MODEL PICTURES: MODEL PICTURES: University of ...
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EL James Lynch
Amanda Marburg
RES: Rob McHaffie
Moya McKenna
DEL MODEL
URES: PICTURES:
James Lynch
rburg, Amanda Marburg
ie, Rob McHaffie
nna Moya McKenna
FOREWORD
I think there are two responses evident in this And when, for example, you’ve successfully
exhibition. connected things and declared their
importance, how does this say something
The first is something of a defence
more than that they were simply interesting
mechanism. Making the model a prelude
to you? That is, how is a painting you and
to a painting gives consciousness time
far more than you? How does it speak to the
to regroup. The gestures echo those of
February 2011 has been a tumultuous world, rather than just of the world?
the IT and communications technologies
month. that propel the image of the real at such a This exhibition shows James Lynch,
Just last Monday, a headline in The dizzying pace: pausing, replaying, buffering Amanda Marburg, Rob McHaffie and Moya
Independent, an English newspaper, data, time-shifting, saving and saving as. For McKenna thinking carefully—thinking in
proclaimed our time ‘A new age of the artists, deferral and delay are distancing the making of the paintings—about what
uncertainty, with no end in sight’. devices that help them manage the image in kind of relationship a painting can have
the age of its proliferation. with the world. That relationship is modest,
What is it like to make a painting in such momentary, buffered. That is sufficient. This
an age? The second is a new articulation of affect,
exhibition is not about big statements, new
of emotional engagement. In these paintings,
In the nineteenth century—like ours, an generations or emerging -isms. It’s about
the pictorial field is like the ‘flat screen’ of the
age of uncertainty—artists responded by what it is like to think with paint. In this case,
television and computer. It’s a descendant
retreating into their practice. to think about painting in a new age of
of what Leo Steinberg called the ‘flat bed’
uncertainty, with no end in sight.
As the American critic Michael Fried framed space, derived from the printing plate, in
it, the trajectory of modernist painting was works by Robert Rauschenberg. But the I would like to congratulate and thank the
one of: paintings aren’t lifeless pixels. They are participating artists: James Lynch, Amanda
vibrant, energetic, playful and seductive. Marburg, Rob McHaffie and Moya McKenna.
the gradual withdrawal of painting from They are about relationships, emotions, It has been a pleasure to work with them
the task of representing reality—or stories, places and experiences. They are and we greatly appreciate their commitment
reality from the power of painting to made by artists who are curious about the to the exhibition, their advice and their
represent it—in favour of an increasing world, who want to be both in the world involvement in discussions.
preoccupation with the problems and of it.
intrinsic to the medium itself. Our senior curator, Bala Starr, has shown
The most striking form of this affect is the great intellectual discipline in positioning the
Are the paintings in this exhibition exercises artists’ enthusiasm for the very idea of presentation as an invitation to engage and
in withdrawal? Certainly many of them making a painting, even if it is founded in reflect, rather than as a big statement or a
embody forms of isolation. Images are forms of deferral and distancing. Thirty years Google map of the decade. She has made
isolated on blank fields, excised from ago, with the advent of postmodernism, the exhibition an opportunity to inquire, not
their original context. Vistas are broken ‘pictures’ was a word heralding the a lesson.
into fragments, narratives are broken into confounding of affect. As Douglas Crimp
disconnected incidents. Time becomes a We warmly thank the forty-nine collectors
suggested in his catalogue essay for
staccato succession of incidents rather than a from Melbourne, Sydney, Adelaide and Hong
the 1977 exhibition Pictures, ‘The picture
continuous flow. Painters hunker down in their Kong who have generously lent their work
is an object of desire, the desire for the
studios, limit their attention to tabletop scale. for the exhibition. We also thank the artists’
signification that is known to absent’. All of
representatives: Jarrod and Tara Rawlins at
the artists in this exhibition are striving to
The question is whether this isolation is a Uplands Gallery; Rex Irwin, Brett Stone and
recover the analogue from the digital, to
result of the artists’ disengagement. Is it Brett Ballard at Rex Irwin Art Dealer; Darren
replace nihilism with painterly affect.
the artists who are withdrawing from reality, Knight, Suzie Melhop and Chloe Wolifson at
or is it the case, as Fried suggests in that To understand something of what they are Darren Knight Gallery; Geoff Newton at Neon
incidental and contradictory aside, that reality doing, we should reflect on a question that Parc; Michael Lett; and Brett McDowell.
is moving beyond the artists’ reach? every exhibition asks us to pose; ‘What does Geoffrey Smith at Sotheby’s Australia also
it mean for a painter to think?’. provided valuable assistance and advice.
