narratives – Art Blart _ art and cultural memory archive

Exhibition: ‘Girls In Our Town: Women in the Shadow of ‘The Magnificent Empire’, Florina Prefecture & Region, Macedonia Greece 1900-1917, 2017′ at William Mora Galleries, Melbourne

Exhibition dates: 13th July – 27th July 2017

Elizabeth Gertsakis (Australian, b. 1954)
Children Playing (detail)
2017
Digital prints on metallic silver acrylic
39 x 163cm

Conquering Orientalism

A beautiful, sensitive, sensual even, exhibition by the wonderful Elizabeth Gertsakis at William Mora Galleries. The artist forms a living relationship with early images of women and children from the Prefecture of Florina – mostly taken from that most vernacular form of photograph, the postcard – something that was sold as souvenir to the tourist trade, or posted to loved ones overseas.

Gertsakis identifies with their ethnicities and beliefs and physical appearances, transmuting their identities and narratives by printing these ephemeral objects on steel, that most durable of substances, which makes them shine under the gallery lights. The photographs both transcend time and transcend the physicality of the actual photograph… making their hidden histories a precious, and contemporary, thing. Like their protagonists, the steel makes the images and the people in them hardy enough to survive the vicissitudes thrust upon these communal people.

Gertsakis observes, “My voice is in placing myself between the present and the past as it has been generated by the cameras of others.” Beautifully enunciated. With her deep familial roots in the area – one that endured nearly five hundred years of Islamic rule and culture, as well as multiple ethnic communities and religions; Christian Greeks, Slavs, Bulgarians, Jews, Turkic and Albanian Moslems, Vlachs and Gypsies – Gertsakis creates witness and testament to her own communal familial past.

The rare and unique costumes come from the artists personal collection and when I was in the gallery space there seemed to be this electricity flowing between the images and the cloth. It was almost as though the people in the photographs were dancing again, were speaking to us today of their trials and tribulations, of their energy to survive the turmoil of the first decades of the 20th century.

Elizabeth is first generation… her father and grandfather and grandmothers… were those people…. exactly as they appear. They survived the yoke of the oppressor and conquered Orientalism. These are their valuable, inspiring stories, beautifully told.

Dr Marcus Bunyan

Many thankx to William Mora Galleries and Elizabeth Gertsakis for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All installation photographs © Marcus Bunyan and Elizabeth Gertsakis

Installation view of the exhibition Girls In Our Town: Women in the Shadow of ‘The Magnificent Empire’ Florina Prefecture & Region, Macedonia Greece 1900-1917, 2017 by Elizabeth Gertsakis at William Mora Galleries, Richmond
Photo: Marcus Bunyan

Elizabeth Gertsakis (Australian, b. 1954)
Florina
2017
Digital prints on metallic silver acrylic
39 x 174cm

Elizabeth Gertsakis (Australian, b. 1954)
Dancing Macedonian Girls
2017
Digital prints on metallic silver acrylic
39 x 136cm

I was born in the town of Florina, Macedonia, Greece. This town is in the top north western part of Greece adjacent to Albania, FYROM and Bulgaria. My family migrated to Australia in 1954 and I was educated in Australia

Florina was an oriental (ανατολικό) town belonging to the Ottoman Empire which controlled Greece from 1453 to 1922; the people of Florina were a mesh of multiple ethnic communities and religions; Christian Greeks, Slavs, Bulgarians, Jews, Turkic and Albanian Moslems, Vlachs and Gypsies. These religious groups lived and worked together in close proximity. Florina was a typical Balkan town in the later stages of the decline of Ottoman rule in the Balkans.

From 1903-1918, and including World War One (1914) and the Greco-Turkish War of 1919-1922 the entire northern territories of the Graeco-Balkan Peninsula (including Serbia) suffered great population losses through wars, cataclysmic population displacements (ethnic cleansing) and population exchanges. Refugee diaspora was moving in all directions, across from east to west in both directions. This vast political re-construction of Europe and the Balkans may have initially started from wars of revolutionary independence from the Ottomans, and subsequent internal Balkan expansionist claims to new territory, but it was the conflagration of the First World War that irreversibly rocked its cultural foundations for the future, beyond any political value in the creation of new national states in the Balkans and Asia Minor.

