Tony KarenAlbertBlack Maria Fernanda Cardoso YvetteNatalyaCoppersmithHughes Ramesh MarioAUG/SEPAUG/SEPNithiyendranDawnNgLaraMerrett20222022
2022AUG/SEP Sullivan+Strumpf acknowledge the Gadigal people of the Eora nation, the traditional custodians on whose lands the Gallery stands. We pay respect to Elders, past, present and emerging and recognise their continued connection to Culture and Country. Editorial Directors Ursula Sullivan and Joanna Strumpf Managing Editor Alex Pedley Senior Designer & Studio Manager Matthew De Moiser Designer Mani Nejad Proofreaders Chloe Borich Mariia HannahZhuchenkoSharpe Production polleninteractive.com.au Advertising enquiries orart@sullivanstrumpf.com+61296984696 Subscriptions 6 print issues per year AUD$120 Australia/NZ $160 Overseas SYDNEY 799 Elizabeth St Zetland, Sydney NSW 2017 PAustralia+6129698 4696 E art@sullivanstrumpf.com SINGAPORE P +65 Megan83107529Arlin|Director, Singapore E megan@sullivanstrumpf.com@sullivanstrumpf@sullivanstrumpf@sullivanstrumpfsullivan+strumpfsullivanstrumpf.com FRONT COVER: Dawn Ng, Milky Skin my Tongue is Sand Until the Iridescent Band Begins to Play, 2022, archival pigment print, 115 x 150 cm
variabledimensionsearthenware, Artist books, clothing, gifts and art available for pickup or delivery from the online store: bit.ly/gelnbrkly In + Store: Glenn Barkley SHOP NOW
NgDawn aisthereDeserttheinSomewhere 2022Us,BeforeAcreanandForest printpigmentarchival cm134x174-1Edition cm122x158-3and2Edition proofsartist’s2plus5ofEdition
7
Ursula Sullivan+Joanna Strumpf 2022
For the first time in two years, Sydney Contemporary is back in person and the city is abuzz with anticipation. This September, collectors and gallery-goers will make the pilgrimage to Carriageworks from all corners of the country and beyond to experience the best contemporary art that over 450 leading and emerging artists have to offer. We look forward to sharing new works from several of our artists at the Sullivan+Strumpf booth, including Tony Albert, Lindy Lee, Naminapu Maymuru-White, Alex Seton, and Michael Zavros. In the spirit of the vernissage, in this issue we invite discussion around a selection of onsite and offsite exhibitions and projects that bookend the fair. On the cover, we see the first glimpses of Natalya Hughes’ These Girls of the Studio, the artist’s second solo exhibition with the gallery following her major solo show The Interior at the Institute of Modern Art, Brisbane. Yvette Coppersmith leads us into her enchanting world of dance, music, and art history ahead of her debut with the gallery, Presage. And Karen Black takes us into her studio to talk about the subtle nuances of her creative process ahead of her upcoming solo show. We hope you enjoy previewing these exhibitions through the pages of this special issue. See you at Sydney Contemporary! Jo & Urs
Vernissage
AUG/SEP
2022AUG/SEP 36 14
9 Quick Curate: Vernissage Natalya Hughes and Her Men Maria Fernanda Cardoso: Ripples and Droplets Tony Albert: Preview/ Remark Yvette Coppersmith: Presage Dawn Ng: Into Air Intimate Renderings with Karen Black Ramesh Mario Nithiyendran Lara Merrett x Romance Was Born Tony Albert: The Big Hose Last Word: Liz Nowell Up Next Contents 897670626056463630241410 46 24
There is an unshakeable sense of anticipation that builds around an art fair. Expansive spaces are transformed into temporary villages devoted to contemporary art. False walls meet each other to define the twisting maze. Every turn beckons, and ceaseless encounters with unbridled imagination and talent are here to be had. Unspoken rituals guide the hanging of works, the primping, priming, and importantly—the chilling of champagne! As the sun lowers, hushed quiet precedes the raucous cacophony that will inevitably descend. Cue the vernissage Mark Pokorny
2022AUG/SEP Quick Curate: Vernissage/Sydney Contemporary
Karen Black Shape Shifters, 2022 oil on canvas 122 x 244 cm Photo:
11 LeeLindy unfettered, 2020 paperonrainandfireink,chinese cm103x155 AndersonAaronPhoto: Alex Seton Actual Virtual 01, 2022 Marulan (Gundungurra) and Wombeyan (Gundungurra) marble, polyester adhesive small 22 x 18 x 11 cm Photo: Aaron Anderson
2022AUG/SEP ZavrosMichael Z 2019, paperonetching cm17.5x27 (#5/10)proofsartist’s2plus5ofEdition AndersonAaronPhoto: Lara Merrett Slow Runs (Nature Banners), 2021 ink and acrylic on canvas and linen 183 x 175 cm Photo: Aaron Anderson
13 Tony Albert Interior Composition (with Appropriated Aboriginal Design Vase) XVI, 2022 acrylic and vintage appropriated fabric on Arches paper 57 x 38 cm Photo: Aaron Anderson SilverTim SC),(heartbeatsuntitled 2019 MGFortoninfusedcopper cm13x23x16 AndersonAaronPhoto:
Natalya Hughes 2022 Photo: James Caswell
By Andrew McNamara
Natalya Hughes and Her Men Natalya Hughes’ artistic practice is one that probes the knotty questions of female representation through famous examples of male artists. Ahead of both her landmark solo exhibition at the Institute of Modern Art, Brisbane, and Sullivan+Strumpf, Sydney, Andrew McNamara reviews Hughes’ bold inhabiting of prominent male artists past, wading directly into the trouble.
15 + EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW EXHIBITION: NATALYA HUGHES, THESE GIRLS OF THE STUDIO, 22 SEPT - 15 OCT, 2022
2022AUG/SEP Natalya Hughes Franzi in Front of Carved Chair /Stool, 2021 acrylic on poly 153 x 117 cm Photo: Mark Pokorny
Natalya Hughes has been emulating the work of male artists for quite a while, first Aubrey Beardsley, later Willem de Kooning and now Ernst Ludwig Kirchner. Hughes inhabits these artists’ work not like a ghost—invisibly delving into their worlds to haunt them—but rather more like a virus that thrives within a host while inevitably distorting its otherwise smooth functioning. All these male artists became famous depicting women. In the case of de Kooning and Kirchner, they share a common interest in the classical subject of the nude. They attacked the genre with relish, depicting figures in a stylistically robust manner. It is as if these avantgarde artists were stripping the genre of its façade of lofty academic values and instead rendering the nude— especially, the female nude—more nakedly prosaic or carnal, even if highly contorted and ever more abstracted.