Certainly, in these paintings, reality is
fleeting, flickering and unanchored. In Certainly the artists are thinking about
painting, representation is always a form of precedents: about photorealism’s
surrogacy, always a set of marks standing Dr Chris McAuliffe
sterilisation of the image, about the Pictures
in for something else. Here surrogacy is Director
generation and the suspension of affect,
announced repeatedly in plasticine models, about postmodernism’s love affair with
tabletop props, casts and moulded objects. the fragment. Cat. no. 4
James Lynch
But these paintings don’t retreat from the But that is more about position than practice. Underneath the table…
world, they refer to events in the street, In these model pictures, the artists are 2005
non-events in lounge rooms, to movies, thinking about ways they might put a world Photo: John Brash
myths, friends and family. The artists want to together, how they might speak of it. How Cat. no. 1
connect with reality, it’s the question of how do things connect? Do they touch? Do they James Lynch
this is achieved that’s at stake. fuse? Do they cluster and clump? How do Combing the tassels
you declare that something is important to on the rug… 2005
you? By repeating it? By playing with it? By Photo: John Brash
sharing it?
Cat. no. 63
Rob McHaffie
The office terrarium 2010
Photo: Viki Petherbridge
MODEL Beginning their careers in this context,
Lynch, Marburg, McHaffie and
McKenna (and many peers) have taken
Rob McHaffie’s art involves the most frank
and disarming interpretations of what life
offers up. His miniature paintings are
PICTURES: contemporary painting in Melbourne in a
new direction. Model pictures follows these
artists’ careful examination and reworking
created working from collages of domestic
materials, found objects, magazine
cut-outs, or sometimes simple staged
JAMES LYNCH of ideas and tropes that premise painting
as a type of model. They use painting as
dioramas of unusual objects. Fridge door,
2007, no more than noticing an amalgam of
AMANDA MARBURG a diagnostic tool, laboratory, or stage set.
Rather than painting things ‘from life’ as
material pinned to a door, documents the
least possible eventful moment. McHaffie’s
ROB MCHAFFIE they are in the world, they firstly construct use of ‘vacant’ white backgrounds, flat
MOYA MCKENNA their subjects using dioramas, plasticine
maquettes and photography, mannequins
surfaces and brilliant colour, so carefully
applied, conveys the sense of
and studio still lifes. This exhibition reveals a structure being gently turned over, ever so
the four artists’ different approaches to slightly up-ended, even if for no other
modelling the world around us. Lynch, reason than needing to see what’s
Marburg, McHaffie and McKenna choose underneath.
This exhibition takes as its focus the work
the scale of their paintings deliberately.
of four highly regarded younger painters: In her first Melbourne studio, Moya
They seek new motifs and types of
James Lynch, Amanda Marburg, Rob McKenna came upon a small white chest
pictorial space that reflect the spaces they
McHaffie and Moya McKenna. Born in of drawers and a pair of cast arms, and
themselves inhabit.
the 1970s, all four artists graduated from began working out still-life arrangements
the Victorian College of the Arts between James Lynch, who also makes films, based on this casual find. It was a
1996 and 2002, a time when art was animations and installations, uses small step from here for McKenna to
undergoing a critical shift away from lightweight cardboard, photographs and conceptually adapt tropes of ‘model
the large-scale, epic paintings that had other ‘soft’ materials to construct tabletop- culture’ to a figurative practice. For nearly
dominated the previous two decades scale tableaux of real and imagined ten years, she continued to use the cast
towards object-based art, film, photography incidents. He then paints from photographs arms along with other still-life elements as
and installation. of these staged models. In this way Lynch a means towards self-expression, while
stabilises his subject before he begins at the same time translating in paint the
The influential 1999 Melbourne International
painting, making visible the basis of how he connectedness of the arms, as subject, to
Biennial included artists whose work
proceeds. Early works like Underneath the the wider environment. McKenna initially
exemplified the Zeitgeist of the turn of
table … and Melting birthday candles … also imposed a ‘time-frame’ (usually
the century. ‘Model’ sculptures by local
(both 2005) depict friends’ earliest a single day) on her production of a
artists Callum Morton and Ricky Swallow
memories in a shallow pictorial space painting and in so doing created a type
accompanied installations by Maurizio
populated by an odd community of people of performative space for her canvas, an
Cattelan, Mariele Neudecker, Ugo
and things. The compositional format and aspect that continues to conceptually
Rondinone, and Michael Elmgreen and
varying textures of Lynch’s paintings make underpin her work.
Ingar Dragset. The only canvases included
plain his decision-making, his painterly
in the central exhibition, Signs of life, were
struggles and pleasures.
