Published Essays:Curatorial Project
Reimagining the Canon: an international women in art initiative
Women's Work is Never Done, 2019, Mixed Media, Muslin, Pigment and Chalk
Image Detail, photography Joerg Lehmann
Curatorial Essay, Dr Annemarie Murland
There is more than one way to be a feminist, or as Caroline McHugh would say ‘a womanist’ in contemporary art and society today. As a practising artist and independent curator, I was interested in how one might crack open the canon of Western Arts hegemony and douse the flames of white male privilege with a sprinkle of humour, purity and wisdom that is so clearly evident in the documented practice of a selection of female artists, past and present. In an attempt to ‘deconstruct’ the natural histography to include the art practice of women artists’, whose voices remain largely unheard, I set about organising the exhibition, Reimagining the Canon. [1] A fierce belief in making ‘good art’ was the shared common thread that united the group of local, national and international artists. Through a process of praxis and collaboration between artist and curator, alongside a great deal of satire and metaphor, the group contemplated how they might inscribe the ‘master narratives’ of Western Art's History hegemony with their own stories.
A gender inspired lens frames this inaugural exhibition that celebrates women artists' and their contribution to community, culture and contemporary art through a variety of speculative and experimental works of art as well as, formal and representational works. The group consists of mainly mid-career and established artists from major and regional cities around Australia, England, Ireland, and Scotland. Good art as a means of production and reception, and as a tool to transform public perception within the wider community – both at home and abroad was the benchmark that all participating artists had to consider as part of their involvement.
An interdisciplinary and cross border approach to practice meant that the group’s identity was inclusive of professional practising artists – the artist as performer, historian, writer and academic. As a cohort, the group offers a range of subject matter and media in their various acts of doing that illustrates self-expression, and at the same time, contributes to the creation of a heterogeneous cultural life and scholarship within visual literacy. Although well known within their respective zones of demarcation - studio space, marketplace, institutional space – these artists are largely anonymous in the greater art world. Under looked, overlooked, from the margins, and living in the shadows might be common analogies used to locate the ‘other’, in art and life, but this group firmly rejects this notion. Instead, the thematic conditions that surround the purpose and function of the group are simple: everyone’s story matters and needs to be told. As such, the personal is political and, in this instance, is communicated through a process-material interdependence resulting in a variety of visual outcomes.
Underpinning the exhibition’s curatorial premise is the idea that art, as a knowledge building tool, has the capacity to break down cultural and institutional barriers, strengthen community relationships and transform the public perception of the agency female artists. A variety of speculative and experimental, formal and representational works of art, all of which are reflective of the exhibition’s vision, is expressed via the production and distribution of works via transmedia platforms. Feminist art history and the legacy of activist and curator Lucy Lippard’s approach to curating, where low -budget, peer-to-peer philanthropy between artist and curator, and an absolute belief in that ‘we collectively belong’ on the inside and not out, was a driving force in developing a curatorial strategy. As a collective, the group brings ‘the everyday’ into the identity politics that surround the Canon of Western Art and its nemesis, ‘feminist art’, today. Indeed, these women artists celebrate their ‘Queendom’ not because of their engendered body, but in spite of it. A rich variety of praxis, technique, process and a range of visual strategies expose their gaze, touch and individual ways of expressing their being in the world.
[1] Maura Reilly, “Making Trouble: A Tribute to Linda Nochlin,” Artlines: A Publication of Women’s Caucus for Art, Summer Edition, 2018, accessed 11 September 2019, http://www.maurareilly.com/pdf/essays/Reilly_Making_Trouble.pdf
[2] Maura Reilly, “global feminisms: NEW DIRECTIONS IN CONTEMPORARY ART,” ed. Maura Reilly and Linda Nochlin [Brooklyn Museum], London, New York, Merrell Publishers, 2007, 22.
[3] Maura Reilly, “Taking the Measure of Sexism: Facts, Figures and Fixes,” Artnews, June 2015, 46, accessed 11 September 2019, http://www.maurareilly.com/pdf/essays/Reilly_ArtNews.pdf
[4] Elke Krasny, “Curatorial Materialism. A Feminist Perspective on Independent and Co-Dependent Curating,” OnCurating, Issue 29, May 2016, accessed 11 September 2019, http://www.on-curating.org/issue-29-reader/curatorial-materialism-a-feminist-perspective-on-independent-and-co-dependent-curating.html#.XXYv45IzbfY.
[5] Linda Nochlin, “Why Have There Been No Great Women Artists?” Women, art and power: and other essays, chap. 7, p145, accessed 11 September 2019,
https://library.newcastle.edu.au/articles/2999301.35816/1.PD
There is more than one way to be a feminist, or as Caroline McHugh would say ‘a womanist’ in contemporary art and society today. As a practising artist and independent curator, I was interested in how one might crack open the canon of Western Arts hegemony and douse the flames of white male privilege with a sprinkle of humour, purity and wisdom that is so clearly evident in the documented practice of a selection of female artists, past and present. In an attempt to ‘deconstruct’ the natural histography to include the art practice of women artists’, whose voices remain largely unheard, I set about organising the exhibition, Reimagining the Canon. [1] A fierce belief in making ‘good art’ was the shared common thread that united the group of local, national and international artists. Through a process of praxis and collaboration between artist and curator, alongside a great deal of satire and metaphor, the group contemplated how they might inscribe the ‘master narratives’ of Western Art's History hegemony with their own stories.
A gender inspired lens frames this inaugural exhibition that celebrates women artists' and their contribution to community, culture and contemporary art through a variety of speculative and experimental works of art as well as, formal and representational works. The group consists of mainly mid-career and established artists from major and regional cities around Australia, England, Ireland, and Scotland. Good art as a means of production and reception, and as a tool to transform public perception within the wider community – both at home and abroad was the benchmark that all participating artists had to consider as part of their involvement.
An interdisciplinary and cross border approach to practice meant that the group’s identity was inclusive of professional practising artists – the artist as performer, historian, writer and academic. As a cohort, the group offers a range of subject matter and media in their various acts of doing that illustrates self-expression, and at the same time, contributes to the creation of a heterogeneous cultural life and scholarship within visual literacy. Although well known within their respective zones of demarcation - studio space, marketplace, institutional space – these artists are largely anonymous in the greater art world. Under looked, overlooked, from the margins, and living in the shadows might be common analogies used to locate the ‘other’, in art and life, but this group firmly rejects this notion. Instead, the thematic conditions that surround the purpose and function of the group are simple: everyone’s story matters and needs to be told. As such, the personal is political and, in this instance, is communicated through a process-material interdependence resulting in a variety of visual outcomes.
Underpinning the exhibition’s curatorial premise is the idea that art, as a knowledge building tool, has the capacity to break down cultural and institutional barriers, strengthen community relationships and transform the public perception of the agency female artists. A variety of speculative and experimental, formal and representational works of art, all of which are reflective of the exhibition’s vision, is expressed via the production and distribution of works via transmedia platforms. Feminist art history and the legacy of activist and curator Lucy Lippard’s approach to curating, where low -budget, peer-to-peer philanthropy between artist and curator, and an absolute belief in that ‘we collectively belong’ on the inside and not out, was a driving force in developing a curatorial strategy. As a collective, the group brings ‘the everyday’ into the identity politics that surround the Canon of Western Art and its nemesis, ‘feminist art’, today. Indeed, these women artists celebrate their ‘Queendom’ not because of their engendered body, but in spite of it. A rich variety of praxis, technique, process and a range of visual strategies expose their gaze, touch and individual ways of expressing their being in the world.
