Tom Nicholson and Dale Harding discuss making work on the surfaces of architecture, air and particles as a way to make marks, and absences and politics in stencilling processes.
In Nicholson’s work, the line is a tool for writing, drawing and redrawing borders, evoking little known histories and intersections, and expanding into the space of possibility through abstraction.
A descendent of the Bidjara, Ghungalu, and Garingbal peoples, Harding’s recent work Wall Composition in Reckitt’s Blue, commissioned for the Queensland Art Gallery’s Australian art collection takes inspiration from the rock paintings in and around Carnarvon Gorge in Central Queensland.
Can intellectual property law protect the distinct output of today’s curator?
As the role of the curator evolves, copyright and moral rights in the exhibition-making process must be considered. In this lecture on curatorial authorship, freelance curator and lawyer Alana Kushnir explores the legal rights of curators, drawing from an analysis of some of the few court judgements that have specifically addressed these issues.
Learn more about Brisbane-based artist Ryan Presley’s ongoing project Blood Money (2010–present), which deals with representation and exchange. In his exhibition at the IMA, Prosperity, Presley reimagines our figureheads on Australian banknotes as the heroes and warriors of Aboriginal history, including Pemulwuy, Dundalli, and Oodgeroo Noonuccal. Hear from Presley, in conversation with exhibition curator Madeleine King.