Vernon Ah Kee’s shield surfboards were first conceptualised in 2007 in response to the 2005 Cronulla riots. The beach in Australia has often been associated with white recreation, but for Aboriginal people it represents something entirely different. The beach, particularly around Sydney, was the site of first contact between Aboriginal people and European coveters and…
1000 FROG POEMS: 1000 BOSS DROVERS (“YELLOW LEAF FALLING”) FOR H.S. 1996–2014 comprises 2400 individual drawings, all deliberately executed as if by the hand of a ten-year-old. Over a 20-year period, Robert MacPherson made these in the guise of his alter ego, Robert Pene, a grade 4 student at St Joseph’s Convent, Nambour, Queensland. Each…
Continue reading » “Robert MacPherson: As if by the hand of a ten-year-old”
Scott Redford’s ‘Proposals’ series of sculptures, such as Proposal for a Surfers Paradise Public Sculpture/GC Cinemas 2006 (illustrated) examine and celebrate the Gold Coast as a remarkable phenomenon in late modern architecture and design in Queensland. What others stigmatise as kitsch, Redford sees as embodying a complex history and identity — perhaps the Gold Coast…
Continue reading » “Scott Redford celebrates Gold Coast-type signage”
The Gallery presents a long-awaited major exhibition by Robert MacPherson, one of Australia’s most respected and senior artists. MacPherson has a 40-year exhibition history, including several Sydney Biennales and many international exhibitions. Guest curated by Ingrid Periz — a former Harkness Fellow and a graduate of the Whitney Museum Independent Study Program and New York…
The 50-year career of one of Australia’s most important conceptual artists was celebrated with the major survey ‘Robert MacPherson: The Painter’s Reach’, at GOMA from 25 July to 18 October 2015. Deceptively simple black and white paintings defined by the limits of the artist’s outstretched arm and paintings based on the language of roadside signs…
Continue reading » “Robert MacPherson: One of Australia’s most important conceptual artists”
Watch our time-lapse as Anthony Alder’s original colours are restored in Heron’s home 1895 showing the full tonal range and sharpness of colour. A final varnish layer on a finished painting has been an artistic practice for centuries. Artists often apply a transparent varnish to give saturation and their desired level of gloss to the painting,…
Continue reading » “Watch as we clean Anthony Alder’s ‘Heron’s home’”
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.