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The Masque Ball of Tracey Moffatt single work   column  
Issue Details: First known date: 2017... 2017 The Masque Ball of Tracey Moffatt
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'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)

Publication Details of Only Known VersionEarliest 2 Known Versions of

  • Appears in:
    y separately published work icon Artlink vol. 37 no. 2 1 June 2017 11313695 2017 periodical issue

    'Welcome to the “trans” issue as it is cryptically called (meaning across and beyond in Latin). The aim of this issue is transnational as much as transcultural: to explore relations between Indigenous contemporary artists across the world. So focused are we on the Australian context for Indigenous art that when it comes to aligning ourselves with international art, in both historic and contemporary contexts, we too often deprive ourselves of that defining peer‑to‑peer agency that permits new perspectives. When we step outside of this internal viewpoint to project ourselves internationally, as in the occasion of the representation of two high‑profile Indigenous artists in the national pavilions of Australia and Aotearoa New Zealand for the 57th Venice Biennale, this rite of passage clearly becomes apparent. It is one well‑served by Tracey Moffatt and Lisa Reihana, whose elegant visual narratives demonstrate a form of this trans‑aesthetic, appropriate to taking on Europe and the world.' (Editorial introduction)

    pg. 16-21
Last amended 16 Jun 2017 08:29:29
16-21 The Masque Ball of Tracey Moffattsmall AustLit logo Artlink
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