Judy Watson, Waanyi people, Australia b.1959 / sacred ground beating heart 1989

Judy Watson: Pulse of the earth

Judy Watson’s work including drawing, printmaking, painting and sculpture all reference an Indigenous connection to land and history. Her canvases are not paintings in the classical traditions of European art, they remain unstretched when exhibited, usually pinned to the wall as is sacred ground beating heart (illustrated). One of Watson’s bronze sculptures — tow row (illustrated)…

Sidney Nolan, Australia/England 1917-1992 / Mrs Fraser 1966

Sidney Nolan’s Mrs Fraser is a spectacular colonial narrative

Sidney Nolan’s painting Mrs Fraser is a captivating story. In 1947 Nolan spent an extended period in Queensland, including several weeks in Brisbane and on Fraser Island (formerly known as Great Sandy Island). In Brisbane’s John Oxley Library he read, among other things, accounts of the shipwreck of the English brig, the Stirling Castle, off…

Auschar Chauncy, England/Australia b.c.1836-1877 / Portrait of Richard Edwards 1874

We all call Queensland home

By telling the story of Australian Art, we can observe the changing nature of portraiture — the shift from democratic modes such as the nineteenth-century photograph, to oil paintings produced after a number of sittings and preparatory sketches. These portraits tell stories of contact between cultures, including colonial and immigrant experiences. Many of these stories connect…

Conrad Martens, England/Australia 1801-1878 / Forest, Cunningham's Gap 1856 / Watercolour on paper / Purchased 1998 with funds raised through The Conrad Martens Queensland Art Gallery Foundation Appeal and with the assistance of the Queensland Government's special Centenary Fund / Collection: Queensland Art Gallery

We consider depictions of the land

Highlighted in our third post on your Australian Art Collection reimagined are works which are included in the chronological ‘spine’ along the back wall of the Josephine Ulrick and Win Schubert Galleries. Adjacent to Dale Harding’s wall commission view works from both the European landscape tradition and representations of country by Aboriginal artists. DELVE DEEPER: KNOW BRISBANE…

The story of Judy Watson’s ‘tow row’

The story of Judy Watson’s tow row transcends its physical form and speaks of cultural retrieval and community activation. This stunning work, generously funded by the Queensland Government, the Neilson Foundation, Cathryn Mittelheuser, AM, and others, is a fitting acknowledgment of the ancestor spirit of Kurilpa. Public art has the power to change the cultural landscape…

Judy Watson introduces ‘tow row’

Judy Watson’s work is deeply connected to concealed histories, the significance of objects and the power of memory and loss. In tow row, Watson has responded to a site close to the Brisbane River by referencing woven nets used by Aboriginal people of the area, acknowledging the traditional owners of the site and their everyday fishing activities…