Kaylene Whiskey, Seven Sisters Song, 2021, water based enamel on SA tourist attraction road sign, 120.0 x 180.0 x 3.0 cm. National Gallery of Victoria, Melbourne Purchased, Victorian Foundation for Living Australian Artists, 2021. Copyright Kaylene Whiskey. Courtesy of the artist, Iwantja Arts and Roslyn Oxley9 Gallery, Sydney.
John Nixon, Self Portrait (non-objective composition) (yellow cross), 1990, enamel paint on plywood, 177.6 x 165.0 cm. National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of Chase Manhattan Overseas Corporation, Fellow, 1991. Copyright and courtesy of the artist.
Max Martin, Portrait group, 1922, oil on canvas, 152.8 x 102.2 cm. National Gallery of Victoria, Melbourne Purchased through The Art Foundation of Victoria with the assistance of Dr Joseph Brown AO OBE, Honorary Life Benefactor, 1995. Copyright Veronica Martin.
Michael Riley, Maria, 1986, printed 2013 from the Michael Riley Portraits, 1984–1990 series, inkjet print on paper 41.50 x 43.40 x 5.00 cm (frame) 39.10 x 40.90 cm (image) National Portrait Gallery, Canberra Purchased 2013. Copyright Michael Riley/Copyright Agency, 2021.
Samuel Metford, MacKenzie family silhouette, 1846, brush and ink, pen and ink, stencil cut-out with watercolour highlights 46.6 cm x 67.0 cm (frame) 43.2 cm x 64.0 cm (support) National Portrait Gallery, Canberra Gift of the Estate of Nancy Wiseman 2007.
From Polly Borland’s famous, golden, glittering photograph of Queen Elizabeth to Maree Clarke’s tremendously stitched possum skin cloak, titled Walert – gum barerarerungar, the exhibition Who Are You is centered on challenging the traditional conventions of portraiture. Bringing together artwork drawn from the permanent collections of the National Portrait Gallery in Canberra and the National Gallery of Victoria (NGV) in Melbourne, the show focuses on Australian artists, rethinking the concept of portraiture in imaginative guises. It moves beyond the solely figurative portrait to illustrate how connections to place and inner worlds are equally important manifestations of self.
“Our hope is to show the surprising ways artists represent likeness,” says NGV curator Beckett Rozentals. Divided into several sections surveying the nuances of documenting self, the exhibition includes over 200 works produced across time, and with multiple mediums. “I’m interested in seeing how artists choose to represent themselves and how we as viewers can take an active role in meeting the artist in that way,” Rozentals adds. This includes Brenda L. Croft’s 2014 photographic series Man about town, as well as Hoda Afshar’s Remain, 2018, a video documenting Australia’s border protection policy and the effect it has on asylum seekers. Not to mention Kaylene Whiskey’s vibrantly painted mash-up of pop culture and life in the remote Iwantja community, with her painting Seven Sisters Song, 2021.
A favourite for Rozentals is a punk outfit worn by Melbourne-based musician James Lynch in his youth. Assembled from the materials of leather, rubber, paint and blood, the outfit was acquired by the NGV after a former curator approached Lynch on a tram and asked about the meaning behind his fashion style. “James was a singer-songwriter for bands like Children of Sorrow and Vicious Circle in the 1980s,” says Rozentals. “Following this meeting, James was invited to recreate an outfit for the NGV. I really love the story behind Punk Outfit, 1984, as it encapsulates how this exhibition challenges our ideas and notions of portraiture.”
Who Are You: Australian Portraiture
National Portrait Gallery
1 October – 29 January 2023
This article was originally published in the March/April 2022 print edition of Art Guide Australia.
Every two years, the Ramsay Art Prize opens to Australian artists under 40 working in any medium. Presented by the Art Gallery of South Australia and supported in perpetuity by the James & Diana Ramsay foundation, the prize seeks to spotlight contemporary artists at a formative moment in their careers.
Marru translates to “becoming visible” in Danie Mellor’s ancestral Dyirbal language (of Far North Queensland). In his current exhibition Danie Mellor: marru | the unseen visible at Queensland Art Gallery, the title reflects the work’s gentle ruminations on the complexities of the history of colonisation entwined with personal memories.
Five Acts of Love, a new exhibition at ACCA, maps the space in which memory, intimacy and resistance intersect.
Elysha Rei’s exhibition Shirozato to Shinju (White Sugar and Pearls) at Umbrella Studio Contemporary Arts, Townsville QLD, explores the interconnected histories of the Japanese diaspora in Australia.
Sophie Penkethman-Young dives into the cursed, chaotic and charming depths of the online world to create inquisitive artworks exploring technology, the internet and capitalism with humour.
An exhibition of the work of seven women artists at Ngununggula in the Southern Highlands of New South Wales explores themes of tenderness and care through the rich possibilities of paint.
