Innholdsfortegnelse for 30 i Artist Profile

THE AP TEAM EDITOR Owen Craven ocraven@nextmedia.com.au ART DIRECTOR Vincent Rommelaere vrommelaere@nextmedia.com.au EDITORIAL COORDINATOR Lucy Stranger artistprofile@nextmedia.com.au SUB-EDITOR Jamie McIlwraith CONTRIBUTORS CAMILLE LIU NOCK is a freelance writer based in Sydney. She is a graduate of Art History and Theory from the University of Melbourne. ELIZABETH FORTESCUE is a visual arts writer for the Daily Telegraph, Sydney; Australian correspondent for The Art Newspaper; and founder and author of www.artwriter.com.au JANE SOMMERVILLE is a freelance arts writer and editor based in Sydney. JOE FROST is a painter, arts writer and lecturer at The National Art School, Sydney. He is represented by the Watters Gallery, Sydney. www.joefrost.com.au TOM CARMENT Tom Carment is a Sydney-based artist and writer. His latest book is Seven Walks – Cape Leeuwin to Bundeena. LUCY STRANGER is a…

Kylie Banyard works across a multitude of media: painting, photography, video and installation. Her art creates other worlds, repurposing objects and spaces from the past to imagine an alternative existence to the present. Her recently completed PhD – Imagining Alternatives: Gazing at the contemporary world through figurations of the outmoded – saw Banyard immerse herself fully into examining these alternative ways of being . CAN YOU TELL me about your interest in objects from the past and how they influence your practice? Central to my practice is the seemingly disparate and at times uncanny relation between technical obsolescence – understood as remnants or objects from the past – and visual nostalgia, as a type of retrieval of former ideals. For me, the outmoded objects and ideas given new life in…

Known and loved for his expansive mind-maps that loop towards all four edges of the page, Bruce Petty is not only one of Australia’s foremost political cartoonists, he is a visual thinker who has invented unique forms to probe the social and political issues of our time. His drawings of the machine as a metaphor for human relations remain some of the most distinctive images of Australian life of the ’60s and ’70s, and as a filmmaker he continues to experiment with a unique blend of animation, satire and documentary. With more than a dozen books to his name and just as many films, plus a flush of awards including the Oscar awarded to Leisure in 1976, the 85-year-old is a regular contributor to The Age and is working on…

WHEN ROY JACKSON died in July 2013, aged 68, we lost a unique voice in Australian art. His remarkable achievements are celebrated in Roy Jackson – Retrospective 1963–2013, an exhibition curated by Sioux Garside and Terence Maloon which opened at the ANU Drill Hall Gallery, Canberra in late 2013, and is now being reconfigured in Sydney at the S.H. Ervin Gallery from 27 February – 12 April, 2015. The exhibition will then tour Tamworth, Wollongong, Orange and Maitland throughout 2015–16. A monograph of Jackson’s work, published by ANU Drill Hall Gallery Publishing, will be launched in March 2015. In planning the retrospective and book, Terence Maloon interviewed the artist at his home over several weekends. I am grateful to Maloon and Maggie Bassendine, Jackson’s partner and trustee of the Roy…

Certainly Lucio and his restaurant are a culture in crucible form. It is a wholly unique experience (entirely addictive) to dine in a haven of the world’s finest food and wine and swaddled in the cream fat of Australia’s most loved artists. There is an uplifting atmosphere at Lucio’s restaurant which is paradoxically met with the refinement and elegance that frames the whole scene. Far from the cliché of the stuffy high-class, two-hat, Michelin starred nosheries where a pin may be heard dropping in the kitchen, Lucio’s waiters and family welcome and serve with a perfectly choreographed warmth and genuine love of their product and guests. I guess that is in a nutshell why Lucio received an Order of Australia for his services to the industry and to the arts;…

MOST OF US know the bones of the story of Albert Namatjira. It is one of those iconic tales, which, in the manner of Chinese Whispers, has been distorted and simplified down the years. Previous to the TV and digital age no Indigenous person has been quite so famous; and no Australian artist had been so well-known, with his imagery so widely reproduced. Especially in the post-war years, Namatjira’s outback arcadias cut a window into thousands of suburban lounge room walls. There was a period when Namatjira’s popularity served him ill amongst some in the arts community, when modernists were looking to America. The trope of those most reproduced landscapes, with a tree on the left or right with blue ranges beyond, was felt to be kitsch. The full variety…

My creative practice responds to my subjective experiences with found photographs. It is the poignant effect of found photographic images, particularly in relation to the passing of time that guides the process of selecting source material for my work. Despite negotiating photography, I am not a ‘photographer’ as such. My practice extends across media such as painting, drawing, sculpture, video, installation and photography. I respond to source material in a variety of ways. I create portrait paintings (such as Missed Encounter (Opalka)), sculptures (such as Missed Encounter (In Memoriam)), performance videos and photographs, monochromatic paintings and more. In contrast to the serious nature of my work’s content, discovering which form an idea will take is a form of play and is what keeps me in the studio making. The works…

OUR COVER FEATURE for this issue is Sophie Cape. A professional athlete – competing in downhill skiing before transferring to sprint-race cycling – she was forced into an early retirement weeks before the 2008 Beijing Olympics. This created a juncture in Cape’s life that saw her invest herself fully into a lifelong passion for art and painting. She enrolled at the National Art School, Sydney and there began the evolution of her practice to what we know and see today. My interview with Cape discusses the physical and emotional connection to her art making and how her past informs her deeply personal, reflective and energetic work. Also in the issue, we feature the transcript of recent conversations between Elizabeth Fortescue and celebrated Australian artist Colin Lanceley, who sadly passed away…

