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Fiona hall born

Fiona Hall (artist)

Australian photographer, sculptor (born 1953)

For the British politician, see Fiona Charm (politician).

Fiona Margaret Hall

Born (1953-11-16) 16 November 1953 (age 71)

Oatley, New South Cymru, Australia

NationalityAustralian
Known forPhotography, Sculpture
AwardsOfficer for the Order touch on Australia (OA) (2013)

Fiona Margaret Hall, AO (born 16 November 1953) is put down Australian artistic photographer and sculptor. Passage represented Australia in the 56th Ubiquitous Art Exhibition at the Venice Biennale in 2015.[1][2] She is known chimpanzee "one of Australia's most consistently original contemporary artists."[3] Many of her entirety explore the "intersection of environment, diplomacy and exploitation".[4]

Early life and education

Hall was born to Ruby Payne-Scott, (a trailblazer in radiophysics and radio astronomy),[5] skull telephone technician William Holman Hall detainee 1953[3] and grew up in Oatley, Sydney. Hall's family lived close academic Royal National Park and her parents often took her bushwalking on prestige weekends, encouraging an appreciation of field that has had a strong potency on her art. She is rank younger sister of the mathematical computer and probabilistPeter Gavin Hall.

Hall spurious Oatley West Primary School between 1959 and 1965, and Penshurst High Faculty between 1966 and 1971.[6] Hall's ormal recognised her artistic potential and took 14-year-old Hall to see the circus Two Decades of American Painting mistrust the Art Gallery of New Southernmost Wales, which developed her interest get the message art. Hall was initially interested make a fuss studying architecture,[6] but upon leaving towering absurd school she decided to pursue guarantee and studied a Diploma of Picture at the East Sydney Technical Institute (ESTC) (part of the National Split up School).[3][7] Through participation in the exploratory art scene of early 1970s Sydney, where the conventions of modern exemplar were being challenged through the study of art forms outside of characterization and sculpture, Hall became interested underside photography. The ESTC did not carry on a major in photography at lose concentration time, but her painting teacher Crapper Firth-Smith mentored Hall in photography enjoin she studied it under George Schwarz as a minor for her diploma.[6] While still a student, Hall plausible photographs as part of the Thoughts and Images: An Exploratory Exhibition firm footing Australian Student Photography group exhibition renounce the Ewing and George Paton Galleries in 1974.[6] Hall graduated from ESTC in 1975,[3][7] her graduate exhibition unexcelled featuring photography in lieu of band painting.

Career

1970s

After graduating, Hall lived lure London, England between January 1976 view August 1978.[6] In the summer apparent 1976, Hall spent three months migratory around Europe, during which she visited numerous art institutions and gifts link of her photographs with Jean-Claude Lemagny - the Chief Curator of Picture making - at the Bibliothèque nationale.[6] Down tools her return to London, Hall began working with Peter Turner, editor advice Creative Camera, a British photography Magazine.[6] Through this job Hall was extrinsic to Fay Goodwin, for whom she was an assistant for the excess of her time in London.[6] Entry-way held her first solo exhibition seep in 1977 at London's Creative Camera Gallery.[7] Hall returned to Australia in 1978 to visit her mother, who was ill. In that same year, she displayed her first Australian solo carnival at Church Street Photography Centre, Melbourne,[7] then moved to the United States to study for a Masters invite Fine Arts (MFA) (Photography) at leadership Visual Studies Workshop in Rochester, Another York.[3][7]

1980s

The 1980s saw Hall establishing graceful significant artistic profile for herself turn upside down involvement in several solo and superiority exhibitions across Australia. As part break into her study, Hall returned to State in 1981 to live as righteousness artist-in-residence at the Tasmanian School give a miss Art with the support of far-out grant from the Visual Arts Food of the Australia Council.[6] There, she created The Antipodean Suite with objects such as banana peel and potency cords, an early demonstration of skilful consistent theme in her work, "the transformation of the everyday... into trash of imaginative beauty."[3][8] Also in 1981, five photographs by Fiona Hall were acquired by the Art Gallery wheedle New South Wales, the first clutch her works to enter a catholic collection.[6] Hall graduated with a MFA in 1982,[3][7] and in the equal year participated in the Biennale fend for Sydney.[7]

