Expect body builders, burlesque performers and acrobats in our popular MoB Makers: Drawing the Body series. This life drawing series with a twist sees athletes and performers of all shapes and sizes pose and share their stories as inspiration for sketching. Facilitated by artist and designer Leigh Buchanan, this monthly event will give you an insight into the diverse physical and creative pursuits of Brisbane’s sports and performance communities, all while sharpening your drawing skills.
Megan McKean, the illustrator and designer behind BRISTOPIA, is visiting the Museum to share her experience of building a sustainable and successful art and design business with Brisbane’s makers, artists, designers and the design-curious.
Megan’s distinctive illustration style can be seen on McKean Studio accessories, fine letterpress prints and books. Creating travel-inspired pieces for McKean Studio, Megan is well versed in product design and manufacturing processes, with her work spanning digital, print and 3D forms.
Information about our ancestors is just a mouse click away, but does this make is easier or harder to piece together a true picture of your family tree?
Life in Irons historian Jenny Harrison argues in many ways researching family history is now harder, and it is more likely your family tree is full of strangers rather than relatives. Join Jenny as she guides you through some Sherlock Holmes approved sleuthing methods to ensure your genealogy research efforts are not in vain. Jenny will also put her methods into practice by tracing the family trees of Brisbane convicts, both past and present.
Internationally renowned sound artist Lawrence English will talk about the nature of sound, listening and his artistic process as he reveals a journey that has taken him from the Amazon to Antarctica.
To compose his soundscape for Life in Irons, Lawrence recorded sounds across Brisbane, seeking memories of a time passed. The layers of sound create an immersive space, giving a sense of Brisbane before colonisation by interpreting the subtropical climate and rich biodiversity of the region and conjuring feelings of unease and isolation.
Learn the history, architecture and garden design of these two iconic Brisbane destinations in a winter walking tour of Brisbane City Hall and Roma Street Parkland.
Built between 1920 and 1930, the heritage-listed Brisbane City Hall is seen as the heart of Brisbane and has been the backdrop to many cultural, social and civic events. City Hall is the civic seat of the city and is home to the Lord Mayor and Deputy Mayor. It also plays host to community and corporate events each day. Accompanied by a professional guide, these tours provide a unique insight into City Hall.
10.30am - 12.30pm
Free, bookings require one weeks notice
Roma Street Parkland offers a distinctly different experience, with designer gardens and sprawling lawns that wind around 16 hectares of stunning parklands. Well known by garden and plant enthusiasts for its exceptional horticultural standards, it is also a popular visitor destination, housing free barbeques, playgrounds and a year-round calendar of events.
Amarcord (1973, Italy/France)
Directed by Federico Fellini
Real people, historical figures, imagined dialogues …
Museum of Brisbane has partnered with QPAC to create a series of just such Impossible Conversations, connecting contemporary Italian Australians living in Brisbane with celebrated figures from Italian history.
Impossible Conversations is open to Brisbane residents and if selected, you’ll work with our team of artists and creatives and be featured in a number of creative outcomes at both Museum of Brisbane and QPAC during the 2018 QPAC International Series in November. Your imagined conversation partner must be Italian, interesting and dead.
Sunday, 3 June, 2018 to Monday, 10 September, 2018
Maria Field, Historic Windmill 2018, watercolour on paper
What artist doesn’t love, or want to try, painting en plein air?
As part of our on-going MoB Makers drawing series, workshop participants will have the opportunity to visit various historical sites around Brisbane that reveal the complex story of our city’s convict past. Facilitated by acclaimed Brisbane-based watercolour artist Maria Field, participants will be guided through the ‘where do I start’ question and learn how to simplify the scene. Focal points, drawing, tone, light and shadows, counter change, depth and texture will be covered.
Over the four sessions Maria will explore mediums and styles as varied as ink and wash, watercolour pencils and travel journals to full watercolour paintings.
Dates as follows: 3 June, 15 July, 5 August and 9 September
Baber Studio’s Shutter House, Photo by Christopher Frederick Jones
Gentle Northerly: The Reimagined Queenslander presents four much-loved homes in the Brisbane suburbs of Auchenflower, West End and New Farm, which have been thoughtfully reimagined by award-winning architects. The interiors of the original houses have been opened up and adapted to suit a contemporary lifestyle, resulting in bespoke dwellings that are intrinsically connected to the landscape.
Photographer Christopher Frederick Jones has captured these four reimagined houses, documenting the contrast between the original street frontages and the new works at the back, celebrating the materials and textures that bring the architectural ideas to life.
Laura Patterson’s hand-drawn architectural plans render the ground plane in exquisite detail, describing the way daily life in these homes is a seamless integration of inside and outside.
Tim Woodward (2018) An exhibition rehung to the weak hind legs of an Alsatian dog
(Image courtesy of the artist and Darren Knight Gallery, Sydney)
Central Station is a new exhibition by Narrm/Melbourne based artist Tim Woodward. Woodward’s practice engages with the lineages of conceptual art, initiating a range of negotiations, conversations, proposals and collaborations. His projects typically introduce an unlikely social contract or materialise specific relationships to power.
Recent projects by Woodward include Ring Around the Dowser (presented at Förderverein Aktuelle Kunst, Screen Space, QAGOMA), Ear in the afternoon (Ruang MES56), Cosmo’s (Darren Knight Gallery), Plus Solids (Bus Projects).