[1] Maura Reilly, “Making Trouble: A Tribute to Linda Nochlin,” Artlines: A Publication of Women’s Caucus for Art, Summer Edition, 2018, accessed 11 September 2019, http://www.maurareilly.com/pdf/essays/Reilly_Making_Trouble.pdf
[2] Maura Reilly, “global feminisms: NEW DIRECTIONS IN CONTEMPORARY ART,” ed. Maura Reilly and Linda Nochlin [Brooklyn Museum], London, New York, Merrell Publishers, 2007, 22.
[3] Maura Reilly, “Taking the Measure of Sexism: Facts, Figures and Fixes,” Artnews, June 2015, 46, accessed 11 September 2019, http://www.maurareilly.com/pdf/essays/Reilly_ArtNews.pdf
[4] Elke Krasny, “Curatorial Materialism. A Feminist Perspective on Independent and Co-Dependent Curating,” OnCurating, Issue 29, May 2016, accessed 11 September 2019, http://www.on-curating.org/issue-29-reader/curatorial-materialism-a-feminist-perspective-on-independent-and-co-dependent-curating.html#.XXYv45IzbfY.
[5] Linda Nochlin, “Why Have There Been No Great Women Artists?” Women, art and power: and other essays, chap. 7, p145, accessed 11 September 2019,
https://library.newcastle.edu.au/articles/2999301.35816/1.PD
Sitting with Uncertainty: an exhibition of drawings by Dr Lucy O'Donnell that are supported by a series of essays to discuss the impact of miscarriage, pregnancy and loss
Dr Annemarie Murland: Lucy O’Donnell: Sitting with Uncertainty as a means to Reimagine the Canon
As part of her ongoing artistic research, Dr Lucy O’Donnell presents a series of drawings and creative writing, entitled, Sitting with Uncertainty that has been made in conjunction with a forthcoming exhibition to provide insight into the subjectivity of losing a child through miscarriage. A personal lens registers the artist’s felt experience through visual and textual narratives that cast full light on the misconception of “the fertility of nature.”[1] The subsequent works of art present everyday culture and Western Art History with a dilemma of reception and expression as there is no real representation or documentation on the role of miscarriage and its impact on the female body and psyche within art history. These works of art, alongside a strong, embodied, feminine, narrative, support O’Donnell’s vital contribution to the gender-specific international art exhibition and festival: Reimagining the Canon that will take place in Newcastle Art Space Gallery, Newcastle, NSW, Australia, 25 October – 17 November 2019. Women artists and performers along with female poets and writers from across border states and continents will converge in Newcastle over a three week period to celebrate creativity and “connectivity” from a purely “womanist” perspective[2].
As a means of “cracking open the canon” the exhibition provides a platform for women artists to respond to a history of exclusion and limitation that has underpinned female representation in commercial and institutional art spaces universally. To that end, the art historical narratives that render art made by women as “a visible invisibility”[3] is rejected and ignored in favour of a revisionist approach to practice and reception. As such, a variety of interdisciplinary works of art that question ‘what art made by women is and what it can be’ provides the contextual touchstone for both the artist and viewer.
O’Donnell’s creative practice acts as a conduit between empiricism, the female body and its representation in art history. By retelling her personal story of miscarriage and its associated vernacular of loss, the artist imparts a real sense of authorship into the works’ formal identity. O’Donnell’s methodology, although process-text is firmly located within the visual as a form of felt experience. As an archive, this body of monochromatic, abstract drawings is imbued with a sensory, gender-specific aesthetic to deliver the viewer a self-reflexive and intimate account of her lived experience of continued miscarriage. The individual compositions are a repository of marks, line, shape, and tone that sustain the certainty of the works “formal coda.”[4] As part of the process of making, the works are simultaneously constructed and deconstructed in an effort to break-down any notion of formal representation. At the same time, the process of making also illustrates how the artist thinks through the building-up of both surface and form.
As a metaphor of resistance, the use of the "grid" as an installation device disrupts the natural order within the composition and highlights, the disparate relationship between form and content, memory and the body, presence, and absence[5]. To that end, a sense of ambiguity and uncertainty is created within the composition as a whole, reflecting the evolving and dissolving nature of miscarriage itself. As a powerful communication tool, the art of women’s stories is central to and shapes Dr Lucy O’Donnell’s artistic research. It is in this vein that Reimagining the Canon looks forward to connecting O’Donnell to the sixteen participating women artists. The exhibition focuses on the power of art to connect women regardless of their race, age, sexual identity, and or location through their creative practice, whatever that may be.
[1] Emma Goldman, The Traffic in Women and other essays on feminism, 3rd. ed. (New York, USA: Times Change Press, 1970), 23.
[2] The use of the terms, “connectivity” and “womanist” is to illustrate the symbiotic relationship that exists between woman when they share a lived, felt experience.
[3] Pamela M. Lee, “OPEN SECRET: THE WORK OF ART BETWEEN DISCLOSURE AND REDACTION,” ARTFORUM, 49:1, (2011), accessed July 7, 2019, https://www.artforum.com/print/201105/open-secret-the-work-of-art-between-disclosure-and-redaction-28060.
[4] See Una Rey, Virginia Cuppaidge: “The Nature of Abstraction,” ARTFORUM, 39:2, (2019), accessed July 7, 2019, https://www.artlink.com.au/articles/4770/virginia-cuppaidge-the-nature-of-abstraction/.
[5] See UbuWeb, Rosalind Krauss, “Grids,” UbuWeb Papers, October. Vol. 9, (Summer, 1979), pp. 50-64, accessed, July 8, 2019, http://www.ubu.com/papers/krauss_grids.html.
Dr Annemarie Murland is a practicing artist, educator and curator. She is the Course Coordinator and Lecturer of Visual Art, Foundation Studies at the Centre for English Language and Foundation Studies, The University of Newcastle, NSW, Australia.
Instagram: @reimagining the Canon
Facebook: Reimagining the Canon
As a means of “cracking open the canon” the exhibition provides a platform for women artists to respond to a history of exclusion and limitation that has underpinned female representation in commercial and institutional art spaces universally. To that end, the art historical narratives that render art made by women as “a visible invisibility”[3] is rejected and ignored in favour of a revisionist approach to practice and reception. As such, a variety of interdisciplinary works of art that question ‘what art made by women is and what it can be’ provides the contextual touchstone for both the artist and viewer.
