MFA Welcomes Artist KATHERINE TZU-LAN MANN

Morton Fine Art is thrilled to introduce artist KATHERINE TZU-LAN MANN to our roster.

“My work’s abstractions arise from the subjects I portray: ecological and geological cycles, processes of chemical corrosion and natural efflorescence. With roots in traditions of Chinese landscape painting, my monumentally sized paintings and installations evolve a fantastic, abstract vision of the natural world.

The paper on which I paint is not only a recognition of a tradition of Chinese painting; it is also a medium of vulnerability and expansiveness, susceptible to crease and tear as well as to collage and collation.

In my most recent work, I hope to live in the tradition of landscape painting, experiencing it for what it has always been: an occasion for radical experimentation and confrontation with the world, in the broadest sense of the term that sustains us.”

– KATHERINE MANN, 2017

Beard, acrylic, sumi ink, wood cut and silkscreen on paper, 60″x 61″

Shade, acrylic and sumi ink on stretched paper, 60″x 40″

Untitled, acrylic, sumi ink, wood cut and silkscreen on paper, 59″x 55″

​Window, acrylic and ink on paper, 72″ x 72″

If you would like to learn more about Katherine Mann or would like to see her work, please contact the gallery to set up an appointment. We look forward to your visit.

VICTOR EKPUK Mention in The Herald Sun

JULY 12, 2017 6:00 AM

Long-neglected art of Africa assumes its rightful place of honor at museum

BY BLUE GREENBERG

RALEIGH 

African art has come a long way since Picasso saw the 1907 exhibition of African objects in Paris’ Trocadero Ethnographic Museum.

What had been regularly relegated to museums of anthropology now has its place in the hallowed halls of art museums. Witness the entire first floor of the East Building of the North Carolina Museum of Arts now completely devoted to the art of Africa.

The story of art scholars and their ignorance about work from Africa goes back to the early days of colonialism when explorers and conquerors brought African objects back to Europe as souvenirs.

If the objects were made from important materials like ivory, gold and silver they would be shown next to Western paintings and sculpture and curiosities from the animal and mineral world. Meaning was ignored — only ownership was important.

In the 19th century, as if colonization and slavery had not destroyed any regard for the worth of African objects, there was also the scholarly classification that divided art and science and the natural from the human-made world. It was then that African artifacts ended up in ethnographic museums, where they were shamefully mislabeled. There was no scholarship to distinguish the artistic differences between the countries of Africa or for that matter between Africa and Southeast Asia.

Since the 1950s Africa has found its way into most art museums, but always seemingly out-of-place wherever it landed. That will no longer be the case at our state museum. The African collection will have an entire floor of the old (East) building and while it is separated from the main collection it definitely has a position of honor.

At a press preview I saw John Coffey, deputy director for art and curator of American and modern art, and Linda Dougherty, chief curator and curator of contemporary art, standing together and asked them how long the staff had been thinking about what would be the best way to make the East Building equal in importance to the new West Building even when there were no special exhibitions.

“A very long time,” they answered in unison. When I asked if it had been an “Aha” moment to house the African collection there, they said that decision came because African materials are constantly being acquired and the East Building has the perfect lighting controls to safely display such fragile artifacts as fabrics and costumes, key parts of African heritage and art.

At the end of the first floor, above the stairway, is a stunning “Masquerade Costume.” Beside it is a video of a dancer wearing the costume, calling attention to the use of the costume and to the patrons who bought the fine fabrics to create this extravagant object. It also reminds the audience that the art of Africa is a vibrant part of a human community and was never meant for display only.

In the beginning of the exhibition, there is a map of Africa and another one showing the gallery installation which is grouped by theme and location, like “Western” or “Central Africa” or “Divinely Regal: Western Africa” or “Modern to Contemporary.”

Just behind the stairwell is the core of the collection which spans 16 centuries and was created by a complicated and sophisticated society. Included are contemporary works, a palace door, masks and some pristine posts created to glorify special spirit gods. The posts were commissioned for a cultural center in Nigeria but were never used and come to the museum’s collection in untouched beauty.

The exhibition includes gold objects, usually communally owned, and a “Seated Male Figure,” c. 600, which is from a group of the oldest known ceramic figures of Western Africa, and is the oldest piece in the collection. Among contemporary works are a chalk drawing by Nigerian-American Victor Ekpuk made especially for this installation, Ghana-born El Anatsui’s large textile-like sculpture made of discarded aluminum and copper wire, which was a commission for the museum when the West Building opened, and Yinka Shonibare’s “Eleanor Hewitt” 2005, a fiberglass mannequin standing on stilts high above the crowd.

