Tag Archives: Australian Artist

KATHERINE HATTAM | Interlocutor Interviews

3 Dec

INTERLOCUTOR

Dec 1

Exhibition Feature – STRANGE COUNTRY, STRANGE TIMES by Katherine Hattam at Morton Fine Art

Exhibition FeaturesVisual Artists

Photo by Jarrett Hendrix

Morton Fine Art is pleased to present Strange Country, Strange Times, a solo exhibition of paintings and prints by the artist Katherine Hattam. Incorporating literary and art-historical elements into her work, Hattam’s interiors offer materialist explorations of ultimately psychic space. The artist’s first solo exhibition with the gallery, Strange Country, Strange Times will be on view through December 20, 2022 at Morton Fine Art’s Washington, D.C. space.

The Pinch, 2022, 30 x 22 in. – Jigsaw woodblock print on paper – Edition 14/15
Strange Country, 2022, 30 x 22 in. – Jigsaw woodblock print on paper – Edition 4/5

Curatorial Statement by Amy Morton: 

Katherine Hattam is an internationally-renowned artist and recent finalist for Australia’s prestigious Archibald Prize. We have worked together for over a decade, so it is a great honor to be able to share so much of her incredible artwork in one exhibition, made even more special by the fact that Strange Country, Strange Times is Hattam’s first U.S. solo exhibit at Morton Fine Art and first ever solo exhibition in the U.S.

Hattam’s work is unmistakable. Brightly shaded walls and windows, collaged book spines and iconographic depictions of native Australian fauna and flora make up much of her painterly practice – a lifelong investigation with the domestic interior as its focus. She incorporates literary and art-historical elements, focusing on materialist explorations of ultimately psychic space. Acknowledging a centuries-long preoccupation with domestic space as both the imaginative location and societal bounds of female artistic production, Hattam conjures doubly imbued sites of domestic labor and imaginative longing, full of totemic kitchen tables and charged dining-room chairs. Although uniquely Australian, Hattam’s canon inspires and relates within a global feminist dialogue.

A Strange Country, 2022, 49 x 60.5 in. – Mixed media on linen
Perhaps, 2022, 21.5 x 25.5 in – Mixed media on linen

Artist Statement – by Katherine Hattam:

A painter and printmaker, my practice encompasses works on paper, collages and straightforward oil on linen. Since my mother—a great reader—died, I began to often incorporate books into my work, repurposing them to make a grid as the support in my paper or linen pieces.

The genesis of this exhibition, Strange Country, Strange Times, was the time of Covid and lockdowns. I created six new works during this period, stretching from 2020 to 2021. As an artist with my studio out the back of my house, I was fortunate in being able to work from my studio and—more than that—to revel in the time lockdowns opened up.

I found myself reflecting on the physical and geographic nature of my country, the islandness of Australia. Initially, this relative isolation protected us against the spread of the virus, but not for long. Nevertheless, it did make very clear what a strange island and what strange times that period was and is.

My Blue Pantheon, 2022, 30 x 23 in. – Oil on line
Love From, 2022, 11 x 13 in. – Mixed media on linen
Women’s Estate, 2022, 29 x 19 in. – Mixed media on linen
This Strange Island, 2022, 31 x 23 in. – Mixed media on linen

Strange Country, Strange Times will be on view through December 20, 2022 at Morton’s Washington, D.C. space.

Check out our coverage of other current and recent art exhibitions

All images courtesy Morton Fine Art and the artist

Subscribe

Sign up with your email address to receive news and updates.

SIGN UP

Available artwork by KATHERINE HATTAM

KATHERINE HATTAM | See Great Art

3 Dec

ART IN THE NORTHEAST FEMALE ARTISTS

Katherine Hattam first solo U.S. exhibition comes to D.C.

BY CHADD SCOTT POSTED ON 0 COMMENTS

Katherine Hattam, This Strange Island, 2022. 16.5 x 12 in. Mixed media on linen Courtesy Morton Fine Art and the artist.
Katherine Hattam, This Strange Island, 2022. 16.5 x 12 in. Mixed media on linen Courtesy Morton Fine Art and the artist.