Natalya Hughes Franzi (without cat) ( detail), 2022 hand tufted rug (cotton yarn, primary and backing cloth, tape, adhesive) 132 x 77 cm Edition of 3 plus 1 artist’s proof (#1/3) Photo: Mark Pokorny
17
Natalya Hughes Two Girls with Umbrella, 2022 acrylic on poly 153 x 122 cm Photo: Mark Pokorny
Franzi and Marzella. Whereas Kirchner emphasizes stark lines and bold colour contrasts in his paintings, Hughes favours pattern and interplay. It is as if Hughes has set all the elements in her compositions free, intermingling foreground and background, letting the things in the studio roam around and overlay the nude figures. Bright, intense, and busy works result, both paintings and tapestries. Each work is engulfed in a competing array of decorative motifs, figures, and partial images, leaving all the components to vie for attention.
These Girls of the Studio refers to the fact that Kirchner liked to surround his models with tapestries, ornaments, and other cultural items that evoked an alternative worldview. Hughes shares a similar interest in such decorative delights. Previous work of hers consisted of a rich mix of ornament, decorative motifs, and textile details. Somehow Hughes imbued these features with an evocative appeal; they were abstract, yet often managed to hint at embodiment and desire. Subsequent works featured dense and intricate fragments of shapes gathered in ever more complex configurations.
The alternative worldview that Kirchner sought to convey was one of a countercultural vision opposed to the strict status quo of his days. The Expressionists in general flouted bourgeois conventions in art and in life, which they viewed as rigidly hierarchical, stiflingly conformist, aggressively anti-individualistic, militarist as well as imperialist. Rather than perpetuating academic sophistication, the Expressionists turned to older media such as woodcuts, which they admired for their ‘bold, flat patterns and rough-hewn effects’. Expressionists felt modern life provided a volatile and uncertain cocktail of opportunities and threats. Thus, their works always constituted a vigorous mix of redemptive forces (love, desire, religion, nature, madness, intoxication) clashing with destructive forces (war, violence, the dangers of urban life, the loss of self, the downfall of civilization). “It is as if Hughes has set all the elements in her compositions free, intermingling foreground and background, letting the things in the studio roam around and overlay the nude figures.”
What’s the appeal for Hughes in all this? Hers is an artistic practice that probes the knotty questions of female representation through famous examples of male artists. And while this has been a staple of feminist practice for decades, Hughes takes an equivocal or apprehensive path. There is inevitably a play of attraction and repulsion. While Hughes was reticent about de Kooning, she admired Kirchner as she did Beardsley. Yet, the more Hughes engaged with de Kooning, the more she became entranced with and admiring of his work. In the case of Kirchner, Hughes was enticed, but the confrontation with his use of underage models left her cold. This is such a difficult issue to contend with. So why return to this problematic material? Does Hughes want to answer the question, was Kirchner a pervert? The common approach to such problematic behaviour is to admonish and reject. Hughes instead wades into the trouble. In fact, her series, These Girls of the Studio, concentrates on Kirchner’s paintings featuring the young models,
19
Expressionism presents another example of a countercultural movement prodding the limits of what is permissible—and the Expressionists felt justified in their approach because they equated artistic freedom with political emancipation.1 Many of the strict limits they challenged were eventually revealed to be arbitrary and unnecessarily confining. In other cases, such restrictions were not arbitrary at all, but fully justified. Being at the forefront of challenges to restrictions, it is not always so clear which is which, but experimenting with people’s lives can often lead to disastrous consequences. Unlike Hughes’ de Kooning series, this time it is not really a matter of somehow affirming and transforming less conventional representations of women. In the wake of Kirchner, and other countercultural movements, we must face the fact that unfettered experimentation and exploration can sometimes lead us to idiotic propositions and potential harm. We are not guaranteed success or the pure path simply by championing a progressive spirit in experimentation. Nor can we fathom what a future generation may condemn that we take for granted today. In Kirchner’s case, however, the laws governing children remain remarkably similar, now and in his time; at the same time, the demise of the other restrictions the Expressionist counterculture fought against, we happily celebrate. We cannot presume that our explorations will guarantee exemplary outcomes. Still, this does not mean we should advance blindly. Perhaps the lesson is that one should never get too close to those you admire for they always let you down; it is better to view them from afar. They sustain their ardour only when kept remote and unassailable. Hughes’ art continues to affirm an exploratory spirit, even if this takes the perplexing form of a uniquely effusive, but oddly embodied art. She layers the images of Kirchner’s minor-age models with a surfeit of competing designs and forms.
1. For the points above concerning Expressionism, see the succinct summary provided by Sascha Bru, The European Avant-Gardes, 1905-1935: A Portable Guide, Edinburgh University Press, 2018, pp. 31-33.
2022AUG/SEP
Natalya Hughes Seated Girl (Franzi), 2021-2022 acrylic on poly 117 x 153 cm Photo: Mark Pokorny
2022AUG/SEP Natalya Hughes Marcella and Franzi ( detail), 2021 acrylic on poly 117 x 153 cm Photo: Mark Pokorny
EXHIBITION:
23
The figures almost dissolve into these clashing layers of colour and detail. The components do not seem to add up to anything conclusive, yet the paintings coalesce in a bright array of colour and fragments of shapes, figures and ornament. Hughes’ composites of patterns and figures seem to disperse Kirchner’s bravado—both his stylistic boldness and his stark-naked visions. Her discombobulating figures suggest an exploration that is willing to explore the mess we leave behind and nevertheless seeks to affirm a way forward. This gives the work its vitality. It grapples with the knotty challenges. In the process, we encounter flamboyant work comprised of details, the things of the studio, details which seem to overwhelm the figures at times, rendering them even more abstract than Kirchner’s originals. The result is a vivid, playful, yet earnest remake of the avant-garde canon. It seeks to reshape female representation away from an inert projection aiming to delight and inspire masculine creativity and toward a more provocative, unstable, and tantalizing set of images. “It seeks to reshape female representation away from an inert projection aiming to delight and inspire masculine creativity and toward a more provocative, unstable, and tantalizing set of images.” ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW NATALYA HUGHES, THESE GIRLS OF THE STUDIO, 22 SEPT -
15 OCT, 2022
2022CardosoFernandaMaria NaltyJillianPhoto:
recent major commission in the Sydney CBD, Ripples and Droplets,
ephemeral expressions of water that will be shown exclusively online this October at Sullivan+Strumpf.
