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Artist ProfileArtist Profile

Artist Profile Issue 43

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

access_time1 min.
contributors

THE AP TEAM EDITOR Kon Gouriotis artistprofile@nextmedia.com.au ART DIRECTOR Kim Gregory kgregory@nextmedia.com.au DEPUTY EDITOR Elli Walsh ewalsh@artistprofile.com.au INTERNATIONAL ARTS WRITER Lucy Stranger SUB-EDITOR Jamie McIlwraith KATRINA NOORBERGEN is an arts writer based in Sydney SONIA LEGGE is an art adviser, valuer and writer based in Sydney DR ASHLEY CRAWFORD is a Melbourne-based arts journalist; cargocollective.com/ashleycrawford KIM GUTHRIE is a photographer based in the Gold Coast, Qld; kimguthrieaustralia.com H. R. HYATT-JOHNSTON is an artist and writer based in Sydney MICK RICHARDS is a Brisbane-based freelance photographer and filmmaker STEPHEN OXENBURY is a Sydney-based photographer; www.stephenoxenbury.com CONTRIBUTORS BRIDGET MACLEOD is an arts writer and curator based on the South Coast of NSW DR JUDITH PUGH is a regional NSW based arts and cultural writer LOUISE MARTIN-CHEW is a PhD candidate at the University of Queensland; louisemartinchew.com LOUELLA HAYES is a Perth-based arts writer…

access_time2 min.
editor's note

‘JUST LET IT GO’ ASKS THIS ISSUE’S cover artist, Raquel Ormella, in the wonderful embroidery above. Like most of Ormella’s works it has a suspenseful relativism which charms us. Ormella’s strength is to set aside her own biases so as to place views, as well as actions, in their contexts. The phrase illustrated here could apply to anything: something dangerous or merely irritating, even stupid. But should we ‘just let it go’? For H. R. Hyatt-Johnston, too much work and too many people in the NGV Triennial was too big of an issue to ‘just let it go’. Nor was Hyatt-Johnston able to say nothing about the failure of Mami Kataoka’s 21st Biennale of Sydney to produce a printed catalogue. It’s too strange to ignore, particularly considering that Kataoka presented such…

access_time11 min.
art finds a new audience

IN AN ERA WHERE THE ONCE-NARROW WHITE CUBE walls of art exhibiting are expanding into a multi-levelled edifice – from digital galleries to commercial spaces and ‘pop-ups’ – art is finding new audiences in fresh places. One such setting is inside the glass-clad façade of one of Australia’s leading law firms, Clayton Utz, where an initiative with 3:33 Art Projects is changing the face of corporate art displays. The concept of ‘corporate art’ is not a new one, and some of the world’s best art collections belong to businesses such as Deutsche Bank, UBS and Bank of America Merrill Lynch. But Clayton Utz is doing things differently. The firm is hosting regular six-monthly exhibitions, partnering each time with two or more artists at different stages in their careers, and also establishing…

access_time6 min.
adam pyett

I’m also interested in wthe idea, best expressed by David Hockney, that once he has drawn something then he will always know it, and can draw it again. YOU HAVE SAID YOUR WORKS ARE PRIMARILY ABOUT painting. Why did the still life genre become the best way to explore this for you? I’ve always loved painting, looking at great paintings and trying to make great paintings. That was always my ambition, even before art school. The still life format came about organically in the studio. I was painting abstractly, this is maybe fifteen years ago, and I found that I was struggling to produce interesting works. Through discussions with friends and other painters the idea came to me that I just didn’t have enough content to inform the painting, so I used…

access_time5 min.
simon blau

WHERE DID YOU STUDY? I went to the VCA (Victorian College of the Arts) and got in, really, by default because someone dropped out. I ended up staying five years, I enjoyed it, and it was the Whitlam period: free education! You went on to have 14 solo exhibitions with Stephen Mori, from 1981–2003. At Stephen’s there were a lot of interesting artists – Narelle Jubelin, Tim Johnson and Euan Macdonald. It was a good vibe, the atmosphere was intense, it’s hard to describe it. I don’t see myself as intellectual, but it was pretty intellectual at times! It kept you on your toes thinking about the nature of art, what you’re involved with, and why. Your work has gone Figurative–Abstract–Figurative. I exhibited semi-figurative paintings to begin with, and then did more hard-edge work. I…

access_time13 min.
raquel ormella

WHAT CAN VISITORS EXPECT FROM YOUR UPCOMING Shepparton Art Museum national tour? This survey draws on work from a twenty-year period, though the majority have been made in the last six to seven years, but it includes key works such as the drawings on whiteboards I made in 2008, ‘Wild Rivers: Cairns, Brisbane, Sydney’. There are two new works; one is City Without Crows, a performance that I’m reworking into an installation, video and drawings; the other is All these small intensities, a series of small hand-stitched embroidered works, which are now a 3-D installation. Is your changing scale determined by your ideas or other factors? It’s definitely to do with the idea, partly with the labour involved, and studio size. I was 2016 artist-in residence at Artspace (Sydney); the studio there is…

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