Morton Fine Art is presents “Strange Country, Strange Times,” a solo exhibition of paintings and prints by the artist Katherine Hattam. Incorporating literary and art-historical elements into her work, Hattam’s interiors offer materialist explorations of ultimately psychic space. The artist’s first solo exhibition in the U.S., “Strange Country, Strange Times” will be on view from November 16 – December 20, 2022, at Morton Fine Art’s Washington, D.C. space.

Brightly shaded walls and windows, collaged book spines and iconographic depictions of native Australian fauna and flora make up much of Hattam’s painterly practice, a lifelong investigation with the domestic interior as its focus. Acknowledging a centuries-long preoccupation with domestic space as both the imaginative site and societal bounds of female artistic production, Hattam’s totemic kitchen tables and charged dining-room chairs recur as motifs throughout her artistic practice, doubly imbued as locations of domestic labor and sites of imaginative longing.

Often, windows look out onto fantastic landscapes – a rueful rumination on experiences proffered but withheld. In “Strange Country, Strange Times,” the vibrancy of Hattam’s window-views infiltrates into the domestic interior, reflecting the seeping isolation of the recent pandemic years, when means of travel and discovery were often confined to the mind. Hattam was well-equipped for such conditions: her domestic spaces have always been inveterately imaginative, expanded by (and often literally constructed from) the pages and covers of the books she’s been reading. Her frank pastiche of passing literary and artistic influences onto these interior landscapes discloses the extent to which Hattam views the perception of space as an inherently psychological construction, with internal influences and personal histories governing the way we make sense of even the most familiar room.

In 2019, Hattam received a fellowship grant to study at the Australian Print Workshop undermaster printer Martin King, where she began learning the method of jigsaw woodcut printing, a technique of classical Japanese art that was later adopted by Edvard Munch and Paul Gauguin. Several works in this exhibition were first made at that workshop in the months immediately preceding the pandemic. One of this show’s title works, Strange Country, sets Australian animal life in a landscape originally taken from Giotto. Reflecting on these portentous prints, Hattam notes that the pandemic allowed her to recognize the isolation implicit to living in Australia, a condition of being which she has often imposed into her art.

Hokusai’s Great Wave off Kanagawa (1831), another woodblock print, is inserted regularly throughout Hattam’s work here, alternately as window views or paintings-within-paintings, and represents for the artists a mentality of time – waves of feminism, waves of coronavirus – that embraces natural rhythms based on a sense of tidal flow.

A longstanding image for Hattam is that of a wood-backed dining room chair, which the artist has drawn and even reconstructed as sculpture since the 1990s. The persistence of chairs, tables and books stand in for family members and personal influences, like portraits in absentia. Despite the inveterate cerebrality of her interior compositions, Hattam insists that her works are always “about actually being there: they exist because someone has been there to see it.”

Her furniture, despite its symbolically potency and personal resonance, is also steadfastly literal, and represents a window into the broader material world. Through her compositions, Hattam asks: How much of one’s daily life is a mixture of what’s going on in your head and what’s going on outside?

About the Artist

Katherine Hattam (b. 1950) is a Melbourne-based Australian artist. Literature was a passion for Hattam’s mother, who first read Freud in adolescence, later passing her appreciation down to her daughter. Hattam graduated from Melbourne University in 1974 with a BA in Literature and Politics and a focus on psychoanalytic theory.

Literary references abound in her work; some of the books used in her compositions derive from her mother’s extensive collection, while others are scoured from second-hand stores. Works on paper – drawing, printmaking and collage – are a continuing thread in her practice.

Hattam’s work is in the collections of the National Gallery of Australia, National Gallery of Victoria, Queensland Art Gallery, University of Queensland, Queensland University of Technology, Artbank, Heide, Art Gallery of South Australia, Deakin and La Trobe Universities, Warrnambool Art Gallery and Bendigo Art Gallery. In 1992 she was awarded an MFA by the Victorian College of the Arts, and in 2004 she was awarded a PhD by Deakin University.

She has been represented by Morton Fine Art since 2011.

Morton Fine Art

Morton Fine Art Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice.

Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Available Artwork by KATHERINE HATTAM

KATHERINE HATTAM | Surface Magazine

1 Dec

WHEN

November 16, 2022 – December 20, 2022 Morton Fine Art: 52 O St NW #302, Washington, DC 20001

Brightly shaded walls and windows, collaged book spines, and iconographic depictions of Australian fauna and flora make up much of Hattam’s painterly practice, a lifelong investigation of the domestic interior. Here, she reflects on psychic space at the hands of the pandemic’s seeping isolation through vivid jigsaw woodcut printing, a technique of Classical Japanese art that was later adopted by Edvard Munch and Paul Gaugin. Inserted regularly throughout the works are motifs of Hokusai’s Great Wave Off Kanagawa, representing a mentality of time—waves of feminism, waves of coronavirus—that embraces natural rhythms based on a sense of tidal flow. 

KATHERINE HATTAM | Martin Cid Magazine

17 Nov

Paintings and Prints by Katherine Hattam Showcase Places of the Mind in the Wake of Isolation

The Australian artist’s new work reflects on the comforts of solitude and the peculiarities of her enclosed island state

Art Martin Cid MagazineBy Art Martin Cid Magazine

Updated: November 14, 2022

Katherine Hattam A Strange Country, 2022 49 x 60.5 in. Mixed media on linen Courtesy Morton Fine Art and the artist

Washington, D.C. – Morton Fine Art is pleased to present Strange Country, Strange Times, a solo exhibition of paintings and prints by the artist Katherine Hattam. Incorporating literary and art-historical elements into her work, Hattam’s interiors offer materialist explorations of ultimately psychic space. The artist’s first solo exhibition in the U.S., Strange Country, Strange Times will be on view from November 16 – December 20, 2022 at Morton Fine Art’s Washington, D.C. space.

Katherine Hattam Perhaps, 2022 21.5 x 25.5 in Mixed media on linen Courtesy Morton Fine Art and the artist

Brightly shaded walls and windows, collaged book spines and iconographic depictions of native Australian fauna and flora make up much of Hattam’s painterly practice, a lifelong investigation with the domestic interior as its focus. Acknowledging a centuries-long preoccupation with domestic space as both the imaginative site and societal bounds of female artistic production, Hattam’s totemic kitchen tables and charged dining-room chairs recur as motifs throughout her artistic practice, doubly imbued as locations of domestic labor and sites of imaginative longing. Often, windows look out onto fantastic landscapes – a rueful rumination on experiences proffered but withheld.

In Strange Country, Strange Times, the vibrancy of Hattam’s window-views infiltrates into the domestic interior, reflecting the seeping isolation of the recent pandemic years, when means of travel and discovery were often confined to the mind. Hattam was well-equipped for such conditions: her domestic spaces have always been inveterately imaginative, expanded by (and often literally constructed from) the pages and covers of the books she’s been reading. Her frank pastiche of passing literary and artistic influences onto these interior landscapes discloses the extent to which Hattam views the perception of space as an inherently psychological construction, with internal influences and personal histories governing the way we make sense of even the most familiar room.

Katherine Hattam The Pinch, 2022 30 x 22 in. Jigsaw woodblock print on paper Edition 14/15 Courtesy Morton Fine Art and the artist

In 2019, Hattam received a fellowship grant to study at the Australian Print Workshop under master printer Martin King, where she began learning the method of jigsaw woodcut printing, a technique of classical Japanese art that was later adopted by Edvard Munch and Paul Gauguin. Several works in this exhibition were first made at that workshop in the months immediately preceding the pandemic. One of this show’s title works, Strange Country, sets Australian animal life in a landscape originally taken from Giotto. Reflecting on these portentous prints, Hattam notes that the pandemic allowed her to recognize the isolation implicit to living in Australia, a condition of being which she has often imposed into her art. Hokusai’s Great Wave off Kanagawa (1831), another woodblock print, is insterted regularly throughout Hattam’s work here, alternately as window views or paintings-within-paintings, and represents for the artists a mentality of time – waves of feminism, waves of coronavirus – that embraces natural rhythms based on a sense of tidal flow.

A longstanding image for Hattam is that of a wood-backed dining room chair, which the artist has drawn and even reconstructed as sculpture since the 1990s. The persistence of chairs, tables and books stand in for family members and personal influences, like portraits in absentia. Despite the inveterate cerebrality of her interior compositions, Hattam insists that her works are always “about actually being there: they exist because someone has been there to see it.” Her furniture, despite its symbolically potency and personal resonance, is also steadfastly literal, and represents a window into the broader material world. Through her compositions, Hattam asks: How much of one’s daily life is a mixture of what’s going on in your head and what’s going on outside?

