Tag Archives: Hal Hattam

KATHERINE HATTAM’s Exhibition “Desire First” opens at Deakin University Australia

29 Sep

Deakin_Worldly_Logo

Desire first: Exhibition surveys work of Katherine Hattam

18 September 2015

Katherine Hattam artwork
The doctor’s dilemma, 2007. Book pages, fabric, charcoal and mixed media on paper. 130 x 120 cm image. Collection of the artist. Image courtesy the artist and Daine Singer. Photography: Clare Rae

The career of Melbourne-based artist, Katherine Hattam, is surveyed in the latest Deakin University Art Gallery exhibition.

Katherine Hattam: Desire first: 1978–2015 showcases works from Hattam’s entire career to date, including paintings, drawings, prints and sculpture.

In a practice that has extended over five decades, Hattam has developed a distinctive register of recurring motifs, in particular the chair and other domestic objects, which she combines with references to literature, feminism, art history and modern psychoanalysis in the creation of beguiling and personally symbolic works. A psychological charge is manifest in much of Hattam’s work, as anthropomorphic chairs stand in for a range of family members and a strong presence of the artist herself is evident in the spaces she depicts.

Deakin University Art Gallery Manager Leanne Willis said it was an honour to present the survey exhibition.

“Katherine Hattam is a contemporary Australian artist of great merit and has been a valuable contributor to the Melbourne visual culture since the late 1970s,” Ms Willis said.

“Deakin University has a long relationship with Katherine as she completed her PhD here in 2003, so it seems fitting that we are the venue to present a survey of her work.”

Exhibition curator Emma Busowsky Cox said Hattam’s work “tantalises with suggestive references”.

“Hattam uses personally symbolic materials, such as deconstructed Penguin classics from her late mother’s collection, or unfinished paintings by her artist father, alongside references to family politics, art history and psychoanalysis which hint at hidden meanings and unresolved relationships,” Ms Busowsky Cox said.

Supporting the exhibition is a catalogue including an essay by exhibition curator Emma Busowsky Cox, with a preface by Patrick McCaughey.

Hattam has exhibited widely throughout Australia. Her work is included in numerous major public collections including the National Gallery of Australia, the National Gallery of Victoria, Heide Museum of Modern Art, the Bendigo Art Gallery and Queensland Art Gallery/Gallery of Modern Art. She is represented by Daine Singer, Melbourne and Morton Fine Art, Washington, DC.

Katherine Hattam: Desire first 1978–2015runs to 16 October at the Deakin University Art Gallery, Burwood Campus, 221 Burwood Highway, Tuesday to Friday between 10am and 4pm, or by appointment on Monday for groups over 10. Entry is free.

Free floor talks with the artist and exhibition curator will be held on Wednesday 30 September at 12.30pm and Friday 16 October at 12.30pm.

Visit Morton Fine Art for available work by KATHERINE HATTAM.

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

(202) 628-2787, mortonfineart@gmail.com

http://www.mortonfineart.com

 

KATHERINE HATTAM: DESIRE FIRST 1978–2015 at Deakin University Art Gallery, Melbourne, Australia

8 Sep
 

Deakin University Art Gallery warmly invites you to the official opening of

KATHERINE HATTAM:
DESIRE FIRST 1978–2015

To be opened by Judith Brett, political historian and
Emeritus Professor of Politics, La Trobe University

Thursday 17 September
6.00 pm for 6.20 pm speeches
Function will conclude at 8.00 pm

Free floor talks with the artist and exhibition curator
Wednesday 30 September at 12.30pm
and Friday 16 October at 12.30pm

RSVP essential by Friday 11 September
via http://engage.deakin.edu.au/katherinehattam

This exhibition surveys the work of Melbourne-based artist Katherine Hattam,
from the early drawings of her first exhibition at the Ewing & George Paton
Galleries at The University of Melbourne in 1978 through an evolving practice
that also encompasses collage, printmaking and sculpture. In a practice that has
extended over five decades, Hattam has developed a distinctive register of recurring
motifs, in particular the chair and other domestic objects, which she combines
with references to literature, feminism, family politics, art history and modern
psychoanalysis in the creation of beguiling and personally symbolic works.
The exhibition catalogue includes an essay by curator Emma Busowsky Cox
and is prefaced by Patrick McCaughey.

Cover image: The doctor’s dilemma, 2007 (detail) Book pages, fabric, charcoal and mixed media on paper, 130 x 120 cm.
Collection of the artist. Image courtesy of the artist and Daine Singer. Photography: Simon Peter Fox

Exhibition dates: 9 September to 16 October 2015
Deakin University Art Gallery, Deakin University Melbourne Burwood Campus
221 Burwood Highway Burwood 3125 Melways Ref 61 B5
T :03 9244 5344 F :03 9244 5254 E: artgallery@deakin.edu.au
Hours Tuesday – Friday 10 am4 pm Free Entry
Please visit deakin.edu.au/art-collection for more details.
For information about parking on campus,
please visit deakin.edu.au/parking.

