From the Director: Major Arthur Boyd painting gifted

 
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Arthur Boyd, Australia 1920-99 / Sleeping bride 1957-58 / Oil and tempera on composition board / Gift of Paul Taylor in memory of his parents Eric and Marion Taylor through the QAGOMA Foundation 2016. Donated through the Australian Government’s Cultural Gifts Program / Collection: Queensland Art Gallery / © Arthur Boyd’s work reproduced with the permission of Bundanon Trust

A recent major gift to the Collection is destined to join the ranks of the most celebrated and iconic works in the QAGOMA Collection: a painting by Arthur Boyd, which I had the great pleasure of unveiling at the recent QAGOMA Foundation Annual Dinner.

From the celebrated allegorical series of paintings ‘Love, Marriage and Death of a Half-Caste’ – often known as the ‘Brides’ – Sleeping bride 1957-58 is one of Arthur Boyd’s defining contributions to Australian art. The Victorian-born artist is, together with his contemporaries Sidney Nolan, Albert Tucker and Joy Hester, among the towering figures of the Australian Modernist movement.

We look forward to exhibiting this work along with other key Boyd works in the Collection such as the 1948 Berwick landscape and Gafney’s Creek, and paintings by other Australian modernists including Sidney Nolan, Russell Drysdale, Albert Tucker and William Dobell.

One of the most significant individual works of Australian art ever gifted to the Collection, Sleeping bride comes from Paul Taylor in memory of his parents, Eric and Marion Taylor. The Taylors were passionately committed to family, education, community and service. For Paul and his wife Sue, the gift made in their memory makes a compelling contribution to the QAGOMA Collection.

Alongside Nolan’s ‘Kelly’ paintings and Tucker’s ‘Images of Modern Evil’, both from the ‘40s, Boyd’s ‘Brides’ persist to this day as one of Australia’s most intriguing and immediately iconic series.

SLEEPING BRIDE WILL BE ON DISPLAY FROM SATURDAY 5 NOVEMBER 2016 AT THE GALLERY OF MODERN ART (GOMA)

Born into a family of artists, potters and sculptors in 1920, Arthur Boyd – who died in 1999 – is arguably the most pictorially and creatively inventive of twentieth century Australian painters.

Early in his career he was drawn to a mutable and occasionally explosive form of expressionist figuration – most were Melbourne-centric; a playing out of the psychic end-dramas of a world consumed by war. At the outset of a career characterised by unending stylistic oscillation, he then found a kind of rhythmic and pictorial reset in the bucolic hills around his Berwick home. By then, Boyd had located what would be a lasting affinity with European art history and with its Christian symbolism and mythology.

Indeed, much of the work made approaching the late 50s, the moment of the ‘Brides’ series, was at the outset nourished by the forcefully psychological writing of Fyodor Dostoyevsky and Franz Kafka, and then seemed to draw directly off the painterly grid of Oskar Kokoschka and Pablo Picasso. What followed was a foray into vast and teeming biblical subjects, which brought to the local landscape the unlikely influence of Bosch, the occasional nod to Brueghel, and the deeply human drama of Masaccio.

Throughout the ‘50s, Boyd returned to more naturalistic, sometimes idyllic paintings of the archetypal Australian bush; Gippsland scrub parched for water but drenched in light; straw-coloured paddocks festooned with hayricks and farm equipment, the sky ringing with a raucous chorus of crows.

This is what preceded a decisive trip that Boyd was to take to central Australia in 1953. He visited the artist Rex Battarbee, who had such a formative influence on Albert Namatjira, travelled on the Ghan from Port Augusta to Alice Springs, then finally out to the former mining settlement of Arltunga, where he camped and drew incessantly.

Here, for the first time, Boyd encountered Indigenous Australians in shanty towns along dry riverbeds, living under corrugated iron in squalor and abject isolation from the nearby white population.

This had a stunning and lasting effect. According to Ursula Hoff, the first to write comprehensively on his work, ‘the blacks he saw were neither ‘noble’ nor ‘comic’ but tragically suspended between two worlds’.

Hoff said the bride motif ‘brought back a memory of an open truck at Alice Springs which carried a number of Aboriginal women to church, their white bridal finery contrasting with a method of transport more fitting for cattle.

Boyd’s leading theme, she says, is frustration.