Stephen Bush’s paintings, described by
curator Juliana Engberg as ‘a final hoorah Bala Starr
A type of ‘lowbrow’ logic is suggested by
for oil painting’. Senior Curator
Amanda Marburg’s practice. It empties
some of the intensity from painting’s
Internationally in the late 1990s, artists
history, not unlike artists such as Linda
such as Luc Tuymans, Michael Raedecker,
Marrinon. Her method is to build floppy-
Mamma Andersson, Thomas Demand and
looking plasticine figures and structures
Jeff Wall were incorporating concepts of
before photographing the tableaux
‘model culture’—using alternative materials,
against studio backdrops as a final basis
staged spaces and constructed tableaux—
for painting. Marburg is enamoured of
in painting and photography. In Melbourne,
expressive painterly ground rules. She
artists and art students were circulating
has often directed these towards darkly
ideas from Nicolas Bourriaud’s Relational
filmic, dramatic mises-en-scène such as
aesthetics (published in English in 2002),
Man crawling and Sanctuary (both 2005).
questioning perceptions of the autonomous
Marburg’s ‘wet’ technique gives her
artist, artwork and audience, and catalysing
images atmospheric volume and depth.
relationships between physical, social and
The narrative in her pictures is left clipped
institutional spaces.
and open-ended, but the suggestion is
of almost-comic accident, misdeeds,
Cat. no. 68 and figures—miscreants—living in an
Moya McKenna inconsequential world.
Laws of nature 2007
Photo: Jeremy Dillion
Cat. no. 12
James Lynch
Sam’s picture 2010
Photo: John Brash
INTERVIEW
Bala Starr: How did each of you relate Is this an exhibition that could only have I sent the introductory text about the One of the concepts I’ve been Moya McKenna: When I paint from my
to the idea of ‘model pictures’ as a been considered in Melbourne? It was exhibition to a friend and her first interested to pursue with this exhibition arrangement of objects, I’m describing real,
paradigm for the exhibition? put to me at the opening that this is the response was, ‘Yes, I get it: model, as is that in looking at the particular depth physical space. I don’t make preliminary
WITH THE
‘small painting show’ to be expected in, a model to be followed’. What do of pictorial space that each of you drawings before painting so I’m relying on
Amanda Marburg: I’m not sure if this is from Melbourne, although I’m not sure you think about ‘model culture’ and sets up in your paintings, there is an my ability to crop the arrangement with my
exactly what you’re wanting, but I never see we’ve really seen such a show for years. painting today being premises that exchange of what might be called ‘real’ eye and recognise light etc. The process
ARTISTS
my models as finished works. They’re like And things are not so simple. What involve an example to be followed or space for the space of the stage and has an intensity about it that escalates
my sketches. I couldn’t make the paintings does it mean from your point of view to the basis of a narrative. Does this sort the diagram or model. Arguably this as the painting unfolds. At the start you
without them. I see the exhibition title Model consider a context deliberately informed of thinking play a part in your work? tactic represents a level of withdrawal fumble to harness a perspective and then
pictures as more like a sketch too—in a by living in Melbourne? to the more controlled, intimate space as space on the canvas becomes clearer,
wider sense of circumstances. Rob McHaffie: Personally I used to paint a of the model. At the same time though, a battle arises between the real space in
James Lynch: I might start making big lot of screwed-up looking figures made from because a model in essence shares front of you and the imaginary space of the
Rob McHaffie: There’s definitely a thread pictures just to annoy the person who made paper bags and food and things—these or mimics something of the world painting. In the end, the space described
and many crossovers and shared influences that comment. I think it’s more a generational were my first models. Anxious-looking figures outside the painting, the approach on the canvas takes hold, it becomes more
and processes in the making of our work. difference than just location. I really like how on blank backgrounds, and yes that became can symbolise the wider context. Can real in a heightened sense—it becomes
The exhibition draws attention to painting’s Rob McHaffie mentioned in his floor talk the my reality. I was alone in the studio painting you talk about the pictorial space you something I haven’t seen before, a new
long exchange with modeling, but for me metaphor of ‘talking’ to describe his works loners. Now I try to paint groups of people create? When you are painting, what experience.