Tim Woodward is represented by Darren Knight Gallery, Sydney.
Image: James Newitt, I Go Further Under (film still), 2018
Delay brings together a body of work that explores notions of escape and withdrawal as personal acts of alterity and non-participation that carry political potential. The exhibition will consist of a constellation of elements that revolve around a film titled, I Go Further Under. The visitor will be invited to negotiate a dense, at times claustrophobic, exhibition environment where they will encounter video projection, objects, text-based correspondence and photographic images.
The film: I Go Further Under, suggests a space in which the viewer is seduced into a landscape of isolation, paranoia and surveillance. The film focuses on a specific island off the South coast of Tasmania, which reveals itself to be a space of entrapment; a place where psychological and physiological experiments are enacted; and a place with the possibility for escapism.
The exhibition will weave together ambiguous characters, conscious landscapes, imaginary bodies and slippery realities to explore the fundamental yet conflicted human preoccupation with escape. It will unpack experiences of detachment, isolation, insanity and severance, and in the process ask us to follow the hesitations and fragility of leaving here and going elsewhere, away from North, deep into the idea of South.
Opening hours during Dark Mofo: Daily 10.30 – 5pm
Normal opening hours: Wed - Sun 12 – 5pm
The film I Go Further Under runs for 62 minutes
Screenings commence at:
During festival: 11.00am, 12.30am, 2.00pm, 3.30pm
Normal hours until 15 July: 12.30pm, 2.00pm. 3.30 pm
Image: Tracey MOFFATT & Gary HILLBERG, Other (still), 2010, looped video with sound, duration 7 minutes. Courtesy the artist, Roslyn Oxley9 Gallery, Sydney and Tyler Rollins Fine Art, New York.
Montages presents the full suite of eight montage films by artist Tracey Moffatt and editor Gary Hillberg, and spans 16 years of their celebrated collaborative practice. Sourcing footage from Hollywood films, they tap into the humour and pathos of universally shared subjects such as art, revolution, love and destruction. The exhibition is an ode to cinema and cinematic form, offering unprecedented insight into the stereotypes that populate our collective cultural imagination.
Australia’s representative artist at the 57th Venice Biennale in 2017, Tracey Moffatt uses a combination of film, video and photography to dismantle conventions of storytelling in a vividly Australian context, drawing on her own life experiences to explore issues of gender, race, sexuality and identity. Despite being rooted in the specificities of Australian suburban living and the harshness of life in the outback, her work transcends these settings to communicate meanings of universal significance. Hillberg has been working as an experimental filmmaker and music video producer since the late 1980s.
Image: Hamish Carr, Never is forever, 2018, acrylic on linen, 183 x 168cm
For this exhibition, Hamish Carr presents a new body of work including paintings and sculpture. Carr's paintings are meticulously layered with pigmented inks to depict a detailed and colourful web of shapes amongst a mass of dark cloud. Through a process of drawing and painting into the raw linen surfaces, his compositions emerge. These abstractions resemble cell like structures and are created using a careful methodology of ritualistic and repetitive mark-making. The exhibition suggests subtle references to confectionary and flesh that speak of voyeuristic and hedonistic tendencies.
"Sweetmeat" is graphic and deliberate while at times chaotic, drawing the viewer in to an intimate net of coloured fragments that are boldly interrupted by stark contrasting icons.
The survey exhibition will include work from a wide variety of media, and particularly draw on her experimental textile works. The exhibition explores key themes that Ormella has consistently developed in her work: social and environmental activism; human and animal relationships; nationalism and national identity.
These recurrent interests are brought together by a consistent engagement with the artist’s voice. Rather than being the site of authority, Ormella’s voice simultaneously expresses an aspiration for connection, while remaining uncertain about whether the communication will work.
Image: Alterfact, Teapot Menagerie, 2017, 3D printed from Southern Ice Porcelain with coloured stains. Image courtesy Alterfact. Photo: Ben Landau.
Alterfact's candy coloured ensemble of teapots, milk jugs and drinking vessels reflects the intersection of new technologies with traditional ceramic techniques. Produced through digital printing processes, plastic clay the consistency of toothpaste is finely layered to produce three dimensional forms. Various components are then adjoined and finished, with some finer details such as handles or lids being hand built using raku clay before firing.
Exploring the boundaries between function and aesthetics, art and craft, the quirky idiosyncratic forms in Teapot Menagerie vary in their use value. Despite their industrial construction, the objects refuse to be categorised. Resisting their traditional templates they are neither functional design nor purely aesthetic object.
They ask how functional an object built for function needs to be, or if it can occupy this liminal space between design and art. Alterfact is an experimental design studio created by Lucile Sciallano and Ben Landau in 2014. Since graduating from Design Academy Eindhoven in 2013, the artists have collaborated on various projects in different mediums, culminating in the creation of Alterfact Studio. The studio conducts critical research with materials and data translated through the manufacture of utilitarian and aesthetic objects.
Alterfact’s practice is currently focused on the use of 3D printing in clay as a small batch manufacturing process that pushes the boundaries of this traditionally plastic-based medium. Teapot Menagerie was exhibited as part of Melbourne Design Week, 2017. Works from this series are held in the collection of the National Gallery of Victoria, Melbourne and in private collections.