O’Donnell’s creative practice acts as a conduit between empiricism, the female body and its representation in art history. By retelling her personal story of miscarriage and its associated vernacular of loss, the artist imparts a real sense of authorship into the works’ formal identity. O’Donnell’s methodology, although process-text is firmly located within the visual as a form of felt experience. As an archive, this body of monochromatic, abstract drawings is imbued with a sensory, gender-specific aesthetic to deliver the viewer a self-reflexive and intimate account of her lived experience of continued miscarriage. The individual compositions are a repository of marks, line, shape, and tone that sustain the certainty of the works “formal coda.”[4] As part of the process of making, the works are simultaneously constructed and deconstructed in an effort to break-down any notion of formal representation. At the same time, the process of making also illustrates how the artist thinks through the building-up of both surface and form.
As a metaphor of resistance, the use of the "grid" as an installation device disrupts the natural order within the composition and highlights, the disparate relationship between form and content, memory and the body, presence, and absence[5]. To that end, a sense of ambiguity and uncertainty is created within the composition as a whole, reflecting the evolving and dissolving nature of miscarriage itself. As a powerful communication tool, the art of women’s stories is central to and shapes Dr Lucy O’Donnell’s artistic research. It is in this vein that Reimagining the Canon looks forward to connecting O’Donnell to the sixteen participating women artists. The exhibition focuses on the power of art to connect women regardless of their race, age, sexual identity, and or location through their creative practice, whatever that may be.
[1] Emma Goldman, The Traffic in Women and other essays on feminism, 3rd. ed. (New York, USA: Times Change Press, 1970), 23.
[2] The use of the terms, “connectivity” and “womanist” is to illustrate the symbiotic relationship that exists between woman when they share a lived, felt experience.
[3] Pamela M. Lee, “OPEN SECRET: THE WORK OF ART BETWEEN DISCLOSURE AND REDACTION,” ARTFORUM, 49:1, (2011), accessed July 7, 2019, https://www.artforum.com/print/201105/open-secret-the-work-of-art-between-disclosure-and-redaction-28060.
[4] See Una Rey, Virginia Cuppaidge: “The Nature of Abstraction,” ARTFORUM, 39:2, (2019), accessed July 7, 2019, https://www.artlink.com.au/articles/4770/virginia-cuppaidge-the-nature-of-abstraction/.
[5] See UbuWeb, Rosalind Krauss, “Grids,” UbuWeb Papers, October. Vol. 9, (Summer, 1979), pp. 50-64, accessed, July 8, 2019, http://www.ubu.com/papers/krauss_grids.html.
Dr Annemarie Murland is a practicing artist, educator and curator. She is the Course Coordinator and Lecturer of Visual Art, Foundation Studies at the Centre for English Language and Foundation Studies, The University of Newcastle, NSW, Australia.
Instagram: @reimagining the Canon
Facebook: Reimagining the Canon
Artist Interview with Studio La Primitive, Online International Zine
STUDIO LA PRIMITIVE ZINE, P 78-97
When did your artistic passion begin?
It is hard to say when my artist passion began – as a young child growing up on the wrong side of the tracks in the city centre of Glasgow my play ground was George’s Square where monuments to the empire co-existed with a plethora of trees and flower beds that have, incidentally been replaced by concrete pathways. Most memorable was the Kelvin Hall museum where Salvador Dali’s painting – Christ of St John of the Cross reigned supreme and stole my attention. I played there as well as at the People’s Palace – across the road from my school – a tribe of us went over there at lunch time and played among the artefacts of times gone by. However, my ‘real’ practice began in the late 90’s when I attended life drawing classes at Ron Hartree’s art school, in Newcastle, NSW – artist Jane Lander was a pivotal influence on my attending University to develop my interest in art practice and education in general .
GLASGOW WOMEN'S LIBRARY: MEET THE ARTIST
Stories of Origin
Queen Victorious, 2015, Limited Edition, Digital Print, Size Varies
Installation, 2016, Glasgow Women's Library, Stories of Origin, Solo Exhibition, Documentary Photographs and Portraits
Installation, 2016, Glasgow Women's Library, Stories of Origin, Solo Exhibition, Documentary Photographs and Portraits
Installation, 2016, Glasgow Women's Library, Stories of Origin, Solo Exhibition, Documentary Photographs and Portraits
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Glasgow Women's Library
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Stories of Origin, 2015, The Centre for Creative Practice, Dubin [Solo Exhibition]
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The Calton After Art, 2015, Digital Print, Limited Edition, Size Varies
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Stories of Origin,
Annemarie Murland
The second last production in their New Voices of Ireland Series.
A series of hybrid portraits and documentary photographs of the Calton area of Glasgow, a destination for Irish migrants to Scotland at the turn of the 20th century is reimagined by artist, Annemarie Murland whose family has a long history with this part of Glasgow. As homage to the generations of Irish women whose identities were formed in this place, the portraits re-inscribe the meaning of connection by rupturing traditional gender stereotypes.
Analogue, black and white portraits and digital, colour portraits of the artist’s daughters taken over a twelve year period are fused with urban street-scapes to retell the stories of the past and present. Conceptually the images challenge the religious and social identity politics that were a common experience for migrants of the Irish diaspora. Embedded with mythology and semiology, the hybrid portraits, laced with a Marian metaphor recontextualise the relationship between mother - daughter - woman - country - form and space. In doing so, the stories of the past become the stories of the present.
The Irish Echo, November 21, 2013 Edition
Greetings from the Irish in Australia, pg5
Kiera OToole & Dr Annemarie Murland
Our collective stories offer a glimpse into the Irish in Australia in 2013 and my wish is this: to remind the Irish at ‘home’, that we are here, in Australia, writing, visualizing, and contributing to the Irish story. The Gathering: Greetings from the Irish in Australia is a celebration of Irishness through a global and cross-cultural lens. A holistic celebration of all things Irish that traverses notions of geographic and cultural limitations, is the premise for this book. The objective of this project is to examine notions of Irishness and the minutiae of asserting an Irish identity or association when geographically disconnected from country. The methodology employed in developing the book is to invite professional artists, some who are academics in their own right, inspired thinkers and academics living in Australia to engage and respond to the proposition: What does Irishness mean whether at home or away? The content of the varied textual and visual contributions form an anthology that reflects a ‘glocal’ response to cultural Ireland, its history and legacy of mass migration. As a form of anthropology, this book contributes to the shaping of brand Ireland through the formation of neo narratives that establish both physical and psychological reconnections with Ireland, across physical and psychological borders. The book and its contents showcase the creative nature of cultural Ireland’s capacity to reimagine and celebrate the creative spirit that pulsates past and present Irish history. The intention of the project is not to fetishize Irishness but to engage with the national and cultural psyche of the country, particularly in a time when Ireland is undergoing unprecedented political, social and economic change. Greetings from the Irish in Australia is a creatively innovative project that extends the connection of all things Irish towards a contemporary and discursive conversation in mediated space.