This history of diaspora and displacement laid down a new pattern for the twentieth century and into the twenty first century; a set of historical problems that had and continue to have irreversible impact on the function of community memory in relation to identity experienced by each succeeding wave of refugees and migrants who abandon everything in the simple need to escape and to survive.

I have chosen to highlight the consequences of cultural uprooting on memory and identity through the images of women from Florina, taken by various known and unknown photographers in the period from 1900-1918. These photographs were taken by people who may have had commercial or political intentions in the first instance but the resulting image does not always remain in the control of its original maker. Gender is important in this exhibition because it has been traditionally the female that carries the symbolic function of ritual and memory in relation to culture and identity, and ultimately, the idea and meaning of where belonging and home is. In other words the responsibility falls on the refugee and migrant woman if there is any question or ambivalence or sense of lack. This responsibility remains a constant memorial and cognitive challenge to the psyche of the female survivor, refugee and migrant.

I have used archival photographic images and reconfigured them to create a narrative representing difference. They have been extracted from their solitary sources from commercial photography, press photography and the archives of the Photographic Section of the French Army (Campaign d’Orient 1916-1918).

The installations invite entry into unknown individual histories and emphasis shared past communal lives even though there were multiple political differences and historical consequences. The original images were the result of various kinds of personal and spatial exploitation, both desired and undesired. Photography as a commercial technology played a profound role in the identification and changing of the global meaning of identity that resulted from death during war, disruption and the re-allocation of populations.

Today this usage of images of diaspora continues in the same way via 24/7 news and the internet. I feel it is important to examine female representation during times of crisis and trauma. My desire is that this exhibition encourages multiple narratives and a focus on recognition and justice for minorities internationally and in Australia, as well as the recognition and diversity of individual authenticity. Within the stereotype I look for authenticity, not for any kind of ethnic purity; and I know this is the case both within multicultural as well as the liberal concerns for justice and human rights issues in regard to minorities in contemporary art. As a woman it is the moment when, through my life in art, history and photography, that I accepted the bequest of my own historically difficult position as being the reality of my own identity.

Elizabeth Gertsakis, July 2017

Elizabeth Gertsakis (Australian, b. 1954)
Lerinki
2017
Digital prints on metallic silver acrylic
39 x 72cm

Elizabeth Gertsakis (Australian, b. 1954)
Beautiful Macedonians
2017
Digital prints on metallic silver acrylic
39 x 68cm

Elizabeth Gertsakis (Australian, b. 1954)
Noli Me Tangere (Don’t Touch Me)
2017
Digital prints on metallic silver acrylic
60 x 91cm

William Mora Galleries
60 Tanner St, Richmond VIC 3121, Australia
Phone: +61 3 9429 1199

Opening hours:
Wednesday – Friday 10am – 4pm or by appointment

William Mora Galleries website

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Exhibition: ‘The Unsettled Lens’ at the Oklahoma City Museum of Art

Exhibition dates: 18th February – 14th May 2017

Edward J. Steichen (American born Luxembourg, 1879-1973)
Moonrise, Mamaroneck, New York
1904, printed 1981
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

Not a great selection of media images… I would have liked to have seen more photographs from what is an interesting premise for an exhibition: the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown.

The three haunting – to haunt, to be persistently and disturbingly present in (the mind) – images by Wyn Bullock are my favourites in the posting.

Dr Marcus Bunyan

Many thankx to the Oklahoma City Museum of Art for allowing me to publish the the photographs in the posting. Please click on the photographs for a larger version of the image.

