EDITOR’S NOTE
Two important firsts happened in Australasia in April for Indigenous artists worldwide. Archie Moore’s exhibition kith and kin at the Australia Pavilion and Mataaho Collective’s installation Takapau, in the main exhibition Stranieri Ovunque – Foreigners Everywhere were awarded the prestigious Golden Lion at La Biennale de Venezia 2024. Moore, for Best National Participation and the Mataaho Collective for Best Artist in the International Exhibition.

The news of their awards came almost immediately via socials through friends in Venice. One couldn’t help feeling the proud vibe of the many thoughtful and heartfelt comments that recognised these artists’ special moment. The commentary didn’t lose sight of the significance of Moore and the Collective being the first Australasians to receive two Golden Lions and in the same year. Nor did the comments overlook the countless others that came before preparing the path for this beautiful moment. In our next issue of Artist Profile, on sale in late August, we will provide in-depth reviews of Australasian artists at La Biennale de Venezia 2024 including Moore’s and the Collective’s exhibitions.

Most artists I know want recognition and preferably before they leave this world. They need it from those who know their art but also from the institutions that should present and collect their art. Too many of our senior artists suffer from a lack of visibility. Take Mike Parr’s performance Underneath the Bitumen The Artist, 2018, in which being buried for seventy-two hours under a Hobart street could be viewed as an extreme metaphor for major gallery recognition denied.

Many artists, curators, arts administrators, and writers have long understood that recognition is necessary for artists to thrive. As an exercise, pick three living senior artists who deserve recognition in Australasia’s major galleries and museums such as the National Gallery of Victoria, and Te Papa etc. Email me at kgouriotis@artistprofile.com.au and I’ll publish your list on the Artist Profile website.

On this cover issue of Artist Profile writer Lilian Cameron recognises the achievements of artist Julie Rrap. For more than forty years Rrap has subverted the male gaze by asserting her life and body into art and history. In June, Rrap will present a new work Time passing through me at the Museum of Contemporary Art Australia to express the movement of time in one life.

Writer Jack Howard recognises Jelena Telecki’s first major solo exhibition at the Art Gallery of New South Wales’ inaugural Contemporary Projects. Brad Buckley writes on the intellect and achievements of the late artist Richard Dunn. Buckley also reevalutes the work of the late sculptor, Ian Gentle.

After reading Stephen Blanks article on emoji you may view this form of communication differently.

We also recognise many other artists and exhibitions in this issue.

Without your support through your subscription, purchase, and advertising, Artist Profile wouldn’t be able to present this issue to you. Thank you for your recognition.

Kon Gouriotis
Editor

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