Greetings from the Irish in Australia, pg5
Kiera OToole & Dr Annemarie Murland
Our collective stories offer a glimpse into the Irish in Australia in 2013 and my wish is this: to remind the Irish at ‘home’, that we are here, in Australia, writing, visualizing, and contributing to the Irish story. The Gathering: Greetings from the Irish in Australia is a celebration of Irishness through a global and cross-cultural lens. A holistic celebration of all things Irish that traverses notions of geographic and cultural limitations, is the premise for this book. The objective of this project is to examine notions of Irishness and the minutiae of asserting an Irish identity or association when geographically disconnected from country. The methodology employed in developing the book is to invite professional artists, some who are academics in their own right, inspired thinkers and academics living in Australia to engage and respond to the proposition: What does Irishness mean whether at home or away? The content of the varied textual and visual contributions form an anthology that reflects a ‘glocal’ response to cultural Ireland, its history and legacy of mass migration. As a form of anthropology, this book contributes to the shaping of brand Ireland through the formation of neo narratives that establish both physical and psychological reconnections with Ireland, across physical and psychological borders. The book and its contents showcase the creative nature of cultural Ireland’s capacity to reimagine and celebrate the creative spirit that pulsates past and present Irish history. The intention of the project is not to fetishize Irishness but to engage with the national and cultural psyche of the country, particularly in a time when Ireland is undergoing unprecedented political, social and economic change. Greetings from the Irish in Australia is a creatively innovative project that extends the connection of all things Irish towards a contemporary and discursive conversation in mediated space.
After before White Rabbits 2007-9
A series of abstract poems, written in conjunction with my Doctor of Philosophy, Research Higher Degree, Fine Art translates an embodied, self-reflexive migratory experience through the construction and deconstruction of text as memory.
Glasgow, sandstone and grey colour my recollections of a town that is warm in its hospitality,
especially to the visitor.
The city's identity is a complex weave of religion, sport, humour and generosity, ‘it’s miles better’ than anywhere else.
Retrospectively, I have never truly left Glasgow,
and after twenty five years, my connection and attachment to the place is probably
stronger than it was when I migrated to Australia in 1991.
especially to the visitor.
The city's identity is a complex weave of religion, sport, humour and generosity, ‘it’s miles better’ than anywhere else.
Retrospectively, I have never truly left Glasgow,
and after twenty five years, my connection and attachment to the place is probably
stronger than it was when I migrated to Australia in 1991.
Shorelines Conference, Ayrshire, Scotland 2009
| migration_and_diaspora_reflections....pdf |
Migration and Sense of Place: re-contextualising felt experience through creative practice, Athens, Greece, 2011
| migration_and_sense_of_place_re-contextu.pdf |
Sitting with Uncertainty, Exhibition Catalogue
Author, Dr Annemarie Murland, Essay Title: Sitting with Uncertainty as a means to Reimagine the Canon, pg 13/14
REVIEW BY LISA SLADE
Annemarie Murland's Abstraction
Knitting was a form of writing for Annemarie Murlandsʼs mother, Agnes. She wrote the family history in striped jumpers and plaid blankets and Murland remembers clearly the year her mother taught her to knit – the new skill felt just like learning another language. These days abstraction is the language that Murland uses to tell her own stories but the woollen blankets are ever present, in the gentle rows of sgraffitio and the soft bands of colour that characterise Murlandʼs paintings and works on paper.
Abstraction has a long history as a migrant aesthetic and Murland is a migrant twice over. Born in Glasgow to second-generation Irish Catholic parents, Murland moved to Australia at the age of thirty and has now spent more time in her second adopted country than her first. Time away calls for mementoes or memory triggers – things from there for here and stories from then for now. By translating both the form and sensation of woollen blankets into works of art, Murland continues her past into her present and future. The works on paper with their embossed furrows and deft line work recreate the woven grid and relive felt experience. Just as the works on paper embody an object hood, a real physical presence as they hang robustly in elegant frames, Murlandʼs paintings hover in the gallery space. Their box-like stretchers hint at the containment of secrets and memories while their surfaces vibrate with layered colour and rich texture.
In Blue and green should never be seen 2009, the old art room adage about combining colours is put to rest. Veils of transparent powder blue paint drift across a scarred surface of earthy green producing a mirage of tranquillity in spite of the harried mark making that lies beneath the surface. For the viewer this painting is a peacemaker, offering rest and solace. For Murland, this painting is an allegory of the religious divide between the Protestant Scots and the Irish Catholics, signified by Scottish Blue and Irish Green. Murlandʼs own experience of diaspora is played out and perhaps resolved via abstraction. Blue and green should never be seen unless there is something in between and perhaps that something is between is the artist herself.
Lisa Slade
Art Historian
Writer and Critic.
Essay for Dr Aubry Byrnes
Ocean Park - Revisited... by Dr Annemarie Murland.
Artist. Academic. Writer. These are all labels that would aptly fit a formal characterisation of Dr Aubry James Byrnes; However, I am opting to use the nom de plume, AJ Byrnes to portray both the painter and the painted. As a mature artist, his perspective and practice of abstraction continue to expand historical genres and narratives by focusing on the symbiotic relationship between idea and materiality, production and reception.
In a post-digital age, painting in the abstract acts as a ubiquitous reminder that some things never die but continue to progress and evolve whilst simultaneously separating itself - at least conceptually from antecedent connections. This is what AJ Byrnes has achieved through his practice. The artist’s visual voice is all-encompassing and serves the Cannon well by playing with paintings past - in the present. His oeuvre considers pivotal moments in modern art history; engaging the symbolism inherent in Duchamp’s readymades and employing the material processes that have shaped the work of Mid-century American painters Diebenkorn, Morris and Noland. AJ Byrnes revisits and reworks aspects of these modernist Masters and has developed an aesthetic and way of doing that is not only contemporary but also uniquely his own.
In their construction the paintings are intended to make one think about paintings history, its material identity and how this relationship has changed through time and space. An assortment of found objects yield their own history that informs the structure and surface of his most recent works. Integral to the process of making the artist reconfigures old graffiti street paintings, which figuratively and conceptually temper into fragments and, in doing so, provide the material for new works.
In contrast to the artist’s big boy earlier paintings, the Ocean Park -Revisited series of works are arranged according to size and scale where micro formal armatures underpin the composition. The immediacy of the picture plane reveals a gritty urban aesthetic scarred with paint scrapings that have been appropriated from the artist’s everyday habitat. The paintings evolve and dissolve through pictorial gestures that embody arbitrary chiaroscuro references that mimic the drama of making, all of which is supported by colour and temperature that ostensibly take over the picture plane.
As a body of work, the paintings are temporal objects that talk about the subjectivity of paint and painting in the contemporary. Without a doubt, making is all about process for this artist and it is the development of a unique painting methodology that shapes his art practice. The works as an installation embody the dichotomy between dematerialisation and re-materialisation of surface, a ploy that keeps the audience thinking. The paintings begin and end with surface as both concept and context delivering a tactile, sensory, emotional and physical visual experience for the viewer through production to reception.
Dr Annemarie Murland Ph.D Fine Arts.
Dr Annemarie Murland is an artist, writer, educator and independent arts researcher. She is a former lecturer of Fine Art and casual academic at Newcastle University, Australia.
Ocean Park - Revisited... by Dr Annemarie Murland.
Artist. Academic. Writer. These are all labels that would aptly fit a formal characterisation of Dr Aubry James Byrnes; However, I am opting to use the nom de plume, AJ Byrnes to portray both the painter and the painted. As a mature artist, his perspective and practice of abstraction continue to expand historical genres and narratives by focusing on the symbiotic relationship between idea and materiality, production and reception.