Maria Fernanda Cardoso: Ripples and Droplets
By Chloe Borich
+ EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW ONLINE EXHIBITION: MARIA FERNANDA CARDOSO RIPPLES AND DROPLETS, OCT 2022
In a new series of paintings that preluded
about the
Maria Fernanda Cardoso is fuelled by her unwavering curiosity natural world. her Cardoso turns her focus to
25
2022AUG/SEP
The Columbian-born, multidisciplinary artist has long examined things in microscopic detail that may otherwise go unnoticed. From training fleas to perform circus tricks, to photographing the electric patterns of a spider’s abdomen, to hand collecting fallen gumnuts for her undulating wall installations, Cardoso is devoted in her unique approach to material-based explorations. ‘I like magnifying tiny things and making them visible’, tells Cardoso, ‘I love life, so I spend a lot of time looking at how life forms itself. But that self-formation of living organisms also obeys the laws of physics, so we see the same patterns in animate and inanimate forms. Our veins behave exactly as a river does’. Cardoso’s enthusiasm for such investigation is contagious and widely admired. Recognising her fondness of diminutive details eight years ago, architect Angelo Candalepas invited her to collaborate with him on a residential project that would see her upscale her work, onto the façade of a high-rise building at 116 Bathurst Street. True to her interest in recurring motifs in nature and science, Cardoso decided to explore the natural movements of water and its cyclical evolutions. By drawing and painting simultaneously, the artist produced studies of repetitive concentric shapes and spirals that refer to fluid mechanics and behaviours, like ripples across a pond. ‘Moving the fluids around using my arm as a pendulum creates a pattern that the brain associates with how ripples are formed’, explains Cardoso, ‘The tiny drops were not individually painted on each line, but they formed all by themselves in the process of applying lines of mineral paints. I noticed the fluid coalesced in reaction to the repellence in the substrate. Just like dew forms on a spider web. I encouraged and perfected both processes (fluid lines and drop formations) to create these paintings’. Working together since the inception of the project in 2014, the commission was sensitive to Candalepas’ liberal use of concrete, which Cardoso saw as an opportunity to develop a new painting technique. Using pure mineral pigments, the artist found the fluid could bond to the materiality of concrete through a chemical reaction and form a permanent ‘tattoo’.
“Recognising her fondness of diminutive details eight years ago, architect Angelo Candalepas invited her to collaborate with him on a residential project that would see her upscale her work, onto the façade of a high-rise building...”
27CardosoFernandaMaria (cement)on(whiteDropletsandRiples detail ), 2019 boardcementfibreonpaintacrylicandpaintmaterialsilicate cm30x60
Maria2022AUG/SEP Fernanda Cardoso in her studio, 2022 Photo: Jillian Natly
29 Spanning 350sqm and 11 storeys high, an old muralist technique known as the ‘pouncing method’ favoured by the likes of Leonardo da Vinci translated her studies to the gigantic proportions required, where a template is created using small holes and powdered chalk, and then traced with steady concentration. ‘I wanted to magnify every kink and every drop exactly as my hands had applied them on the small panels I worked with’, Cardoso attests, ‘I loved the process of painting it; it was like playing the violin but with the paintbrush—you always stay in contact with the Withstring’.the mural complete, the artist has returned to her studies ahead of her online show of the same name, Ripples and Droplets. Using small-scale fibre cement sheets, the same pure mineral pigments delineate repetitive lines and droplets that swell and overlap, resounding together to create dynamic web-like patterns in vibrant colours. Hypnotic and calming at once, through these works Cardoso again demonstrates her ability to encourage her viewer to observe, think and look again. “I loved the process of painting it; it was like playing the violin but with the paintbrush—you always stay in contact with the string.” + EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW ONLINE EXHIBITION: MARIA FERNANDA CARDOSO RIPPLES AND DROPLETS, OCT 2022
2022AUG/SEP view:pre Tony Albert
Remark
Tony Albert shares a sneak preview of works for his upcoming exhibition Remark, offering a critical expansion on his acclaimed Conversations with Margaret Preston series slated to open in the gallery October.
and online this
AlbertTony Appropriated(withCompositionInterior XXIVVase)DesignAboriginal 2022, appropriatedvintageandacrylic paperArchesonfabric cm57x76 HewsonSimonPhoto:
Tony2022AUG/SEP Albert Interior Composition (with Appropriated Aboriginal Design Vase) XXIII, 2022 acrylic and vintage appropriated fabric on Arches paper 76 x 57 cm Photo: Simon Hewson AlbertTony VIIIArtAboriginalAbstract: 2022(detail), appropriatedvintageandacrylic paperArchesonfabric cm57x76 HewsonSimonPhoto:
Installation view of Tony Albert, Abstract: Aboriginal Art X, 2022, acrylic and vintage appropriated fabric on Arches paper, 76 x 57 cm. Photo: Aaron Anderson
AlbertTony Appropriated(withCompositionInterior XXVIVase)DesignAboriginal 2022, appropriatedvintageandacrylic paperArchesonfabric cm57x76 HewsonSimonPhoto: AlbertTony Appropriated(withCompositionInterior XXIVVase)DesignAboriginal 2022, onfabricappropriatedvintageandacrylic paperArches cm57x76 HewsonSimonPhoto:
2022AUG/SEP By Tiarney Miekus Yvette Coppersmith: Presage + EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW EXHIBITION: YVETTE COPPERSMITH, PRESAGE, 25 AUG - 10 SEPT, 2022 The varied choreographic and art historical sources that have culminated in Yvette Coppersmith’s most pronounced shift towards abstraction to date are here explored by Tiarney Miekus ahead of the artist’s much anticipated and first-ever solo with Sullivan+Strumpf, Presage.
Yvette Coppersmith in her Melbourne-based studio Photo: Mel Savage
Behind the scenes shooting Yvette Coppersmith for Presage Photo: Rosalyn Orlando
“Yvette’s paintings come from someone who has always been entranced not only by the body’s gestures and movements, but also the gaze...”
39
The ballet was the first thing Yvette Coppersmith was allowed to watch on television. If Yvette’s parents were hoping for influence of the form, their wishes would be fulfilled. As a child Yvette was a ballet dancer—and while ballet is the inspiration for the undeniable energy of her latest show Presage, Yvette’s paintings come from someone who has always been entranced not only by the body’s gestures and movements, but also the gaze that accompanies having a body in the world.