Most of the objects were created in the 20th century and are tradition based and can only be understood in the context of their use. For instance, the mask is always worn in a performance that carries on ancient traditions.

An ongoing area will be devoted to North Carolina collections and the first to be included are objects given to Bennett College by the estate of Warren M. Robbins, founder of the Smithsonian’s National Museum of African Art. One fine example is a delicately beaded skirt with a multiple diamond design in variegated colors.

A large space is devoted to interactive experiences where visitors can try their hand with techniques used by the African artists, like weaving on a floor-to-ceiling loom threaded with yarns from North Carolina sheep and goats.

With this collection now front and center, we must imagine each piece as playing a vital role in a human community — that the masks, for example, are not sculptures made for glass cases but were part of sacred ceremonies performed as a glorification to a god or spirit or to mark significant rites of passage.

This material covers an entire continent and, as visitors, we can see the expertise of the artists and how they differ from region to region; the fabrics on display give us a tiny glimpse into the originality of patterns that came from these areas. And all this beauty and craftsmanship flourished in spite of colonialism and slavery.

To my mind, the stars here are the drawing by Ekpuk and the sculpture by Anatsui. Ekpuk’s drawing shows an abstract figure cradling graphic symbols from diverse cultures in his arms, combining writing and art. Anatsui’s sculpture folds and undulates like fabric, but is made of metal bottle tops sewn together with copper wire. They have found their Africa with a contemporary voice.

For AVAILABLE WORKS by VICTOR EKPUK, please visit the gallery website HERE

VICTOR EKPUK and his installation “Divinity” at the North Carolina Museum of Art

Nigerian artist Victor Ekpuk puts the finishing touches on a chalk drawing, “Divinity,” June 7, 2017, created for the African art gallery’s opening in a new space at N.C. Museum of Art in Raleigh. Juli Leonard jleonard@newsobserver.com
Read more here: http://www.newsobserver.com/entertainment/arts-culture/article157855214.html#storylink=cpy

Arts & Culture

June 23, 2017 3:14 PM

Larger space for African art at NCMA will let you find ‘divinity’

By Evie Fordham

efordham@newsobserver.com

When she contacted artist Victor Ekpuk in 2015 about creating a “site-specific” chalk drawing for the North Carolina Museum of Art, African art gallery curator Elizabeth Perrill didn’t know what the finished product would look like. Neither did Ekpuk, until he arrived at the museum earlier this month.

He entered a gallery still in progress as the museum has spent the past six months readying a larger space for its African art collection. The Nigerian-born Ekpuk’s chalk drawing on a 30-by-18-foot section of wall will be a temporary centerpiece for the gallery, which opens to the public on June 30.

Before he started the drawing, which incorporates Nigerian ideograms, or symbols representing ideas, Ekpuk examined the items that will surround his piece: a terra cotta figure formed circa 600, a beaded mask from the Ha people of Tanzania, contemporary photos of life on the continent.

“For me, this whole atmosphere creates a sense of divinity,” said Ekpuk, who now lives in the District of Columbia. “Some of these objects are very old. Some of them are sacred objects of very strong social and religious context.”

In his drawing, titled “Divinity,” a large figure appears to be holding the symbols, which take up most of the wall.

 “This work is a way for people to stop and realize that we’re all embraced by this divinity,” Ekpuk said. “Right now, we live in a very tense moment in this country, and it seems people are forgetting our common humanity.”

The museum’s Facebook Live video of Ekpuk working on “Divinity” received almost 2,000 views, said museum spokeswoman Karlie Marlowe.

“He’s bringing [the gallery] literally up to now and bringing in the idea of memory and of the African diaspora that comes right here to North Carolina,” said Perrill, the gallery’s curator, who also teaches art history at the University of North Carolina-Greensboro.

“We have this breadth of geography and breadth of history that’s really exciting,” Perrill said. “You could fit the continental United States three times inside of Africa.”

More hands-on opportunities

The old African gallery closed in December. NCMA moved the collection from its West Building, where an average of 65 pieces could be on display, to a gallery in its East Building three times that size. Visitors will see about 125 pieces in the new 6,500-square-foot gallery. The museum will display more contemporary and modern art in the African gallery’s old space.