The watershed series which arose from this encounter, and to which Sleeping bride belongs, didn’t fully crystalize in Boyd’s imagination until a few years later, between 1957–58, when he painted 16 ‘Bride’ series pictures, which were first shown under the title ‘Allegorical Paintings’ at Australian Galleries in Melbourne, then in Adelaide and Sydney. The series eventually consumed him and he went on to create more than 40 major paintings, this one included, between these years and up to 1960, the last executed in London.

Although there is no coherent narrative enjoining the series, unlike Nolan’s ‘Kelly’ – different paintings register very different levels of cultural agency, tension and even violence – giving the ‘Brides’ a ballad-like cadence. The crux of the story is the doomed affair between a man of mixed-race and his so-called ‘Half-Caste’ bride, who in some paintings also appears in reflection or as an ethereal doppelganger. This marked a turning point for Boyd and for the representation of Indigenous Australians by artists of European descent.

The ‘Brides’ were painted in the later years of the federal government’s assimilation policy and the stolen generations, which saw children of mixed-race removed from their homes. Indigenous scholar Marcia Langton, has observed that Boyd’s ‘artistic practice was an expression of his encounter with the Aboriginal world in the early 1950s, and its assault on his psyche’. Indeed, the history of that representation is embedded in these elusively episodic, psychological, and sometimes brutal paintings.

In the rhythm of the series, the Sleeping bride marks a comparatively tender interval, an exhalation of breath, a rare vision of the bride alone. The dark, blue-tinged landscape – likely set by Boyd in the Great Dividing Range – puts us in an ambiguous realm of half-light. Perhaps it’s an early morning light not yet fully awakened, like the bride, from a suspended dream state. It’s this sense of the bride ‘not quiet’ floating over the ground that bears her weight that evokes the paintings of Marc Chagall, but there is none of Chagall’s fantastic levitation and none of his ecstatic states here.

This is, indisputably, 1950s Australia.

The pictorial anatomy of the Sleeping bride does, however, summon up several of the most insistent European art influences on Boyd. They are seen in the head of the bride, recalling Picasso’s Boisgeloup figures, and any number of his versions of a sleeping women; and they are even found in the scumbled treatment of the translucent white dress, which might have its painterly descent in Boyd’s admiration for Tintoretto’s and Rembrandt’s use of tempera and oils.

There is also the symbolic anatomy of this painting, a very particular ‘Boydian’ iconography, which includes a luminous green scarab beetle, an Egyptian symbol which refers to the rebirth of the sun each day; a ‘ram-ox’, a hybrid symbol – part ox, part ram – entirely invented by the artist to suggest strength and fertility; and of course the crow, the harbinger of doom or death. Finally, there is the posy of flowers. Do they denote an imminent or recent wedding, or foretell a funeral – and might not the blue ones be anemones, ancient Christian symbols of sorrow and death?

Taken together, Boyd is registering a remarkably complex state of mind here, one in which his bride finds herself utterly abandoned to sleep – a state that might equally signify her being seized variously with fear, sadness, lust, or the hope of renewal.

The ‘Bride’ series, according to Robert Hughes, and more recently Kendrah Morgan, was also informed by his then tumultuous personal life. Hughes called the Brides ‘the search of a man for love’, and Morgan recounts the story of Boyd’s lover at the time, the artist Jean Langley, whose diaries recount her giving him a bunch of flowers to take to his wife Yvonne, then languishing in hospital with a nervous breakdown.

Whether the ‘Brides’ series was conceived or evolved as an allegory of the alienated outsider, as a pointed social and political critique, or whether it also embodies the after-effects of the immense turmoil in Boyd’s personal life at the time, it remains a complex, contested and rightly celebrated body of work in Australian art history. It is, likely, all of these things.

It seems apt then, in this context, that Sleeping bride was at first a gift to Boyd’s sister Mary and to his brother-in-law John Perceval, whose own work will eventually hang nearby.

For the Gallery’s Collection, Sleeping bride is an exemplary painting from a highly significant moment in Australian art history; one which will dramatically expand the dialogue we can create between our holdings of Sidney Nolan, Russell Drysdale, Albert Tucker and William Dobell, together with Boyd himself.

This major, mid-century modernist painting from Arthur Boyd’s most prominent series will exert a uniquely unmatched impact on our Collection. It is, then, something of a bravura gift, as well – and I’m delighted that you could join us to be the first to see it and to celebrate it tonight.

As influential critic and curator Bryan Robertson, who first showed the ‘Brides’ at Zwemmer Gallery in London, said: “These paintings do not require any explanation. They speak with their own voice of something which the artist feels very passionately. They are tough pictures, filled with an almost lurid… intensity of movement, stillness and colour.”

