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Artist ProfileArtist Profile

Artist Profile Issue 42

Artist Profile is a leading quarterly journal taking its readers into the studios and minds of contemporary artists across Australasia and beyond. Industry professionals engage leading practitioners and emerging talent in conversations about their art, in their own words, while our exclusive photo shoots provide intimate access into artists’ personal and working lives. Readers gain knowledge of artists’ methods, preview works in progress and discover the life experiences that ignite artistic imaginations.

Country:
Australia
Language:
English
Publisher:
Artist Profile Pty Ltd
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4 Issues

IN THIS ISSUE

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contributors

THE AP TEAMEDITORKon Gouriotisartistprofile@nextmedia.com.auART DIRECTORKim Gregorykgregory@nextmedia.com.auDEPUTY EDITORElli Walshewalsh@artistprofile.com.auINTERNATIONAL ARTS WRITERLucy StrangerSUB-EDITORJamie McIlwraithCONTRIBUTORSCAMILLA WAGSTAFF is a Sydney-based writer specialising in arts and cultureBRIDGET MACLEOD is an arts writer and curator. She is the Gallery Officer at Shoalhaven City Art Centre, NowraJUDITH PUGH is a regional NSW based writer. She is doing a doctorate on Commonwealth visual arts fundingLOUISE MARTIN-CHEW is a PhD candidate at the University of Queensland; louisemartinchew.comLOUELLA HAYES is a Perth-based arts writer and gallery administratorFULVIA MANTELLI is associate curator at the Anne and Gordon Samstag Museum of Art in AdelaideKATRINA NOORBERGEN is an arts writer currently completing her masters in art curationJELLE VAN DEN BERG is an artist based in New South WalesANN FINEGAN is a writer and educator based in Central West New South WalesTED SNELL is…

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editor's note

01 Franck Gohier, Feral, 1995, synthetic polymer paint on aluminium with bullet holes, 90 x 80cm (Courtesy the artist. Story page 82.)MANY OF THE ARTICLES IN THIS issue of Artist Profile are concerned with the evolving nature of artists’ practices and the cycle of curatorial presentations. The daily uncertainty of making art is matched by the need for an audience to receive their art.“Everyone likes to remember the big things, but they’re not what make up the days,” Honor Freeman tells Fulvia Mantelli. Her ideas and objects are drawn from the everyday of domestic and industrial objects, and yet evolve from one piece to the next in an unusual but insightful way. The way some ideas and objects are interpreted highlights whether there is an audience commitment to a variety…

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portraiture in non-objective art

LUCY: JUSTINE, DID YOU EXPECT CONTROVERSY?Justine: I knew there wouldn’t be other portraits like mine in the award. There were of course portraits that obscured the face, or rendered somebody quite vaguely. My work, in seeking to portray the relationship between my grandmother and myself, took it to that next step, by not including a recognisable face. When the Sydney Morning Herald contacted me, I thought they wanted a little story in the art pages as they would with any photographic or art awards. When I woke up the next morning, to find a controversy on the front page, it was a bit of a shock.Kon: Is portraiture possible in non-objective art?Andrew: Absolutely not. It depends on the definitions of portraiture and non-objective art. Portraiture is perhaps fluid and porous,…

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george tjungurrayi

02 George Tjungurrayi, courtesy the artist and Papunya TulaIN AN INDUSTRIAL WAREHOUSE IN SYDNEY’S Alexandria, a slice of the Western Desert radiates and shimmers off an unstretched canvas in the centre of the room. It’s a seductive, optical ballet that characterises the work of Indigenous painter George Tjungurrayi. But the swimming, shifting forms that mesmerise are only one part of the magic to be discovered here.Tjungurrayi is a Pintupi man from the Western Desert, around six and a half hours west of Alice Springs. Though he lives and works in Kintore, the place he associates with most is Wilkinkarra; an enormous, arid salt lake surrounded by rolling sand hills and vast desert flats. Wilkinkarra is an important site for many Pintupi men and women, and plays a central role in…

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consuelo cavaniglia

02 In the distance a pool of light was not what it seemed, 2015, installation view, Perth Institute of Contemporary Arts, photographer Alessandro BianchettiYOU’VE BEEN TRAVELLING FOR A FELLOWSHIP?Yes, I was awarded the Create NSW Visual Arts Fellowship (Emerging) in 2016, which took me to New York and Milan to view specific collections and works, followed by time in Berlin to work with experimental musician Robin Hayward on a collaborative project that explores the relationship between sound, materials and colour.Being able to see things first-hand is a reminder of how limiting it is to only experience works through reproduction, whether that be online or in print. Seeing the work, its connection to space, lighting and an audience, gives you a different understanding of the aims, tactics and impact. For example…

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dale frank

01 Untitled, 2016, compression foam, pigment tinted cast resin on aluminium table, 240 x 120cm02 Dale dug a hole, 2017, dyed hair wigs on Perspex, 200 x 200cm03 Her face was like a pathologists knife cutting across a dank languid fish, 2015, varnish and turpentine on Perspex, 200 x 160cmWHAT WERE THE YOUNGER DALE FRANK’S INTERESTS?David Bowie, Lou Reed, Television’s album Marquee Moon, Karl Heinz Stockhausen, Beethoven, geology, geography, maps of all kinds, European history, Napoleon, Hitler, Modern Art, all modern architecture (except Frank Lloyd Wright), Shaun Cassidy, physics, astronomy, Kenya, Tanganyika, Mark Rothko, everything on television, all movies, astrology (especially Virgo with Scorpio rising), exotic gardening, Dunhill and Kent cigarettes, money.Were you inspired by any teachers?No. From the age of 15, my high school art teacher Robert Robertson, also…

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