The East Building has fewer windows than the African art gallery’s previous home. This allows museum staff to control the amount of light on sensitive textile pieces, like a red, black and tan “man’s prestige hat” from Cameroon. The piece had been in storage since 2002.

“Everybody is familiar to a certain point with African art and are interested in tribal objects like textiles and beadwork,” said museum director Lawrence Wheeler. “But I think what they will get out of it (the expanded collection) will be the great diversity of creativity of African cultures and the mastery of technique.”

A $500,000 endowment from the William R. Kenan Jr. Charitable Trust made the gallery’s move possible, Wheeler said.

“This grant allowed us to do extensive audience research that we’ve never been able to do to find out why do people come to the museum and how they like to experience art,” said Michelle Harrell, the museum’s director of teaching and learning.

Research showed visitors enjoyed hands-on activities, so when the African art gallery opens, visitors of all ages can create art of their own at an interactive station. They’ll learn about Kuba cloths, geometrically patterned textiles from central Africa, and make their own renditions with yarn and plastic embroidery looms.

The gallery has a wall dedicated to items on loan from North Carolina collections. Pieces from Greensboro’s Bennett College, a historically black women’s school, will be on view for about a year.

The museum’s conservation team spent the six months that most of the African pieces were off view cleaning and repairing them. Conservation assistant Stacey Kirby recreated raffia costumes to display beneath some of the masks in the center of the gallery.

“We decided to do that to give the pieces a bit of a context,” she said. “The raffia is often connected to these pieces. … But over the years of them being sold, it doesn’t last.”

Museum staff members are noticing many pieces in the new gallery for the first time, even though the pieces have been in the collection for years, Perrill said.

“[They] have come up to me and said, ‘I didn’t know that was in the collection!’ ” she said. “The most gratifying thing is being able to see individual objects get the attention they deserve.”

Ekpuk’s chalk drawing will only get attention for a year – he stipulated that it must be erased in June 2018. Erasing the “ephemeral drawings,” as he calls them, is their completion.

“We’re not one thing all of the time, no matter what we do or claim to be,” Ekpuk said. “I may have completed one aspect of (the drawing), but it is not done until it is erased.”

Evie Fordham: @eviefordham 919-829-4654

N.C. Museum of Art

Where: 2110 Blue Ridge Road, Raleigh

Hours: 10 a.m.-5 p.m. Tuesday-Thursday and Saturday-Sunday, 10 a.m.-9 p.m. Friday. Closed Mondays.

Admission: There is no charge to visit the museum’s permanent collection in the East Building, where the African Art gallery is located. Admisson is charged for some special exhibitions and workshops.

Info: 919-839-6262 or ncartmuseum.org

Special events

▪ There will be a panel discussion on Contemporary Diaspora Art at 7 p.m. on July 20 with Nigerian artist Victor Ekpuk and other artists of African descent, moderated by Richard J. Powell, the John Spencer Bassett Professor of Art and Art History at Duke. Tickets are free, but required.

▪ While the new African art gallery opens on Friday, June 30, the museum has scheduled a large opening celebration for Sept. 23. “Threads of Africa: A Celebration of Art, Nature, and People” will be a daylong celebration with music and dance performances, drum-making workshops, collaborative community art activities, food and African cultural activities and a free concert by West African artist Angélique Kidjo in the museum park that evening. Kidjo’s concert is free, but tickets are required; they’ll be available Aug. 1.

▪ “Inspiring Beauty: 50 Years of Ebony Fashion Fair” which runs Oct. 28 to Jan. 21.

Nigerian-American artist Victor Ekpuk speaks with a group of art students in front of chalk drawing, “Divinity,” June 7, 2017, created for the African art gallery’s opening in a new space at N.C. Museum of Art in Raleigh. Juli Leonard jleonard@newsobserver.com

The North Carolina Museum of Art has moved its African art gallery to a space with three times as much room. Visitors will see about 125 pieces in the new 6,500-square-foot gallery. Karen Malinofski North Carolina Museum of Art

The North Carolina Museum of Art has moved its African art gallery to a space with three times as much room. The museum can better control the light in the news space to protect the objects. Karen Malinofski North Carolina Museum of Art