Katherine Hattam headshot Courtesy Morton Fine Art and the artist. Photo credit: Clare Rae

Katherine Hattam (b. 1950) is a Melbourne-based Australian artist. Literature was a passion for Hattam’s mother, who first read Freud in adolescence, later passing her appreciation down to her daughter. Hattam graduated from Melbourne University in 1974 with a BA in Literature and Politics and a focus on psychoanalytic theory. Literary references abound in her work; some of the books used in her compositions derive from her mother’s extensive collection, while others are scoured from second-hand stores. Works on paper – drawing, printmaking and collage – are a continuing thread in her practice. Hattam’s work is in the collections of the National Gallery of Australia, National Gallery of Victoria, Queensland Art Gallery, University of Queensland, Queensland University of Technology, Artbank, Heide, Art Gallery of South Australia, Deakin and La Trobe Universities, Warrnambool Art Gallery and Bendigo Art Gallery. In 1992 she was awarded an MFA by the Victorian College of the Arts, and in 2004 she was awarded a PhD by Deakin University. She has been represented by Morton Fine Art since 2011.

Katherine Hattam This Strange Island, 2022 31 x 23 in. Mixed media on linen Courtesy Morton Fine Art and the artist

Morton Fine Art

Founded in 2010 in Washington D.C. by curator Amy Morton, Morton Fine Art (MFA) is a fine art gallery and curatorial group that collaborates with art collectors and visual artists to inspire fresh ways of acquiring contemporary art. Firmly committed to the belief that art collecting can be cultivated through an educational stance, MFA’s mission is to provide accessibility to museum-quality contemporary art through a combination of substantive exhibitions and a welcoming platform for dialogue and exchange of original voice. Morton Fine Art specializes in a stellar roster of nationally and internationally renowned artists as well as has an additional focus on artwork of the African Diaspora.

Morton Fine Art

52 O St NW #302, Washington, DC 20001

KATHERINE HATTAM | Strange Country, Strange Times | Art Plugged

15 Nov

Katherine Hattam: Strange Country, Strange Times

Exhibitions

Katherine Hattam The Great American Novel, 2022

Katherine Hattam
November 16 – December 20, 2022
Morton Fine Art’s
52 O St NW #302
Washington, DC 20001

Strange Country, Strange Times, a solo exhibition of paintings and prints by the artist Katherine Hattam. Incorporating literary and art-historical elements into her work, Hattam’s interiors offer materialist explorations of ultimately psychic space. The artist’s first solo exhibition in the U.S., Strange Country, Strange Times will be on view from November 16 – December 20, 2022 at Morton Fine Art’s Washington, D.C. space.

Katherine Hattam
The Great American Novel, 2022
Katherine Hattam
The Great American Novel, 2022 12 x 17 in.
Mixed media on linen
Courtesy Morton Fine Art and the artist

Brightly shaded walls and windows, collaged book spines and iconographic depictions of native Australian fauna and flora make up much of Hattam’s painterly practice, a lifelong investigation with the domestic interior as its focus. Acknowledging a centuries-long preoccupation with domestic space as both the imaginative site and societal bounds of female artistic production, Hattam’s totemic kitchen tables and charged dining-room chairs recur as motifs throughout her artistic practice, doubly imbued as locations of domestic labor and sites of imaginative longing. Often, windows look out onto fantastic landscapes – a rueful rumination on experiences proffered but withheld.

Katherine Hattam - My Blue Pantheon, 2022
Katherine Hattam My Blue Pantheon, 2022
30 x 23 in.  Oil on linen
Courtesy Morton Fine Art and the artist

In Strange Country, Strange Times, the vibrancy of Hattam’s window-views infiltrates into the domestic interior, reflecting the seeping isolation of the recent pandemic years, when means of travel and discovery were often confined to the mind. Hattam was well-equipped for such conditions: her domestic spaces have always been inveterately imaginative, expanded by (and often literally constructed from) the pages and covers of the books she’s been reading. Her frank pastiche of passing literary and artistic influences onto these interior landscapes discloses the extent to which Hattam views the perception of space as an inherently psychological construction, with internal influences and personal histories governing the way we make sense of even the most familiar room.

