Linda Marrinon

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Institute of Modern Art 1975-1989
A Documentary History - Bob Lingard, Sue Cramer (Eds.)

Institute of Modern Art 1975-1989 – A Documentary History, was edited by Bob Lingard, Sue Cramer in Brisbane in 1989, and takes an in-depth look at the history of a very important period of one of Australia’s oldest contemporary art spaces. Through essays by Bob Lingard and Peter Anderson, exhibition photography, a full list of exhibitions, catalogues and bulletins, this publication retrospectively showcases the directorship years of Robert Jadin de Fronenteau, John Buckley, John Nixon, Barbara Campbell, Peter Cripps and Sue Cramer, exhibiting John Olsen, Robert MacPherson, Ian Hamilton, Sidney Nolan, John Baldessari, Peter Cripps, Gunter Christmann, David Hockney, Diane Arbus, Jenny Watson, Chuck Close, Joseph Kosuth, Paul Sharits, Mike Parr, Arthur Boyd, Robert Jacks, John Davis, Mario Merz, Peter Tyndall, Hilary Boscott, Imants Tillers, John Nixon, Elizabeth Gower, Janet Burchill, Tony Clark, Dale Frank, Henri Chopin, Scott Redford, Tim Johnson, Robert Mapplethorpe, Vivienne Shark Lewitt, Fiona McDonald, Fiona Hall, Joanna Flynn, Jan Nelson, Joanna Ritson, Robert Hunter, Stephen Roach,Dominique Gonzalez-Foerster, Lehan Ramsey, Hiram To, John Dunkley-Smith, Stieg Persson, Merilyn Fairskye, Linda Marrinon, Bill Henson, Fritz Rahman, Melinda Harper, Geoff Lowe, Lindy Lee, Eugene Carchesio, Diena Georgetti, Maria Kozic, Lyndal Jones, amongst many others!

“This publication documents the history of the Institute of Modern Art, Brisbane from its inception in 1975 until the present day (1989). In doing so, it provides a partial record, both visual and verbal, of the life of one particular institution and an insight into a fifteen year history of exhibition-making within contemporary art. There can be no doubt that “Contemporary Art Spaces” (previously institutions such as the IMA were known as “alternative spaces”) have a crucial and unique role in supporting and developing contemporary art and curatorial practices within Australia. As the photographs of exhibitions, and the essays in this publication show, the Institute has played a significant role over its fifteen years as a venue not only for the exhibition of art that is being made in Brisbane itself, but also that of artists working elsewhere in Australia and overseas. It is worth remembering too that the Institute is the second oldest of the Contemporary Art Spaces in Australia. With this in mind, the Institute’s archive, from which this publication has been drawn, becomes a valuable resource in the study of recent art. The photographs published here ofier a visual record of individual works by many contemporary artists, a number of which may not have been published elsewhere. It is hoped therefore, that this publication might fruitfully be regarded as a source book from which more detailed projects of research can be undertaken. It is impossible in one publication to cover all of the activities and personalities, ideas, debates and discussions that have made up the life of the gallery. Alongside the exhibition program, the Institute has generated forums, lectures, film screenings and publications as an important part of its activities…”
SUE CRAMER DIRECTOR, June 1989

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Linda Marrinon
Figure Sculpture 2005-2015


Linda Marrinon “Figure Sculpture” is a new hardcover monograph published on the occasion of the major survey exhibition of the same name held at MUMA (Monash University Museum of Art), 11 July – 19 September 2015, curated by Charlotte Day.

A key figure in Australian art since the mid-1980s, Linda Marrinon has developed an idiosyncratic language of painting and drawing steeped in postmodernist irony and feminist wit. Over the last decade, Marrinon has concentrated her attention on a significant body of entrancing and enigmatic figurative sculptures, forty-eight of which are brought together from public and private collections around Australia at the Monash University Museum of Art for Linda Marrinon: Figure Sculpture 2005-2015.

Like many of her peers who established their reputations in the 1980s, Marrinon draws her references from both ‘high’ and ‘low’ culture, presenting a series of archetypes, intermingling soldiers, maids, matrons, ingénues, twins, travellers, intellectuals, performers, peasants and the privileged with a handful of identities ranging from Voltaire to Field Marshal Montgomery to Dame Joan Sutherland to MC Hammer. Marrinon casually pulls these subjects from a floating archive of objects, people, places and histories.

The texture of Marrinon’s artworks, laden with traces of the artist’s hand and sculpture tools, is reminiscent of the sculptures of Edgar Degas or Auguste Rodin, while their subjects evoke the mannerisms of the Regency, Victorian or Edwardian periods. Marrinon redeploys nineteenth-century studio practices, and the historical association of plaster casts with the serious study of classical antiquities, in her own whimsical subversion of the genre. Like characters from archaic forms of popular theatre, her figures are equipped with stage properties or articles of clothing by which they can be identified, sometimes simply by high-waisted pants or long sleeves, or more obscurely with a postiche or a shillelagh. The figures are dressed up but perhaps not for the music hall stage; Marrinon reinterprets the ideas, contemporaneous with Impressionism, of the new visibility of urban life and the flâneur into a contemporary sea of selfies and self-performance with which her audience is familiar.

ALongside colour reproductions of her sculptural works in the exhibition, the catalogue features texts by Charlotte Day, Robyn McKenzie and Julie Ewington.

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Linda Marrinon: Figure Sculpture 2005-2015
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VOX POP
Into the Eighties


Published on the occasion of “VOX POP: Into the Eighties” an exhibition of contemporary Australian (figurative) art in the early 1980’s at the National Gallery of Victoria, featuring the work of Howard Arkley, Juan Davila, Imants Tillers,  Frank, Maria Kozic, Peter Tyndall, David Larwill, Mandy Martin, Linda Marrinon, Maris Kozic, Victor Rubin, Lutz Presser, Jan Murray, Jenny Watson, Peter Taylor, Fraser Fair, Dale Frank, Davida Allen, Peter Booth, John Bursill, Gunter Christmann, Paul Boston and Gareth Sansom. Text by Robert Lindsay and reproductions of works by all artists, plus biographies.

* Condition: Good – All care is taken to provide accurate condition details of used books, photos available on request.

 

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