Since the early twentieth-century, photographers have crafted images that hinge on the idea of the uncanny, a psychological phenomenon existing, according to psychoanalysis, at the intersection between the reassuring and the threatening, the familiar and the new. The photographs in this exhibition build subtle tensions based on the idea of the uncanny as a sense of displacement, as a difficulty in reconciling the familiar with the unknown. By converting nature into unrecognisable abstract impressions of reality, by intruding on moments of intimacy, by weaving enigmatic narratives, and by challenging notions of time and memory, these images elicit unsettling sensations and challenge our intellectual mastery of the new. This exhibition showcases new acquisitions in photography and photographs from the permanent collection, stretching from the early twentieth-century to the year 2000.

The Unsettled Lens

William A. Garnett (American, 1916-2006)
Sand Bars, Colorado River, Near Needles, California
1954
Silver gelatin print
Oklahoma City Museum of Art

Elliott Erwitt (American, 1928-2023)
Cracked Glass with Boy, Colorado
1955, printed 1980
Gelatin silver print
Oklahoma City Museum of Art
Gift of Raymond W. Merritt

Wynn Bullock (American, 1902-1975)
Navigation Without Numbers
1957
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

In “Navigation Without Numbers,” photographer Wynn Bullock comments on life’s dualities and contradictions through imagery and textures: the soft, inviting bed and the rough, rugged walls; the bond of mother and child, and the exhaustion and isolation of motherhood; and the illuminated bodies set against the surrounding darkness. The book on the right shelf is a 1956 guide on how to pilot a ship without using mathematics. Its title, Navigation Without Numbers, recalls the hardship and confusion of navigating through the dark, disorienting waters of early motherhood.

Wynn Bullock (American, 1902-1975)
Child in Forest
1951
Gelatin silver print
Collection of Mr. and Mrs. Nicholas V. Duncan

Wynn Bullock (American, 1902-1975)
Child on Forest Road
1958, printed 1973
Gelatin silver print
Oklahoma City Museum of Art
Lent by Mr. and Mrs. Nicholas V. Duncan

“Child on Forest Road,” which features the artist’s daughter, brings together a series of dualities or oppositions in a single image: ancient forest and young child, soft flesh and rough wood, darkness and light, safe haven and vulnerability, communion with nature and seclusion. In so doing, Bullock reflects on his own attempt to relate to nature and to the strange world implied by Einstein’s newly theorised structure of the universe.

Ruth Bernhard (American born Germany, 1905-2006)
In the Box – Horizontal
1962
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

Brett Weston (American, 1911-1993)
Untitled (dead bird and sand)
1967
Gelatin silver print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

Edward J. Steichen (American born Luxembourg, 1879-1973)
Balzac, The Open Sky – 11 P.M.
1908
Photogravure
Oklahoma City Museum of Art
Museum purchase with funds provided by Ms. Frances Kerr

Edward Steichen, who shared similar artistic ambitions with Symbolist sculptor, Auguste Rodin, presented Rodin’s Balzac as barely decipherable and as an ominous silhouette in the shadows. In Steichen’s photograph, Balzac is a pensive man contemplating human nature and tragedy, a “Christ walking in the desert,” as Rodin himself admiringly described it. Both Rodin and Steichen chose Balzac as their subject due to the French writer’s similar interest in psychological introspection.

Ralph Gibson (American, b. 1939)
Untitled (Woman with statue)
1974, printed 1981
Gelatin silver print
Oklahoma City Museum of Art
Gift of Carol and Ray Merritt

William A. Garnett (American, 1916-2006)
Two Trees on Hill with Shadow, Paso Robles, CA
1974
Silver gelatin print
Oklahoma City Museum of Art

Thomas Harding (American, 1911-2002)
Barbed Wire and Tree
1987
Platinum print
Oklahoma City Museum of Art
Museum purchase with funds provided by Mr. Jack Coleman

Zeke Berman (American, b. 1951)
Untitled (Web 2)
1988
Gelatin silver print
Oklahoma City Museum of Art
Museum purchase

In “Untitled,” New York sculptor and photographer Zeke Berman sets up a still life in the Dutch tradition – the artist presents a plane in foreshortened perspective, sumptuous fabric, and carefully balanced objects – only to dismantle it, and reduce it to a semi-abandoned stage. Spider webs act as memento mori (visual reminders of the finitude of life), while the objects, seemingly unrelated to each other and peculiarly positioned, function as deliberately enigmatic signs.

