Author Archives: Lauren Zoric
Judy Watson acquired by MCA and Tate
Congratulations to Waanyi artist Judy Watson (Queensland) who was announced this week by Museum of Contemporary Art Australia and Tate as one of the five artists alongside Simryn Gill (Sydney and Malaysia), senior Gija artist Mabel Juli (East Kimberley, Western Australia), senior Yolŋu artist Noŋgirrŋa Marawili (East Arnhem Land, Northern Territory) and Kokatha and Nukunu artist Yhonnie Scarce whose works have been acquired as part of the International Joint Acquisition Program for contemporary Australian art.
memory scar, grevillea, mangrove pod (& net) (2020), pictured, first exhibited at Tolarno Galleries in 2020, is one of Watson’s most significant recent works. Whereas much of her practice engages with collections and archives, this painting is distinguished by its origins in the artist’s lived experience. Visually, it exemplifies Watson’s unique approach to building layered compositions on unstretched canvas by combining washes of pigment, transposed motifs and other forms of mark making – in this case intricately stitched line work that refers to scarring as a sign of trauma, but also of repair. Watson made this painting during the first wave of the COVID-19 pandemic. The organic materials were gathered from her garden and on walks. The red lines, meanwhile, are based on a graph that was circulating in news media showing the effect of Australia’s economic recession on household savings.
The jointly acquired artworks by Mabel Juli, Noŋgirrŋa Marawili, Judy Watson and Yhonnie Scarce, will soon go on display for the first time at Tate Modern in London as part of their expanded rehang of the acclaimed collection exhibition A Year in Art: Australia 1992.
Gallery closed due to restoration works – reopening in July
Updated: 21 June 2022
Tolarno Galleries is closed until mid-July as restoration works continue in the building.
Please contact us via email for enquiries firstname.lastname@example.org
With best wishes,
Judy Watson in conversation at NGA
Watch Judy Watson & Helen Johnson in conversation during Reconciliation Week at the National Gallery of Australia, talking about their exhibition the red thread of history, loose ends. Watson and Johnson each developed new works that explore complex and varied perspectives on colonisation, with an emphasis on the experience of women.
Hosted by Curator Elspeth Pitt with the National Gallery’s Head of First Nations Engagement, Cara Kirkwood, Mandandanji and Mithaka peoples.
Judy Watson & Helen Johnson: the red thread of history, loose ends is a Know My Name project and part of The Balnaves Contemporary Series.
The exhibition will tour to Monash University Museum of Art (MUMA) in Naarm/Melbourne 10 September – 12 November 2022.
Elizabeth Willing – MAVA Pathfinders recipient 2022
Congratulations to Elizabeth Willing who has just been announced as the recipient of the Metro Arts Brisbane MAVA Pathfinders, a 12 month paid residency, including studio space, materials, workshop and professional development
The residency supports three Queensland mid-career artists to explore entrepreneurial opportunities. Elizabeth will be developing ideas and prototypes for sculptural and large public artworks with accompanying audience participation and performance elements.
ON VIEW: Elizabeth Willing Forced Rhubarb exhibition featuring handprinted and embroidered linens and a major floorwork installation continues at Tolarno Galleries until 18 June 2022.
Images: Portrait of Elizabeth Willing, courtesy University of Queensland, photo by Simon Woods.
Detail from Flower of Beer 2021 linen, cotton, thread, acrylic paint 108 x 106 cm. This linen features a pressing of St Johns Wort, a deep purple antidepressant – the oils leech from yellow flowers and buds. Flower of beer is a term for the yeast interaction, or the foam of beer. The work considers the blending drugs and alcohol as an anxiolytic.
Opening Saturday 28 May: Elizabeth Willing – Forced Rhubarb
28 May – 18 June 2022
Forced Rhubarb is a new body of work from Elizabeth Willing, an installation of hand-printed and embroidered linens, accompanied by a floorwork made from sherbert-filled straws. Food is the catalyst Elizabeth Willing uses to reflect on the performance of eating, and facilitate multi-sensory experiences.
Willing made a statement at the 2018 Melbourne Art Fair with the installation Strawberry Thief featuring a William Morris-inspired wallpaper print using native Brisbane ingredients, hand-carved wooden sculptures, the Anxiolytic cocktail performance and collages of fruit cakes accompanied by a bright pink carpet. Since then, Willing has since held solo exhibitions at University of Queensland Art Museum, Caloundra Regional Gallery, Kuiper Artspace Brisbane (all 2019) and Museum of Brisbane (2020). She was included in the group show Amuse Bouche: The Taste of Art at Tinguely Museum, Basel (2020).
From October 2022 she will take up a four month Open Studio residency and exhibition at Queensland Art Gallery & Gallery of Modern Art (QAGOMA).
The linens present an inventory of symbols from Willing’s own performative and multi-sensory lexicon such as sedatives, yeasts, medicinal plants, and digestive processes. Implicated in the logic of hospitality, the compositions of the Linens speak of the labour embedded in needlework and the service of hosting.