particularly it goes to thinking about the and the other pictures in the show. Telling having a nice time appreciating nature and concerns do you address through your
objects that can best present possible stories via the work, conversations that listing to music, and I am heading towards construction of space? Amanda Marburg: I like to be a terrible
scenarios. The model allows you to imagine go back and forth between the audience this in real life. Yes indeedy. As Robert Crumb photographer, which means I end
the world as living theatre. I also love the and the work. And it better encapsulates once said, ‘you get what you paint’. James Lynch: The sceneries, characters, up with a lot of ‘mistakes’ when I am
many layers of touch and arrangement that the intimacy and frankness of how these narratives, events and the pictorial spaces photographing the plasticine models I
carry through into the final painting process, paintings address the audience. Perhaps James Lynch: I think your colleague is right. in my own work are attempts at describing create. Exposure and focus are the main
culminating in an expression of how the artist you can see this in the choices of scale too. I think the artists in the show address the a shared space. As my first-year students issues. I work with them. I like to play with
thinks and feels. constructed and mediated nature of our lives. so well articulated to me last week, while the focus, making things look larger or
Moya McKenna: I’m from Sydney! But I guess to some extent with the internet and looking at that classic Ian Burn black further away than they actually are. I end
Moya McKenna: I see the idea of Model I’ve been living in Melbourne for some time today’s media saturation, we each inhabit monochrome and text work at the NGV, up with a two-dimensional image, which
pictures as a process of making a picture, now. A sense of place and the community our own bubble or universe of media; this we see the world through language. I’m I then paint. I never paint straight from the
of describing something that is in front of you live in is very much a part of you. But I separates us but also links us to others at still looking for the real world. three-dimensional model. The pictorial
you, like a stage, arranged objects, a model. think for myself, the links and connections the same time. I guess artists have always space of the paintings is particularly
Although there have been shifts in my that you can find in the show have occurred been aware of this split, but perhaps for me Rob McHaffie: I usually start with a affected by these ‘dimensional shifts’
practice, these ideas are traceable. Initially unconsciously or by chance. it’s particularly clear when I look at Rob’s and blank, off-white, flat background and the in the photographs.
I painted from objects that I found in my first Moya’s pictures where they represent very placement of images is left a bit to chance.
Melbourne studio. That find was an end to Rob McHaffie: I don’t think it’s a specifically personal collections of art history, objects, So I may paint a figure somewhere on
my struggle with subject and the beginning Melbourne show, but Melbourne definitely references, materials and methodologies. I’m the canvas and then paint some isolated
of a long dialogue as I got attached to the informs my subject matter a great deal. not sure about the ethical dimension of this. objects around the figure so you get a very
objects. The process has now evolved Similar painting is happening in New concentrated look at the figure and their
into painting from collage. The objects are Zealand. Julian Hooper, Liz Maw, Andrew Amanda Marburg: My lobster paintings relationship to the object or another figure,
still present, only now they are described McLeod, Georgie Hill and Matt Hunt are a are based on a short story, Lobster, by with nothing in the background. This type of
from a two-dimensional perspective and in few who create small theatrical paintings Guillaume Lecasble. It’s a surrealist love approach came out of painting small faces
environments that go beyond my immediate that come from collage and modeling. My story. It’s the only time I’ve used a story as the on big blank sheets of paper. I was never
studio. I think the concept of Model pictures experience of learning to paint was through basis for a body of work, with the narrative very interested in painting more than the
can be interpreted as an overlay in my work. books of European and American painters. scenes predetermined. Usually I’ll choose face so it seemed a waste of time to paint
I don’t think my approach to painting is a Naturally, I never imagined the paintings to a theme—like westerns, film noir, tattoos, the whole body or background. Picking the
reaction to the local art scene. be very large. I love the intimacy of small still-life painting—for an exhibition and then bits and pieces from the world around us or
paintings like those of James Ensor who source images wherever I can, but I don’t first the world inside us and rearranging them
James Lynch: At first I felt a bit uses masks and collected items to create a think in terms of a strong narrative.’ to present a new narrative or idea is very
uncomfortable with the title Model pictures dramatic parallel world. Chinese painter Ji enjoyable and, yes, offers some control
because it could be read to imply that these Dachun does a similar thing. I am quite shy Moya McKenna: Within each body of work in communicating how one likes to see
works are the best examples of picture about asking real-life models to pose, so is a new approach or way of thinking. Often, things.
making. In a lot of ways they’re not. Then sourcing images in magazines and modeling I find that this relates to your internal and
I started thinking of all the other ways to the things I needed to complete a picture external landscape at a given time; also,
interpret the phrase as a concept, and all the became a natural practice. I also used I think paintings inform one another like a
actual ‘model pictures’ we’re carrying around to walk around local streets and gardens conversation, the last painting guiding you to
inside our heads (and hearts). photographing discarded furniture, plants the next and so on. In my most recent body
and houses that are essential to the sense of work, Sowing parts for uncertain meetings,
of place in the paintings. I used collages to make my paintings. Two
of my travel photographs from the Great
Amanda Marburg: I think this show could Wall of China literally became a stage on
have been anywhere too. There are a lot which I brought together diverse imagery,
of artists around who make dioramas as a like Yayoi Kusama’s Pumpkin with cheetahs
basis for their paintings. But yes, Melbourne etc. The shift to collage was significant to my
sure was in need of a painting show like this. practice. The change was about sustenance:
allowing me to move beyond my immediate
surrounds and identifying with others.
Cat. no. 6 James Lynch Cat. no. 69 Disaster of the month Moya McKenna (January) 2007 One journey 2007 Photo:John Brash Photo: Jeremy Dillion Cat. no. 42 Cat. no. 57 Amanda Marburg Rob McHaffie Happily afloat on the swirl Fridge door 2007 of a sinking ship 2007 Photo: Viki Petherbridge
CATALOGUE James Lynch Amanda Marburg Rob McHaffie Moya McKenna
OF WORKS 1. 8. 13. 21. 29. 38. 45. 53. 61. 64. 72.
