Artist Profile - - CONTENTS - Kon Gou­ri­o­tis @kon_­gou­ri­o­tis artist­pro­file.com.au

MANY OF THE AR­TI­CLES IN THIS is­sue of Artist Pro­file are con­cerned with the evolv­ing na­ture of artists’ prac­tices and the cy­cle of cu­ra­to­rial pre­sen­ta­tions. The daily un­cer­tainty of mak­ing art is matched by the need for an au­di­ence to re­ceive their art.

“Ev­ery­one likes to re­mem­ber the big things, but they’re not what make up the days,” Honor Free­man tells Ful­via Man­telli. Her ideas and ob­jects are drawn from the ev­ery­day of do­mes­tic and in­dus­trial ob­jects, and yet evolve from one piece to the next in an un­usual but in­sight­ful way. The way some ideas and ob­jects are in­ter­preted high­lights whether there is an au­di­ence com­mit­ment to a va­ri­ety of op­tions.

In the “Is­sue” sec­tion of Artist Pro­file, artists Jus­tine Varga, Michael Buza­cott, Coen Young and An­drew Christofides dis­cuss whether there is a need to re­duce op­tions in the ex­pan­sive field of por­trai­ture in non-ob­jec­tive art.

This is­sue’s cover artist, Dale Frank, says, “There is no such thing as an er­ror, noth­ing is a mis­take” – an at­ti­tude that has pro­voked the evo­lu­tion of his work since the 1970s. His new films are fresh ele­ments in his ev­er­ex­pand­ing prac­tice that in­cludes paint­ing, per­for­mances, draw­ings and in­stal­la­tions. A lengthy in­ter­view and il­lus­tra­tions of his work re­veal some of his ideas.

Si­mone Mangos’ ideas and ob­jects have evolved from emo­tive site-spe­cific spa­ces to more com­plex so­cio-cul­tural spa­ces full of mon­u­men­tal his­to­ries and pol­i­tics which she re­works to pro­voke au­di­ences anaes­thetised to geno­cide and multi-na­tional phar­ma­ceu­ti­cal dis­as­ters. Her in­ter­view re­veals the se­dated in un­ex­pected places.

The im­por­tant oc­ca­sion of the re-stag­ing of Na­tional Gallery of Vic­to­ria’s ex­hi­bi­tion The Field af­ter 50 years gives Ka­t­rina Noor­ber­gen an op­por­tu­nity to look at the cy­cle of Col Jor­dan’s life and work since that show.

Mary Place has been has been a space for many ideas and ob­jects since it be­came an off-and-on gallery in 1979. John McDon­ald de­scribes how Camp­bell Robert­son-Swann and Lau­ren Har­vey, art deal­ers from De­fi­ance Gallery in New­town, NSW, plan to re-open Mary Place as a gallery for qual­ity in­ter­na­tional and na­tional artists.

Since Wat­ters Gallery’s sad an­nounce­ment that it will close by the end of 2018 there have been other more pos­i­tive de­vel­op­ments sim­i­lar to Mary Place in both the pri­vate and pub­lic sec­tor to meet the grow­ing pop­u­la­tion of artists and au­di­ences in the vis­ual arts. The re­cent open­ing of The Michael Bux­ton Cen­tre of Con­tem­po­rary Art in Mel­bourne, and Ce­ment Fondu, Syd­ney, the ex­pan­sion of King Street Gallery on Wil­liam in Syd­ney, the an­tic­i­pated re­lo­ca­tion of Mi­lani Gallery to larger pur­pose-built gal­leries in Bris­bane, the multi-mil­lion-dol­lar Syd­ney Mod­ern in Syd­ney: there is no doubt of the grow­ing im­por­tance of the vis­ual arts sec­tor to the cul­tural and eco­nomic vi­brancy of cities. All this en­cour­ages op­ti­mism about 2018 and be­yond.

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