Last Word:Liz Nowell, Director, Institute of Modern Art, Brisbane

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).

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!

Tay Haggarty, Brisbane Art and Design,performance, 2021.

Photo: Joe Ruckli

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.

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.

JS / What are some exciting, upcoming IMA projects that you can tell us about?

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.

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.

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

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

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 / Now this is critical information for everyone: What is your favourite lunch spot in Brisbane? Favourite Friday night haunt? Favourite weekend hang out?

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 / What does the IMA team do together to unwind?

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.

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.

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.

Exhibition view of Jenn Nkiru, Rebirth is Necessary, Institute of Modern Art, Brisbane, 2022. Image courtesy the IMA, Brisbane.

Photo: Marc Pricop

Exhibition view of Natalya Hughes The Interior at the Instituteof Modern Art, Brisbane.

Photo: Charlie Hillhouse