The Sleeping bride – and I say this entirely without irony, in the shadow cast by Robertson’s remarks – is just that: a deeply felt, a deeply human painting

This is an edited version of an address given at the 2016 QAGOMA Foundation Annual Dinner.

The QAGOMA Foundation is the primary fundraising body of the Gallery. Since its establishment in 1979, the QAGOMA Foundation has raised more than $110 million, enabling the acquisition of more than 7200 artworks and supporting the development of QAGOMA exhibitions, publications and programs.

Sleeping bride, was originally gifted by the artist to his sister Mary and brother-in-law John Perceval. It was then held in private collections in London, Melbourne and Brisbane prior to being gifted to the Queensland Art Gallery.

From the Director: Spring update

 

The Gallery has seen some intense activity since APT8 closed: we’ve opened no less than four important exhibitions in as many weeks over May and June.

The vibrant palette of the late Mirdidingkingathi Juwarnda Sally Gabori’s Dulka Warngiid – Land of All exhibition, which has filled the Queensland Art Gallery (QAG) with the spirit of north Queensland’s gulf country, tours to Melbourne in September. At the Gallery of Modern Art (GOMA) we welcomed the incomparable Cindy Sherman for the opening of an exhibition dedicated to her post-2000 digital work, which received extensive national media coverage in advance of the artist’s retrospective at the new Broad Museum in Los Angeles. The exhibition will tour to City Gallery Wellington in November.

For the opening of Time of others, we welcomed a delegation of ten staff from the Singapore Art Museum, one of the institutions contributing to this pan-Asian touring exhibition. We had some productive conversations with SAM’s multidisciplinary contingent over the course of their week-long visit about possible future collaborative projects between Queensland and Singapore.

The GOMA Turns 10 program began in June, with the opening of A World View: The Tim Fairfax Gift, and over the next few months, all of GOMA will be transformed by new exhibitions and installations. These will include visitor favourites like Céleste Boursier-Mougenot’s installation of live finches, from here to ear (v.13) 2010, as well as several spectacular new commissions.

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Celeste Boursier-Mougenot, France b.1961 / from here to ear (v.13) (details) 2010 / Five octagonal structures (each made in maple and plywood), harpsichord strings piano tuning pins, audio system (contact microphones, amplifiers, guitar processors and speakers), coat hangers, feeding trays and bowls, seeds, water, nests, sand and grass / Purchased 2011. Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist / Photograph: Natasha Harth, QAGOMA

Also in anticipation of GOMA’s birthday, we were pleased to announce in July that artist Judy Watson was chosen from a field of strong entries to undertake the Queensland Indigenous Artist Public Art Commission. Judy’s bronze sculpture, inspired by the traditional woven fishing nets of south-east Queensland’s Aboriginal communities, will bring an evocative local presence to GOMA’s entrance when it is unveiled in December.

Spring focuses on a substantial exhibition opening at QAG, No.1 Neighbour: Art in Papua New Guinea 1966–2016 which looks at 50 years of art by PNG artists. You can follow the installation process on Flickr.

No.1 Neighbour Queensland Art Gallery installation process
No.1 Neighbour: Art in Papua New Guinea 1966–2016 being installed at QAG

We also recently announced that the QAGOMA Foundation’s 2016 Appeal had successfully raised the funds to purchase Michael Zavros’s Bad dad 2013. This superb addition to the contemporary Australian collection was painted by an artist born and based in Queensland, but who has garnered national and global attention in recent years.

Meanwhile, Moving Pictures the Salon-style hang of highlights from the Australian art Collection has attracted great interest from our visitors. This concentration of Australian art can be viewed at QAG from two levels and explored on an interactive touchscreen in the space.

The next few weeks are your last chance to see the Cindy Sherman exhibition, including after hours for a brilliant Up Late program of music, talks and style over four Fridays in September. A host of other exhibitions will be closing or evolving before GOMA Turns 10 — I invite you to make the most of these and mark your calendars for GOMA’s birthday in December!