In a post-digital age, painting in the abstract acts as a ubiquitous reminder that some things never die but continue to progress and evolve whilst simultaneously separating itself - at least conceptually from antecedent connections. This is what AJ Byrnes has achieved through his practice. The artist’s visual voice is all-encompassing and serves the Cannon well by playing with paintings past - in the present. His oeuvre considers pivotal moments in modern art history; engaging the symbolism inherent in Duchamp’s readymades and employing the material processes that have shaped the work of Mid-century American painters Diebenkorn, Morris and Noland. AJ Byrnes revisits and reworks aspects of these modernist Masters and has developed an aesthetic and way of doing that is not only contemporary but also uniquely his own.
In their construction the paintings are intended to make one think about paintings history, its material identity and how this relationship has changed through time and space. An assortment of found objects yield their own history that informs the structure and surface of his most recent works. Integral to the process of making the artist reconfigures old graffiti street paintings, which figuratively and conceptually temper into fragments and, in doing so, provide the material for new works.
In contrast to the artist’s big boy earlier paintings, the Ocean Park -Revisited series of works are arranged according to size and scale where micro formal armatures underpin the composition. The immediacy of the picture plane reveals a gritty urban aesthetic scarred with paint scrapings that have been appropriated from the artist’s everyday habitat. The paintings evolve and dissolve through pictorial gestures that embody arbitrary chiaroscuro references that mimic the drama of making, all of which is supported by colour and temperature that ostensibly take over the picture plane.
As a body of work, the paintings are temporal objects that talk about the subjectivity of paint and painting in the contemporary. Without a doubt, making is all about process for this artist and it is the development of a unique painting methodology that shapes his art practice. The works as an installation embody the dichotomy between dematerialisation and re-materialisation of surface, a ploy that keeps the audience thinking. The paintings begin and end with surface as both concept and context delivering a tactile, sensory, emotional and physical visual experience for the viewer through production to reception.
Dr Annemarie Murland Ph.D Fine Arts.
Dr Annemarie Murland is an artist, writer, educator and independent arts researcher. She is a former lecturer of Fine Art and casual academic at Newcastle University, Australia.
Pablo Tapia: The Order of Things: a reflective annotation on the art practice of Pablo Tapia
Author: Dr Annemarie Murland
“I directed the process of creation of my painting, bringing everything together in a simultaneous effort: lines form combinations, they become objects…When I paint I think of nothing: I see colours which order themselves as they wish, everything organises itself through patches of colour – fields – houses.”
[Paul Cezanne]
Pablo Tapia’s art practice reflects an increasing obsession with the traditions and history painting. Over time, his oeuvre cultivated by a thorough analysis of old Master techniques and applications has been rewarded through commercial and institutional success and recognition. Tapia paints the world that surrounds him regardless of subject matter devoutly executing visual concepts that are self-reflexive. His work navigates a trajectory that articulates his passion for paint, its material characteristics and qualities bestowing a truth to his current body of work that is often missing in contemporary visual culture.
Self-reflexive describes the art practice of Pablo Tapia where paint is both subject and object: painting is painting. His idea is not to render subject matter but to covey a state of being in the world, executing an emotional truth to materials that authentically describes the process and praxis of oil painting as he sees it. With his work, Tapia forecasts his sense of self as both a human being and artist and does this through exposing and rendering personal mythology that sets him apart from his contemporaries. Although a traditionalist, Tapia is a painter of his time as his practice celebrates the re-capturing of the aesthetic potential of oil painting as valid contemporary tenor.
There is psychological depth to Tapia’s painting practice that is indebted to his devotion and analysis of old master techniques, which he has adapted to form a personal painting methodology. The artists visual language informed by cross cultural experiences, between, Chile and Australia has had a direct impact on his sense of aesthetics. The colour of culture is evident in Tapia’s palette as is his application of paint, brushstrokes and painting devices that articulate his academic training in the Spanish School of Painting.
Embodied in the history and tradition of oil painting, Tapia’s practice led research communicates narrative and story telling that reference the binary: abstract realism. It is at this juncture where thought and felt experience collide to give and find visual form through recontextualsing formal representation as an abstract concept. The gaze of the painter, reflected in the signs and symbols that underpin the picture plane, invite the audience to engage in a spectacle of observation that questions meaning and understanding through the act of looking.
This is Pablo Tapia’s third solo show at the Frances Keeval gallery, where his audience and profile as a collectible artist continues to grow under the guidance of the gallery director. The artist’s art practice, and sense of story blend with the aesthetic direction of the gallery that endorse works of art that embody a sense of aesthetics and a commitment to practice through mastery of skill and technique.
Dr Annemarie Murland
Artist and Educator
The University of Newcastle
Callaghan Campus
Author: Dr Annemarie Murland
“I directed the process of creation of my painting, bringing everything together in a simultaneous effort: lines form combinations, they become objects…When I paint I think of nothing: I see colours which order themselves as they wish, everything organises itself through patches of colour – fields – houses.”
[Paul Cezanne]
Pablo Tapia’s art practice reflects an increasing obsession with the traditions and history painting. Over time, his oeuvre cultivated by a thorough analysis of old Master techniques and applications has been rewarded through commercial and institutional success and recognition. Tapia paints the world that surrounds him regardless of subject matter devoutly executing visual concepts that are self-reflexive. His work navigates a trajectory that articulates his passion for paint, its material characteristics and qualities bestowing a truth to his current body of work that is often missing in contemporary visual culture.
Self-reflexive describes the art practice of Pablo Tapia where paint is both subject and object: painting is painting. His idea is not to render subject matter but to covey a state of being in the world, executing an emotional truth to materials that authentically describes the process and praxis of oil painting as he sees it. With his work, Tapia forecasts his sense of self as both a human being and artist and does this through exposing and rendering personal mythology that sets him apart from his contemporaries. Although a traditionalist, Tapia is a painter of his time as his practice celebrates the re-capturing of the aesthetic potential of oil painting as valid contemporary tenor.
There is psychological depth to Tapia’s painting practice that is indebted to his devotion and analysis of old master techniques, which he has adapted to form a personal painting methodology. The artists visual language informed by cross cultural experiences, between, Chile and Australia has had a direct impact on his sense of aesthetics. The colour of culture is evident in Tapia’s palette as is his application of paint, brushstrokes and painting devices that articulate his academic training in the Spanish School of Painting.
Embodied in the history and tradition of oil painting, Tapia’s practice led research communicates narrative and story telling that reference the binary: abstract realism. It is at this juncture where thought and felt experience collide to give and find visual form through recontextualsing formal representation as an abstract concept. The gaze of the painter, reflected in the signs and symbols that underpin the picture plane, invite the audience to engage in a spectacle of observation that questions meaning and understanding through the act of looking.
This is Pablo Tapia’s third solo show at the Frances Keeval gallery, where his audience and profile as a collectible artist continues to grow under the guidance of the gallery director. The artist’s art practice, and sense of story blend with the aesthetic direction of the gallery that endorse works of art that embody a sense of aesthetics and a commitment to practice through mastery of skill and technique.
