Saturday, 2 June 2018


Meredith Turnbull

March - July 2018
The Ian Potter Museum of Art

University of Melbourne Art Collection

Artist Talk; Writing & Concepts, Thursday 31 May 6pm

Ideas, concepts, statements to ponder from from Turnbull's talk:
  • material is utilised then arrested 
  • practice is an expanded vision of the object 
  • object has agency
  • should an object designed for use be touched? In the museum context we look > imagine > its use & function
  • importance of scale
  • installation has a sense of promise
  • object & space are in active relationship
  • installation is an equation of OBJECT + MATERIAL + TIME + SPACE
  • ref to Liubov Popova, Russian Productivist artist especially dress desig

Greg Daly, No Title [stoneware form], 1977

Joan Campbell, Untile [large sphere], 1971
Following three photographic arrangements of Campbell & Daly's vessels

[Stephen Benwell, Untitled 1980], 2018, archival pigment on paper
[Alan Peascod, No title, 9urn0, 1977], 2018, archival pigment print on paper

Alan Peascod, No title [urn], 1977, stoneware

Stephen Benwell, Untitled [stoneware just], 1980, stoneware 

Quotes from wall text:

Meredith Turnbull brings together visual art, design and craft languages in her artwork, she reorders ideas of discipline and value. 

In Closer, Turnbull has been invited to explore and respond to the rich array of decorative art objects in the University of Melbourne Art Collection. Turnbull has created an installation environment that displays selection from the Collection on furniture designed by the artist, along photographs of the objects which obscure differences in scale and encourage the view to look back and forth between image and original.

Turnbull's election range from antiquity to the current day. 

This could be a ceramic pot with a surface that looks like folds of fabric or water rushing over rock. These are special objects with personalities or visceral qualities that we can feel just by slowing down and looking more closely. 

Closer is a reflect on the use-value, decoration and the formal qualities of these exquisitely shaped and detailed objects. The title of the exhibition plays upon the artist's desire to have a close encounter with the items that can no longer be touched for conservation reason. It begs the question , its it sometimes easier to closely observe collection objects throughout, photographs, while we maintain a safe distance from the originals.

The decorative arts have traditionally been differentiated from fine art due to their consideration of function alongside aesthetic concerns. Turnbull is interested in items that hover between utility and excess. 

...displayed here, they are even further removed from their original function. In their new status as collection objects they are in the Artist's words, 'both inside and outside of time'. By combining objects of disparate style and time period within the unifying field of an installation, Turnbull obscures their original contexts, while encouraging the viewer to contemplate their individual characteristics. 

DAMP, Grecian pattern plate, 2012, acrylic paint on stoneware, polymer adhesive.

Friday, 1 June 2018

New Histories

New Histories

13 April – 29 July 2018

Bendigo Art Gallery
In New Histories contemporary artists reimagine ten historic works from the 19th and early 20th century Australian and European collection of Bendigo Art Gallery. Informed by technological, social, environmental, political and historical events that have occurred since the original work’s creation, artists in the exhibition revisit interpretations of Australian and European histories through the lens of contemporary culture.
Working across mediums of performance, sound, film, painting and textiles, historic and contemporary artworks will be reframed in a series of installations throughout the contemporary and heritage courts of the Gallery. New Histories challenges the nature of art as historic record and the role of the artist and the museum as documenter, and commentator of the world.
Established in 1887, the Bendigo Art Gallery was founded by the predominately white German and British wealthy colonials. With a particular euro-centric investment, these men had a vision of 'art for the people'.The legacy of this early colonial agenda remains the core of the Bendigo Art Gallery's 18th and 19th century collection of cultural objects that reflect the interested and homelands of the new colonists and favours a 'Terra Nullius' narrative. (wall text)
Denis Chapman
Seecum Cheung, Maike Hemmers, Pilar Mata Dupont, Isabelle Sully, and Flora Woudstra
Gabrielle de Vietri
FAMILY FIRST! (Devon Ackermann & Paul Yore)
Juan Ford
Andrew Goodman
Bridie Lunney
Phuong Ngo
Jacques Soddell
Christian Thompson
CuratorJessica Bridgfoot

Thomas Sheard, The Arab Blacksmith, c1900
Juan Ford, Inappropriator, 2018

Carl Hoff, The Golden Wedding, 1883

FAMILY FIRST! (Deveon Ackermann & Paul Yore), The Birth of a Nation, 2018

Denis Chapman, I forgot to remember (The most organised violence in the world), 2018

Albert Chevallier Tayler, Gentlemen, 'the Queen', 1894

Emma Minnie Boyd, Afternoon Tea, 1888

Andrew Goodman, Untitled (afternoon tea 2188), 2018

Agnes Goodsir, Girl with Cigarette, c1925
Seem Cheung, Maike Hmmers, Pilar Mata Dupont, Isabelle Sully, Flora Woudstra,
Attending to Agnes, 2018, video projection


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