From the Director: Judy Watson to create public artwork for GOMA entry

 
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Artist Judy Watson
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(L-R) Chris Saines, Director QAGOMA; The Hon. Leeanne Enoch MP, Minister for Innovation, Science and the Digital Economy and Minister for Small Business; artist Judy Watson; Avril Quaill, Manager of Partnerships, Arts Queensland; Michael Aird, Research Fellow, School of Social Science, University of Queensland; and Bruce McLean, Curator, Indigenous Australian Art, QAGOMA

This morning, it was my pleasure to be joined at the Galley of Modern Art (GOMA) by Leeanne Enoch, Queensland’s Minister for Innovation, Science and the Digital Economy and Minister for Small Business, for the announcement that Queensland artist Judy Watson has been selected to realise a major public artwork at the building’s entrance.

The Queensland Indigenous Artist Public Art Commission invited expressions for interest from acclaimed artists to propose a public artwork for realisation as part of this year’s GOMA Turns 10 celebrations.

The artwork will make a significant addition to the memorable public works already situated in Brisbane’s Cultural Precinct, and be a potent reminder of the ongoing role that Queensland’s Indigenous artists play in telling their own stories and in the greater cultural life of the state and  country.

The Commission responded directly to community sentiment for more visible representation of Indigenous artists in the Precinct, and addressed the Gallery’s commitment to promoting greater community awareness of Indigenous histories and people.

Ms Watson’s proposal tow row was selected by the panel, on which I was joined by Avril Quaill, Queensland Art Gallery Board member and Manager of Partnerships at Arts Queensland; architect Kevin O’Brien; Michael Aird, Research Fellow, School of Social Science, University of Queensland; and Bruce McLean, Curator, Indigenous Australian Art, QAGOMA.

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Artist concepts of tow row

The panel unanimously selected Brisbane artist Judy Watson’s proposal for a bronze sculpture inspired by the traditional woven fishing nets of south-east Queensland’s Aboriginal communities.

The panel commented:

Judy Watson’s work will make a powerful and evocative new addition to the public art of the Cultural Precinct. Based on an everyday object that was an integral tool in the lives of people who fished the banks of Brisbane River and Maiwar Green, it references the land on which it will sit, the traditional owners of the site and the wider region.

Drawing from archival material in the Queensland Museum and State Library of Queensland, the artist has researched and thought deeply about the site to present a vision which immediately speaks to local saltwater waterways and estuaries. It combines the fibre arts that were traditionally a woman’s responsibility, with fishing, typically associated with men. Though the object – known as a ‘tow row’ – is specific to the region, weaving as a technique is also shared by many Aboriginal and Torres Strait Islander people throughout Queensland.

Judy’s proposal extends the mark-making of her painting, printmaking and installation practice by inviting interplay between the open weave of her sculptural form and the moving shadows it will cast across the surrounding GOMA forecourt during the day.

We are delighted that Judy will reinscribe this humble everyday object back into the landscape where it has been used, renewing an inherently traditional and local story and bringing it into our contemporary memory.

In her proposal, the artist wrote:

This use of fibre and water as the conduit for catching fish evokes ideas of sustenance, family, culture, survival. The fragility of the object cloaks its hidden strength, a metaphor for the resilience of Aboriginal people who have held onto the importance of land, culture and family through adversity and deprivation. It will be a lasting memory of the indelible Aboriginal presence that is a part of this shared space.

The Gallery is proud to be advocating for the ongoing role Indigenous people play in the narrative of place, community and culture in contemporary Australia, and this artwork is one step toward visibly honouring that artistic practice, now and into the future.

From the Director: A World View – now open at GOMA

 
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Henrique Oliveira, Brazil b.1973 / Xilonoma Chamusquius 2 2012 / Burnt plywood and pigments / Purchased 2012 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist
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‘A World View’, GOMA

It has been my distinct pleasure, as Director of this Gallery, to form a close working relationship with Tim Fairfax. It’s a delight to work with a benefactor so receptive to new ideas, but whose spirit of generosity is so well grounded. Never perturbed by the marvellous diversity of works we put forward, he leaves things to us: “it’s your collection to build”; “you’re the experts”. It’s clear, though, that Tim takes unvarnished joy in the new world of international art his giving creates for the Gallery and for its visitors. And this, I think, is where he finds his greatest joy – in the equally unvarnished responses of ordinary people, particularly of children, to the experience and the wonder of contemporary art.