Combing the tassels Quakers at 12 Journey to the centre Giving the devil his Giving the devil his The professor 2005 Crumpled date The sale 2006 Hope for the Acknowledgment Pink reciprocal 2008
on the rug … 2005 o’clock 2009 of the earth (giant due 8 2004 due 16 2004 oil on canvas painting 2004 oil on canvas dishevelled seeker II 2003 oil on canvas
oil on canvas oil on canvas mushrooms) 2002 oil on canvas oil on canvas 70.5 x 50 cm oil on canvas 46 x 41 cm 2010 oil on canvas 91.5 x 91.5 cm
51 x 61 cm 76.5 x 91.5 cm oil on canvas 30 x 40 cm 40 x 30 cm Private collection, 45.5 x 40.5 cm Collection of Chloé oil on canvas 76.5 x 46 cm Private collection,
Michael Buxton Courtesy the artist 60.5 x 90 cm Private collection, Private collection, Melbourne, courtesy Private collection, Wolifson, Sydney 33.5 x 28.5 cm Collection of Peter Sydney
Collection, and Michael Lett, Collection of Joshriel Melbourne Melbourne Sotheby’s Australia Melbourne Michael Buxton and Marion
Melbourne Auckland Pty Ltd, Melbourne 54. Collection, Armstrong, 73.
22. 30. 39. 46. Tender age 2006 Melbourne Melbourne Ancient path
2. 9. 14. Giving the devil his Giving the devil his Sanctuary 2005 I’m not staring I have oil on canvas 2008–09
Melting birthday Riot at IMAX 2009 Giving the devil his due 9 2004 due 17 2004 oil on canvas no eyes 2004 61.5 x 51 cm 62. 65. oil on canvas
candles with my oil on canvas due 1 2004 oil on canvas oil on canvas 130 x 90 cm oil on canvas Proclaim Collection, I’ve been watching Child 2003 122 x 87 cm
brother … 2005 76.5 x 91.5 cm oil on canvas 30 x 40 cm 30 x 40 cm Collection of Wendy 46 x 40.5 cm Melbourne you 2010 oil on canvas Collection of Vivien
oil on canvas Courtesy the artist 30 x 40 cm GRANTPIRRIE Private collection, Brown, Sydney Collection of Kirsten oil on canvas 76 x 46 cm Knowles, Melbourne
61 x 76 cm and Michael Lett, Collection of Joshriel Collection, Sydney Melbourne Perry, Melbourne 55. 59.5 x 49 cm Collection of the
Private collection, Auckland Pty Ltd, Melbourne 40. We have enough Courtesy the artist artist 74.
Melbourne 23. 31. At the bottom of the 47. stuff 2006 and Brett McDowell A bridge to the
10. 15. Giving the devil his Giving the devil his Seine 2007 Dinnerware and hors oil on canvas Gallery, Dunedin 66. present 2009
3. Tom and bloody Giving the devil his due 10 2004 due 18 2004 oil on canvas d’oeuvre 2005 61.5 x 51.5 cm Untitled 2004 oil on canvas
Sleeping with my Kennett 2009 due 2 2004 oil on canvas oil on canvas 122 x 167.5 cm oil on canvas Private collection, 63. oil on canvas 96 x 112 cm
dead grandma … oil on canvas oil on canvas 30 x 40 cm 40 x 30 cm Collection of Joshriel 46 x 41 cm Sydney, courtesy The office terrarium 61 x 81 cm Private collection,
2005 91.5 x 76.5 cm 30 x 40 cm Private collection, Private collection, Pty Ltd, Melbourne Collection of Deborah Darren Knight Gallery, 2010 Collection of James Melbourne
oil on canvas Courtesy the artist Collection of Brett Melbourne Melbourne Ostrow, Melbourne Sydney oil on canvas Mollison AO and
40.5 x 51 cm and Michael Lett, Stone, Sydney 41. 62 x 51 cm Vincent Langford, 75.