To talk about Yvette’s latest paintings is to talk about another Australian painter who became enthralled with avant-garde ballet: the spiritual modernist Roger Kemp. In 1936, when Kemp was twenty-eight years old, he saw the Ballets Russes in Melbourne. As a regular attendee, he loved everything from the movements to the costumes and stage designs, the latter created by the likes of Pablo Picasso, Henri Matisse and Sonia Delaunay. He began to draw the dancers at rehearsals, formally innovating with colourful figures in wondrous leaps. In moving away from obviously life-like paintings, the result was abstractions overflowing with the feeling of life—something we can also see in Yvette’s latest paintings. In 1939, Kemp saw Leonide Massine’s ballet, Les Présages. Every artist in Melbourne apparently witnessed the performance and it radicalised Kemp’s paintings, introducing circular forms that, although based on dancers, exist more like colour in movement. Compelled by the spiritual in art, Kemp would begin representing the spiritual heights of existence, alongside the physicality of the Yvettebody.witnessed these images in 2019, at the National Gallery of Victoria’s retrospective of Kemp’s work. It was a perfectly timed gift, particularly Kemp’s Figures in Rhythm (Composition in line world), 1936–39. Yvette, so wellknown for her figurative work, had been experimenting in recent years with abstraction—and there was something deeply resounding within the highly energetic, nourishing marks of Kemp. It wasn’t lost on Yvette that Kemp was painting in Australia just as World War II was breaking out—the same war that eventually bought Yvette’s grandparents, who were
holocaust survivors, to Australia. There are also parallels in the spirit of Kemp’s time and ours. ‘I saw Kemp’s paintings when I was thinking about what needs to happen at this moment in time for us as a collective’, said Yvette when I visited her home studio. The meaning of presage is centred on foreboding, warning and prediction, and while Les Présages was a presage to World War II, Yvette’s presage isn’t one of negativity. She’s devoted to the concerns of climate change, but also the necessity of collective momentum beyond materialist culture. In questioning the role of the artist in a time of crisis, Yvette’s answer is to support the climate movement through art of restoration and joy. She’s recapturing the beautiful as a political space.
2022AUG/SEP
For someone who often paints either herself or sitters, the question became how to represent this collectivism, to inspire a space for reprieve, an energetic impulse to move forward, something against nihilism. The first whispers of a change in Yvette’s practice came at Melbourne Art Fair in early 2022. Here were abstract paintings bursting with colour and energy. Across multiple works were densely layered, circular radiances of light. It was like the canvas could no longer contain Yvette’s expression; the excess was joyful. Yet for all the love of Kemp, there is something admittedly hard in his paintings, too. Yvette wanted a more feminine energy—and it’s this energy that has always compelled me to her paintings. Like many people, I first knew of Yvette’s self-portraits. That startling face with unmissable eyes, framed by black hair, so ambiguous in its affect: defiant yet coaxing, poised to perfection but with great will. Like a comedian who jokingly self-deprecates, beating others to insult and injury, Yvette gazes at herself, outpacing her viewers’ judgement and perception, while also gaining an expanded sense of self. Yvette started her self-portraits in the 1990s as a response to the scrutiny placed on female bodies—if women are valued for their beauty, what’s the weight of this judgement when you live it? How do you mark your presence in a culture that has little interest in you as a person? A few years ago, Yvette joked to me, ‘Some people think, “Oh Yvette Coppersmith, she sits around all day looking at herself in the mirror”’. What’s funny is that this isn’t exactly untrue, especially at a collective level—we live in a world that has women staring at themselves all the time, to the extent it’s difficult to tell where the body ends and the mirror (or the selfie) begins. Yvette harnesses this gaze; she makes it purposeful, serious, interrogative. It’s a blueprint of how one can withstand objectification.
While Yvette first focused on the face, over time the rest of the body has made its way in. In 2015, Yvette asked exlovers to sculpt her as a reclining nude, and she took these amusing blob-like forms and painted them among still life objects. It was a gateway from realism to modernist language. In 2016, she painted a self-portrait, naked from the waist upwards, set against a colourful geometric background—this painting became a lead image for the National Gallery of Australia’s Know My Name exhibition, and it’s not surprising why. It’s feminine, ambivalent, assured—and it heralds Yvette’s formal leap in Presage, joining the figurative and abstract.
41 bytakenCoppersmithYvetteofphotographA studioartist’stheinKiddBronwyn SavageMelPhoto:
2022AUG/SEP
Photo: Mel
Savage
43 Yvette Coppersmith in her studio, 2022
New2022AUG/SEP works from Presage in the artist’s studio Photo: Mel Savage
These new paintings are a culmination of years’ worth of thoughts on self-portraiture, ballet, movement, collectivity, abstraction, figuration, and finding the energy to move forward in the world. First came music—Yvette asked Roslyn Orlando to compose a score for the exhibition. One day early in the process, Roslyn played the flute while Yvette painted abstract oil sketches nearby. Yet Yvette also wanted movement, and a method of capturing this movement the way Kemp sketched dancers. She decided to paint her own body. She created silk costumes in vivid colours; first blue, then red, and then more. At the same time, photographer Bronwyn Kidd had wanted to take Yvette’s portrait. The resulting images are striking. Yvette is poised in all manner of poses, a wind machine blowing her silk costumes into voluminous shapes, her dramatic make-up perfectly framed by an elongated bowl cut. Lit from below like a Degas dancer (although Degas isn’t an influence, there is a triptych in Presage that references Matisse’s Dance, 1910), Yvette improvised theatrical poses and movements for a nine-hour photoshoot. With these photographs as a reference, Yvette began creating her own Presage. First came oil sketches and then larger works. Some paintings have retained her figure, others have completely abstracted her body, with Yvette’s form buried layers underneath. She has let go of her marks somewhat; they are still controlled but less formally precise, centred on capturing energy, hope and transformation—which are not precise things. The paintings are unreserved in their desire to produce reverie. It is telling that Yvette thinks of them partly as Asself-portraits.I’mpreparing to leave Yvette’s studio, she shows me her first self-portrait, an oil painting created at age seventeen. It’s a strange marvel: the ‘normal’ Yvette is in the centre, hair blowing back, and she’s flanked by two other representations of herself. It has an unmistakable 90s, witchy aesthetic. It’s a young artist attempting to capture the psychological, to convey all aspects of one person. And it has abstraction and figuration, alongside a mysticism that isn’t caught in ‘new age’ language or consumerism. In many senses, it’s everything Yvette has been refining these last two decades. TO REQUEST A PREVIEW
45
“The paintings are unreserved in their desire to produce reverie. It is telling that Yvette thinks of them partly as self-portraits.”