Dr Annemarie Murland
Artist and Educator
The University of Newcastle
Callaghan Campus
HOMEward Bound: a soliloquy of yearning
Author: Dr Annemarie Murland
An emphasis on community shapes the public art project, titled, HOMEward bound that negotiates the experiential nature of home through the lens of a local community outreach program located in the Gosford and Central Coat area. The origin of the project emerged from a vested interest between local communities and Gosford City Council, whose aim was to effect a cross discipline engagement to examine the ideologies and anomalies, attached communicating one’s felt experience of home. A merging of community, welfare and professional art practitioners, formed a critical and imaginative inquiry that, with assistance from the Community and Cultural Development Grants Program, constructed a social sculpture. A series of workshops in various locations provided a platform for the group to tell their stories that reflected the textual and sensory implications of the title of the project: HOMEward bond.
International artist Kiera O’Toole directs the artistic production of the project, navigating the collaborative process to forge a physical remembering of home and what is means to belong to a community. A dominant feature of the project observed the cultural overlap that questioned identity, place and notions of belonging from the perspective of the participants. The group formed an identity that was all-inclusive, that regardless of age, race, gender or colour, re-examined the ontology and the phenomena of being bound to home. O'Toole re-positioned the psyche of the group dynamic through a process of engagement and social inclusion that fostered self-awareness, all of which emphasised the value of integrated cooperation in making the sculpture.
By adopting a metonym of inclusively, HOMEward bound’s structural identity assumes the characteristics of the groups felt experience of home through a heterogeneous dialogue between the materials used to construct the installation and the implicitly personal stories shared. Woven upon industrial canvas a contradictory metaphor resides in the threads that hold tight the fragile, personal truths embedded and revealed upon the surface of the sculpture. Repetitive and solitary, intimate and mnemonic narratives reverberate the ties of home delivering corporeal presence or an illusion of the body. The installation asserts a psychological presence through engendered materiality that mirrors the binaries: male – female – public - private – intimate – exposed. In coveting such binaries the installation, ironically assumes a duplicitous sense of mortality, which is at odds with the works temporality.
Mass empiricism finds its collective voice through the physicality of the sculptural installation Homeward bound that presents as a platform for reflection. The structure as artwork resists the pull of rhizome as it moves between space and place. Positioned in the cultural landscape of the Central Coast the installation immortalises personal histories that advocate the soliloquy of home as experienced by those who shared their stories.
Dr Annemarie Murland
Academic, Artist and Educator
The University of Newcastle
Painting and Drawing
School of Drama, Fine Art and Music
www.annemariemurland.com
Author: Dr Annemarie Murland
An emphasis on community shapes the public art project, titled, HOMEward bound that negotiates the experiential nature of home through the lens of a local community outreach program located in the Gosford and Central Coat area. The origin of the project emerged from a vested interest between local communities and Gosford City Council, whose aim was to effect a cross discipline engagement to examine the ideologies and anomalies, attached communicating one’s felt experience of home. A merging of community, welfare and professional art practitioners, formed a critical and imaginative inquiry that, with assistance from the Community and Cultural Development Grants Program, constructed a social sculpture. A series of workshops in various locations provided a platform for the group to tell their stories that reflected the textual and sensory implications of the title of the project: HOMEward bond.
International artist Kiera O’Toole directs the artistic production of the project, navigating the collaborative process to forge a physical remembering of home and what is means to belong to a community. A dominant feature of the project observed the cultural overlap that questioned identity, place and notions of belonging from the perspective of the participants. The group formed an identity that was all-inclusive, that regardless of age, race, gender or colour, re-examined the ontology and the phenomena of being bound to home. O'Toole re-positioned the psyche of the group dynamic through a process of engagement and social inclusion that fostered self-awareness, all of which emphasised the value of integrated cooperation in making the sculpture.
By adopting a metonym of inclusively, HOMEward bound’s structural identity assumes the characteristics of the groups felt experience of home through a heterogeneous dialogue between the materials used to construct the installation and the implicitly personal stories shared. Woven upon industrial canvas a contradictory metaphor resides in the threads that hold tight the fragile, personal truths embedded and revealed upon the surface of the sculpture. Repetitive and solitary, intimate and mnemonic narratives reverberate the ties of home delivering corporeal presence or an illusion of the body. The installation asserts a psychological presence through engendered materiality that mirrors the binaries: male – female – public - private – intimate – exposed. In coveting such binaries the installation, ironically assumes a duplicitous sense of mortality, which is at odds with the works temporality.
Mass empiricism finds its collective voice through the physicality of the sculptural installation Homeward bound that presents as a platform for reflection. The structure as artwork resists the pull of rhizome as it moves between space and place. Positioned in the cultural landscape of the Central Coast the installation immortalises personal histories that advocate the soliloquy of home as experienced by those who shared their stories.
Dr Annemarie Murland
Academic, Artist and Educator
The University of Newcastle
Painting and Drawing
School of Drama, Fine Art and Music
www.annemariemurland.com
The Novocastrian Files
http://www.thenovocastrianfiles.com/2013/06/12/annemarie-murland/#.WfP8EBOCyt8
There was a group show of Newcastle-based artists at The Lock-Up Cultural Centre earlier this year entitled ‘Popped’, expertly pulled together by Gillean Shaw with less than two weeks notice! One of the many talented artists whose work was represented was Annemarie Murland and the two pieces on display really pulled me in.
Not being familiar with her work I was surprised to discover later that these paintings were a departure from her usual style. As we chatted in her studio at Newcastle Community Arts Centre yesterday afternoon I discovered that Annemarie has, up until 2010, been working solidly on a PhD, and therefore submerged in a world of painting inspired by the Aran jumpers and plaid blankets knitted by her Irish ancestors. There are examples of this work hanging in her studio and it’s a gratifying experience to have permission to touch paintings! Those examples are very tactile with woven threads, both real and imagined painted onto canvas.
As Annemarie’s work has turned more recently to lecturing first year painting and drawing students at the University of Newcastle, she has been influenced by the basic principles of painting she is teaching her students. She explains to me that when learning to paint, the first step is to understand that painting is not about the subject, but about the paint itself; colour, shape, texture, space and other factors that my non-artist brain knows very little of. This ‘back to basics’ approach with her students has enabled Annemarie to come full circle with a series of studies that has a wealth of painting experience behind them.
I love them.
Perhaps inspired by the ‘Popped’ pop-up exhibition in combination with a growing sense that people are looking for opportunities to engage with artists beyond admiring their work on a wall, Annemarie Murland is hosting her own pop-up exhibition of paintings and works on paper from her private stockpile in her studio THIS WEEKEND only. Go quickly and soak in the studio atmosphere and the paintings. You will not be disappointed!
Annemarie Murland Studio Pop-Up Sale
Studio 8, Newcastle Community Art Centre
246 Parry St, Newcastle West
Friday 14 June to Sunday 16 June, 10am to 5pm
The Novocastrian Files
http://www.thenovocastrianfiles.com/2013/06/12/annemarie-murland/#.WfP8EBOCyt8
There was a group show of Newcastle-based artists at The Lock-Up Cultural Centre earlier this year entitled ‘Popped’, expertly pulled together by Gillean Shaw with less than two weeks notice! One of the many talented artists whose work was represented was Annemarie Murland and the two pieces on display really pulled me in.