Courtesy the artist Auckland 24. 32. The cold was dry 48. 56. Courtesy the artist Melbourne Untitled (Eine kleine
and Uplands Gallery, 16. Giving the devil his Giving the devil his 2007 I woke up this All suffering soon to and Brett McDowell Nachtmusik) 2009
Melbourne 11. Giving the devil his due 11 2004 due 19 2004 oil on canvas morning but still ain’t end 2007 Gallery, Dunedin 67. oil on canvas
Gwyn’s picture 2010 due 3 2004 oil on canvas oil on canvas 168 x 121.5 cm seen the sun 2005 oil on canvas Untitled 2005 41 x 56 cm
4. oil on canvas oil on canvas 30 x 40 cm 102 x 133 cm Collection of Richard oil on canvas 46.5 x 41 cm oil on canvas Collection of Dr Terry
Underneath the table 76.5 x 66 cm 30 x 40 cm GRANTPIRRIE Collection of Art & Mortlock and Marion 46 x 41 cm Private collection, 82 x 76 cm Wu, Melbourne
… 2005 Private collection, Collection of Lynne Collection, Sydney Australia, Sydney Bennett, Sydney Private collection, Melbourne Collection of James
oil on canvas Melbourne Watkins and Melbourne Mollison AO and 76.
50.5 x 61 cm Nicholas Harding, 25. 33. 42. 57. Vincent Langford, Door 2010
Private collection, 12. Sydney Giving the devil his Audrey 2005 Happily afloat on the 49. Fridge door 2007 Melbourne oil on canvas
Melbourne Sam’s picture 2010 due 12 2004 oil on canvas swirl of a sinking ship Starry starry night oil on canvas 61 x 96.5 cm
oil on canvas 17. oil on canvas 84 x 60 cm 2007 2005 28.5 x 26 cm 68. Collection of Dr Judy
5. 66 x 76.5 cm Giving the devil his 30 x 40 cm Private collection, oil on canvas oil on canvas Courtesy the artist Laws of nature 2007 Soper and Dr Jim
Disaster of the month Courtesy the artist due 4 2004 Private collection, Sydney 168 x 121.5 cm 28 x 25.5 cm and Darren Knight oil on canvas Sullivan, Sydney
(February) 2007 and Uplands Gallery, oil on canvas Melbourne Collection of Lynne Courtesy the artist Gallery, Sydney 91 x 71 cm
oil on canvas Melbourne 30 x 40 cm 34. Watkins and and Darren Knight Collection of Peter
61 x 76 cm Collection of Lynne 26. Frank 2 2005 Nicholas Harding, Gallery, Sydney 58. Cooley, New South
Monash University Watkins and Giving the devil his oil on canvas Sydney I can only invite you to Wales
Collection. Nicholas Harding, due 13 2004 50 x 70 cm 50. the party, somewhere
Purchased 2007 Sydney oil on canvas Private collection, 43. Where’s the freakin’ along the line you 69.
Monash University 30 x 40 cm Sydney Large lobster 2007 car? 2005 have to say ‘yay’ or One journey 2007
Museum of Art 18. Private collection, oil on canvas oil on canvas ‘nay’ 2007 oil on canvas
Giving the devil his Melbourne 35. 30 x 45 cm diptych, each part oil on canvas 40 x 45 cm
6. due 5 2004 Man crawling 2005 Private collection, 35.5 x 31 cm 46.5 x 41 cm Private collection,
Disaster of the month oil on canvas 27. oil on canvas Sydney Private collection, Private collection, Melbourne
(January) 2007 40 x 30 cm Giving the devil his 70 x 50 cm Melbourne Melbourne
oil on canvas Private collection, due 14 2004 Collection of Joshriel 44. 70.
76 x 101.5 cm Melbourne oil on canvas Pty Ltd, Melbourne She wanted the 51. 59. 461 High Street 2008
Private collection, 30 x 40 cm lobster 2007 The cactus where You can have the oil on canvas
Melbourne 19. Private collection, 36. oil on canvas your heart should be power, I’m going to 121.5 x 91.5 cm
Giving the devil his Melbourne Marnie 2005 101.5 x 137 cm 2006 bed 2007 The Acacia
7. due 6 2004 oil on canvas Private collection, oil on canvas oil on canvas Collection,
Eclipse 2007 oil on canvas 28. 97.5 x 70 cm Hong Kong 46 x 41 cm 33.5 x 33.5 cm Melbourne
oil on canvas 40 x 30 cm Giving the devil his Collection of Ian Collection of Collection of Julian
61 x 76 cm Collection of Lynne due 15 2004 Rogers, Melbourne Katherine Green and and Stephanie Grose, 71.
