The horse has been a integral part of human history for millennia, prized both for their agility, speed and endurance, or strength needed to pull a plow or a carriage full of people. However improved transportation options towards the end of the 1800s, especially the construction of railways, and the development of new mechanical innovations…
Since the Asia Pacific Triennial of Contemporary Art (APT) began in 1993, the series has been celebrated for its engagement with Aotearoa New Zealand and the wider Pacific. Through the APT, the Gallery has built a collection of vibrant works by Pacific women artists. A significant number of these have been acquired through generous bequests…
Textiles have defined nationalities, facilitated cultural exchanges, and played a role in the rise and fall of empires, drawn from the QAGOMA Collection, the exhibition ‘I Can Spin Skies’ at the Queensland Art Gallery’s Henry and Amanda Bartlett Galleries (5 & 6) focuses on a breadth of textile practices — and art influenced by textile…
Queensland ceramicist Jessie Gibson (1932—2021) was a fierce advocate for the promotion and understanding of craft artforms. Gibson’s gift to the Gallery, comprising some 48 artworks, collectively capture the energy and innovation of 29 Australian ceramicists and glass artists during the 1980s and 90s. ‘My concerns are the promotions of all crafts, especially quality ceramics,…
Australian artist Yasmin Smith is known for her research-based ceramic installations that formally and chromatically evoke the landscape from which they are produced. As part of her investigative method, Smith gathers natural materials and, through analysis, determines how she can harness their chemical properties. Key to the artist’s process is burning plant material as a…
Continue reading » “Ceramic installations evoke the landscape from which they are produced”
Over her long career, Kimiyo Mishima has become one of Japan’s most widely exhibited female ceramic artists, noted for her wry humour and material sophistication. Her background, however, lies not in Japan’s justly honoured disciplines of craft and design but in the avant-garde, accompanied by a persistent fear of being buried in the ever-accumulating castoffs…
Continue reading » “A sense of absurdism: Breakable throwaway objects”
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