Australian women artists have been (and continue to be) underrepresented and undervalued in this country despite the stunning artistic works that have been prod...
Australian Women ArtistsThe podcastEpisode 6Eliza GosseEliza Gosse paints quiet suburban scenes focused on post-war and mid-century architecture and design. Her style is influenced not only by her love of nostalgia, but by her studies in architecture. Her flat two-dimensional painting style and muted colour schemes give off a warmth and welcoming (I think). The fact that she rarely paints figures is to allow the viewer to picture themselves in these gorgeous scenes. But when she does paint figures...they go alright too. Twice chosen as a finalist in the Archibald! Eliza Gosse graduated with a Master of Fine Art from the Nat Art School, Sydney in 2019. Her work has been exhibited in public and private galleries since 2016. Gosse’s work has been selected for numerous awards and prizes including the Archibald Prize (2023, 2022) and Wynne Prize (2020), Paddington Art Prize (2023, 2021) and won the Mosman Alan Gamble Award (2022) and the John Olsen Drawing Prize (2017). In 2024 she was awarded a Bundanon Trust Residency. It was a great, easy conversation. I’m sure you’ll enjoy her story. Eliza Gosse is currently practicing in Sydney and represented by Edwina Corlette Gallery (Brisbane) and Olsen Gallery (Sydney) and this conversation took place in her fabulous converted pizza restaurant in Sydney. To listen to our conversation, head to the link in my bio or search ‘Australian Women Artists’ wherever you find your podcasts. Paintings1. Grapefruit, Burnt Toast and Raspberry Jam 2023 acrylic on canvas 132x1222. Eucalyptus and Gum-nuts Collected From An Afternoon Walk 2023 acrylic on canvas 152x1823. Ocean Views Can be Glimpsed Beyond 2023 acrylic on canvas 180x1504. In My Grandmother’s Garden (a preview glimpse from Eliza’s new solo show at Edwina Corlette Gallery opening 9/5/255. Breakfast at Ours (Archibald finalist) 2023 oil on board 2 panels, 137.5x86.6 and 145.5x97
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Margaret Ackland
Australian Women ArtistsThe podcastEpisode 5 Margaret AcklandMargaret is a four times Archibald finalist and is renowned for her expressive and vibrant use of colour. Besides the Archibald accolades, she has had 36 solo exhibitions, been a part of 37 group exhibitions, and I’m almost not exaggerating when I say about a thousand other finalist awards including Portia Geach Memorial Award, Hazelhurst Art on Paper, Doug Moran National Portrait Prize, The Blake Prize and the Salon des Refuses. She is represented in a range of national and private collections. Her work was on the front cover of the 2023 July edition of Art Almanac, and she has been featured in Italian Vogue and on ABC TV’s ‘Compass’ series. In other words, I reckon one of this country’s great artists. We’re having this conversation in her fabulous Sydney studio.Images referred to in our conversation1. Taken by RG2. From Vestiges exhibition. Vestiges, 2013 oil on canvas 183x1523. From Social Distancing exhibition. Apocalypse Now (June 2020) watercolour on paper 25x254. From Balancing Act exhibition. A Balancing Act, 2022 watercolour on paper 85x905. From Lifelines exhibition. Lifelines, 2024 watercolour on paper 150x100
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Jennifer Higgie on Clarice Beckett
Australian Women ArtistsThe PodcastEpisode 4Jennifer Higgie on Clarice BeckettJennifer Higgie is an internationally respected arts writer and art historian who has lived and worked in London for many years. She is a novelist, screenwriter, art critic and former editor of the London-based contemporary arts magazine Frieze. She was the presenter of Bow Down, a podcast about women in art history, and has just published Season 2 of Artist’s Artists - the podcast she hosts for the National Gallery of Australia. Her latest books are The Other Side: A Journey into Women, Art and the Spirit World; and The Mirror and the Palette: 500 Years of Women’s Self-Portraits. Her own life is worthy of its own podcast for Australian Women Artists, but she is my guest today and joins me at the National Gallery of Australia in Canberra, to discuss the incredible Australian artist, Clarice Beckett. I think it would be fair to say Clarice Beckett is one of the most original artists of early twentieth-century Australia. She is known for her innovative use of colour and tone and light to create quite an incredible atmosphere in which the subject matter of a painting exists. This ‘tonalism’ was controversial and criticised, but she persisted and soon became its greatest exponent surpassing, many say, her outspoken teacher Max Meldrum. But, as you will probably come to appreciate with these artists in history, Clarice was very much underappreciated in her lifetime and, after her death she was largely forgotten until an incredibly fortunate and lucky set of circumstances led to her rediscovery. It’s an amazing story and one that I’m sure you’ll enjoy. Head to the link in my bio for my podcast conversation with Jennifer Higgie on the incredible Clarice Beckett.Jennifer's books, including The Other Side: A Journey into Women, Art and the Spirit World; and The Mirror and the Palette: Rebellion, Revolution and Resistance: 500 Years of Women’s Self-Portraits can be found at the following link: https://www.jenniferhiggie.com/books-publications