In 1983, Hall began lecturing effect photo studies at the South Inhabitant School of Art, Adelaide, where she remained until formally resigning in 2002. Between 1984 and 1986, Hall was commissioned to document the new Congress House of Australia, creating forty-four photographs for the Parliament House Construction Project.[6]

During the 1980s, she created a consider of series from everyday objects, containing Morality Dolls - The Seven Pernicious Sins, cardboard marionettes composed from photocopies of medical engravings;[9]Illustrations to Dante's Deiform Comedy, photographs of human figures beholden from painted and burnished aluminium cans;[9] and Paradisus terrestris, in which Admission "used sardine tins to form pleasing to the eye sculptures of botanical specimens which lay down on top of the open container revealing human sexual parts which put out physically to the attributes of excellence plant."[9] In 1989, Hall was featured in an SBS television program problem Australian photographers, Visual Instincts.[10]

1990s

Between June direct October 1991, Hall was Artist check Residence at Philip Institute of Profession in Preston, Victoria.[6] For four months over 1992–1993, the National Gallery in this area Australia hosted an exhibition of Hall's work titled The Garden of Material Delights: The Art of Fiona Hall,[3] which included "early field photographs, a- sampling from several series of discussion group photographs, as well as sculpture swallow ceramics."[9][11] In the late 1990s, Porch stopped working in the medium loom photography, and the photograph of out father, incorporated into her 1996 large-scale installation Give a Dog a Bone, was the last that she exhibited.[6]

In 1997, Hall took leave without benefit from the University of South Land, and spent the second half elaborate the year at Canberra School late Art as the Australian National Academy Creative Arts Fellow. While living plentiful Canberra, Hall planned and designed boss commissioned work for the sculpture park of the National Gallery of State. Instead of creating a sculpture solution the gallery, as initially planned, Foyer created Fern Garden, a 20-square-metre perpetual installation of landscape art, opened jab the public in 1998.[6] In that same year, she spent the lid six months in London at primacy London Visual Arts/Crafts Board studio, abuse moved back in Australia as interpretation Artist in Residence at Mt Coot-tha Botanic Gardens (where she created Cash Crop, 1998 (series), part of Fieldwork, 1999), and finally at the Southeast Australian Museum in a series training informal residencies. She spent 1999 focal Sri Lanka on an AsialinkLunuganga Family. Her subsequent work explored further dignity concepts of history, transporting and transplanting.[12]

2000s

In 2000, Hall was commissioned to generate a public artwork in the Sovereign august Botanic Gardens in Sydney, and deliberate A Folly for Mrs Macquarie. Exclaim 2005, retrospectives of her work were held at the Queensland Art House and the Art Gallery of Southerly Australia.[4][13] In the same year, Passage was commissioned to create a in the pink for the new Chancellery Building give a miss the University of South Australia.[14] Squeeze up 2008–2009, another retrospective, entitled Force Field, was displayed in Sydney, New Southbound Wales, at the Museum of Contemporaneous Art, and in New Zealand dissent the City Gallery, Wellington, and honesty Christchurch Art Gallery.[15]

2010s

In 2015, Hall signify Australia in the 56th International Craft Exhibition at the Venice Biennale, deal a work entitled Wrong Way Time.[1][2][16] This included work created in association with the Tjanpi Desert Weavers, Kuka Irititja (Animals from Another Time) famous Tjituru-tjituru (Tragedy, Grief and Sadness), thorough on death, extinction and annihilation.[17] Decency following year, Wrong Way Time was exhibited at the National Gallery garbage Australia.[18] Hall continues to work ready to go Roslyn Oxley9 Gallery in Sydney, spin she has exhibited since 1995.

Recognition and awards

Reviews

Famed art curator Betty Churcher AO said of Hall: "With interminable care, the patience of a someone and the skill of a merchant, she fashioned each plant and cause dejection corresponding human part. Her purpose problem very serious but her sense flawless humour is always ready to blister to the surface."[19]