Stan Douglas (Canadian, b. 1960)
Roof of the Ruskin Plant
1992
Chromogenic print
Oklahoma City Museum of Art
Gift of the Christian Keesee Collection

Oklahoma City Museum of Art
415 Couch Drive
Oklahoma City, OK 73102

Opening hours:
Wednesday – Saturday: 10am – 5pm
Thursday: 10am – 8pm
Sunday: noon – 5pm
Closed: Monday, Tuesday and Major Holidays

Oklahoma City Museum of Art website

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Exhibition: ‘Recent Acquisitions in Focus: Latent Narratives’ at the J. Paul Getty Museum, Getty Centre, Los Angeles

Exhibition dates: 13th September 2016 – 29th January 2017

William Leavitt (American, b. 1941)
Innuendo
Negative 1995; print about 2008
Gelatin silver print
27.9 × 35.5cm (11 × 14 in.)
The J. Paul Getty Museum, Los Angeles
© William Leavitt

Again, telling stories with pictures…

Lyrical, ambiguous juxtapositions abound.

Hand, clock, motel, scream, bird, body, river, stairs, hand.

Latent = (of a quality or state) existing but not yet developed or manifest; hidden or concealed.

Unresolved. Interchangeable.

Marcus

Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

“This exhibition features multipart photographic works by four contemporary artists: William Leavitt, Liza Ryan, Fazal Sheikh, and Whitney Hubbs. Juxtaposing images of people, places, and things, the works present fragmentary, enigmatic narratives that nonetheless establish a powerful, almost palpable atmosphere or mood. When sequenced by the artist in a specific order, the images recall storyboards used for motion pictures. When excerpted from a larger series, they suggest a stream-of-consciousness meditation on a theme.

By providing the visual cues or markers of stories still to be played out, these photographs encourage visitors to participate in completing the narratives. On view for the first time at the Getty, all the works in the exhibition are recent acquisitions drawn from the Museum’s permanent collection. Several were donated or purchased with funds provided by our donors, whom we would like to thank for their generosity.”

Text from the J. Paul Getty Museum

William Leavitt (American, b. 1941)
Spectral Analysis
Negative 1977; print about 2008
Chromogenic print
Framed: 42.9 × 154.6cm (16 7/8 × 60 7/8 in.)
The J. Paul Getty Museum, Los Angeles
© William Leavitt

William Leavitt

Based in Los Angeles, Leavitt is closely tied to West Coast Conceptualism, and frequently references L.A.’s entertainment industry and vernacular culture in his work, which includes performance, installation, sculpture, painting, and photography. Spectral Analysis (1977) is a triptych of photographs based on his one-act play of the same name, which featured a man and woman in conversation within a set furnished with a starburst light fixture, a sofa, a side table with a portable television, and a long beige curtain into which a rainbow of colour is projected. The four photographs of Innuendo (1995) depict the lobby of an apartment building, a painting of a fountain, a painting of a motel in East L.A., and a circular UFO-like construction made of PVC pipe. These images provide the loose structure of a narrative that moves unseen actors from one location to the next, suggesting the atmosphere of film noir.

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 175.3 × 4.4cm (12 1/8 × 43 3/4 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 161.6 × 4.4cm (12 1/8 × 63 5/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan

Working primarily in photography and video, Ryan often incorporates references from literature, poetry, and film to introduce additional layers of meaning. By cutting, collaging, and grouping her photographs and installing them in a manner that borrows from sculpture, she establishes evocative associative relationships between multiple images. Measuring thirty feet in length, Spill (2009) is a running band of cinematic narrative that alternates images of the human body and nature. Ryan poured India ink onto the surface of the prints, coaxing the pigment into a continuous, organic line that links the 23 frames as it wends its way from a primal scream at far left to an intimate touch at right.