EXHIBITION: YVETTE COPPERSMITH, PRESAGE, 25 AUG - 10 SEPT, 2022
+ EMAIL ART@SULLIVANSTRUMPF.COM
Photo: James Retief
Exhibition view, Dawn Ng, Into Air, St Cyprian’s Church, London, 2022
47
Dawn Ng Dedicated to the pursuit of time, Dawn Ng Into Air unites the artist’s carefully interwoven explorations of creation, degradation, dereliction and rebirth. Following on from its recent London debut at St Cyprian’s Church, Marylebone, curated by Jen Ellis, the exhibition embraces its second iteration at Sullivan+Strumpf, Sydney. By Jenn Ellis
+ EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW EXHIBITION: DAWN NG, INTO AIR, 18 AUG – 10 SEP, 2022 Into Air
2022AUG/SEP NgDawn aisthereDeserttheinSomewhere 2022Us,BeforeAcreanandForest printpigmentarchival cm134x174-1Edition cm122x158-3and2Edition proofsartist’s2plus5ofEdition
49 Time—how it flows, echoes, slips, is the subject of Dawn Ng’s seminal first solo show in London, located in the living heritage church St Cyprian’s, Marylebone. As the space’s gothic revival arches curve and meet, they equally cocoon the exhibition Into Air composed of twelve individual works by the leading Singaporean artist. An ambitious assemblage of photography, painting, lightboxes, video and a one-off performance, the oeuvre explores time held in the ultimate ephemeral object that is ice. Set in harmonious dialogue with the church’s grand and minimalist interior, Into Air marks a thoughtful engagement with space and context where each work is apprehended as an individual encounter: how it stands, loiters, hangs, gravitates. From tonality to form, material to mood, Dawn Ng prompts us to reflect on the properties of cyclical passing, how beyond numerical chronology time is a matter of feeling and moment-making. As posed by Philip Larkin in his 1953 poem Days ‘What are days for? Days are where we live.’—Dawn Ng encourages us to revel in the being. Each work, meticulously created with patience, attention, focus and pause, takes as a point of departure a material that in itself is very much living. Ice: something created by nature then humans, enjoyed at leisure or considered hazardous, scarce in tropical places such as Dawn Ng’s Singapore, prevalent in others, such as my native Switzerland, a sign of planetary change. An active material, it is at once emotionally charged and vitally uncontrollable. Yet, Dawn Ng gracefully converes with it, infusing this complex yet simple matter with pigments so that layer upon layer, tone and texture, Time and time over is articulated. An ephemeral foundation for a monumental body of work.
A first encounter is a photographic work. Larger than human height, the work presents a block of frozen pigments. Layered in luscious tones, the ephemeral object is part of a series called Clocks, several of which are placed across the exhibition. Varying in tone, form and scale, each seems to have a particular personality, a sentiment that is reinforced by their distinct titles, each of which are drawn from musical lyrics that Dawn Ng listens to when at her studio. As you read it, you are triggered by chimes, suddenly aware of the church context where sounds travel and one’s presence rings. One also notes how each photograph and lightbox, as every work in the show, is placed within a bespoke wooden structure echoing the language of church pews, which Dawn Ng created with EBBA Architects. Voluminous in presence, each Clocks work is an invitation for you to continue the conversation Dawn Ng has started at the precise slither of time when the topographical blocks are whole before they inevitably dissolve.
Dawn Ng Waterfall VII, 2022 4K video, 25 min Edition of 5 plus 2 artist’s proofs
Dawn2022AUG/SEP Ng Restless Eyes Close Maybe It Will Go Away, 2022 residue painting, acrylic paint, dye, ink on paper 190.5 x 146 cm
Jenn Ellis Philip Larkin, “Days”, Philip Larkin: Collected Poems (Faber Poetry), Faber & Faber, 2003 ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW
From each block of ice’s remaining swirl of tones, a corresponding set of works is born: Dawn Ng’s Ash paintings. The melted pigments receive a form of resurrection through their incarnation as painterly formulae. Each painting is created on a huge dense piece of thick canvas-like paper: crisp yet loose, each abstract surface is both intuitive and delicate. Deeply textural, they evoke the beauty of imperfection, how even the smoothest of skins has crevices or the purest of light has shadow. Akin to giant pages of a book written with brushes in a language all can read, they are each part of a story, the culmination of a journey. Presented upright in a totemic manner as well as laying on the ground, the Ash works physically invite both upwards wonder and a downwards gaze, a circular motion that welcomes glances to where you are more widely: a contemporary instant in the making, a historical site in the Ultimately,harbouring.each element in Dawn Ng’s show is part of a cyclical constellation. Carefully interwoven, Into Air speaks of creation, degradation, dereliction and rebirth. Encountering this body of work is living a day—’how they come, they wake us’—until they do not. Viscerally moving, each work evokes time’s idiosyncratic and pluralistic nature, how it varies between person, location, experience and objecthood. Into Air sings in St Cyprian’s, imbuing its walls and historicity with an ephemeral moment, like a breath, in which one feels and remembers.
2 Ibid 3 Ibid + EMAIL
EXHIBITION: DAWN NG, INTO AIR, 18 AUG - 10 SEPT, 2022
1
51
As each monolithic fragment evolves the colours bleed into a mélange of tinctures. Filmed as they fracture, the millimetric disintegration is captured in Dawn Ng’s timelapse films, one of which is presented in the exhibition in an intimate cuboidal design. Part of a series entitled Time Lost Falling In Love, they remark on time’s fickleness, how it races at moments of fun, slows during instances of boredom, blurs when falling for another. In the context of a global pandemic, the work is deeply empathetic: how more than ever before we became aware of instances, connection, loneliness; how it’s all a matter of scale and personal perspective; how a blip in time may be an eternity for one and an instant for another; how in the context of the universe, we’re but a speckle in its grandiosity.