North Carolina Museum of Art fiber conservator Stacy Kirby works on recreating a raffia costume to go on view with an African Sande mask in the renovated African galleries. Christopher Ciccone North Carolina Museum of Art

Nigerian-American artist Victor Ekpuk speaks with a group of art students in front of chalk drawing, “Divinity,” June 7, 2017, created for the African art gallery’s opening in a new space at N.C. Museum of Art in Raleigh. Juli Leonard jleonard@newsobserver.com

The North Carolina Museum of Art has moved its African art gallery to a space with three times as much room. Visitors will see about 125 pieces in the new 6,500-square-foot gallery. Karen Malinofski North Carolina Museum of Art

Read more here: http://www.newsobserver.com/entertainment/arts-culture/article157855214.html#storylink=cpy

Video: VICTOR EKPUK Installation of Mural at North Carolina Museum of Art!

Washington DC based Nigerian artist VICTOR EKPUK recently completed a mural,  Divinity, for the North Carolina Museum of Art in Raleigh, NC. It was part of their newly opened African art galleries. You can see a time-lapse of him creating the mural above.

To see more available works by VICTOR EKPUK, please visit his page on our website HERE or contact the gallery.

Below, you can find an article written about his installation in the Indy Week:

Victor Ekpuk’s Divine Mural at the North Carolina Museum of Art Heralds New Life for Its African Galleries

By Chris Vitiello

Photo by Ben McKeown

Victor Ekpuk’s new mural at NCMA was commissioned to augment the museum’s expanded African art gallery.

• PHOTO BY BEN MCKEOWN
• One of the best ways to see the Washington, D.C.-based Nigerian-American artist Victor Ekpuk‘s large chalk mural at the North Carolina Museum of Art is to turn your back on it and look around the rest of the gallery it’s in.

Ekpuk’s work covers a thirty-by-eighteen-foot wall in one of NCMA’s new African art galleries, which have been expanded in the museum’s East Building to include works from across the continent spanning sixteen centuries. Opening to the public by the end of June, the galleries will almost double the number of African works on display, including never-before-seen textiles and works on paper in light-controlled areas.

El Anatsui‘s “Lines that Link Humanity,” a quilt-like sculpture of aluminum and copper wire, hangs on a wall adjacent to Ekpuk’s work. Valises opposite the mural contain objects including a Yoruba divination board and ornately carved totems. Approaching this commission with no preconceived composition, Ekpuk sat in the space for a day considering the neighboring works before he pulled out his iPad to begin sketching.

“It’s more about the aura of the objects that were pulling me as I got closer to some of them,” Ekpuk says. “Some of them I’m familiar with. Some of them not so much. The power and aura of the objects themselves created an atmosphere where I felt a sense of divinity.”

Rendered in white chalk on a black wall, Ekpuk’s composition forms an abstracted figure wrapping long arms around the perimeter. Hundreds of signs and symbols are densely packed within the arms, which are themselves filled with little circles. The large figure has a placid, stylized face at the top, and its distended arms terminate in huge hands that gather the chaos of the symbols together.

The mural has a presence and an intricate density comparable to that of Anatsui’s sculpture. Ekpuk counts Anatsui as an elder, and they’ve shown together in a 1994 group exhibit in Lagos. Ekpuk was one of five up-and-coming Nigerian artists paired with a trio of established African artists.

The Yoruba divination board, however, inspired the mural’s form. Ekpuk talks about how a diviner shakes objects in the tray-like board in order to answer questions or make predictions by interpreting their proximities. Instead of objects, Ekpuk fills his mural with symbols that draw upon nsibidi, a Nigerian system of ideograms. But the symbols are so crowded and intertwined that any attempted reading will be foiled. It’s hard to focus on one sign to see what it might refer to or depict. Instead, one’s vision darts around and takes in the overall density.

“I know it teases your brain to think that you could read it,” Ekpuk laughs, “but it’s not writing that tells you A or B or C. I never try to analyze them or say that they are any one particular thing. I open it up so that people can just see what they see in it.” Echoing this semiotic openness, Ekpuk deflects talk of any overt political message in the work. But neither is it apolitical.

“I walked into the space and, initially, I thought, Let’s not just do another social-political thing. At the same time, I’ve found that art is always politics. Sometimes I don’t think about politics, but once I start making art, this feeling starts coming out in the work. After I made this, I thought, Oh, I’m actually responding to this siege that I feel right now in the political climate in America.'”