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

Australian Artist WILLIAM MACKINNON’s solo “Crossroads” at Morton Fine Art

31 Oct

CROSSROADS

A Solo Exhibition of Paintings by Australian Painter WILLIAM MACKINNON

October 24th, 2014 – November 14th, 2014

 

OPENING RECEPTION

Friday October 24th from 6pm-8pm

_________________________________

 

Morton Fine Art is pleased to announce the second US exhibition of landscape paintings by internationally renowned Australian artist WILLIAM MACKINNON.

 

The exhibition will be on display from October 24th, 2014 through November 14th, 2014 at Morton Fine Art, 1781 Florida Ave NW, Washington, DC 20009. The opening reception will be held on Friday, October 24th from 6 to 8 pm.

 

WILLIAM MACKINNON, Moonlight II, oil & mixed media on canvas, 58″x48″
About WILLIAM MACKINNON:

Born in 1978 in Melbourne, Australia, WILLIAM MACKINNON earned his Bachelor of Arts from Melbourne University, his Masters of Visual Arts from Victorian College of the Arts and his Post Graduate Diploma from the Chelsea School of Art and Design in London.  Exhibited heavily throughout Asia, Europe and Australia, Crossroads marks MACKINNON’s second solo exhibition in North America. MACKINNON is currently exhibiting as a finalist in theBasil Sellers Art Prize at The Ian Potter Museum of Art, University of Melbourne.  Born into a family legacy of internationally renowned fine artists, MACKINNON participate in a noteworthy 3 generation exhibition in Landscape of Longing: Shoreham 1950-2012 at the Mornington Pennisula Regional Gallery in Australia which included a number of works by his mother, KATHERINE HATTAM (b. 1950) and his grandfather, HAL HATTAM (b.1913 d.1994).

 

WILLIAM MACKINNON, Crossroads, oil & mixed media on canvas, 48″x58″

 

About CROSSROADS:

 

WILLIAM MACKINNON explores themes of Australian and personal identity in his solo exhibition, Crossroads.  Existing at the intersection of representation and abstraction, reality and imagination, MACKINNON creates magical worlds of landscapes, nocturnes and dream scapes reflective of his internal and external environment.  Employing mediums such as oil paint, solvent, enamel, and spray paint, MACKINNON’s landscapes evoke a mystery and richness in surface which parallel its psychological narrative content.

 

Gallery Hours:

 

Tuesday – Saturday 11am – 6pm

Sunday 12pm – 5pm

 

William MacKinnon - Basil Sellers Prize
William MacKinnon – Basil Sellers Prize
WILLIAM MACKINNON & KATHERINE HATTAM: Landscape Of Longing
WILLIAM MACKINNON & KATHERINE HATTAM: Landscape Of Longing
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Contact Information
Morton Fine Art, 1781 Florida Ave, NW, Washington, DC 20009
(202) 628-2787
mortonfineart@gmail.com
www.mortonfineart.com

KATHERINE HATTAM’s “Backwaters” Opens at LUMA – La Trobe University Museum of Art in Australia

16 Sep

Congratulations to Morton Fine Art’s KATHERINE HATTAM for her 24 September, 2014 opening of Backwaters at the La Trobe University Museum of Art in Australia.

 

OPENING:  Wednesday 24th of September at 6pm.

To be opened by Cathy Leahy,

Senior Curator of Prints and Drawings, NGV
Hattam Backwaters pr image

 

Katherine Hattam’s new series of works, Backwaters, examines the relationship between minor waterways and the sites in which they are situated, exploring how they have shaped the history and character of the diverse cities in which they exist; the Merri Creek in Melbourne, the Gowanus Canal in Brooklyn and the Suzhou Creek in Shanghai. The resulting woodblocks, prints and collages reveal intriguing similarities between these disparate locations and the people who use them. Despite radically divergent national frameworks, each of these waterways share the power of perceived obscurity and the insignificance, disguising their important histories and places of cultural exchange.

Exhibition runs 22 September7 November

Curated by Anita La Pietra

 

LUMA | LA Trobe University Museum of Art

Glenn College, Kingsbury Drive
Bundoora Campus 3086
Mon – Fri 10am to 5pm

Australian artist WILLIAM MACKINNON reviewed by Alex Weinstein

9 Sep

The Speed of Light: paintings by William Mackinnon.

William Mackinnon’s landscape paintings portray the Australian terrain and the road laid upon it with ebullience, wonder and whispers, perhaps, of terror.

The artist makes paintings you can almost inhabit.

Mackinnon’s vision of the rural parcels around Melbourne captures the vastness of his domain in manners both terrestrial and emotional. But movement and displacement abound in his pictures too, conveying temporal urgency with stunning effect.

In day-lit long-range views of wooded cliffs along the sea, and racy snap shots from nocturnal car rides wrought with dazzling painterly invention and compositional risk, Mackinnon suggests the notion that the extraordinary abounds in the mundane and that the search for a perfect wave is not unlike the struggle to make a perfect work of art.

