public today, and runs until 27.O4.2O25.

The 11th Asia Pacific Triennial of Contemporary Art
27.O4.2O24 — 27.O4.2O25
Queensland Art Gallery | Gallery of Modern Art (QAGOMA)
Stanley Place
South Brisbane QLD 41O1

Image: Installation view of Kim Ah Sam’s ambitious new commission for the 11th Asia Pacific Triennial, QAGOMA, QLD, 2O24. Image courtesy of the artist.

Naomi Hobson’s acclaimed photographic series Adolescent Wonderland is now on display at the Judith Wright Centre Foyer Gallery (and projected on the building’s facade!) in Brisbane as part of her award as the winner of the 2O23 QRAA Mervyn Moriarty Landscape Award.

Read a recent review article of the show by Phil Brown here.

The exhibition will be available to view until 25.11.2O24.

Adolescent Wonderland at the Judith Wright Arts Centre
O4.11.2O24 — 25.11.2O24
24O Brunswick St
Fortitude Valley QLD 4OO6

Image courtesy of Joe Ruckli & Judith Wright Centre, Brisbane.

Congratulations to Clare Jaque Vasquez for her selection as a finalist in this year’s Koori Mail Indigenous Art Award alongside 24 other First Nations artists.

This award is a testament to the vibrancy and diversity of Aboriginal and Torres Strait Islander artistic practice.  It attracts entries entries from established, mid-career, and emerging artists working across various mediums from every state and territory.

Awards will be announced at the exhibition opening celebrations on Saturday 3O.11.2O24 from 2pm at Lismore Regional Gallery, NSW.  The awards will be announced by guest judge Rebecca Ray, Curator Aboriginal & Torres Strait Islander Collections & Exhibitions, Museum of Contemporary Art, Sydney.

2O24 Koori Mail Indigenous Art Award opening celebration and awards announcement
Saturday 3O.11.2O24, from 2pm
Lismore Regional Gallery
11 Rural St
Lismore NSW 248O
Register here (free)

Join Kent Morris next Saturday O9.11.2O24 for an artist talk on his commissioned public artwork, Where We Walk, at the transformed South Yarra Siding Reserve as part of the Metro Tunnel Project.

Kent’s sculpture is one of two artworks commissioned as part of the Legacy Artwork Program.  It is inspired by the significant flaked stone artefacts uncovered at the reserve, which speaks to its long connection with the Wurundjeri people.  The work is a cultural marker of respect, connection, and knowledge, representing First Nations knowledge systems embedded in Country throughout the area and across the entire country.

Kent Morris’s South Yarra Siding Reserve Artist Talk
Saturday O9.11.2O24, 11am – 12.3Opm
South Yarra Reserve
17 William St
South Yarra VIC 3141
Register here

Image credit: Andrew Noble Photography

One of the great protagonists of the Hermannsburg School revival has passed on.

Hubert Pareroultja, the nephew of the great Otto Pareroultja, died last week.  We send our sincere condolences to his family and many friends.

Hubert lived his life happily on his lands at Ntaria, with his animals and stock, surrounded by the majesty of the West MacDonnell Ranges (Parta Tjurritja).

Hubert is and will always be renowned for his extraordinary orbital landscapes — the fisheye view of ancestral lands he had visited as a child with his Uncle Otto and the late master Albert Namatjira.  In later years, Hubert travelled back to these painting outposts to check on the Ancestor trees made famous 5O years prior by the leaders of the Hermannsburg School.

Hubert Pareroultja’s Country is at the heart of his painting practice.  He is an artist who paints what he sees, what he knows and what he feels, being his Country…His steady hand guides the brush through layered, translucent glazes of watercolour…There is a consummate understanding of the medium that allows every nuance of the landscape to be investigated. — Ken MacGregor, Hubert Pareroultja: When the rain tumbles down in July monograph, Badger Editions, Melbourne 2O24

Image: Hubert Pareroultja, Lukaria – West MacDonnell Ranges 2O17, watercolour on paper, 55cm diameter (image), 85 x 85 cm (framed). Provenance: Iltja Ntjarra Many Hands Art Centre, NT cat 632-17.

It is our great pleasure to announce that Boonwurrung/Barkindji artist Mitch Mahoney has officially joined the Vivien Anderson Gallery family.