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eX de Medici
Australian Women Artists The PodcastEpisode 3 eX de Medici I should start by saying that eX de Medici is a very private person (but very generous - delicious pastries and coffee on arrival!). She eschews social media, is very private about her personal life, and rarely allows herself to be photographed (or filmed). Her art does the talking for her. I was very fortunate to therefore have this opportunity to have this wonderful conversation with her in her fabulous studio in Canberra.eX de Medici’s paintings have been described as ‘a mirror to society's ills, using beauty to draw viewers into confronting uncomfortable truths about violence, corruption, and environmental destruction’. The paintings are beautifully crafted, meticulous, symbolic, and address difficult themes. She deliberately chooses watercolours to work with - which is apparently considered a 'woman's medium' - literally and figuratively weaponising those watercolours to fight conservatism.And the use of watercolours was a by product of her government grant to head to LA to study tattooing in the 80's. All of which had her the subject of fierce debate in a Senate Estimates Committee. She grew up in Canberra in the midst of punk and experimental art - and the influences on her work are obvious. It's a fascinating story. She has exhibited extensively across Australia and internationally, and her pieces are held in major collections including the National Gallery of Australia, National Gallery of Victoria, and various state galleries. She has won the National Works on Paper prize and has been a finalist in several prestigious awards, including the Dobell Prize for Drawing, the National Self-Portrait Prize, and the Singapore Art Prize. But, and I’m hazarding a guess here, I suspect she is just as pleased with the difficult conversations her work provokes. Head to the link in my bio to hear our conversation for Australian Women Artists
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Tamara Dean
Australian Women ArtistsThe podcastEp. 2 Tamara DeanTamara Dean is a critically acclaimed Australian photo media artist whose practice encompasses photography, installation, and moving image. She is known for her evocative and often surreal photography, particularly her series that explore themes of nature, human interaction, and the environment...almost like her subjects are in an intimate relationship with nature. She has received numerous awards including the Goulburn Art Prize, the Moran Contemporary Photographic Prize, the Josephine Ulrick & Win Schubert Photography Award and the Olive Cotton Award. She is a three-time finalist of the National Photographic Portrait Prize at the National Portrait Gallery and her work has been acquired by the National Gallery of Australia, Parliament House Art Collection, Art Gallery of South Australia; Artbank Australia and the Francis J. Greenburger Collection, New York, amongst others. There's a beautiful, often ethereal quality to her work and, as I mentioned, many of the scenes are set against the immensity of nature. You can feel the story behind a lot of these works. This conversation took place just before her exhibition The Flower Duet (7 Feb-8 March 2025) at Michael Reid Gallery in Sydney. It's sooo worth seeing. Michael Reid describes it as her 'magnificent entanglements of human and natural worlds reaching a wild crescendo with her operatic new series of lushly romantic, hyper-floral photographs, The Flower Duet – a landmark body of work in which lithe figures plunge through prismatic thresholds in a dazzling pas de deux with camellias, roses and other blooms.'You can have a sneak peak going to her instagram @tamaradeanJust a heads up about the zoom sound - my sound, not so good (you'll still understand it all), Tamara's is good. And that's the important voice. Image of Tamara , Jack SewellImage in video: Ebenezer Rock Drop, 2015 archival pigment print on cotton rag. 150x200cm unframed of 3+1 APTamara is represented by Michael Reid (@michaelreidart)Head to the link in my bio to have a listen to our conversation. Really enjoyed this. Alternatively, head to where you get your podcasts and search 'Australian Women Artists'.Follow me on @australianwomenartists and the sister account @reallyinterestingwomen and you won't miss out on anything.
Australian women artists have been (and continue to be) underrepresented and undervalued in this country despite the stunning artistic works that have been produced since the mid nineteenth century. This podcast will shine a light on those artists and their spectacular art works. I'll be talking to the artists themselves, both established and emerging, as well as experts on Australian women artists in history.
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