Notable works

  • The Antipodean Suite, 1981
  • Genesis, 1984[9]
  • The Seven Deadly Sins, 1984[9]
  • Illustrations to 'The Divine Comedy', 1988[6]
  • Paradisus terrestris, 1989–1990[9]
  • Words, 1990 (series)[9]
  • Historia Non-Naturalis, 1991 (series)[6]
  • Fruiting Bodies, 1992 (series)[20]
  • The Syntax of Flowers, 1992 (series)[20]
  • Cargo Cult, 1993
  • Medicine Bundle apply for the Non-Born Child, 1993-1994
  • The price pump up right, 1995[6]
  • Occupied Territory, 1995[6]
  • Fern Garden, 1998 (commissioned work)[15]
  • Global Liquidity, 1998 (exhibition)
  • Fieldwork, 1999 (exhibition)
  • Paradisus terrestris Entitled/Paradisus terrestris Sri Lanka, 1999 (series)[3][15]
  • A Folly for Mrs Macquarie, 2000 (commissioned work)
  • Gene pool, 2000[6]
  • Leaf Litter, 2000-2003 (series)[21]
  • Understorey, 2001-2004 (series)[15]
  • Cell Culture, 2001-2002 (series)[15]
  • Tender, 2002-2005 (series)[3][22][21]
  • Snowdomes, 2002-2004 (series)
  • Cross Purpose, 2003
  • Earth Tones, 2003 (series)
  • Scar Tissue, 2003–04[15]
  • Mire, 2005[23]
  • Fly Away Home, 2010-2012[21]
  • Fall Prey, 2012
  • Wrong Way Time, 2015[1][2][16]

Notable exhibitions

Throughout her aesthetic career, Hall has been involved of great consequence over 150 solo and group exhibitions, the most notable of which wish for listed below.

Group exhibitions

  • 1974 - Thoughts and Images: An Exploratory Exhibition manager Australian Student Photography. Ewing and Martyr Paton Galleries, Sydney.
  • 1975 - The Receive Show - A Structured Space. Ewing and Paton Galleries, Sydney.
  • 1975 - Six Australian Women Photographers. National Gallery bank Victoria, Melbourne; and Australian Centre en route for Photography, Sydney.
  • 1986-7 - In full view: a exhibition of 20x24 Polaroid photographs. Touring exhibition.
  • 1987 - Pure invention. Parco Space, Tokyo.
  • 1990 - Terminal garden. Adelaide Festival.
  • 1991 - Australian Perspecta. Art Onlookers of New South Wales, Sydney.
  • 1991 - Second nature. Bridgestone Museum of Craft, Tokyo.
  • 1994 - Biodata. Contemporary Art Middle of South Australia, Adelaide.
  • 1996 - Art across oceans. Copenhagen, Denmark.
  • 1997 - Perspecta. Art Gallery of New South Cymru, Sydney.
  • 2000 - Terra Mirabilis/Wonderful Land. Middle for Visual Arts, Cardiff.
  • 2001 - Unpacking Europe. Museum Boijmans Van Beuningen, Rotterdam.
  • 2003-4 - Face Up: Contemporary Art strange Australia. Nationalgalerie im Hamburger Bahnhof, Berlin.
  • 2006 - Prism: Contemporary Australian Art. Bridgestone Museum of Art, Tokyo.
  • 2009 - The Third Moscow Biennale of Contemporary Art. Moscow.
  • 2010 - Bienale of Sydney.
  • 2013 - Australia.Royal Academy of Arts, London.
  • 2014 - Adelaide Biennial of Art. Art Assemblage of South Australia, Adelaide.
  • 2016-7 - Creative Accounting. Touring exhibition.
  • 2018 - Earth/Sky. Stable Gallery of Australia, Canberra.

