For many years now, at least 10 years, people have been anonymously decorating the sheep sculptures that celebrate this suburbs past history as a farm. Good taste never comes into it and apart from a father and small child I once saw adding a few pieces, I have never seen who does this.
I posted this on my ‘other’ blog (largely gardening and food), which was for many years the only blog I had, but I think this is something that my art friends will enjoy as well.
It’s a big year for women artists with the National Gallery of Australia showing, rather belatedly, a program featuring women artists called Know My Name. Works have been borrowed from around the country for the exhibition.
Meanwhile in other parts of the country State galleries are also turning their collective eyes to the work of female artists both within and outside of their collections. During a recent visit to Adelaide I took a look at the Art Gallery of South Australia’s offerings.
Leading the way in S.A. is this year’s Tarnanthi 2020: Open Hands exhibition, which is all by women artists
1. Warwiriya Burton, (born 1925), Pitjantjatjara people, Ngayuku ngura (My Country), 2018 synthetic polymer pigment on linen. 2. Warwiriya Burton, detail of No. 1
3. Iluwanti Ken, (born c.1944) Pitjantjatjara people, 2030, Walawulu ngunytju kukaku ananyi (Mother eagles going hunting), pigmented ink on paper.
4. Iluwanti Ken, detail of No. 3
In the Chromotopia exhibition:
5. Naomi Hobson, (born 1978), Southern Kaantju/Umpila people, Touch the River Floor, 2019, synthetic polymer on linen.
6. Virginia Cuppaidge, (born 1943), Second Transition, 1974
7. Annabelle Follett, (1955-2019), UN Knitted Forms, 2000, wool and plastic knitting needles
Elsewhere in the gallery:
8. Dora Chapman (1912-1995), Head Studies, partial image, 1969 and 1970, gouache and polymer paint on board
9. Top, Grace Crowley (1890-1979), Abstract Painting, 1953, oil on hardboard; Below, Dora Chapman (1912-1995), Abstract, 1943, synthetic polymer paint on board.
10. Bessie Davidson, (1879-1965), Artist’s paintbox with French coastal landscape, c. 1930 Guéthary, France, oil on wood panel in wooden artist box
My completely subjective view is that the work of women artists is definitely more visible in the galleries that I have visited this year. But 25% National Gallery of Australia???
The Countess Report is Amy Prcevich, Elvis Richardson and Miranda Samuels.
They are an independent artist run initiative that publishes data on gender representation in the Australian contemporary art world. They believe a focus on gender is a focus on power. Countess works in the legacy of institutional critique and research based conceptual art practices. Their goal is to inform and influence systemic change through data collection and analysis. While their evidence is often cited, they are not data analysts. They are artists and activists who are interested in investigating dynamics of power, value, labour, and collecting through the lens of gender. The work of Countess is both art and advocacy.
For a few months now I have been joining a group of people via Zoom for Sunday Art Time. They live on the other side of the world to me and I didn’t know any of them when this started. That hasn’t stopped us getting together for an hour each week just to chat and make art.
Working with collage and simple book forms let’s me make work that can be finished in one or two sessions. I like the ability to make a work quickly, given most of my serious textile work takes ages to complete.
I have also found some good ideas from the broader reaches of the “junk journaling ” movement, such as cutting up large print books for useful phrases.
These mini-zines and collages give rein to the less formal (aka sillier) side of my art and has given me a lot of enjoyment in these grim times.