Exhibition view, Dawn Ng, Into Air, St Cyprian’s Church, London, 2022 Photo: James Retief
55 Exhibition view, Dawn Ng, Into Air St Cyprian’s Church, London, 2022 Photo: James Retief Ng,Dawnview,Exhibition AirInto, 2022London,Church,Cyprian’sSt RetiefJamesPhoto: + EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW EXHIBITION: DAWN NG, INTO AIR, 18 AUG – 10 SEP, 2022
Karen Black Study 3, 2021 20.5 x 16.8 cm oil on Photo:paperSimon Hewson
KB / To keep myself interested, I’ll work on the edge of abstraction and figuration, wondering if the viewer will notice a certain figure or not. Sometimes, I’ll intentionally make marks that are almost notes to the viewer or signs to initiate a certain reading of the work. Mark making and
Karen Black (KB) / I think most painters understand that making their work can quite often be draining emotionally and physically. There are many questions that the painting will throw at you throughout the process and you need to stay fully engaged with the work to come to a resolution and to be making the best decisions for the work. The sense of release comes when the works leave my studio and I’m free to go on with whatever is coming up next.
TF / The abstracted scenes and figures that emerge from the layers of paint not only demonstrate the richness of your imagination, but also allow an audience to draw associations and make their own discoveries, which can contribute to the meaning of the work. Do you intentionally aim to stir this level of engagement and exchange between artist, artwork and audience?
Ahead of her upcoming solo exhibition later this year, Karen Black invited us to an intimate conversation with studio liaison Tiffeny Fayne, discussing her practice, and sharing small works on paper—process paintings that usually remain unseen, but which offer insight into the creative development of the artist’s upcoming body of work.
57
Intimate Renderings with Karen Black
Tiffeny Fayne (TF) / Your art practice draws on your own collected experiences and observations of the world and is often charged with psychological tension. Does the production of such work sometimes feel emotionally draining or do you experience a sense of release?
TF / Is this how your early work on paper was initiated or did this method come about as a result of that work?
TF / What is it that attracts you to this quite delicate paper?
TF / So, you dilute the paint to increase the element of chance and stimulate spontaneous marks?
KB / I add lots of medium in strategic places, to thin the paint out and stain the surface. Also, as the dripping paint sits on the surface, it can spontaneously form interesting marks while it is pooling and drying or dripping.
KB / I love the smoothness of the surface. The paint glides over it in a very sexy way. It also produces a beautiful staining affect when I rub the paint off. It is a great surface for drawing in oil paint, which I love to do.
colours can also be used to inform the composition—to invite the viewer to move in a certain direction around the surface while viewing a work.
Karen Black Study 5, 2021 11 x 29.5 cm oil on Photo:paperSimon Hewson
KB / The early works on paper initially began by mixing colours on a paper palette. I then began to make
2022AUG/SEP
KB / For many years I’ve worked on small pieces of palette paper and small Italian gesso panels in an automatic way, letting the paint make the work. I enjoy pushing and pulling the medium and diluting the oil paint to make interesting marks. I’ll paint single figures that could be worked into larger paintings and landscapes for backgrounds.
TF / Does the subconscious play any part in producing such imagery? For example, through a form of automatic production?
TF / Do you ever recall dream sequences in your work?
KB / Actually, I don’t think I dream at all! If I do, I don’t remember them. Very, very occasionally I’ll wake up in the middle of the night and remember a dream.
KB / There is a kind of zone or space that I sometimes find myself in while painting. It feels like I’ve been somewhere else for hours at a time and it also feels like no time has passed. An interesting space to be working in. Maybe that is me unknowingly accessing my unconscious.
22 DEC, 2022
TF / That’s interesting. It makes me wonder if perhaps you’re dreaming while awake in a way. Maybe you’re tapping into a similar state when working in such an immediate and intuitive way.
KB / I’m working on some large paintings for the November exhibition, upscaling my brushes and trying to be economical with my mark making. I’ve been wanting to have larger negative spaces in the works for some time but never feel brave enough to do this. This is what I am hoping I can achieve in these new works. NOV -
59 paintings from these and started painting on Italian gesso boards as well. I still use both for sketching figures and compositions in paint.
TF / Can you share a little about what we can look forward to seeing in your upcoming exhibition at S+S in November?
+ EMAIL ART@SULLIVANSTRUMPF.COM TO REQUEST A PREVIEW EXHIBITION: KAREN BLACK, 17
Russell Tovey Available from the Sullivan+Strumpf online store: bit.ly/rameshmnbook
Ramesh’s creatures, however experienced, adrenalised, pumping, sexy, are all-consuming. Grounded, stoic and totally present, these nihilistic, demonic goblins engage us with lumpy, spiky, multi-layered drip-drop surfaces. Spliced within a whole pantheon of references: the internet, porn, fashion, art and organised religion, the ever-present artist exposes us to the multiple self, gender-bending, messy and beautifully sex-positive. As if trapped into an improvised acting challenge, only thinking about the making while the making is happening, Ramesh Mario Nithiyendran births and nurtures, with intricate care, thought and attention, an incredibly powerful new voice. Roughedged and riotous, super-charged avatars give us an experience through which a language, continuously playing with form and scale, presents us with a nose-bleed freshness for contemporary portraiture.
Ramesh Monograph Photo: Mark Pokorny
GENDERLESS
2022AUG/SEP
.
MANIACALLY
Ramesh Mario Nithiyendran
.
This book is your flashlight, clasped in shaky sweaty palms, trembling as you pass slowly through the darkest corner of the darkest room, realising the very worst of your night-time terrors. Faced with an army of totemic, maniacally grinning, gold-silver toothed, rabbit caught-in-headlights, genderless monsters. Writhing, beckoning you forward, a welcoming into a frenzied afterlife or simply holding the door ajar, guardians to the messiest, darkest secret warehouse party ever.
writer, podcaster, curator and collector.
61 NIGHT-TIME TERRORS MONSTERS POSITIVE LUMPY ... SEX-
Russell Tovey is a British actor, He
lives in London with his boyfriend, three dogs and an ever-expanding art collection. NIHILISTIC DEMONIC GOBLINS TOTEMIC SPIKY GRINNING
Credits: Photography, Simon Lekias. Stylist, Peter Simon Phillips. Hair, Gavin Ansbury. Make up, Nicole Tompson. www.romancewasborn.com
Distant
Lara Merrett Romance Was Born We celebrate the latest collaboration between Australian artist Lara Merrett and fashion vanguards Romance Was Born for their new collection, Distant Future. Leaning into voluminous silhouettes and radiant colour, the garments will drop online on 25 August 2022 at romancewasborn.com Future
GavinHair,Phillips.SimonPeterStylist,Lekias.SimonPhotography,Credits: www.romancewasborn.comTompson.Nicoleup,MakeAnsbury.
GavinHair,Phillips.SimonPeterStylist,Lekias.SimonPhotography,Credits: www.romancewasborn.comTompson.Nicoleup,MakeAnsbury.