Courtesy the artist Watkins and oil on canvas Warren Tease, Adelaide Lay bare 2008
and Uplands Gallery, Nicholas Harding, 30 x 40 cm 37. Sydney oil on canvas
Melbourne Sydney Private collection, Owl 2005 60. 82 x 91 cm
Melbourne oil on canvas 52. Hope for the Private collection,
20. 60 x 84 cm Hugh and Divine dishevelled seeker I Melbourne
Giving the devil his Collection of Brett 2006 2010
due 7 2004 Stone, Sydney oil on canvas oil on canvas
oil on canvas 41 x 35.5 cm 56 x 66.5 cm
30 x 40 cm Courtesy the artist Michael Buxton
Private collection, and Darren Knight Collection,
Melbourne Gallery, Sydney Melbourne
Cat. no. 74 Cat. no. 15 Moya McKenna Amanda Marburg A bridge to the present 2009 Giving the devil his due 2 2004 Photo: Jeremy Dillion Cat. no. 67 Cat. no. 54 Moya McKenna Rob McHaffie Untitled 2005 Tender age 2006 Photo: Jeremy Dillion Photo: Viki Petherbridge
James Lynch Amanda Marburg Rob McHaffie Moya McKenna
James Lynch was born in Amanda Marburg was born in Rob McHaffie was born in Moya McKenna was born in
Melbourne in 1977. He lives in Melbourne in 1976. She lives in Melbourne in 1978 and lives in Guildford, England, in 1973, and
Melbourne. Lynch completed a Melbourne. Marburg completed Melbourne. He graduated from arrived in Australia with her family
BFA at the Victorian College of an Associate Diploma of Visual the Brighton Bay Art, Design and in 1975. She lives in Melbourne.
the Arts, Melbourne, in 1996 and Art (in painting) at the Western Photography Program, McKenna studied at the National
completed an MFA at Monash Metropolitan College of TAFE, Melbourne, in 1999 and Art School, Sydney, between
University, Melbourne, in 2010. Melbourne, in 1996 and a BFA at completed a BFA (in drawing) at 1992 and 1994, and completed a
Since 1998, Lynch has held the Victorian College of the Arts the Victorian College of the Arts BFA at the Victorian College of
regular solo exhibitions at in 1999. Marburg held her first in 2002. Since then, he has held the Arts in 1998. Her first solo
Uplands Gallery, Melbourne. solo exhibition, The bomb, at several solo exhibitions at Darren exhibition of paintings, still life,
Other key solo exhibitions TCB Inc. Art, Melbourne, in 2001 Knight Gallery, Sydney, and at was held at TCB Inc. Art,
include The drunken soldier and and since then has held solo Brett McDowell Gallery, Dunedin, Melbourne, in 2003. Since then,
other melodies, Tokyo Wonder exhibitions at Rex Irwin Art New Zealand, as well as University McKenna has participated in
Site, Tokyo (2007); Le Grand Dealer, Sydney, in 2009, 2007, of Southern Queensland Gallery, several group exhibitions
Café, Galerie Frank Elbaz, Paris 2005 and 2002; Uplands Gallery, and in Melbourne at Spacement, including Primavera 2008,
(2004); and Inside of me is such Melbourne, in 2009 and 2007; TCB Inc. Art, Gertrude Museum of Contemporary Art,
a part of you, Mori Gallery, and Newcastle Region Art Contemporary Art Spaces, Kings Sydney; Moya McKenna and
Sydney (2003). He has Gallery in 2004. She has been Artist Run Initiative and Seventh Bradd Westmoreland, Ocular
participated in a number of included in group exhibitions at Gallery. Group exhibitions of note Lab, Melbourne (2007); New
group exhibitions including Monash University Museum of include Nobody knows: Simon objectivity, Karen Woodbury
I walk the line: new Australian Art, Centre for Contemporary Mee, Rob McHaffie, Anne Gallery, Melbourne (2006); The
drawing, Museum of Contemporary Photography, Niagara Galleries Wallace, Gold Coast City Gallery, difference between you and me,
Art, Sydney (2009); Circle of and RMIT Gallery in Melbourne Queensland (2010); The Shilo the Ian Potter Museum of Art, the
friends, Art Gallery of Western as well as at Shepparton Art project, the Ian Potter Museum of University of Melbourne (2005);
Australia, Perth (2008); Lost and Gallery and the Queensland Art, the University of Melbourne When the lake froze, RMIT Project
found: an archaeology of the University Art Museum. She was (2010); Darren Knight Gallery at Space, Melbourne (2002); and
present: TarraWarra biennial selected for inclusion in NEXT2008: the invitational fair of Painting pictures, 1st Floor,
2008, TarraWarra Museum of Art, Primavera 2007 at the Museum of emerging art, Chicago; Melbourne (2001). Her solo
Healesville, Vic.; Relentless Contemporary Art, Sydney, and Relentless optimism, the Carlton exhibitions include Sowing parts
optimism, the Carlton Hotel, has exhibited at MoMA PS1 in Hotel, Melbourne (2007); for uncertain meetings, Fremantle
Melbourne (2007); Drawn, NGV New York (2001). In 2005, she Primavera 2006, Museum of Arts Centre (2011); Bridges,
International, Melbourne (2006); was selected for the Art & Contemporary Art, Sydney; The paths, walls, A body of content
New05, Australian Centre for Australia and ANZ Private Bank Armory show, New York (2006); arranged for melody and New
Contemporary Art, Melbourne Emerging Artist Program. She and The Robert Jacks drawing paintings, Neon Parc, Melbourne
(2005); and 2004: Australian was awarded an Australia prize, Bendigo Art Gallery, Vic. (2009, 2008 and 2007); and New
culture now, National Gallery of Council studio residency in (2003). McHaffie was awarded a paintings, Gallery 9, Sydney
Victoria and Australian Centre for Rome in 2008. Marburg is residency at the Cité (2007). McKenna was a studio
the Moving Image, Melbourne. represented by Rex Irwin Art Internationale des Arts in Paris in artist at Gertrude Contemporary
Lynch is a founding member of Dealer, Sydney, and Uplands 2007 and will take part in the Art Spaces in 2009–10 and was
the collaborative group DAMP Gallery, Melbourne. Asialink Visual Arts Residency a member of DAMP collaborative
(1995–) and was a member of Program in Malaysia in 2011. art group between 2000 and 2001.