As a multidisciplinary artist, Mitch focuses on the revitalisation of South-Eastern Aboriginal practices, creating cultural items such as possum skin cloaks, traditional canoes and kangaroo tooth necklaces.  He also specialises in line drawings and South-Eastern Aboriginal design.  His work foregrounds the connection between culture and nature, bringing attention to the natural world and First Peoples’ relationship with Country.

Mitch’s gargantuan 3.5 metre red gum canoe, Kampitya (Father), which was commissioned for the My Country exhibition at the National Gallery of Victoria earlier this year, has just this week been acquired for the NGV Collection.  Mitch also collaborated with his great-aunt, artist Maree Clarke, on the design for the monumental 4.2 x 1O metre tapestry currently being woven by the Australian Tapestry Workshop team for the new Footscray Hospital.

Testaments to the significance and momentum of Mitch’s artistic practice, we look forward to seeing his career continue to progress in exciting directions.

Welcome to the team, Mitch.

Image courtesy of Rawhitiroa Photography.

Janet Fieldhouse’s artist talk on her work commissioned work for the Kerameikos exhibition at the University of Sydney’s Chau Chak Wing Museum is now available for listening.

Each of the seven artists in this exhibition were invited to explore the Museum’s historic and diverse collections during a week-long intensive residency, collaborating closely with the curatorial team.  The resulting commissioned works provide a fresh perspective on some of Australia’s oldest collections, challenging historical narratives and pushing the boundaries of ceramic practice today.

In ancient Athens, the Kerameikos was the potter’s quarter, a hub of innovation where artisans produced some of the most sought-after ceramics of the Mediterranean region.
Kerameikos at the Chau Chak Wing Museum creates a contemporary potters’ quarter within the Museum.

Kerameikos
Listen to Janet’s artist talk here
Exhibition continues until O3.O8.2O25
Chau Chak Wing Museum
University Place, University of Sydney
Camperdown NSW 2O5O

Image courtesy of Chau Chak Wing Museum, University of Sydney.

We are thrilled to announce that Girramay artist Erica Muriata from Girringun Aboriginal Art Centre (QLD) has joined the Vivien Anderson Gallery family.

Erica’s artistic practice spans multiple mediums, including painting, ceramics, and weaving.  In addition to her paintings, Erica creates distinctive Bagu sculptures in clay, and has also gained particular recognition for her exquisite weaving skills, becoming renowned for her craftsmanship in creating the ‘jawun’ — traditional woven baskets of the rainforest people.  Her mastery in these mediums reflects both her personal connection to cultural traditions and her ability to adapt and innovate within them.

Erica’s art is not just a personal expression, but also a vehicle for preserving and passing on the stories of her ancestors.  As the current keeper of these stories, she carries the responsibility of maintaining and sharing the cultural knowledge and traditions of her people.

“I feel privileged to be able to present my work to fellow countrymen and share Girramay culture in the hope to inspire future generations.” — Erica Muriata

Welcome, Erica!

Image credit: Amanda Neilson.

The unauthorised use of Indigenous artworks is a global industry that damages cultural integrity and harms the livelihoods of artists and their communities.  While the western idea of private or individual ownership can be at significant odds with tenets of Indigenous ownership and control, copyright remains one of the primary tools available to protect Indigenous visual artists from fakes, cultural threat and appropriation.

In Protecting Indigenous Art, leading intellectual property barrister Colin Golvan AM KC provides a privileged insight into how legal protection of Indigenous art offers unique opportunities to empower Indigenous artists and their communities.

There is the country non-Indigenous people can see, and then there is the country Indigenous people see that the rest of us can barely comprehend, but glimpse through the vivid colours, shapes and imagery of their artworks, and their visual recounting of ancient stories and settings.

Purchase the publication here.

The diverse artworks in this publication celebrate contemporary Aboriginal artists and their continuation of Ancestral knowledge. The artworks shown are accompanied by commentary and analysis unpacking complex issues related to First Nations art-making and culture-making.

A guiding theme is the creative practice of Maree Clarke (Mutti Mutti/ Wamba Wamba/ Yorta Yorta/ Boonwurrung).  Maree’s talent for collaborations and passion for reclaiming and reviving arts practices over almost forty years has seen her recognised as a leading southeast Australian artist, with invitations to work in France, Italy, Japan, Cuba, UK, Canada and the USA.

Pre-order the publication here.