GavinHair,Phillips.SimonPeterStylist,Lekias.SimonPhotography,Credits: www.romancewasborn.comTompson.Nicoleup,MakeAnsbury.
GavinHair,Phillips.SimonPeterStylist,Lekias.SimonPhotography,Credits: www.romancewasborn.comTompson.Nicoleup,MakeAnsbury.
GavinHair,Phillips.SimonPeterStylist,Lekias.SimonPhotography,Credits:2022AUG/SEPAnsbury.Makeup,NicoleTompson.www.romancewasborn.com
2022AUG/SEPTonyAlbertandNellatthelaunchofthe2022QAGOMA ofsupportinAppealFoundation HOSEBIGThe / QAGOMACallistemon,ChloëPhoto:
Ahead of his next solo exhibition at Sullivan+Strumpf and major public art commissions set to open in Brisbane, Tony Albert takes time out with Hannah Sharpe, Gallery Associate at Sullivan+Strumpf, to talk public art, climate and Country, and how they have informed his latest collaborative project with artist Nell at the Queensland Art Gallery | Gallery of Modern Art.
HS / What are your childhood memories of growing up in Queensland during the 1980s? TA / Queensland was such an interesting place to grow up. Politically, it has a conservative history. As an Aboriginal person it was, at times, fraught with complexities. I believe that’s why great art comes out of Queensland. People have something to say that is integrally important because of the way in which we grew up.
In saying that, there’s also something intrinsically special to growing up in Queensland that I have great memories of. We had a lifestyle that was about being outside and eating fresh fruit. It’s a childhood and general history of place that sits on this double-edged sword. We had strong communities because we needed to. We had, I think, a history of political oppression, which made us stronger as people.
Tony Albert: The Big Hose
Hannah Sharpe (HS) / You have several permanent major public art commissions coming up, all this year, all in Brisbane, the town where you grew up. What does that mean to you? Tony Albert (TA) / It’s really great to have the opportunity to respond to a space and place where there’s a familiarity and a sense of belonging, and that’s very much what Brisbane means to me. It’s been an interesting transition, coming back to Brisbane after a decade. Over the past several years, I have primarily been based in Sydney or away on a number of longer international trips. I always knew, however, that Brisbane was a place that I was going to come back to.
HS / A significant project coming up for you is a collaboration between yourself and artist Nell for QAGOMA. The Big Hose is an interactive play sculpture which will sit alongside a stretch of Maiwar (the Brisbane River), a traditional meeting, trading and hunting place for Indigenous people. The monumental sculpture is slated to become a major landmark in Queensland, what sets this iconic work apart for you?
71
Beyond this, on another level, we looked at the landscape and story of place, and envisaged a sculpture that would have deep cultural nuances attached to it—from indigenous history, through to contemporary art history. This work is a real chance for QAGOMA to expand upon its critical engagement with the community.
The Big Hose incorporates the story place of Kuril, the water rat native to Brisbane. They have been reinvented within the context of this work as a climate crusader. They are someone young, passionate and sustainable, who
TA / Firstly, it’s the opportunity to collaborate with another artist. Nell and I shared a studio together for three and a half years in Sydney. We worked closely together and got to know one another so well, not just as contemporary artists but as friends. It is really exciting to bring together our two very unique styles.
HS / Climate change has been an important focus within your practice. How does this work touch on this critical issue whilst remaining fun and engaging for children?
2022AUG/SEP
TA / Climate change is not just important, it’s critical in the situation we find ourselves in. Indigenous people probably have the least to do with the catastrophic nature of climate, yet living in regional and remote communities, we are first to feel the incredible impact that it has not only because of location but because of our connection to land and Country, a history which imbues us with caring for Country over centuries. People are looking to Indigenous communities to understand the complexity of the problem and to investigate how can we go back to Indigenous knowledges and ways of thinking to find solutions.
The Big Hose is an interactive sculpture with a very special personal quality. It brings children and families into an imaginary playscape. Nell and I wanted to create a universal and accessible work that connects people and sparks a sense of wonder, curiosity, contemplation and joy.
73 shares knowledge about how to impactfully change how we look at the land under us—the ways in which we utilise it, and also how we should care and acknowledge it.
Appeal is raising funds to commission The Big Hose—a monumental play sculpture that will bring joy to visitors of all ages. Help bring this landmark sculpture to life by making a donation: Tonyqagoma.qld.gov.au/2022appealAlbertisrepresentedbySullivan+Strumpf, Sydney. Nell is represented by Station Gallery, Sydney and Melbourne.
“We feel honoured to be creating a public artwork that prioritises children’s learning, celebrates their inquisitive nature and continues QAGOMA’s dedication to excellence in engaging with children and their families.’ — Tony Albert (Brisbane, Girramay/ Yidinyji/Kuku Yalanji peoples) and Nell (Sydney).”
Kuril’s ‘hose hideout’ is the first activation and encounter within the sculpture. The oversized nature of the hose creates a playfulness. There is no tap attached. The illusion of water has always been at the heart of the concept, not the use of water. It is educational and also presents an imaginary glimpse of what the future might hold. Weather, summer, heat and water are all synonymous with Queensland life. With climate change, growing infrastructure and changing landscapes, Kuril’s ‘hose hideout’ questions what areas our native animals will inhabit as their own habitat diminishes due to humanmade QAGOMA’sinterventions.2022Foundation
The Big Hose Tony Albert and Nell artwork render Image courtesy QAGOMA
The Big Hose Tony Albert and Nell artwork render Image courtesy QAGOMA
2022AUG/SEP
Liz Nowell, Director of the Institute of Modern Art, Brisbane
Photo: Sia Duff
Last Word: Liz Nowell, Director, Institute of Modern Art, Brisbane
Liz Nowell sits down with Joanna Strumpf to talk about future directions and exciting upcoming projects at Australia’s oldest independent contemporary art space, plus what’s on in Brisbane!
77 Tay Haggarty, Brisbane Art and Design, performance, 2021. Photo: Joe Ruckli
Liz Nowell is an arts leader and curator with over ten years’ experience working in Australian and international contemporary art. Before joining the Institute of Modern Art in 2019, Liz was the founding CEO of Adelaide’s leading contemporary art space, ACE and Executive Director of the Contemporary Art Centre of South Australia. Nowell has recently curated major exhibitions Invisible Border: Khadim Ali (IMA, Brisbane and UNSW Galleries, Sydney) and CREATURE: Marianna Simnett (co-curator, IMA, Brisbane and City Gallery Wellington).