Ekpuk describes the composition as a divine embrace, but the arms could be read as a crowded space of containment, like a refugee camp or border wall. The empty zeros might exude the banal homogeneity of power.

Ekpuk won’t say it’s a wrong reading, just that he sees something different. He’s inclined to cede the artist’s intention by making a willfully undetermined work. He’s leaning toward leaving the mural untitled so that a visitor can react to what it is rather than what it means. [Editor’s note: Ekpuk ultimately decided to title the work “Divinity.”]

“It forces you to abandon what you know and have an opportunity to be aware of something else,” he says. “Not everything has to be explained. If you want to bring what you know, then you’re just going to hit the wall. Perhaps it’s sort of a comfort work, rather than an angry work. It’s a reminder that, whether we believe in it or not, there is a divine source of our strength. It’s beyond us.”

This article appeared in print with the headline “Symbol Crash”

CHARLES WILLIAMS at the Gibbes Museum

 

Gibbes visiting artist Charles Williams wants you to touch his paintings — and draw on them

Reestablishing the narrative

Posted by Mary Scott Hardaway on Wed, May 31, 2017

The Day After

“This feels like a family reunion,” says Charles Williams, standing, grinning, a little out of breath, surveying tables covered in crayons and blank watercolor papers; sheets of brown and white paper are hung around the room, waiting for Williams’ deft hand. This studio on the Gibbes ground floor will be Williams’ home, or at least artistic hub, for the next two weeks. He’s rushing to get everything set up — there’s a fellows luncheon in a few hours and executive director Angela Mack swings by to let him know some members may be stopping in. Williams is more than accommodating; he’s a nice guy, but he’s also confident in his work. He isn’t afraid of a few premature visitors.
“As a child I remember coming to the Gibbes, and now I’m here during Spoleto, it’s huge.” A Georgetown, S.C. native and Savannah College of Art and Design alum, Williams is a man of the Lowcountry through and through, and community is important to him, especially in Charleston. “I feel like Charleston was a city that really stood out with all that’s been happening [with race relations in the country] … it just really showed the essence of what the Lowcountry embodies. Charleston really set the bar [of how a city should respond] and I thought ‘How can I capitalize on this?'”

Taken Root  

Hot off of “two years of intensity” at UNC Greensboro — Wiliams just graduated this spring with a Masters in Fine Art — the artist is ready to let loose, to break down barriers and knock out walls. “The power of museums and art galleries is they’re community centers. They serve multiple purposes. But when you go to these institutions, they say you can’t touch. And I understand why … but you go to these places repeatedly and they keep saying ‘you can’t do this.’ The rebellion and curiosity in me says ‘Well, what if I did touch, what if I did make a mark?'”
In his new series premiering at the Gibbes, Child’s Play: Everyone Loves the Sunshine, Williams uses old black-and-white photographs from the 1920s through 1960s that show people from different backgrounds coming together, uniting behind a common cause. Williams was inspired to seek out this theme after the multiple police brutality incidents of 2016, “There was one incident that really compelled me … that led me to create this work. What I wanted to say with this work is look at how little we’ve changed. History is like looking at our own reflection. I think when you know where you’ve been and where you’ve come from you can reposition yourself to move forward.”