Katherine Hattam The Pinch, 2022
Katherine Hattam The Pinch, 2022 30 x 22 in.
Jigsaw woodblock print on paper
Edition 14/15
Courtesy Morton Fine Art and the artist

In 2019, Hattam received a fellowship grant to study at the Australian Print Workshop under master printer Martin King, where she began learning the method of jigsaw woodcut printing, a technique of classical Japanese art that was later adopted by Edvard Munch and Paul Gauguin. Several works in this exhibition were first made at that workshop in the months immediately preceding the pandemic. One of this show’s title works, Strange Country, sets Australian animal life in a landscape originally taken from Giotto.

Reflecting on these portentous prints, Hattam notes that the pandemic allowed her to recognize the isolation implicit to living in Australia, a condition of being which she has often imposed into her art. Hokusai’s Great Wave off Kanagawa (1831), another woodblock print, is insterted regularly throughout Hattam’s work here, alternately as window views or paintings-within-paintings, and represents for the artists a mentality of time – waves of feminism, waves of coronavirus – that embraces natural rhythms based on a sense of tidal flow.

Learn more about Katherine Hattam

©2022 Katherine Hattam

Art plugged

Art Plugged is a contemporary platform, inspired by our relationship with the broader arts communities, and our passion for showcasing great work.

KATHERINE HATTAM’s artwork featured in the Brisbane Times

20 Mar

 

 

Old books and riotous colour collide as Katherine Hattam’s art makes playful statements

By John McDonald

Katherine Hattam. Lives: Thornbury, Melbourne. Age: 69. Represented by: Arthouse Gallery, Sydney; Daine Singer Gallery, Melbourne

(And Morton Fine Art, Washington, DC, USA)

The black swan of trespass, by Katherine Hattam; oil on linen, 217cm x 155cm (framed), $17,500; Artwork Photograph by Clare Rae.
The black swan of trespass, by Katherine Hattam; oil on linen, 217cm x 155cm (framed), $17,500; Artwork Photograph by Clare Rae.CREDIT:

Her thing. Colourful paintings incorporating collage and considerable word-play.

Our take. Katherine Hattam has spent her life in and around the Melbourne art scene. Her father, Hal Hattam, was the art world’s obstetrician of choice and a talented amateur painter. Katherine has been exhibiting regularly since the late 1980s, and lately her son, William MacKinnon, has made a name for himself as an artist.

In The Landscape of Language, Hattam’s third solo exhibition at Arthouse, she continues to use old paperbacks as collage in her larger paintings. The book titles invite us to look for meanings that may or may not exist, beyond whatever memories they conjure up in the artist’s mind. Hattam favours old Penguins that would have disintegrated by now anyway.

In terms of colour, and the riotous Australiana that runs through these canvases, this is one of her boldest outings. Hattam’s swans may be black but her kangaroos can be bright blue or pink.

Her subjects range from domestic still lifes to allegorical landscapes. On the way, she pauses to consider the attempts by the First Fleet’s William Dawes to learn the Eora language; environmental issues (symbolised by Hokusai’s menacing wave); and a favourite picture by American master Philip Guston.

In a painting called Pantheon (1973), Guston wrote a list of the artists he most revered. Hattam has undertaken a feminist revision, replacing Guston’s all-male list with a female cast. As statements go, it’s more playful than strident.

Can I afford it? For a well-established artist, Hattam’s prices are very affordable. The most expensive picture in this exhibition is the oil painting, The black swan of trespass (pictured above, 217cm x 155cm), at $17,500. This would equal her existing record price. There are 12 works selling for the low price of $2200. This includes small oil paintings such as Pink kangarooSwans dream phthalo, and The friendship garden (each 43cm x 31cm).

Where can I have a squiz? Arthouse Gallery, 66 McLachlan Avenue, Rushcutters Bay, Sydney,
until March 28; arthousegallery.com.au.

 

AND stateside at Morton Fine Art, 52 O St NW #302, Washington, DC USA.

Click HERE to view available artwork by KATHERINE HATTAM.

 

 

 

Australian Artist WILLIAM MACKINNON in The Surfer’s Journal

12 May

Please enjoy this wonderful 10 page spread on Australian contemporary artist WILLIAM MACKINNON in The Surfer’s Journal.

Contact Morton Fine Art for available artwork by this internationally renowned painter. (202) 628-2787, http://www.mortonfineart.com, mortonfineart@gmail.com

Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009