Not being familiar with her work I was surprised to discover later that these paintings were a departure from her usual style. As we chatted in her studio at Newcastle Community Arts Centre yesterday afternoon I discovered that Annemarie has, up until 2010, been working solidly on a PhD, and therefore submerged in a world of painting inspired by the Aran jumpers and plaid blankets knitted by her Irish ancestors. There are examples of this work hanging in her studio and it’s a gratifying experience to have permission to touch paintings! Those examples are very tactile with woven threads, both real and imagined painted onto canvas.
As Annemarie’s work has turned more recently to lecturing first year painting and drawing students at the University of Newcastle, she has been influenced by the basic principles of painting she is teaching her students. She explains to me that when learning to paint, the first step is to understand that painting is not about the subject, but about the paint itself; colour, shape, texture, space and other factors that my non-artist brain knows very little of. This ‘back to basics’ approach with her students has enabled Annemarie to come full circle with a series of studies that has a wealth of painting experience behind them.
I love them.
Perhaps inspired by the ‘Popped’ pop-up exhibition in combination with a growing sense that people are looking for opportunities to engage with artists beyond admiring their work on a wall, Annemarie Murland is hosting her own pop-up exhibition of paintings and works on paper from her private stockpile in her studio THIS WEEKEND only. Go quickly and soak in the studio atmosphere and the paintings. You will not be disappointed!
Annemarie Murland Studio Pop-Up Sale
Studio 8, Newcastle Community Art Centre
246 Parry St, Newcastle West
Friday 14 June to Sunday 16 June, 10am to 5pm
East meets West in Contemporary Art, 2010
Dizionario degli artisti italiani 2015 page/558
Gallery Tondinelli Roma
https://books.google.com.au/books
Dizionario degli artisti italiani 2015 page/558
Gallery Tondinelli Roma
https://books.google.com.au/books
Drygate, 2010, Acrylic on Belgian Linen, 110x90cm, Singed Verso
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Trongate, 2010, Acrylic on Belgian Linen, 110x90cm, Signed Verso
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The Dead End of Culture
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Glasgow, the Dead End of Culture, 2007, London Road, Digital Print, Limited Edition, Size Varies
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The Dead End of Culture
On a trip back to Glasgow, it was obvious to me that the urban landscape of the Calton, my psychological home, was in a state of transition. Town planners and developers were, and still are knocking down old structures and rebuilding in order to gentrify and capitalise on Glasgow’s inner-city commodity value. Well-fostered memories that have maintained an attachment to place are threatened by progress. Ironically, I record the facades of tired buildings with my digital camera, where recessed within the bricks and mortar are memories of dead parents and of time gone by. Documenting a fading sense of place, my family history and the colour of my soul are reflected in the graffiti-clad, condemned doorways that are reminders of all that will be lost when the buildings come down and the streets have no names.[1]
Glasgow as a whole services a thriving cultural dynamic mix of people where race or religion is not the only distinction. The European city of culture circa 1989, Glasgow is a melting pot of Europeans sharing place and an international narrative of difference.[2] It is from this position of disparity that the underside of this city’s cultural heartbeat is most poignant and discernible. The monumentality of the city’s architecture is overwhelmed by its innate sense and [energy] of place.
Glasgow, sandstone and grey, colour recollections of a town that is warm in its hospitality, especially to the visitor. A city whose identity is a complex weave of religion, sport, humour and generosity ‘is miles better’ than anywhere else.[3] The global village, technology and relatively cheap air travel have allowed a relationship with my hometown, family and friends to exist. Retrospectively, I have never really left Glasgow, and after 17 years my connection and attachment to the place is probably stronger than it was when I migrated to Australia in 1991.
The role of memory in maintaining, storing, harvesting and documenting time in space has sustained the connection to not only the place itself but to the culture of Glasgow. My sense of place and my own sense of self is forever tied to Glasgow, the city, but more importantly to its rich culture and its history. This history conjures mythical images of warrior men and women, the nomadic traveller, still evidenced in tribes, now taking the shape of the perennial Glasgow football supporter and the revolving migrant. Never certain if I should stay or go, I often choose the route of most resistance and I occupy two places at once.
In sharing a personal narrative the audience is taken on a visual and sensory journey that explores memory and landscape as a motif to describe a lifetime of movement that resulted in migrating to Australia. Layers of history, culture and personal association to place are revealed beneath the surface of the canvas, paper and written word. As a custodian of culture rich and sensitive information is passed on adding to the all ready told migrant stories, extending the political and social fabric of places and people who are located in-between.
[1] “The streets have no names” a line from the song with the same title, attributed to Irish Rock Band, U2
[2] Townsend, New Art from London. 8
[3] “is miles better’ was a logo used by the Scottish Tourist Board advertising Glasgow as a place to visit during the seventies and eighties.
Glasgow as a whole services a thriving cultural dynamic mix of people where race or religion is not the only distinction. The European city of culture circa 1989, Glasgow is a melting pot of Europeans sharing place and an international narrative of difference.[2] It is from this position of disparity that the underside of this city’s cultural heartbeat is most poignant and discernible. The monumentality of the city’s architecture is overwhelmed by its innate sense and [energy] of place.
Glasgow, sandstone and grey, colour recollections of a town that is warm in its hospitality, especially to the visitor. A city whose identity is a complex weave of religion, sport, humour and generosity ‘is miles better’ than anywhere else.[3] The global village, technology and relatively cheap air travel have allowed a relationship with my hometown, family and friends to exist. Retrospectively, I have never really left Glasgow, and after 17 years my connection and attachment to the place is probably stronger than it was when I migrated to Australia in 1991.
The role of memory in maintaining, storing, harvesting and documenting time in space has sustained the connection to not only the place itself but to the culture of Glasgow. My sense of place and my own sense of self is forever tied to Glasgow, the city, but more importantly to its rich culture and its history. This history conjures mythical images of warrior men and women, the nomadic traveller, still evidenced in tribes, now taking the shape of the perennial Glasgow football supporter and the revolving migrant. Never certain if I should stay or go, I often choose the route of most resistance and I occupy two places at once.
In sharing a personal narrative the audience is taken on a visual and sensory journey that explores memory and landscape as a motif to describe a lifetime of movement that resulted in migrating to Australia. Layers of history, culture and personal association to place are revealed beneath the surface of the canvas, paper and written word. As a custodian of culture rich and sensitive information is passed on adding to the all ready told migrant stories, extending the political and social fabric of places and people who are located in-between.
[1] “The streets have no names” a line from the song with the same title, attributed to Irish Rock Band, U2
[2] Townsend, New Art from London. 8
[3] “is miles better’ was a logo used by the Scottish Tourist Board advertising Glasgow as a place to visit during the seventies and eighties.
ART EDUCATION PROGRAMS and ART-CAST VIDEOS
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Experimental Drawing @ MSA July 2017
Annemarie Murland Ph.D. Artist and Educator
Creative Learning Programme
All text is copyright of Dr Annemarie Murland
Work Schedule Melbourne Studio of Art, Victoria.