The floor installation Moviprep (pictured below) stretches across the gallery in huge loops, one continuous tube made from over one thousand individual sherbet filled straws. The sculpture hosts the colour inside its intestinal-like body, and it spills them too, creating an expressive platform, accompanied by an overwhelming aroma.
Read more in 20 Questions with Elizabeth Willing in Art Guide Australia (May/June 2022)
Tim Maguire and Patricia Piccinini at NGV Australia
NEW AUSTRALIAN PRINTMAKING featuring TIM MAGUIRE and PATRICIA PICCININI
The Ian Potter Centre: NGV Australia, Fed Square
13 May 22 – 11 Sep 22
Open 10am–5pm daily
Featuring groundbreaking prints by Megan Cope, Shaun Gladwell, Tim Maguire and Patricia Piccinini, New Australian Printmaking at NGV Australia launches the work created by these artists during the Australian Print Workshop Artist Fellowship program.
Established by the Australian Print Workshop (APW), this major fellowship program is the most significant of its kind in Australia and was awarded annually between 2017 and 2021. The Fellowship enabled these leading Australian artists to research, develop and create a new body of work in the print medium.
In a series of vibrant colour intaglio prints produced during his fellowship in 2020–21, Tim Maguire has taken his recent body of work Dice Abstracts to new ground. Deriving from six simple charcoal drawings and using only the three primary colours cyan, magenta and yellow, the composition of each print was determined by the roll of dice – resulting in an extraordinary and unexpected range of colour combinations.
Patricia Piccinini, who had never engaged with printmaking before, completed the Fellowship in 2018–19. In collaboration with APW printers she created two suites of colour prints. The first, titled the Weavers’ Suite, used etching and lithography to bring a new inflection to her long-standing investigation of nature, the body and the uncanny. Her second series features her provocative Skywhale family hovering over a variety of brightly coloured landscapes and combines hand-drawn and computer-generated images to create a suite of lithographs.
This exhibition has been organised by the National Gallery of Victoria and the Australian Print Workshop.
Contact Tolarno Galleries for enquiries about available works from Tim Maguire and Patricia Piccinini: email@example.com
Images: Portrait of Tim Maguire with his work CMY Dice Abstract 2021 at the Australian Print Workshop. Portrait of Patricia Piccinini and her work Skywhale Suite 2019 at the Australian Print Workshop. Photos by Eugene Hyland.
Finalists in the 2022 Telstra NATSIAAs, Wynne, Sulman, Geelong and National Works on Paper prizes
Congratulations to Tolarno Galleries’ artists who have recently been announced as finalists in several major awards.
Kieren Karritpul and Wanapati Yunupiŋu are finalists in the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) 2022 at the Museum and Art Gallery Northern Territory.
Danie Mellor is a finalist in both the Sir John Sulman Prize and the Wynne Prize, while Patricia Piccinini is the subject of Natasha Bieniek’s portrait which is an Archibald Prize finalist at the Art Gallery of New South Wales.
Peter Atkins and Justine Varga are finalists in the 2022 National Works on Paper at the Mornington Peninsula Regional Gallery.
Benjamin Armstrong and Georgia Spain are finalists in the 2022 Geelong Contemporary Art Prize.
Image: Danie Mellor After the end of the world, acrylic and gesso on linen, 152 x 213.4 cm. Sir John Sulman Prize 2022 finalist.
Danie Mellor – PHOTO 2022 International Festival of Photography
29 April – 21 May 2022
Danie Mellor’s latest exhibition redux is on view now and presented as part of the PHOTO 2022 festival.
Listen back to Danie Mellor interviewed on ABC RN The Drawing Room (11 May 2022).
Read more about Danie Mellor’s photography in the article More than meets the eye: Danie Mellor captures the things we cannot see | Using infra-red photography, the artist uncovers a haunting spectrum of people and stories from another time, published in The Age (28 April 2022).
Image: DANIE MELLOR The persistent light (bala yubanday) 2022. Chromogenic print on metallic photographic paper 188 x 116 cm. Edition of 3 + 2AP
Danie Mellor at PHOTO 2022
redux reveals connections between disparate histories and experiences. The works are an uncanny reminder of environmental impacts, and contrast acutely with images of intact rainforest ecologies. It is also a reminder of the often-violent displacement of Aboriginal people and knowledge systems, with civilising enterprise failing to acknowledge the value of cultural systems embedded in story, Dreaming and Country. Featuring selected images printed on highly polished surfaces, the viewer is reflected and brought into the work as witness to changes that unfolded in and on our landscapes.
We invite you to join us for the up late opening from 5pm – 8pm on Friday 29 April. Danie Mellor will be in conversation with Tyson Yunkaporta between 6pm-7pm. Bookings not required, all welcome.
Tyson Yunkaporta is an academic, arts critic and researcher who belongs to the Apalech Clan in far north Queensland. He is the author of Sand Talk: How Indigenous Thinking Can Save the World (Text Publishing, 2019) and a senior research fellow and founder of the Indigenous Knowledge Systems Lab at Deakin University in Melbourne.
Image: Danie Mellor The far country 2022, chromogenic print on metallic photographic paper face-mounted to clear acrylic 180 x 240 cm overall, two panels each 180 x 120 cm.