A World View - the Tim Fairfax AC Gift Gallery of Modern Art official opening
[l to r] Director QAGOMA, Chris Saines CNZM; Chair, Queensland Art Gallery Board of Trustees, Professor Sue Street AO ; QAGOMA Foundation Patron, His Excellency the Honourable Paul de Jersey, AC , Governor of Queensland; and QAGOMA Foundation President, Tim Fairfax, AC

A World View: The Tim Fairfax Gift | Until 17 April 2017 | Free

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Installation view of Michael Sailstorfer’s Wolken (Clouds) 2010. Purchased 2011 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation. Collection: Queensland Art Gallery. © The artist

Tim Fairfax has allowed QAGOMA to play large in a way that has spectacularly expanded our ability to commission and to collect. Such altruism and freedom to act in the interests of art and its audience is rare, and we are all the more deeply grateful to him for that.

These acquisitions on display in ‘A World View: The Tim Fairfax Gift’ have ‘movement’ as their connector. Movement found in the refracted mirrors of Nasseri’s Epistrophy; the mechanical whoosh of Favaretto’s Gummo; or the die-hard fans not quite ‘thrilling’ us in Breitz’s King (a portrait of Michael Jackson).

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Timo Nasseri, Germany b.1972 / Epistrophy VI 2012 / Polished stainless steel / Purchased 2012 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist
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Lara Favaretto, Italy b.1973 / Gummo IV 2012 / Iron, car wash brushes and electrical motors / Purchased 2012 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist
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Candice Breitz, South Africa b.1972 / King (a portrait of Michael Jackson) 2005 / 16-channel video installation: 42:20 minutes, colour, sound / Purchased 2008 with funds from Tim Fairfax, AM, through the Queensland Art Gallery Foundation / Collection: Queensland Art Gallery / © The artist

The Tim Fairfax Gift includes an astonishing 75 works from every corner of the globe – works by turns intimate, spectacular and sublime. A second chapter – opening in December, when GOMA turns 10 – will showcase the scale of both this gift and of the GOMA building itself. It marks the return of Tomas Saraceno’s fabulous Biospheres and an exciting new large-scale light commission from Anthony McCall, and it will further reveal the extent to which we continue to be enriched by the transformative nature and the good grace of Tim Fairfax’s giving.

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Tomás Saraceno, Argentina b.1973 / Biosphere 02 2009 / PVC, rope, nylon monofilament, acrylic, plants (Tillandsia), air pressure regulator system, hydration system / Purchased 2014 with funds from Tim Fairfax, AC, through the Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery / © The artist

 

From the Director: A ‘Time of others’ – now open at GOMA

 

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Bruce Quek, Singapore b.1986 / Hall of Mirrors: Asia Pacific Report 2011 / Clock mechanisms, receipt printer with computer program, publicly available statistics / Courtesy of the artist / © The artist

The opening of a ‘Time of others’ is the final stage in a long and collaborative journey, a journey into four cities across three countries. ‘Time of others’ comes from the Japanese idiom 他人の時間 (tanin no jikan)implying the simple courtesy of respecting other people’s time. It refers more broadly to the concepts of ‘time’ and of ‘other people’ – in particular, exploring these notions as they are lived and experienced in the Asia Pacific.

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Ruangrupa, Indonesia est.2000 / The Kuda: The untold story of Indonesian underground music in the 70s 2012 / Multimedia installation / Purchased 2016. Queensland Art Gallery | Gallery of Modern Art Foundation / Collection: Queensland Art Gallery / © The artist

The exhibition looks at the complexity and diversity of our region not as impediments to our understanding of each other, but as tools for gaining new perspectives. It was organised through an innovative partnership between the Museum of Contemporary Art, Tokyo; the National Museum of Art, Osaka; the Singapore Art Museum; QAGOMA; and the Japan Foundation Asia Center. It draws on the unique but intersecting interests and expertise of each partner in the enterprise: SAM’s deep engagement – from its foundation in 1996 – with the art and artists of South East Asia, the significant modern and contemporary collections of Tokyo’s MOT and Osaka’s National Museum of Art and this Gallery’s own APT; established in 1993, and adding over 800 works to our collection.

Incorporating works from each, ‘Time of others’ tests the links and dislocations between peoples, histories and cultures from across east and south-east Asia and into Oceania. This unique opportunity to mine the holdings, artistic networks and resources of four institutions, each focused on the contemporary, has created a generous and malleable project. Gradually evolving with each new chapter, ‘Time of others’ opened in Tokyo last year, when I contributed to a forum that resolved to build a more collaborative spirit between the art museums of the region. It then travelled to Osaka, then on to Singapore, and has finally arrived here in Brisbane.