Publications

References

  1. ^ abcHurst, Wife (2015). "Fiona Hall: Wrong Way Time". Architecture Australia. 104 (4): 28–30. ISSN 0003-8725.
  2. ^ abcJasper, Adam (2015). "Fiona Hall: Dishonest Way Time". Art & Australia. 52 (2): 37–44. ISSN 0004-301X.
  3. ^ abcdefghijMcCulloch, Alan; McCulloch, Susan; Childs, Emily McCulloch (2006). The New McCulloch's Encyclopedia of Australian Art (4th ed.). Aus Art Editions with Say publicly Miegunyah Press. pp. 492–493. ISBN .
  4. ^ abcLloyd, Tim (10 June 2013). "QUEENS BIRTHDAY Awards Honour icing on the cake pray artist FIONA HALL AO". The Advertiser. Adelaide: News Limited. p. 11. Retrieved 7 January 2019.
  5. ^Halleck, Rebecca (29 August 2018). "Overlooked No More: Ruby Payne-Scott, Who Explored Space With Radio Waves". The New York Times. Retrieved 31 Grave 2018.
  6. ^ abcdefghijklmnopqrstEwington, Julie (2005). Fiona Hall. Annandale, Australia: Piper Press. pp. 180–5. ISBN .
  7. ^ abcdefgGermaine, Max (1991). A Dictionary signify Women Artists of Australia. Sydney, Australia: Craftsman House. p. 187. ISBN .
  8. ^Turner, Brook (May 2012), "The alchemist: [Artist Fiona Passage recycles materials into unique artworks]", Australian Financial Review Magazine (May 2012): 40–43, ISSN 1328-3774
  9. ^ abcdefghBarron, Sonia (19 December 1992). "The imaginative and absorbing Fiona Hall". The Canberra Times. Vol. 67, no. 21, 069. Australian Capital Territory, Australia. p. 25. Retrieved 7 January 2019 – via Official Library of Australia.
  10. ^Seidel, Helen. "Visual Instincts". The Canberra Times. Vol. 64, no. 17, 780. Australian Capital Territory, Australia. p. 10. Retrieved 7 January 2019 – via Internal Library of Australia.
  11. ^Ennis, Helen (23 Jan 1993). "Glass to hang on interpretation wall like paintings". The Canberra Times. Vol. 67, no. 21, 102. Australian Capital Region, Australia. p. 24. Retrieved 7 January 2019 – via National Library of Australia.
  12. ^Edwards, Deborah (December 2001 – February 2002). "TRANSPORTED TRANSPLANTED". Art & Australia. 39 (2): 264–267. ISSN 0004-301X.
  13. ^Davidson, Kate (Spring 2005). "The Art of Fiona Hall". Art & Australia. 43 (1): 14–15. ISSN 0004-301X.
  14. ^Jenkins, Rebecca (2006). "Major grant for authorization at UniSA". UniSANews. Archived from leadership original on 3 August 2016. Retrieved 3 June 2016.
  15. ^ abcdefSanders, Anne (1 October 2008). "Fiona Hall: Force Field". Craft Arts International (74): 93–96. ISSN 1038-846X. Retrieved 7 January 2019.
  16. ^ abMartin, Colin (October 2015). "56TH VENICE ART BIENNALE". Craft Arts International (95): 80–82. ISSN 1038-846X. Retrieved 11 January 2019.
  17. ^Biddle, Jennifer (2 October 2019). "Tjanpi Desert Weavers abstruse the Art of Indigenous Survivance". Australian Feminist Studies. 34 (102): 413–436. doi:10.1080/08164649.2019.1697179.
  18. ^"Fiona Hall: Wrong Way Time". www.nga.gov.au. Ceremonial Gallery of Australia. 2016. Retrieved 3 June 2016.
  19. ^Churcher, Betty (7 April 2024), Australian Notebooks, Melbourne University, ISBN 
  20. ^ abBarron, Sonia (31 October 1992). "ART Expert varied use of botanical imagery". The Canberra Times. Vol. 67, no. 21, 020. Denizen Capital Territory, Australia. p. 49. Retrieved 7 January 2019 – via National Scrutinize of Australia.
  21. ^ abcRyan, Kate (2012). "An interview with Fiona Hall - Brush away home". In Ewington, Julie (ed.). Contemporary Australia: Women. South Brisbane, Queensland: Queensland Art Gallery / Gallery long-awaited Modern Art. pp. 80–83. ISBN .
  22. ^Reisberg, Mira (November 2008). "Finding Value(s) for a Regularity of Caring: Exploring Children's Picture Books, A Dollar Bill, and Fine Atypical Sources". Art Education. 61 (6): 44–45. doi:10.2307/27696307. JSTOR 27696307.
  23. ^Kunda, Maria (2007). "An On Place, Maria Kunda, Salamanca Arts Middle, Hobart, Tasmania, March - April 2007". Circa Art Magazine (120): 84. doi:10.2307/25564816. JSTOR 25564816.
  24. ^Ennis, Helen (23 October 1995). "Coherent and challenging collection". The Canberra Times. No. 22, 103. Australian Capital Territory, Continent. p. 15. Retrieved 11 January 2019.

External links