The exhibition ‘A fleeting bloom’ focuses on the moments of distinct and transient beauty found in the portrayals of nature, history and spirituality in Japanese art. This display of historic works features screens gifted from the James Fairfax AC Bequest 2018. The wide planes of folding screens (byōbu) – a painting format at its peak…
Pakistani artist Aisha Khalid’s site-specific triptych Water has never feared the fire is a set of hanging textiles embedded with millions of long, steel and gold-plated pins commissioned for ‘The 9th Asia Pacific Triennial of Contemporary Art’ (APT9). This remarkable sculptural textile presented unique unpacking and documenting challenges upon its arrival at the Gallery. Emily Gray takes us behind-the-scenes…
Continue reading » “Installing Aisha Khalid’s steel and gold-plated pin tapestry”
‘A fleeting bloom: Japanese Art from the Collection’ is the debut exhibition for a number of historical folding screens that recently entered the QAGOMA Collection as part of the James Fairfax AC Bequest. The Curatorial team for Asian art worked closely with Conservation staff on this project and Emily Wakeling recently met behind-the-scenes with Kim…
Queensland textile designer Olive Ashworth (1915–2000) made a major contribution to Australia’s visual culture. Authors and academics Nadia Buick and Madeleine King have explored the works of this local artist , whose stunning designs are part of the Australian collection. Ashworth was born in Brisbane and educated at Somerville House. After the death of her…
Continue reading » “The textile designs of Olive Ashworth: A unique Queensland style”
William Dobell (1899-1970) is an artist recognised for his portraits and for often embellishing his sitter’s appearance to draw out their most distinctive traits. The model for The Cypriot 1940 was Aegus Gabrielides, a Greek Cypriot waiter who worked in a London café frequented by Dobell and his fellow Slade School students in the 1930s. Go…
Continue reading » “William Dobell’s ‘The Cypriot’ shares its secrets”
“Artists handle their works without gloves, so why do Gallery staff need to wear white gloves to handle paintings once they enter a Gallery’s collection?” I hear you ask. It is sometimes said that in Museums and Galleries we work in a parallel universe; a basic premise of collection care and conservation at QAGOMA often…
Continue reading » “Ever wondered how we move an unframed painting?”
We acknowledge the Traditional Owners of the land on which the Queensland Art Gallery | Gallery of Modern Art stands and recognise the creative contribution First Australians make to the art and culture of this country.