Its conceptual framework is expanded by the subtle addition of new works and the rearrangement of a common core in each successive city. While the collaboration was driven at the curatorial level it was supported by senior management, exhibition management, registration and other departments from each museum, in conversation with their opposite numbers throughout the region. Through this process, each museum gained a greater understanding of the others’ processes and collections, opening windows for future collaboration.

This is the first time one of QAGOMA’s curators has been invited to co-curate an exhibition which has subsequently toured back to Brisbane. This is very much the sort of engagement with the region that we aspire to, reciprocal and collegiate.

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Saleh Husein, Indonesia b.1982 / The Arabian Party 2013 / Acrylic on canvases, wall drawing and archival material / Courtesy of the artist / © The artist

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Heman Chong, Singapore b.1977 / Calendars (2020 -2096) 2004-2010 / 1,001 offset prints with matte lamination / Collection: Singapore Art Museum / © The artist

 

From the Director: Our new direction

 
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Installation of ‘Moving Pictures: Towards a rehang of Australian Art’, QAG

We were delighted to close APT8 with an attendance of almost 605 000 — the most visited APT since APT5 in 2006, which coincided with the opening of GOMA. It has contributed greatly to a cumulative attendance across eight Triennials of three million visitors. APT8 Live, which is our first performance program presented under its own banner, factored strongly in our APT8 figures and animated the whole Gallery and its precinct.

As we move into winter, two remarkable female artists from opposite sides of the globe are celebrated across our two buildings. At QAG, ‘Mirdidingkingathi Juwarnda Sally Gabori: Dulka Warngiid – Land of All’ — an extensive survey of the work of the late Queensland painter, whose unexpected artistic flourishing at the age of 80 was a great gift to contemporary Australian art. Meanwhile at GOMA, ‘Cindy Sherman’ considers the large-scale photographic works of one of the world’s most influential artists, in her first solo show in Australia since the turn of the century.

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Installation of ‘Mirdidingkingathi Juwarnda Sally Gabori: Dulka Warngiid – Land of All’, QAG
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Installation of ‘Cindy Sherman’, GOMA

This month you’ll notice some major changes at QAG. We have closed the Josephine Ulrick and Win Schubert Galleries and moved our Australian collection highlights into Gallery 5. This allows us to use the Australian galleries as temporary Collection storage so that we can install a mezzanine level in QAG’s existing art storage area. To alleviate the effects of this building project, a densely installed Salon-style display of visitor favourites, titled ‘Moving Pictures: Towards a Rehang of Australian Art’, will keep some of our best known works on view until the Australian galleries are comprehensively rehung in late 2017.

Back at GOMA, with the opening of ‘A World View: The Tim Fairfax Gift’, we enter the first stage of celebrations for the tenth anniversary of our second site. This milestone marks a transformation not just for the Gallery but for its local, national and international audiences. GOMA has allowed us to rethink the way we present contemporary art and, we hope, given our audience new ways to experience it. When GOMA turns ten in December, we will present a major exhibition of our contemporary Collection highlights, augmented by some exciting new commissions.

GOMA has also opened the door for new collaborations at an international level, as will be evident in ‘Time of others’, which opens Saturday 11 June. This joint effort with our colleagues at the Museum of Contemporary Art in Tokyo, Osaka’s National Museum of Art, and the Singapore Art Museum, with the support of the Japan Foundation Asia Center, shines a light on some of the same territory we explore and map through the APT, but brings in multiple curatorial viewpoints and the depths of all four collections to add new nuance to our understanding of the contemporary art of South-East Asia.

Michael Zavros, Australia b.1974 / Bad dad 2013 / Oil on canvas / Image courtesy: The artist and Starkwhite, Auckland / © The artist

Following its appearance in last year’s ‘GOMA Q’, Queensland artist Michael Zavros’s Bad dad 2013 is now the subject of the annual Foundation Appeal. The work, also a finalist in the 2013 Archibald Prize, brilliantly captures a contemplative and complicated moment of self-reflection in which Zavros casts himself as a contemporary version of the protagonist from Caravaggio’s Narcissus c.1597–99, which he saw in Rome’s Palazzo Barberini. To strengthen our holding of works by this important Australian artist, we are appealing to you, our supporters, to help us bring this hugely engaging painting into the Collection. I invite you to drop into GOMA to view Bad dad, which will be on display through to the end of July.

While you’re here, enjoy the rich selection of exhibitions and programs presented across both buildings.

‘Cindy Sherman’ | Until 3 October 2016 | Ticketed
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