2 April 2016 – 26 June 2016
ephemeral traces provides the first comprehensive analysis of artist-run practice in Brisbane during the final decade of the conservative Joh Bjelke-Petersen government. The exhibition focuses on the scene that developed around five key spaces that operated in Brisbane from 1982 to 1988: One Flat, A Room, That Space, The Observatory, and John Mills National.
Drawing on artworks, documentation and ephemera, the exhibition provides a contextual account of this progressive artist-run activity, examining collective projects, publications and the spaces themselves, as well as organisations such as the Artworkers Union and Queensland Artworkers Alliance. A counterpoint to Michele Helmrich’s earlier exhibition Return to sender (UQ Art Museum, 2012), which focused on the artists who left Queensland during the Bjelke-Petersen era, this exhibition is about the artists who stayed.
Curator: Peter Anderson
- View as a PDF here
Friday 8 April 6.15 for 6.30 pm
to be opened by
Aileen Burns and Johan Lundh
Executive Co-Directors and Curators of the Institute of Modern Art
- Listen to curator Peter Anderson talking about the exhibition, recorded on Friday 19 February. Coming soon.
- Listen to Artist-run initiatives: DIY change agents? panel discussion with Peter Anderson (chair) and artists Virginia Barratt, Brian Doherty, Jeanelle Hurst and Jay Younger, recorded on Saturday 9 April. Coming soon.
Peter Anderson’s work was supported by a Siganto Foundation Fellowship granted by State Library of Queensland for research conducted in the Australian Library of Art.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
21 April – 24 July 2016
We who love: The Nolan slates is a window into the world of renowned Australian painter Sidney Nolan (1917–1992), reflecting a time of artistic experimentation and personal upheaval. From December 1941 to June 1942, Nolan made around 32 paintings on roofing slates. They reveal his distinctive preference for non-art materials, his avant-garde aspirations and his literary interests. Through the paintings, Nolan recorded the end of his marriage, new relationships with patrons John and Sunday Reed, and fears arising from the war in the Pacific. Concerned that there might not be ‘many more tomorrows’, Nolan painted the slates as a remarkable, even desperate, avowal of emotional and creative freedom.
Nolan’s deeply personal paintings on slate have been exhibited as a group just twice since 1943. We who love presents the most comprehensive display of the series ever assembled. Executed in rapid succession, the slates are a painted journal, declaring exultant love and lingering sorrow. Their rich, metaphorical imagery invites viewers into Nolan’s life at a pivotal moment in his development.
Curator: Dr Chris McAuliffe
- Listen to Determined to be modern: The early work of Sidney Nolan public lecture and discussion with Dr Chris McAuliffe and Dr Nancy Underhill, moderated by Dr Amelia Barikin. Recorded on Wednesday 20 April here
- Listen to Art, Love and Literature conversation with Dr Emily Bitto and Dr Chris McAuliffe, moderated by A/Prof Bronwyn Lea. Recorded on Thursday 21 April. Coming soon.
21 April – 24 July 2016
In 1945, at the close of the Pacific war, a group of young Brisbane artists formed Miya Studio, named after an Aboriginal word for ‘today’. Founding members Pamela Seeman, Laurence Hope and Laurence Collinson, together with Cecel Knopke, organised studio space and encouraged artists to respond to the challenges of the contemporary world. In Collinson’s catalogue preface for the second of the group’s five annual exhibitions, he critiqued the local art scene, stating ‘The members of Miya Studio are attempting, as far as a small group of young artists with only moderate means at their disposal can attempt such an undertaking, to make this arid soil vital.’ Barjai (‘meeting place’), a Brisbane-based magazine for literature and art aimed at a young audience, shared and supported their ideals.
This exhibition revisits these endeavours with a focus on The Miya Studio Archive, which Pamela Crawford (née Seeman) donated to UQ in 1988.
Curator: Michele Helmrich