Journeys North: Graham Burstow’s photographs concentrate on leisure

In the years leading up to 1988, the Galley commissioned six photographers to produce a portfolio on the theme of community life in Queensland entitled ‘Journeys North’. Their images looked at attitudes to Australian community life, and the unique qualities of the Queensland lifestyle, land and environment. Last exhibited January 1988 it is an ideal time…

Charles Blackman surrounded by flowers and a white rabbit

This portrait of Charles Blackman (1928-2018) by Jon Molvig (1923-70) alludes both to the friendship between Molvig and Blackman and to Blackman’s series of ‘Alice’ paintings in which he was immersed at the time — Blackman is depicted surrounded by flowers and accompanied by a white rabbit. Jon Molvig ‘Charles Blackman’ Molvig and Blackman established…

Robert MacPherson: Reductive logic

The reductive logic that Robert MacPherson applied to his painting practice in the 1970s is applied here to his tool, the standard house painter’s brush. Examining it closely and considering its history, MacPherson traces a backwards path from use, to purchase, to manufacture and sees that the paintbrush is already a painted object. He relinquishes…

Robert MacPherson: A simplistic view of a national art

Robert MacPherson’s work is often positioned against the historically pervasive national traditions in Australian art of landscape painting and heroic narrative. His works evoking landscape and important figures are tinged with irony, and attempt to look beyond stereotype and jingoism. Yet still they suggest something specifically Australian – whether it is language, food or cultural…

Madeleine Kelly creates birds using drink containers

Madeleine Kelly is well known for her figurative paintings that assemble information gleaned from the fields of archaeology and the sciences. Her works convey an ecological awareness with a stroke of magic realism. In this installation, Kelly has recreated species of birds – somewhat whimsically, using Tetra Pak drink containers – that she has identified…

Robert MacPherson: Returning to colour

In the Mayfair (Peerless) series MacPherson returns to colour after thinking it inessential, and generally maintaining a monochromatic palette for his paintings of the 1970s. Taking their name from MacPherson’s drycleaner, the Peerless works use a drycleaner’s receipt with its sequence of named colours as a plan for making suites of single-colour paintings. In this…