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Issue Details: First known date: 2017... 2017 My Horizon
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AbstractHistoryArchive Description

Exhibited at the Australian Pavilion at the Venice Biennale, 2017. Moffatt was the first Indigenous Australian artist to represent her country at the Venice Biennale since 1997. The exhibit included two series of photographs and two videos.

Notes

  • Exhibited from 13 May - 26 November 2017

Publication Details of Only Known VersionEarliest 2 Known Versions of

Works about this Work

Yagu and Gadja i "The fog can bring images", Charmaine Papertalk-Green , 2017 single work poetry
— Appears in: Australian Poetry Journal , vol. 7 no. 1 2017; (p. 54)
Touching Both i "Man-made stone cave", Charmaine Papertalk-Green , 2017 single work poetry
— Appears in: Australian Poetry Journal , vol. 7 no. 1 2017; (p. 50)
What Must Be Said Julie Ewington , 2017 single work essay
— Appears in: The Monthly , July no. 135 2017; (p. 50-53)
Tracey Moffatt at the 2017 Venice Biennale Marcia Langton , 2017 single work column
— Appears in: The Saturday Paper , 3-9 June 2017;
'While the photography in Tracey Moffatt’s exhibition at the Venice Biennale bears touches of the knowing melodrama of her early work, her film work comes with a disaffected Hollywood air. By Marcia Langton.' (Introduction)
The Masque Ball of Tracey Moffatt Djon Mundine , 2017 single work column
— Appears in: Artlink , 1 June vol. 37 no. 2 2017; (p. 16-21)
'One of Tracey Moffatt’s lasting cinematographic memories, as she told me, is of films with harbour scenes, of working ports, rough workmen, the coming and going of exotic people, fogs, and foghorns. Tracey Moffatt’s photographic and film work commissioned for the Australian Pavilion in Venice responds to this landscape of cinematic time.' (Introduction)
Tracey Moffatt Review – Horrible Histories from Australia's Venice Envoy Adrian Searle , 2017 single work column
— Appears in: The Guardian Australia , 11 May 2017;
'With her opaque studies of asylum and memory, indigenous Australian artist Tracey Moffatt hints at cyclical violence – but asks her audience to fill in the gaps.'
The Masque Ball of Tracey Moffatt Djon Mundine , 2017 single work column
— Appears in: Artlink , 1 June vol. 37 no. 2 2017; (p. 16-21)
'One of Tracey Moffatt’s lasting cinematographic memories, as she told me, is of films with harbour scenes, of working ports, rough workmen, the coming and going of exotic people, fogs, and foghorns. Tracey Moffatt’s photographic and film work commissioned for the Australian Pavilion in Venice responds to this landscape of cinematic time.' (Introduction)
Tracey Moffatt at the 2017 Venice Biennale Marcia Langton , 2017 single work column
— Appears in: The Saturday Paper , 3-9 June 2017;
'While the photography in Tracey Moffatt’s exhibition at the Venice Biennale bears touches of the knowing melodrama of her early work, her film work comes with a disaffected Hollywood air. By Marcia Langton.' (Introduction)
What Must Be Said Julie Ewington , 2017 single work essay
— Appears in: The Monthly , July no. 135 2017; (p. 50-53)
Touching Both i "Man-made stone cave", Charmaine Papertalk-Green , 2017 single work poetry
— Appears in: Australian Poetry Journal , vol. 7 no. 1 2017; (p. 50)
Last amended 11 May 2017 07:44:08
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