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 111.1 × 4.4cm (12 1/8 × 69 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 184.2 × 4.4cm (12 1/8 × 61 1/2 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 156.2 × 4.4cm (12 1/8 × 51 3/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

Liza Ryan (American, b. 1965)
Spill
2009
Inkjet print
Panel: 30.8 × 130.5 × 4.4cm (12 1/8 × 51 3/8 × 1 3/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of Manfred Heiting in honour of Hanna Wise Heiting
© Liza Ryan

A painting of a motel in East Los Angeles. A primal scream. A funeral bier. A woman crouching in a bed of shrubs. These ambiguous images are each components within larger photographic works that juxtapose images of people, places, and things to present fragmentary, enigmatic narratives. Recent Acquisitions in Focus: Latent Narratives, on view September 13, 2016 – January 29, 2017 at the J. Paul Getty Museum, Getty Center, presents works by contemporary artists William Leavitt (American, born 1941), Liza Ryan (American, born 1965), Fazal Sheikh (American, born 1964), and Whitney Hubbs (American, born 1977). By providing the visual cues or markers of stories still to be played out, the works in the exhibition establish a powerful atmosphere and mood, and encourage viewers to take part in completing the narrative. On view at the Getty Museum for the first time since acquired, many of the works in the exhibition were donated or purchased with funds provided by donors.

“The Museum’s ‘In Focus’ gallery has generally been used to provide a thematic cross section of our photographs collection. This exhibition represents a slight departure in that it covers several recent acquisitions by artists of different generations, all of whom share an interest in telling stories with pictures,” explains Timothy Potts, director of the J. Paul Getty Museum. “These works are mostly non-linear narratives that require close attention to symbolism, mood, and seemingly insignificant details that create an overall story. In much the same way as pieces of a puzzle create a complete image, these multi-part works are reminiscent of storyboards used in motion pictures to provide an outline of a visual narrative that still needs to be played out.”

Press release from the J. Paul Getty Museum

Fazal Sheikh (American, b. 1964)
Ether
2008-2011
Inkjet print
Image: 13.3 × 20cm (5 1/4 × 7 7/8 in.)
Mount: 39.4 × 28cm (15 1/2 × 11 in.)
The J. Paul Getty Museum, Los Angeles
Purchased with funds provided by Joseph Cohen
© Fazal Sheikh

Fazal Sheikh

Fazal Sheikh is best-known for documenting displaced communities all over the world. Executed in black and white with a large-format camera, his photographs typically portray the victims of human rights violations and social injustices, serving as a call to action. For the series Ether (2008-2011), Sheikh traveled to Varanasi (also known as Benares, Banaras, or Kashi), a city located on the banks of the Ganges River in northern India. Hindu pilgrims bring their deceased to this holy site for cremation, believing that the soul will ascend to heaven and be freed from the eternal cycle of reincarnation. Rendered in luminous, jewel-like tones, these photographs (his first images in colour) highlight the vulnerability of subjects captured in the still of night or during early morning hours. Excerpted from the larger series, the four images presented – a sleeping man, sleeping dogs, a funeral bier, and burning embers – suggest the narrative progression of a pilgrimage. Collectively they can be seen as a meditation on the cyclical nature of life, as well as on the universal yet elusive experience of dreams.

Whitney Hubbs (American, b. 1977)
Untitled (Hair)
2012
Gelatin silver print
Sheet: 50.8 × 60.9cm (20 × 24 in.)
Framed: 51.1 × 61.3cm (20 1/8 × 24 1/8 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

Whitney Hubbs (American, b. 1977)
Untitled (Stairs)
2012
Gelatin silver print
Sheet: 47 × 59.7cm (18 1/2 × 23 1/2 in.)
Framed: 48 × 60.7cm (18 7/8 × 23 7/8 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

Whitney Hubbs (American, b. 1977)
Untitled (Baby)
2012
Gelatin silver print
Sheet: 50.8 × 60.9cm (20 × 24 in.)
Framed: 51.4 × 61.6cm (20 1/4 × 24 1/4 in.)
The J. Paul Getty Museum, Los Angeles
Gift of the artist and M+B, Los Angeles
© Whitney Hubbs