Workshop Title | Experimental Drawing: pathways to abstraction
Description
In a supportive environment this 4week experimental drawing course is designed to enhance the student’s knowledge and understanding of what drawing is and what it can be through a series of conventional and non-conventional drawing processes and applications that create a platform for abstraction to take place. A primary emphasis of the course is to develop an individual approach to the idea of drawing as a language and as a way of thinking. To help facilitate this perspective the students will be encouraged to creatively challenge established drawing practices through a series of learning activities that are structured to create a sense of authorship and cultivate one’s own visual voice. The weekly drawing sessions are not only object focused, but are an experiential, sensory, whole body experience that takes place in a space where mistakes are not just expected, but are part of the whole process of drawing.
What students can expect:
Creative Learning Programme
All text is copyright of Dr Annemarie Murland
Work Schedule Melbourne Studio of Art, Victoria.
Workshop Title | Experimental Drawing: pathways to abstraction
Description
In a supportive environment this 4week experimental drawing course is designed to enhance the student’s knowledge and understanding of what drawing is and what it can be through a series of conventional and non-conventional drawing processes and applications that create a platform for abstraction to take place. A primary emphasis of the course is to develop an individual approach to the idea of drawing as a language and as a way of thinking. To help facilitate this perspective the students will be encouraged to creatively challenge established drawing practices through a series of learning activities that are structured to create a sense of authorship and cultivate one’s own visual voice. The weekly drawing sessions are not only object focused, but are an experiential, sensory, whole body experience that takes place in a space where mistakes are not just expected, but are part of the whole process of drawing.
What students can expect:
- Each weekly session will commence with a studio talk that will introduce the student to
- contemporary drawing practices and practitioners. These conversations are intended to prompt discussion and provide a foundational understanding of the medium and how the language of line translates in to material form.
- Each drawing activity will generate a real sense of authorship through a range of thought provoking multi-media, material experimentations and drawing methods that will enhance the student’s creative ideas
- All learning activities are designed to challenge, stimulate and develop the student’s understanding, knowledge and practice of contemporary drawing.
- On successful completion of the 4 week drawing course the students will have expanded their drawing and visual language skills; they will also attain a comprehensive understanding of material knowledge and the ability to turn abstract concepts into material form. In addition to a deep learning experience the students will also have gained a well-developed sense of self through their art practice.
BLENDED LEARNING IN A STUDIO BASED TEACHING AND LEARNING ENVIRONMENT
Question: What does ‘innovation’ within the teaching and learning of Painting practice look like. How can innovatory developments within the curriculum encourage painting’s potential as an educational and cultural force?
| Language and Meaning: Lecture by Dr Annemarie Murland |
So You Think You Can't Draw
November 2016, Box Hill Community Art Centre Melbourne, Victoria
Annemarie Murland Ph.D.
Artist and Educator | All text is copyright of Dr Annemarie Murland
Creative Learning Programme Work Schedule Melbourne Studio of Art, Victoria.
The 4 week ‘Experimental Drawing’ course, entitled “So You Think You Can’t Draw”
is designed to introduce the everyday enthusiast and the experienced practitioner to traditional and non-traditional drawing methods, material processes, marking making tools and strategies to develop a partnership between ideas and the act of drawing. A uniquely individual approach to ‘drawing’ see’s the student experiment and play with abstract concepts that expands their understanding and experience of drawing in a supportive and fun environment. By the end of the course the participants will have acquired new drawing skills and material knowledge and will have discovered through individual exploration and the use of their imagination their own unique visual voice.
Everybody welcome!
Artist and Educator | All text is copyright of Dr Annemarie Murland
Creative Learning Programme Work Schedule Melbourne Studio of Art, Victoria.
The 4 week ‘Experimental Drawing’ course, entitled “So You Think You Can’t Draw”
is designed to introduce the everyday enthusiast and the experienced practitioner to traditional and non-traditional drawing methods, material processes, marking making tools and strategies to develop a partnership between ideas and the act of drawing. A uniquely individual approach to ‘drawing’ see’s the student experiment and play with abstract concepts that expands their understanding and experience of drawing in a supportive and fun environment. By the end of the course the participants will have acquired new drawing skills and material knowledge and will have discovered through individual exploration and the use of their imagination their own unique visual voice.
Everybody welcome!
Untitled, Student work, 2016, Mixed Media and Collage on Paper
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Untitled, Student work, 2016, Mixed Media and Collage on Paper
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Untitled, Student work, 2016, Mixed Media and Collage on Paper
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| Dematerialisation presentation PDF |
Pathways to Abstraction
A 6 week long intensive study @ Melbourne Studio of Art June|July 2017
Untitled, 2017, Student Works, Mixed Media on Paper, MSA
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Untitled, 2017, Student Works, Acrylic Paint on Paper, MSA
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Untitled, 2017, Student Works, Acrylic Paint on Paper, MSA
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Untitled, 2017, Student Works, Acrylic Paint on Paper, MSA
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Untitled, 2017, Student Works, Acrylic Paint on Paper, MSA
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Annemarie Murland Ph.D.
Artist and Educator | All text is copyright of
Dr Annemarie Murland
Creative Learning Programme Work Schedule Melbourne Studio of Art, Victoria
Workshop Title | Pathways to Abstraction in Painting: materiality as a concept and process
Description:
In a supportive environment this 4week Pathways to Abstraction in Painting course will develop the student’s material knowledge and understanding of contemporary painting practices and provide a thorough overview of how materiality as a concept can be used to construct paintings within an abstract context. The student will experience and experiment with traditional material methodologies alongside non-conventional processes and applications of paint that, when combined create a platform for abstraction to take place. An individual approach to abstraction is emphasised throughout the coursework and you will be encouraged to experiment with your materials and ideas to produce resolved works of art.
What students can expect:
Artist and Educator | All text is copyright of
Dr Annemarie Murland
Creative Learning Programme Work Schedule Melbourne Studio of Art, Victoria
Workshop Title | Pathways to Abstraction in Painting: materiality as a concept and process
Description:
In a supportive environment this 4week Pathways to Abstraction in Painting course will develop the student’s material knowledge and understanding of contemporary painting practices and provide a thorough overview of how materiality as a concept can be used to construct paintings within an abstract context. The student will experience and experiment with traditional material methodologies alongside non-conventional processes and applications of paint that, when combined create a platform for abstraction to take place. An individual approach to abstraction is emphasised throughout the coursework and you will be encouraged to experiment with your materials and ideas to produce resolved works of art.
What students can expect:
- Each session will commence with a studio talk that will introduce the student to contemporary painting practices and practitioners. These conversations are intended to prompt discussion and provide a foundational understanding of the medium of paint | surfaces and grounds | painting materials | colour theory | brushwork |
- Each session will extend, inform and improve your painting practice and skills | understand compositional devices and colour relationships |
- Each session will develop and generate new ideas | experience a material approach to painting abstraction | understanding and explore the space and place of the picture plane |
- On successful completion of the 4 week painting course the students will have expanded their painting and visual language skills and will have learnt how to blend materials and ideas into abstract concepts to produce painted works of art.