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category_outlined / Art & Architecture
Artist ProfileArtist Profile

Artist Profile Issue 43

Artist Profile is a fresh, imaginative magazine recording the personalities of leading artists and rising art stars that fill the visual arts and inspire a new generation of art lover. The magazine features intimate studio portraits, artists' working environments, leading opinion writers, previews of major public gallery exhibitions, feature articles on international artists and events, book reviews and more.

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

IN THIS ISSUE

access_time1 min.
contributors

THE AP TEAMEDITORKon Gouriotisartistprofile@nextmedia.com.auART DIRECTORKim Gregorykgregory@nextmedia.com.auDEPUTY EDITORElli Walshewalsh@artistprofile.com.auINTERNATIONAL ARTS WRITERLucy StrangerSUB-EDITORJamie McIlwraithKATRINA NOORBERGEN is an arts writer based in SydneySONIA LEGGE is an art adviser, valuer and writer based in SydneyDR ASHLEY CRAWFORD is a Melbourne-based arts journalist; cargocollective.com/ashleycrawfordKIM GUTHRIE is a photographer based in the Gold Coast, Qld; kimguthrieaustralia.comH. R. HYATT-JOHNSTON is an artist and writer based in SydneyMICK RICHARDS is a Brisbane-based freelance photographer and filmmakerSTEPHEN OXENBURY is a Sydney-based photographer; www.stephenoxenbury.comCONTRIBUTORSBRIDGET MACLEOD is an arts writer and curator based on the South Coast of NSWDR JUDITH PUGH is a regional NSW based arts and cultural writerLOUISE MARTIN-CHEW is a PhD candidate at the University of Queensland; louisemartinchew.comLOUELLA 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

01 Wendy Sharpe, installation view, Clayton Utz, 201802 Bruce Cooper (left) and Max GermanosIN 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…

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.02 Pink and yellow flowering eucalyptus, 2017, oil on linen, 76.5 x 61.5 cm, private collection, Melbourne03 Banksia on black, 2017, oil on linen, 76.5 x 61.5 cm, private collection, Melbourne04 Blue agapanthus, 2017, oil on linen, 76.5 x 61.5 cm, private collection, MelbourneYOU 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,…

access_time5 min.
simon blau

02 Horse Costume, 2017, acrylic on linen, 122 × 152 cm03 A man wearing a suit and gloves and leaning to his left, 2017, acrylic on canvas, 122 × 101 cm04 Saw the leg off a table, 2008, acrylic on plywood, 61 x 41cmWHERE 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…

access_time13 min.
raquel ormella

All these small intensities (details), 2017, silk and cotton embroidery thread on linenWHAT 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.…

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