WILLIAM MACKINNON, "Crossroads"

WILLIAM MACKINNON, “Crossroads”

In Shoreham, 2013, imposing forests with trees like prison bars occlude the vista of a distant and lonesome cove flecked with hooded surfers, waiting for sets. The effect is both resplendent and chilling. In another work, Crossroads, 2013, headlights illuminate a solitary house, poised inches from a lost highway in an instant of hysterical oddness: this looming ghost house with Christmas lights dangling pell-mell, battered fence posts and a sad, leaning tree, all coming into garish focus across the windshield of the car you, the viewer, are driving. Conflicting, loaded messages abound here: is this a place to rest? Is this a place to die? Menace and welcome in equal measure; light and darkness showing and obscuring in equal measure.

These are key players in Mackinnon’s output: menace and welcome. His pictures read beautifully as maps of specific places and actual experiences but also speak so clearly to the universality of travel itself, with its conflicting emotions, drama and surprise. Many of his paintings are made from the perspective of a car’s driver, often at night, and the theme of locomotion, of movement itself, becomes a central one. Other times, the view is set back, almost idyllic: looking to the distance, through the trees at a possible destination. But the view is always interrupted by foregrounding trees and swooping valleys, larded with colorful, abundant distraction.

To move into the world is to find oneself elsewhere, redefined perhaps, by a new setting or a new set of circumstances. This is the backbone of travel and adventure and a wellspring for Mackinnon’s imagery. But he also courts this investigation and its potential prizes (and pitfalls) by taking risks with his compositions and handling his materials loosely. After all, the process of creating the painting is as much a journey as anything and Mackinnon clearly likes to go places. His paintwork recalls the fast and furious additive technique of current Euro uber-kunstlers Peter Doig and Daniel Richter but there’s also a joie-de-vivre in Mackinnon’s color that smacks more lovingly of David Hockney or even Henri Matisse. All are artists who’ve sought to advance their craft in terms personal and historical and here again Mackinnon is fighting the good fight: he’s done the reading and wrung his hands in the miasma of heady critical theory: studying in London (a bristling Art World capital) and completing a residency at the Chinati Foundation in Marfa Texas, (an American Mecca for the worship of Minimalism). But these scholarly experiences inform the work quietly. Mackinnon has an obvious gift for grand presentation and clearly wishes the work to speak for itself. It does.

 

The Dark.

Strange things happen in the dark and it’s the darkness that permeates many of Mackinnon’s best paintings. Mackinnon allows the dark real primacy. In his landscapes, blackened areas abound; often dominating his compositions and offering juicy counterpunches to the light-filled and boisterous passages where content is visible and real. In the blast of his headlights, the road dazzles with reflective markers, swooping passing-lane stripes and glowing, orange panels with arrows indicating a hard left turn to come. But beyond that, beyond the turn, utter blackness. The Void. Inky, fathomless expanses abut his lit areas with such sheer tension as to suggest potential doom or potential bliss. It becomes clear that these blackened fields are not really empty at all. No, Mackinnon’s “empty” spaces behave with all the fecund possibility – of bounty, of menace – that the imagination dares to ignite. Look into the dark spaces and there is nothing to “see” there, nothing is rendered, and yet all is perceptible. The dark stares right back at us, pregnant with the scary shit we cannot see. So while there is pictorial absence – blankness, depth, openness, what painters call “negative space” – this is also fertile acreage for great emotional density, as the viewer can’t help but load the space with content, expectation and possibility. The anti-void is what it has become.

 

The lightness of being.

In brighter pictures, cast in daylight, Mackinnon delights in exhibiting what lies at the end of his rainbows: waves. Surf spots: just beyond reach, behind trees, over hills, mighty and majestic. Immense waves loom in monolithic arcs recalling Hokusai’s brilliant woodcuts. Verdant hills and valleys flecked with light, undulate in and out of shadow, not unlike the sea itself, sometimes pictured in the distance. In the surfing paintings, the great expanse of the ocean (often rendered in stunning, curdled pools of poured pigments, surfers bobbing) quickly replaces the blackness seen in the road paintings as a cauldron of possibility. Vistas are perceivable here but this is the Ocean, with its own mysterious territory, moods and forces. And as all surfers know, once you are out there anything, anything at all, can happen.

 

Alex Weinstein

Los Angeles, 2014

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

MFA artists WILLIAM MACKINNON and KATHERINE HATTAM in Mornington Peninsula Regional Art Gallery, Australia

15 Mar

Enjoy this impressive video about three generations of internationally renowned artists, William Mackinnon, Katherine Hattam and Hal Hattam. On display from 27 February – 21 April 2013 at the Mornington Peninsula Regional Art Gallery, Australia.

The video documents the work and inspiration of all three artists and offers valuable insight into artistic process and the transference of creativity from generation to generation.