Brigid Noone, New Bond, 2016, Oil on canvas.
Gemma Weston, Gemma and Brigid attend a panel discussion on maintaining your professional practice, 2016, A4 collage.
Brigid Noone, Drawing offering (sent to Salote Tawale), 2016, digital drawing.
Political Emotions (installation view) an artist-curated collaborative project featuring works made by Brigid Noone in collaboration with Mary-Jean Richardson at Fontanelle in 2015.
Brigid Noone, Committed but not attached #2, 2014, wall painting installation (including SODA_JERK’S After the Rainbow, 2009,2-channel digital video, 5.42 mins)
It’s fairly common these days for artists to combine their artistic practice with the role of curator. Brigid Noone explores the tension of this hybrid model in the role of artist and curator for the exhibition Major Tender.
Through her research, Noone has found that, while her work is personal, when she has curated exhibitions and worked on projects with other artists she has been able to be more political.
In Major Tender, Noone explores her own practice and works collaboratively with other artists: Kate Power, Salote Tawale, Gemma Weston and Jodie Whalen. It’s a gentle curatorial process: the artists are mostly working in pairs to create new experimental works that look at painting in the expanded field, pushing the boundaries of the medium.
“Perhaps it’s a way to expand my own practice, to work more sculpturally or with video and not be stuck in a category,” explains Noone. “I have always liked working beyond the limitations imposed by creating an object. I like painting on walls and installation work.”
The collaborative processes of negotiation and conversation are intrinsic to creating the work, and it becomes less about defining the outcomes. “Conversation has become a big material – the time to imagine what could be,” says Noone. “It’s a way of expanding the conversation and not limiting art into one way of practice.”
Major Tender
Contemporary Art Centre of South Australia
5 November – 7 February 2017
Congratulations to Julie Fragar, who has won the 2025 Archibald Prize for Flagship Mother Multiverse (Justene), her portrait of fellow artist and colleague Justene Williams.
From painting rituals to an obsession with flowers, we caught up with Laura Jones to discuss her process and practice, her current solo show at Jan Murphy Gallery, and what it was like to win the Archibald Prize for her painting of Tim Winton.
Pia Murphy leans into curiosity for her latest exhibition at Nicholas Thompson Gallery. Look What I Found is “referring to that experience in childhood of discovering surprising things in nature.” It’s a methodology Murphy uses in her practice, working with the sole intention of honest discovery.
Hong Kong Art Week kicks off this week and Australian galleries are getting down to the business of showcasing their artists on this globally significant art world stage.
From matrescence-themed collages and intimate family portraits to a series of events centred on the intersection of design and fertility, revisit six pieces from the Art Guide archives that explore the relationship between art and motherhood.
The glass sculptures of Dale Chihuly, now on display at Adelaide Botanic Garden, speak to the power and pitfalls of visual pleasure in an increasingly contested world.
