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Add your thoughts under the headings, dot points are fine! Click on the Speech Bubble to leave a comment!

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What meanings and messages are relevant to this work and source?

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What meanings and messages are relevant to this work and source?

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Use the cultural and the structural lens compare the meanings and messages in the artworks by Troy Emery and Daniel Church.
In your response, refer to:
• both artworks
• both sources.

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What relevant aspects of the structural lens can you see?

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What relevant aspects of the structural lens can you see?

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What relevant aspects of the cultural lens can you think of?

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What relevant aspects of the cultural lens can you think of?

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Source 2
Daniel Church was born on Darug Country in Liverpool, New South Wales, where his parents, grandparents, great-grandparents and ancestors were also born. ‘Pelican Mudjin’ (Family), 2022, is an installation of carved pelicans representing mudjin (family), with each individual pelican representing wiyanga (mothers), biyangan (fathers), babana (brothers) and djuramin (sisters) along the south-east coast of Australia. Church describes the work as ‘one big mudjin, one big mob’, with the diamond motifs representing the connections between all Aboriginal peoples from the south-east coast, as well as his own Darug family. For Church, carving is about sharing culture and passing down songlines through generations – in this case by transferring onto wood the images, symbols and stories he has witnessed carved on stone in Darug Country.  In his bird paintings and sculptures, Church conveys ‘on every feather how deep our culture flows through our hearts and souls’. (©National Gallery of Victoria, Image: Sean Fennessy)

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Source 1
Troy Emery’s art practice combines sculpture, painting and drawing. He primarily works with textiles and sculpture, creating animal-like forms that examine the discourse surrounding fine art, craft and the delineations between the two. At nearly three metres high, ‘Mountain climber’, 2022, commissioned by the NGV, is Emery’s most ambitious work to date. The exuberant textile sculpture of a feline creature perched atop a gallery plinth is a continuation of his work exploring humankind’s relationship with animals and their historical representations in museums and in taxidermied form. Emery refers to the display of taxidermy animals in the natural history museum setting as ‘tokens of ecological ruination’, with their display often signalling their demise. Emery says, ‘The animal body removed from the context of nature, the wild world being brought inside, is an analogy for the natural world being somehow diminished’. (©National Gallery of Victoria)

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Daniel Church, Pelican Mudjin (Family), 2022.Wood and paint. Installation view, The Ian Potter Centre: NGV, Australia. Image: Sean Fennessy.

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Troy Emery, Mountain Climber, 2022.Steel armature, foam, textiles, timber plinth, 350 x 380 x 120 cm.Installation view, The Ian Potter Centre, NGV, Australia.

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Consider the two sources below and Peta Clancy’s artwork Confluence, illustrated on page 3 of the insert.

Identify and discuss the issues related to Peta Clancy’s Creative Practice presented in the two sources provided.
In your response, refer to:
• the artwork
• both sources.

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What aspects of the creative practice cycle are relevant in Peta's worK? You have to INFER, to answer this.

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What are the relevant ideas and issues in Peta's work?

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‘Confluence,’ is a body of work created in response to historic photographic records, held in the State Library Victoria’s collection, taken where the Merri Creek and the Birrarung meet. The site is a culturally significant part of Country for the Wurundjeri people of the Kulin nation, with ancient rock formations between 100 and 400 million years old. In the 1970s the trajectory of the waterway was altered during the development of Melbourne’s Eastern Freeway. (©National Gallery of Victoria).

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Dr Peta Clancy is a descendent of the Bangerang people from south-eastern Australia. Through her photographic work, she explores the hidden histories of colonisation and events that threatened the survival of her ancestors. Clancy frequently layers, re-photographs and manually manipulates photographic prints to reconstruct and lay bare these otherwise obscured histories in a contemporary setting. Clancy employs a performative process, returning to the same location with large-scale prints photographed using a large-format film camera. (©National Gallery of Victoria).

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Peta Clancy, Confluence, 2022-3.Installation view. Image: Sean Fennessy

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Peta Clancy, Deep time and now 1, 2022. from the Confluence series.Pigment Inkjet Print, 40.6 x 52.6cm.

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Refer to Tatiana Bilbao’s artwork, La ropa sucia se lava en casa (Dirty clothes are washed at home), 2022, illustrated on page 2 of the insert.

a.     Discuss how the artist communicates cultural and contemporary ideas or issues in the artwork. (6 marks).

b.     Analyse how the artist uses visual language to communicate meanings in the artwork. (6 marks).

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What might the meanings and messages of the work be?

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What relevant aspects of visual language are used?

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What relevant contemporary ideas are explored in the work?

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What relevant cultural ideas are explored in the work?

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Tatiana Bilbao, La ropa sucia se lava en casa (Dirty clothes are washed at home), 2022.
Mixed media and textile collage. MECCA X NGV Women in Design Commission 2022. Photo: Tatiana Bilbao ESTUDIO

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Use the personal lens to discuss the possible meanings and messages of Francis Bacon’s artwork Self-Portrait, 1969, illustrated on page 2 of the insert. In your response, refer to details in the artwork. (6 marks).

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What are some possible meanings and messages in this artwork?

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What are some possible ideas, looking through the personal lens?

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Francis Bacon,  Self Portrait, 1969. Oil on canvas, 14 x 12 in. (35.5 x 30.5 cm). The Estate of Francis Bacon. All rights reserved. DACS, 2018. 

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What are some relevant points, about the title of the work?

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Use the cultural lens to interpret Gordon Bennett’s, Possession Island (Abstraction), 1991, illustrated on page 1 of the insert. In your response, refer to the title of the work and the details in the artwork. (6 marks).

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What are the relevant ideas and issues, looking through the cultural lens?

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Gordon Bennett, Possession Island (Abstraction,) (1991).Oil paint and acrylic paint on canvas, 1843 x 1845 mm. Tate and the Museum of Contemporary Art Australia

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Analyse how Hilma af Klint, has used elements and principles to communicate meanings and messages in her artwork. (6 marks).

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What meanings and messages could you infer from the work?

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List elements and principles used here AND, evidence of where you can see them in the work.

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Hilma af Klint, Group X, Altarpiece, No. 1, 1915.Oil and metal leaf on canvas, 237.5 × 179.5 cm. Photo: Albin Dahlström, the Moderna Museet, Stockholm.