Whitney Hubbs

Hubbs’s installations of richly detailed gelatin silver prints in various sizes create lyrical but ambiguous juxtapositions. Citing music as an important influence, Hubbs is more interested in establishing a mood than in conveying a clear-cut narrative. The five images in the exhibition – a rock formation, a building entry, a set of stairs, a woman crouching in a bed of shrubs, and a baby lying on a blanket – are taken from the series The Song Itself Is Already a Skip (2012). The title of the work was inspired by a passage of text by French philosopher Gilles Deleuze (1925-1995) that discusses the oscillation between order and chaos. The deep blacks of Hubbs’s meticulously printed photographs lend ominous overtones to her dreamlike imagery.

“The idea of a latent narrative is particularly pertinent to photographic images, which remain invisible to us between the moment of exposure and the moment of development,” says Virginia Heckert, head of the Getty Museum’s Department of Photographs and curator of the exhibition. “As much as we might want to know what the artist intended by bringing together diverse images, it is equally interesting to see how viewers interpret the relationship between images and bring to life their own narratives.”

Press release from the J. Paul Getty Museum

Whitney Hubbs (American, b. 1977)
Untitled (Entryway)
2012
Gelatin silver print
Sheet: 34.3 × 27 cm (13 1/2 × 10 5/8 in.)
Framed: 35.6 × 27.9 cm (14 × 11 in.)
The J. Paul Getty Museum, Los Angeles
Purchased in part with funds provided by Leslie, Judith, and Gabrielle Schreyer
© Whitney Hubbs

The J. Paul Getty Museum
1200 Getty Center Drive
Los Angeles, California 90049

Opening hours:
Daily 10am – 5.30pm

The J. Paul Getty Museum website

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Exhibition: ‘TRACEY MOFFATT: narratives’ at Art Gallery of South Australia, Adelaide

Exhibition dates: 26th February – 20th March 2011

Apologies, no text with these photographs, not that they really need any but it would have been nice!

Marcus

.
Many thankx to the Art Gallery of South Australia for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Tracey Moffatt (Australia, b. 1960)
Something More (no. 3)
From the series of 9 photographs Something More
1989
Direct positive colour photograph
Image: 98.0 × 127.0cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Something More (no. 5)
From the series of 9 photographs Something More
1989
Direct positive colour photograph
Image: 98.0 × 127.0cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Job hunt, 1976
From the series of 10 prints Scarred for life I
1994
Colour photolithograph on paper
Image: 80.0 x 60.0cm
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Useless, 1974
From the series of 10 prints Scarred for life I
1994
Colour photolithograph on paper
Image: 80.0 x 60.0cm
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Up in the sky (no. 1)
From the series of 25 prints Up in the sky
1997
colour photolithograph on paper
Image: 61.0 x 76.0cm
Monash Gallery of Art, City of Monash Collection
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Laudanum (no. 1)
From the series of 19 prints Laudanum
1998
Photogravure on paper
Plate: 76.0 × 57.0cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Invocations (no. 2)
From the series of 13 prints Invocations
2000
Colour silkscreen on paper
Image: 146.0 x 122.0cm
Monash Gallery of Art, City of Monash
Collection  Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Invocations (no. 5)
From the series of 13 prints Invocations
2000
Colour silkscreen on paper
Image: 146.0 x 122.0cm
Monash Gallery of Art, City of Monash
Collection  Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Adventure Series (no. 1)
from the series of 10 prints Adventure Series
2004
Inkjet print on paper
Image: 132.0 × 114.0cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

Tracey Moffatt (Australia, b. 1960)
Adventure Series (no. 2)
From the series of 10 prints Adventure Series
2004
Inkjet print on paper
Image: 132.0 × 114.0cm
Courtesy the artist and Roslyn Oxley9 Gallery, Sydney

Art Gallery of South Australia
North Terrace Adelaide
Public information: 08 8207 7000

Opening hours:
Daily 10am – 5pm (last admissions 4.30pm)

Art Gallery of New South Wales website

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