Some highlights and notables across various exhibitions and the permanent collection:
Nana Ohnesorge's series "No Picnic at Ngannelong", commenting on the absence of Aboriginal people from Peter Weir's Picnic at Hanging Rock, set on a site of deep traditional significance.
As part of "Becoming Modern: Australian women artists 1920-1950": a pencil self-portrait by Thea Proctor (undated), curiously striking; a Margaret Preston "Jug of Flowers" (1929); Marjorie Woolcock's "All set to go" (circa 1950).
Naomi Hobson's "Wild Lagoon" (2019), inspired by the Cape York landscape of the artist's family and culture, combining motifs referring to Indigenous art with elements more reminiscent of western abstraction.
Claudia Moodoonuthi's "My Vegemite Family" 1 and 2 (2018), not to mention her redesign of the Vegemite label.
Marlene Gilson's "Black Swamp - Lake Wendouree" (2018) - a Ballarat setting. I've been seeing her work everywhere lately; here's an article contextualising.
Two Eugene von Guerard landscapes; I've encountered him in the NGV, and elsewhere I think, and despite what superficially appears to be quite generic subjects, they tend to draw the eye. It might be partly the brightness and detail, and maybe some unusual composition (e.g. unusual use or disregard of the rule of thirds).
It reflects well on the gallery how much of the work being displayed was created by Indigenous artists by the way.
(w/ R)
Nana Ohnesorge's series "No Picnic at Ngannelong", commenting on the absence of Aboriginal people from Peter Weir's Picnic at Hanging Rock, set on a site of deep traditional significance.
As part of "Becoming Modern: Australian women artists 1920-1950": a pencil self-portrait by Thea Proctor (undated), curiously striking; a Margaret Preston "Jug of Flowers" (1929); Marjorie Woolcock's "All set to go" (circa 1950).
Naomi Hobson's "Wild Lagoon" (2019), inspired by the Cape York landscape of the artist's family and culture, combining motifs referring to Indigenous art with elements more reminiscent of western abstraction.
Claudia Moodoonuthi's "My Vegemite Family" 1 and 2 (2018), not to mention her redesign of the Vegemite label.
Marlene Gilson's "Black Swamp - Lake Wendouree" (2018) - a Ballarat setting. I've been seeing her work everywhere lately; here's an article contextualising.
Two Eugene von Guerard landscapes; I've encountered him in the NGV, and elsewhere I think, and despite what superficially appears to be quite generic subjects, they tend to draw the eye. It might be partly the brightness and detail, and maybe some unusual composition (e.g. unusual use or disregard of the rule of thirds).
It reflects well on the gallery how much of the work being displayed was created by Indigenous artists by the way.
(w/ R)