Joanna Strumpf (JS) / Liz, you have steered one of Australia’s premier independent institutions through a tumultuous last couple of years, only a year after taking the reins. I wonder what has changed, what is next and what is new, now audiences are back? Liz Nowell (LN) / I think everything has changed, not just for the IMA, but for the world and our sector. I certainly feel that for organisations the past two years have been a time of deep reflection and introspection—particularly when we think about building more equitable, sustainable, and resilient futures. The task now is to consider how we might translate these thoughts into action. At the heart of it, we need to be guided by the ideas and visions of artists. Artists always have the answers.
JS / What are some exciting, upcoming IMA projects that you can tell us about?
Moving forward, I’m excited about reengaging internationally. I’ve just returned from a trip to Europe, where I met with curators and colleagues in Venice, Paris and Berlin. There is a genuine enthusiasm to collaborate with Australian artists and organisations, and I’m really excited by the possibilities these connections will present.
LN / Immediately, I’m excited about our forthcoming exhibitions—particularly Natalya Hughes’ project The Interior, and Gordon Hookey’s survey exhibition A MURRIALITY, co-commissioned with UNSW Galleries, Sydney. These two artists exemplify the calibre of contemporary visual arts practice in Queensland, and I’m thrilled both projects will undertake extensive national tours following their presentation at the IMA.
Right now, at the IMA, we are just enjoying connecting with audiences again. As you said, it has been such a tumultuous two years—most recently with the floods in Brisbane – and it’s no secret that it’s been disruptive to organisations, audiences and artists alike. It’s only been the past 2-3 months that things are starting to feel a little bit more ‘normal’, and I can’t tell you how satisfying it is to see audiences engaging with contemporary art and artists again. It might sound strange to say, but I don’t think I realised how intrinsic audiences were to our work, until they were taken away.
Exhibition view of Invisible Border featuring the work of Khadim Ali, Institute of Modern Art, Brisbane, 2021. Image courtesy the IMA, Brisbane.
Photo: Marc Pricop
2022AUG/SEP Natalya Hughes Black Snake!, 2021-2022 Tufted rug (cotton and wool yarn, backing cloths, adhesive) 130 x 81 cm Edition of 3 plus 1 artist’s proof Photo: Charlie Hillhouse
Photo: Marc Pricop
JS / What is it about the Brisbane arts scene, and Brisbane artists, that collectors and audiences should know about?
LN / That it is an incredibly dynamic and exciting scene to be a part of. For a city of only two million, Brisbane really punches above its weight when it comes to visual arts and artists. I am always impressed by how collegiate, intergenerational, and community-oriented artists here are. More importantly, as I mentioned earlier, the calibre of practice is second to none, and there is a strong current of activism that runs through the local arts scene. I think that speaks to the political history of the state, and it has resulted in a culture of criticality, excellence and resistance that isn’t quite the same elsewhere in Australia.
JS / What does the IMA team do together to unwind? Exhibition view of Jenn Nkiru, Rebirth is Necessary, Institute of Modern Art, Brisbane, 2022. Image courtesy the IMA, Brisbane.
I think one of the best things of late has been welcoming artists back onsite to oversee the installation of their work and to attend openings. There was a while there, during 2020 and 2021, where we were hosting exhibition openings without many of the artists being able to attend. Having them present now has been such a joy for the whole team, which makes our jobs all the more rewarding.
LN / There is a lot of cake baking in the office! Lately, it seems like everyday someone has brought in baked goods for the team to try. But more recently, we had an afternoon picnic on my balcony. It was long overdue, and with everything going on in the world, it was so nice to reconnect and eat baked goods together in a different environment.
LN / Critical information, totally agree. Best lunch spot in Brisbane: Florence Café. Best Friday night haunt: can I have two? Agnes for food, and Maker for cocktails. Favourite weekend hang out: any one of the hundred or so bush walks within 20kms of Brisbane’s CBD.
JS / Now this is critical information for everyone: What is your favourite lunch spot in Brisbane? Favourite Friday night haunt? Favourite weekend hang out?
JS / Finally, your most valuable moment since taking the role? LN / That is such a hard question to answer! I’m not sure if there has been a single moment I can point to. Rather there are many projects, experiences and connections that I’ve treasured over the past three years. I think, most of all, I really valued our COVID-19 project Making Art Work, which supported new commissions by over 40 artists and collectives. It was a truly collaborative project that felt so innovative and experimental, and I think ultimately a project that embodied the spirit of the IMA.
81
2022AUG/SEP
Exhibition view of Natalya Hughes The Interior at the Institute of Modern Art, Brisbane. Photo: Charlie Hillhouse.
83
Natalya Hughes Involuntary Movement of the Eye, 2021 (detail) tufted rug (cotton yarn, backing cloths, adhesive) 127 x 85 cm Edition of 3 plus 1 artist’s proof Photo: Charlie Hillhouse
Photo: James Caswell
85 This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. The IMA is supported by the Queensland Government through Arts Queensland, the Australian Government through Australia Council for the Arts, and the Visual Arts and Craft Strategy, an initiative of the Australian Federal, State, and Territory Governments. The IMA is a member of Contemporary Art Organisations Australia. Institute of Modern Art 420 Brunswick St Fortitude Valley QLD ima.org.au Natalya Hughes The Interior This forthcoming publication explores interrelated strands in the artist’s recent practice that reappraise male modernists Freud, Kirchner, and de Kooning and their complex female subjects. The Interior is designed by EviO Studio, Sydney and will be published by the Institute of Modern Art, Brisbane in October 2022. Available for shop@ima.org.aupre-order: Natalya Hughes in studio
a ‘22septartcontemporarygathering:30-oct3 polly borland Morph 25 The inaugural gathering in 2022 will bring together local and internationally acclaimed artists to celebrate creativity, culture and diversity on Bundjalung Country. Visit art-byron.com.au for a full program and event information
2022AUG/SEP
2022AUG/SEP Up Next SYDNEY CONTEMPORARY 08.09.22 – 11.09.22 NATALYA HUGHES 22.09.22 – 15.10.22 LARA MERRETT 20.10.22 – 12.11.22 TONY ALBERT 29.10.22 – 26.11.22 KAREN BLACK 17.11.22 – 22.12.22
91 SYDNEY 799 Elizabeth St Zetland, Sydney NSW 2017 PAustralia+6129698 4696 E art@sullivanstrumpf.com SINGAPORE P +65 Megan83107529Arlin|Director, Singapore E megan@sullivanstrumpf.com
