Katherine Hattam, Victoria Hattam, Ellen Koshland, Danica I. J. Knezevic, Macushla Robinson, Shevaun Wright Rewriting: feminism and careOpening: To be confirmed.
‘Rewriting’ is a conceptually honed, intimate exhibition that stages conversations about iterative practices of care—from recognitions of indigenous farming practices that change how we imagine Australian colonial narratives, through rewriting practices of memory and filial care, through meditations on the care of inherited silver and the bonds of slavery, to paintings that claim intergenerational networks of admiration and care.
Spanning two continents, it is an intergenerational and interdisciplinary exhibition that brings together the work of six artists and scholars. The works in the exhibition range from large scale prints and paintings, to a flag, photography and text, two video installations, and an artist’s book.
Katherine Hattam, a Melbourne based artist who works with color across collage, painting, and printmaking. Her work explores the unsettled space between the internal and external worlds and is informed by literature, psychoanalysis, and feminism.
Victoria Hattam, a professor in the Politics Department at The New School in New York. Hattam was born in Melbourne and moved to the United States to complete her PhD at MIT and has lived in the US ever since. Hattam works on questions of visual and spatial politics through text and image.
Ellen Koshland who works in print, photography, installation, and word events. She lives in Melbourne, Australia having moved there from the United States in 1973. Koshland is founder and director of The Poet’s Voice, and her interest in poetry underpins her visual work. Curently, Koshland is creating large scale prints engaging landscape and care via murnong farming in Australia.
Danica I. J. Knezevic, a Sydney based performance artist, works across endurance performance, video, audiovisual installation and photography. Knezevic’s practice is informed by psychology and philosophy to examine the intimate relationships that inhabit her life, in particular, her autobiographical familial experiences of being a carer. She recently completed her PhD at Sydney College of the Arts.
Macushla Robinson is a writer and curator based in New York. Formerly assistant curator at the Art Gallery of New South Wales in Sydney, Australia, she is currently pursuing her PhD in politics at The New School in New York City. Robinson works with video, text, and image to rewrite the care of silver objects through inheritance, identification, and slavery.
Shevaun Wright is an artist and lawyer who is primarily engaged in an interdisciplinary practice that utilize the contractual medium and the notion of the ‘social contract,’ to engage in institutional, legal, and artistic critique. Informed by her Aboriginal heritage, she aims to extrapolate feminist and post-colonial critiques of the law and art as a means to access and reveal similarities in their discursive practices.