Part
2:
Research the
work extensively
- learn about the artist who made the work and/or the cultural context,
historical period the work is from, what especially was the motivation for the
work, why does it exist, why is this work significant enough to be chosen for
collection in AGSA, ask others for their response to the work.
The wave
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2004, Adelaide
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oil on linen
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73.0 x 170.0 cm
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WHO IS IAN NORTH?
Biography
b. 1945 Aotearoa, New Zealand
- Director of the Manawatu Art Gallery, Aotearoa/New Zealand 1969-71
- Curator of Paintings at the Art Gallery of South Australia 1971-80
- Foundation Curator of Photography at the National Gallery of Australia 1980-84
- ‘coming out' as an artist in 1985
- President rewriting the constitution to create the Art Association of Australia and New Zealand.
- Head and (later) Professor of the South Australian School of Art (1984-1993)
- Campaigned successfully for the return of the School to a CBD location
- Established the Anne and Gordon Samstag Scholarship Program
- Currently Adjunct Professor of Visual Arts, University of Adelaide
He has contributed a lot!
http://www.daao.org.au/bio/ian-north/biography/?
SELECTED
SOLO EXHIBITIONS
|
|
2013
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Haven
2001,
Greenaway Art Gallery, Adelaide
Felicia, South Australia 1973 - 78, Australian Centre for Photography, Sydney |
2010
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The
Adelaide
Suite, Greenaway Art Gallery, Adelaide
Ian North Photographs 1974 - 2009, Art Gallery of South Australia |
2009
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Sail
Away,
Greenaway Art Gallery, Adelaide
|
2006
|
Symptoms, Greenaway Art Gallery,
Adelaide
|
2005
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Canberra
Suite & Canberra Coda (1980-81), Greenaway Art Gallery, Adelaide
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2004
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Sail
Away,
Apartment, Melbourne
|
1998
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Vault (with Helen Fuller),
Experimental Art Foundation, Adelaide
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1997
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Correlations, Greenaway Art
Gallery, Adelaide
|
1992
|
Home
& Away,
Roslyn Oxley9 Gallery, Sydney
|
1990
|
Manifest
Destiny,
Roslyn Oxley9 Gallery, Sydney
|
1988
|
Pseudo
Panoramas, Cazneaux series, Roslyn Oxley9 Gallery, Sydney
|
1987
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Seasons,
Pseudo Panoramas, Australia, Australian Centre for Photography, Sydney
|
The wave was painted in 2004 so Im going to connect it to the Sail Away 2004 exhibition.
I emailed him to ask about his painting - not sure if he will respond but I hope he does!
http://www.daao.org.au/bio/ian-north/biography/?
http://www.greenaway.com.au/Associated-Guests-Special-Exhibits/2013-IanNorth.html#CV01
IMAGES OF IAN NORTHS PHOTOGRAPHY
Canberra No 8. 1980
Type C photograph, 37 x 45.7cm
coll: National Gallery of Australia
Seasons (Kangaroo). 1987 (detail)
acrylic, Type C photographs, 38.5 x 48x5cm
Pseudo panorama, Australia III (A view of the artist's house and garden in Mills Plain, Van Diemen's Land), 1987, Photograph/collage
Whilst sifting through the work of Ian North it becomes obvious that he has a strong connection to place, his work is predominantly landscape. The wave differs in how the landscape is constructed, much of his earlier photographs explore Australian outskirt urban environments. Then there is the move to painting landscapes, constructing naturalistic imagery that steers away from a natural representation - where the hand of the artist becomes more obvious.
THE WORK - THE WAVE
HISTORICAL CONTEXT
- what were other artists focusing on in Adelaide in 2004
- Australia 2004
- 10 years ago
- I guess that was a time close to the start of the new millenium
- Contemporary art scene
- Traditional style painting
This work appeared in the THE EXTREME CLIMATE OF NICHOLAS FOLLAND exhibition - the work immediately has a context.
Other work in that exhibition.
The extreme climate of Nicholas Folland presents key examples of Folland’s work, made over a ten year period, alongside works of art from the Gallery’s collection by Antony Hamilton, Frank Hurley, Narelle Jubelin, Nikolaus Lang, Charles-Alexandre Lesueur and Claude-Francois Fortier, Colonel William Light, Laith McGregor, Ian North, James Shaw, Benjamin Travers Solly and Sera Waters. These works, made predominantly in South Australia, offer a series of parallel tales about climatic extremes, the politics of place and the antipodean quest for adventure.
This exhibition had a very chilling effect.
Nicolas Folland.
Doldrum (installation view, Experimental Art Foundation) 2005
Boat, domesic crystal glassware, flourescent light
Frank Hurley, 1885 - 1962
picture taken during the Australasian Antarctic Expedition, between 1911 - 1914
Narelle Jubelin, Australia, born 1960, Surveyor, Woomera, South Australia, 1989, cotton embroidery on canvas, carved & painted wood frame, 10.0 x 22.0 cm (image), 33.0 x 38.0 cm (overall); South Australian Government Grant 1989, © Narelle Jubelin
FORTIER, Claude-Francois, engraver
France, 1775 - 1835
LESUEUR, after Charles-Alexandre
France, 1778 - 1846 | ||||||
Nouvelle Hollande: Terre Napoleon
| ||||||
plate 5 from 'Voyage de découvertes aux Terres Australes'... (Voyage of discovery to Southern lands ...)
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1800-04, published 1807, Paris
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engraving , hand coloured on paper
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24.0 x 31.2 cm (plate)
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South Australian Government Grant 1968
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Art Gallery of South Australia, Adelaide
MOTIVATION FOR WORK?
WHY DOES IT EXIST?
WHY WAS IT SIGNIFICANT ENOUGH TO BE IN THE GALLERY?
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The selection of this painting for such a specific exhibition gives us an insight into the reasoning for its presence here. The exhibition displayed works of that tell tales of "climatic extremes, the politics of place and the antipodean quest for adventure". I believe that The Wave moves through all of these ideas. The wave itself is the climatic extreme. Humanity in the face of nature questions our politics of place and our relationships and affinities with the environment. The connection between the wave and the ship is does not speak so much of a literal antipodean adventure, but more of an emotional adventure.
As The Wave was created prior to the exhibition in 2004 I can only speculate about the motivation for The Wave. I think it was born from the sense one feels when something is frightening and inevitable. The painting shows very much a romantic tendency, I believe that North has cast himself into the painting in the form of the ship - just as Turner did.
Fiona Hall has said that artists are renegades and that they don't march under the banners or agendas of others - which is why they serve as a far more accurate barometer of whats occurring in the world. I couldn't agree more with her sentiments. I think that this painting is a beautifully honest and emotional way of communicating the idea of facing fears. The wave is different to whom ever views it. It is encouraging to see that someone has communicated this - I think it is a very valuable piece of art work that will retain its relevance for a long time to come.
OTHER PEOPLES RESPONSES
It evoked the response of making a friend feel anxious, because the construction of the painting was just daunting. Another friend was mesmerized by the story that was playing out, someone else enjoyed reading the symbols in the painting and picked up on the red and white flag - what could that mean?
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