the artists’ project Rubik (1998– Further reading McHaffie is represented by
2003). He is represented by Darren Knight Gallery, Sydney, Further reading
Uplands Gallery, Melbourne, and Armstrong, Claire, ‘Amanda and Brett McDowell Gallery,
Michael Lett, Auckland. Marburg’, Art & Australia, vol. 42, Dunedin. Huon, Jess, The ritual of the
no. 4, 2005. attempt, Neon Parc, Melbourne,
Further reading Further reading 2008.
Crawford, Ashley, ‘Amanda
Cook, Robert, Circle of friends, Art Marburg: plasticine friends’, Crawford, Ashley, ‘50 most Lloyd, Tony, ‘Moya McKenna’,
Gallery of Western Australia, Perth, Australian Art Collector, no. 42, collectable artists’, Australian Art Artist Profile, no. 12, 2010.
2008. 2007. Collector, no. 43, 2008. McCulloch, Amber, ‘Not so still
Crawford, Ashley, ‘James Lynch’, Morrow, Christine, Primavera Day, Charlotte, ‘Critical mass’, Art life’, Australian Art Collector, no.
Art & Australia, vol. 43, no. 4, 2006. 2007, Museum of Contemporary & Australia, vol. 43, no. 2, 2006. 53, 2010.
Art, Sydney, 2007.
Day, Charlotte, Lost and found: an Seeto, Aaron, Primavera 2006, Nicholson, Tom, Pictures and
archaeology of the present: Radford, Lisa, Amanda Marburg, Museum of Contemporary Art, events, Gallery 9, Darlinghurst,
TarraWarra biennial, TarraWarra Uplands Gallery, South Yarra, Sydney, 2006. NSW, 2007.
Museum of Art, Healesville, Vic., Vic., 2009.
Sorenson, Rosemary, ‘Stories Warren, Kate, Moya McKenna: a
2008. Schwartzkoff, Louise, ‘Some cut through history, Gertrude
hint at a past, capture a future, Cat. no. 33
Farmer, Margaret, Michael model behaviour from a carnal and leave the rest to us’, The Contemporary, Fitzroy, Vic.,
Amanda Marburg
Fitzgerald & Katrina Schwarz crustacean’, The Sydney Morning Australian, 22 July 2010. 2010.
Audrey 2005
(eds), Current: contemporary art Herald, 5 December 2007.
from Australia and New Zealand, Triguboff, Eleonora, ‘The Art & Cat. no. 36
Art & Australia & Dott Publishing, Australia Contemporary Art Amanda Marburg
Sydney, 2008. Award: looking back to the Marnie 2005
future’, Art & Australia, vol. 47,
Porter, Gwyneth, New05, Australian no. 3, 2010. Cat. no. 52
Centre for Contemporary Art, Rob McHaffie
Southbank, Vic., 2005. Hugh and Divine 2006
Photo: Viki Petherbridge
Model pictures: James Lynch, Amanda Marburg, Rob McHaffie, Moya McKenna Published by the Ian Potter Museum of Art, the University of Melbourne, on the occasion of the exhibition Model pictures: James Lynch, Amanda Marburg, Rob McHaffie, Moya McKenna, 23 February to 15 May 2011. Text © 2011, the Ian Potter Museum of Art, the University of Melbourne Images © 2011, the artists This catalogue is copyright. Apart from fair dealing for the purposes of research, criticism or review as permitted under the Copyright Act 1968, no part may be reproduced, stored in a retrieval system or transmitted by any means without the prior permission of the publisher. ISBN 978-0-7340-4415-0 Design by 5678 Design Printed in Australia by Market Printing The Ian Potter Museum of Art The University of Melbourne Victoria 3010 Australia Email potter-info@unimelb.edu.au http://www.art-museum.unimelb.edu.au Patron Lady Potter AC Front: Cat. no. 68 Moya McKenna Laws of nature (detail) 2007 Photo: Jeremy Dillion
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