Well-known Sydney restaurateur Lucio Galletto has made a successful career of serving elegant Italian food to Sydney’s political elite, media and especially the country’s finest artists. Born in a small Italian village on the coast of Liguria, Lucio Galletto OAM came to Australia in 1977 and has, since then, been influencing both Australian palates and palettes. There wouldn’t be many of Australia’s great artists in the last 35 years to whom Lucio hasn’t served an anti pasti plate at his Paddington establishment. In his new book, The Art of Traditional Italian, Lucio celebrates authentic Italian cuisine, which is close to his heart, but the book also incorporates the works of his artist friends who have all contributed original art to the splendid design of the book. Art and artists have…

ON AN UNSEASONAL chilly Friday evening in October 2014 a predictably large crowd gathered in ALASKA Projects’ unique car park setting to witness the release of Sydney artist Philjames’s first monograph. Huddled together, the audience listened to the editor of Sarsaparilla Press, Kate Andrews-Day explain why, in this era, anyone would set out to publish a hard copy publication about an artist, let alone a young artist, when so much of their work appears online. Andrews-Day explained how, amongst other reasons, as the project was partially crowdfunded the demand was still alive and well. For readers of art publications, there is surely some comfort in these words. The book opens with an informative note by Andrews-Day and an introduction by ALASKA’s director Sebastian Goldspink, whose unhurried words describe Philjames primarily…

6–29 March, 2015 Art Month returns this March, inviting you to meander through its galleries and into the flux and flurry of Sydney’s art conversations. Under the artistic directorship of curator Glenn Barkley, 2015 brings a new and exciting program with a passion for connecting and collaborating with living artists to the theme ‘Where Art Happens’. This direct and to the point mantra sets the scene for an illuminating month, with Sydney-based artists and their respective galleries taking centrestage. “The relationship between artists, their creative processes and the galleries that support them is the focus for this year’s festival, and over 100 galleries will participate in a wide variety of ways that will allow artists and their stories to really come to life,” says Barkley. A highlight of Art Month…

While emerging artist Justin Williams considers himself to be an outsider of sorts, he gives reason to celebrate life on the outside. Growing up in the Dandenong Ranges of Victoria, Williams was exposed to the fascinating lives and stories of those who subsist on the periphery of society. His subject matter in turn appreciates the curiosities of mystifying cults and phantom panthers. These stories imbue the surfaces of his smoky ink faces on paper, his pellucid figures on canvas or his dappled stoneware ceramic sculptures. Furthermore, Williams strives to venerate the wonder of imperfection and explore an array of varied styles. With this, and his partnership with Anna Pappas Gallery in Melbourne, Williams is establishing himself as a young and exciting Australian artist to look out for. Can you tell…

“I was born in Calabria but I’ve been in Australia from the age of nine. Lucio comes from Liguria which is a very different part of Italy, but it has the same spirit. We’re lucky to have him here as an enrichment of our way of life. I met him in 1993, when my agent brought me here. It was an enlightenment to see how generous he was of himself. The atmosphere was light and friendly, and I liked the food … He’s an artist with food, which is just as important as painting. Lucio is one of the few who has been able to blend art and food. Other people get bogged down in wanting money, money; sometimes they cut corners or they’re aggressive. Lucio has been able to…

TO DEFINE ONE OF Australia’s most colourful personalities is no easy feat. However, rather than baulking at the challenge, Darleen Bungey in her biography of John Olsen embraces the man and the flux and fluidity that characterises his paintings, in this landmark portrait of his life. Starting from a blank canvas, we gain a look into the artist’s beginnings, born into a working class family in Newcastle, and their various homes across NSW. Perhaps it was this early nomadic lifestyle that influences the itinerant and roving journey of Olsen’s life – outlined by the expressive, wandering and flirtatious line that came to shape his practice. Drawing attention to the critical landmarks of inspiration, Bungey introduces Bondi with its buzz and sparkling sea front, then the rambling countryside around Yass, which…

MY PRACTICE IS based predominately in making paintings but also creates computergenerated models and animations, sculptures and installations. I am interested in the continuing possibilities of painting in an age of increasing technological novelty. Additionally, I’m fascinated in the efficiency of a gesture and the directness of an idea. With my work, the overarching premise is that it must not contain superfluous elements that would detract from the integrity of the concept. In this way I consider myself a conceptual painter. My paintings aim to muse upon and extend a variety of existing social, aesthetic and philosophical concepts. These ideas find their contemporary context in an age of technological dependence and I believe the continuing practice of painting pictures mediates the experience of our current climate of mass media and…

YIRRKALA DRAWINGS Be drawn into the Yolngu worldview and landscape of north-eastern Arnhem Land, with the first major presentation opening at the Lawrence Wilson Art Gallery at the University of WA, in Crawley, WA. A stunning visual articulation of Yolngu stories, history and culture is vividly told through hundreds of crayon drawings on brown paper. These are coupled alongside bark paintings created by 1940s Yolngu artists, a bluring of past and present in this revival of homeland design from the area. A collective art exhibition, the sense of culture and identity is strong with Yolngu from several clan groups involved. Striking in its contrasts, yet strong in its similarities, the exhibition from past and present is set to wow. Lawrence Wilson Art Gallery, WA 7 February – 11 April www.lwgallery.uwa.edu.au…