And I Still Love

And, there’s no point in moving forward if we don’t move forward together. Which is where we, the public, come in. “So basically I’ve created this adult coloring book,” says Williams, directing my attention to a sheet of paper with two intricately drawn figures, two little boys, hands intertwined as one helps the other with what appears to be a hurt finger. The image is taken from one of Williams’ historic photographs, the boys fading away at the edges, surrounded by scratches of “school bus” yellow, smudges of gray, circles of red. “People can come and add color to this, draw over the figures, whatever they want.” My heart drops — let some random stranger potentially ruin this beautiful, carefully crafted work with an errant mark?
Yes. But it will not be a ruining, it will be a rendering, one that Williams will continue to work with. “Viewers can come in and paint, and recreate works with me. If they want to paint over arms or legs, that’s OK. My goal is to break down the barriers.”
Williams puts me to work, having me rip (carefully!) watercolor papers into 10×10 scratch pads that visitors will be able to color on. I’m not someone who can “eyeball” something, and I tell Williams this. But he trusts me. Trust has to be an integral part of his process — it’s trust that unites, says Williams. “When Charleston came together there was a trust that was there, that connected everyone to stand strong, to not destroy the city. Within that trust, I thought ‘What does that symbol look like?’ And that symbol looks like the handshake. Growing up, my grandfather couldn’t read or write so he told me that you have to have a firm handshake. He had five kids, and needed to provide for his family. He said ‘You look a man or woman in their eyes, shake their hand firmly, and do what you say you’re going to do.’ That establishes trust. So I was thinking, how can we in the community reestablish that?”
Williams, by highlighting images with hands that depict “strength, power, control, vulnerability, help, forgiveness,” is creating a space of trust, a space sans barriers. He doesn’t copy the images — that would miss the point entirely. He uses them as a base, a foundation that he builds on to evolve the photograph in his “own language” with intuitive mark makings and strokes. “There’s me reestablishing the narrative.”
By adding color — particularly the school bus yellow that is included in every piece in the series — Williams is making the pieces his own, and mine, and yours. Williams, ever the student, says that “all the colors are specific from my studies of the psychology of color and how they affect humans. School bus yellow in Child’s Play is observant, happy, expressive, curious … For me, I’m curious to see what viewers and participants make and do with the crayons and markers. And I can weave in and out with the marks they put. Painting has a long lineage of documenting the now. I’m pushing the envelope of how I can open the dialogue further.” And if you come into the Gibbes on a day when you’re feeling glum, or out of sorts, you don’t have to draw bright yellow sunshines on Williams’ large-scale adult coloring book. “Whatever color you’re feeling, put down that. If you’re feeling blue, use blue. That’s the beauty of it, no barriers.”

Click HERE to view available artwork by CHARLES WILLIAMS.

 

NATE LEWIS in Hyperallergic

Artist NATE LEWIS was featured in a recent review on Hyperallergic.

The Body as a Field for Graphic Experiments

A show in Harlem takes on the human form with some surprising results.

Seph Rodney

Nate Lewis, “Uninhibited Movements” (2016), hand sculpted paper photo print, 40 x 26 inches (all images courtesy Art in Flux Harlem)

It’s difficult to surprise art audiences with figurative work these days. But at a new exhibition at Art in Flux Harlem, Terrestrial Resonance, I see work that genuinely astonishes me. Nate Lewis’s “Uninhibited Movements” (2016) and “Conductor II” (2017) both are hand sculpted paper photo prints that meld the material of the photographic paper and the body depicted on that paper to work together as a field of graphic and textural exploration. Lewis, delicately and with a staggering degree of detail, makes cuts into the underlying image of a nude black male body in “Uninhibited Movements” to create a landscape that is tattooed with patterns like waves, a flock of birds wheeling in the night sky, or tribal beadwork incised into the skin. The picking done to create these vistas is so fine that I bounce back and forth between admiring the metaphor of the body as canvas for the decorative impulse and admiring the facture of the work.

To see the rest of the article, click HERE.

To see more of NATE LEWIS’ works, visit his page on our website HERE

New Artwork by KATHERINE HATTAM

KATHERINE HATTAM, A Week in Late Summer, 2017, 12″x10″, mixed media on linen

KATHERINE HATTAM, Dogs and Creek, 2017, 17″x12″, gouache on panel

KATHERINE HATTAM, Mother and Child, 2017, 12″x10″, mixed media and oil on linen

Looking at these recent Walking Tracks/Dog paintings, sometimes I think inside every figurative artist there’s an abstract artist insisting on being let out; at other times it seems simply that the division between abstraction and figuration is a false one – we are all hybrid – a bit of both.
-KATHERINE HATTAM

KATHERINE HATTAM’s artwork can be found in numerous prominent permanent collections in Australia including the National Gallery of Australia, National Gallery of Victoria, Bendigo Art Gallery, Warrnambool Art Gallery,Mornington Art Gallery, Minter Ellison Collection, Grafton City Art Gallery,National Bank of Australia, Potter Warburg Collection, Bankers Trust Collection, Queen Victoria Hospital Collection, Box Hill City Art Gallery, George Patterson Collection, Smorgon Collection,The Darling Foundation, Hamilton City Gallery,
Heide Museum of Modern Art Art Gallery of NSW, Queensland University of Technology, Art Gallery of SA, Artbank, Queensland Art Gallery, RACV Collection, University of Queensland and LaTrobe University (LUMA).

Available artwork by KATHERINE HATTAM.