QAGOMA’s immersive digital experience animates and illuminates the significance of tow row 2016, the bronze fishing net sculpture by leading Queensland artist Judy Watson on permanent display at the entrance to the Gallery of Modern Art (GOMA). Watson was born in Mundubbera in south-east Queensland and the spirit of much of her work stems from…
Continue reading » “Experience Judy Watson’s ‘tow row’ in digital reality”
In Reinhardt Dammn: Things the mind already knows, Scott Redford appropriates the colour television test pattern, a universal standard used to balance contrast, saturation, sharpness and tone on television monitors. The image is emblematic of a period from the mid 1970s to the early 1990s, when a test pattern would appear on Australian television screens…
National Wattle Day was first celebrated in New South Wales, Victoria and South Australia on 1 September 1910, then in Western Australia and Queensland in 1912. Wattle had become a symbol of Australian national identity from Federation — becoming one nation — the Commonwealth of Australia, on 1 January 1901. Branches of wattle then featured…
Continue reading » “Wattle: From the illustrations of May Gibbs to Ellis Rowan’s watercolours”
Australian ceramic pieces dating from the 1960s to 1980 by six highly respected ceramic artists and teachers of the period are fine examples of the artists’ practices at influential periods of their careers. You can view a selection of QAGOMA’s ceramics in Gallery 3 at the Queensland Art Gallery. Ivan Englund In 1956, Ivan Englund…
Three painted terracotta pots by Arrernte–Luritja artist Irene Entata depict three distinct periods in Arrernte artist Albert Namatjira’s life, including the sad circumstances of his death. One of the foremost artists of the Hermannsburg Potters, Irene Entata (1946–2014), is known internationally for her unique painted ceramics. Much of her art fondly depicts a time that…
Margaret Olley (1923-2011) was deeply grateful when in 1962 her close friend, poet and art critic Pam Bell (1928-1995) invited Olley to visit her family home at Aroo station in Boonah (illustrated), just west of Ipswich near Brisbane. It provided Olley with new subject matter for a number of regional landscapes and homestead portraits, not…
Continue reading » “Margaret Olley follows Conrad Martens in painting the McPherson Range”
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