'Rita Hall. Museum Studies 1969 - 2009'
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The following is an extract
from the catalogue essay of my exhibition, "Rita Hall.
Museum Studies 1969-2009' held at the South Australian
Museum in June 2009.
Printmaking, and in particular
etching, was my major interest and preferred medium after graduating
from the SA School of Art in 1968. My teaching specialisation
became printmaking and most of my early works were in this discipline.
I generally printed in small editions across a range of subjects
within a still life genre.
In 1979 I began to make
screen prints on fabric, still a printmaking technique but on
a much larger scale. Works on fabric were purchased by the National
Gallery of Australia, Art Gallery of SA, the Art Gallery of WA,
Tamworth Fibre Award and many Regional Galleries for their permanent
collections.
In early 1987 a variety
of factors caused me to abandon the production of wall hangings.
Once again I wished to move on to new ideas in printmaking.
As a transition back to
works on paper I made a series of 10 linocuts of Australian birds
to be printed in editions of 100 each.
By 1989 bird print production
was in full swing. I was also teaching again part time at the
SA School of Art. I then decided to reassess my art practice
in a major way. It became a time to 'calm down' and redefine
the hectic artistic activity of the previous ten years.
A grain of sand seemed
a likely metaphor for this period. I began to draw on the idea
on a more philosophical level, determining to find the simplicity
in images which had always inspired my art. This led me again
to the Museum where so many ideas had become manifest. I began
to look seriously at the stones in the collections, from grinding
stones to stone tools, axe heads, artefacts and other stone implements.
I enrolled in the first
Masters of Visual Art programme offered by the University of
SA in 1991 with a vague notion of further exploring stones as
a point of reference for making art. The research project led
me in diverse directions, travels throughout Australia and contact
with museums across the country.
My art project has always
been to find the visual imagery from the real, to develop it
from that reference point into something which may be called
art. To me the 'real' is already so abstract and so odd it needs
no embellishment by an imagination and its banality is more than
enough. For the art works, I sought to clarify or distil my first
impressions and my studied perceptions. Through formal means,
technical experimentation and application of learned skills I
made a body of work encompassing a range of subjects.
I wanted to make powerful
art from ordinary subjects. I was drawn to specimens in the Museum
which had already been given some significance simply by being
included in a public collection. They had their own history or
'otherness' although they were also familiar in that they often
came from the natural world. Many, like the stone tools or the
bird skins, had the mark of human intervention, therefore giving
them another dimension of interest. Fortunately, the specimens
in the museum are static, a great help in making drawings and
studies, even of birds in emulated flight.
Art works emerged which
embraced experimental combinations of printmaking, drawing, pastel
and watercolours. I tried to suggest solid weight, texture and
colour with the simple round stone forms. Gradually the forms
began to change into elongated or pyramid shapes as I investigated
other cultural uses of stones and I began to wrap them with decorative
bindings. Some were printed from matrixes made with leather,
lace and fabrics.
In 1992 I completed the
Master of Visual Art degree, and continued to make art and teach
at the SA School of Art in Printmaking and Drawing. Many new
art works evolved, in various series relating to my life and
interests at the time. Printmaking continued to be a preferred
media and I purchased a new 30 inch etching press. It weighed
750 kilos and became a dominant feature of the studio.
Together, the press and
I produced prints depicting wrapped horses in canvas rugs then
leather rugs without the horses. As I hung around the cold manege,
watching a little anxiously, as my daughter learnt to ride dressage,
I found myself wanting to draw the horses in the opposite paddocks.
Over time I made many more series of prints, usually unique states,
of bowls, vessels, tools, landscapes, shoes and wrapped bundles
of fabrics.
In 2004 a major shift occurred
in my art practice when I decided to abandon printmaking as a
vehicle for expression. I sold the beloved etching press, but
in a panic of anxiety called 'printmaking withdrawal' I immediately
purchased an 'as new' old wood mangle. .
Nevertheless, I faced a
new challenge: to become proficient in painting. At this stage
of my career, it was a serious endeavour. Printmaking and drawing
are so direct, a mark is made and it is controlled or directed
in an immediate way. To me painting, though pleasurable, was
too slippery. Having always responded to the crisp graphic image,
it took time to value the more subtle evocations of oil paint.
Once I got the hang of
putting paint onto canvas, I again went to the Museum to find
suitable 'painterly' subjects. I was attracted, perhaps by familiarity,
to the bird display. The exhibits of birds were mounted specimens
pretending to be alive in diorama backdrops. They were all still
but the glass cases made them difficult to make detailed studies.
I decided to focus on the heads and began a series of small paintings
in oil on canvas of bird portraits.
Mike Gemmell in the Discovery
Centre allowed me to take some mounted specimens home for more
detailed studies. I soon exhausted his motley collection and
I became reluctant to pursue this course as my cat had attempted
to kill the "on loan" stuffed magpie.
I was directed by Mike
to make an appointment with Dr Philippa Horton, manager of the
Ornithology Collection at the SA Museum. This marked a turning
point. When I first viewed the birds skins stacked in the collection
room drawers it was a revelation. Maya Penk became my guide and
for the next two years I immersed myself in a serious study of
the bird collection.
This study was not ornithological
nor scientific but artistic. My interest, as usual, was in their
forms, the shadows they created, their colours, textures and
shapes. It became my constant project to find a way to make art
out of these very real objects. The notion of making paintings
out of birds which pretended to be alive seemed absurd in the
presence of so much complexity and beauty, and in the way they
were presented as skins.
I had no wish to add anything
to the bird skins, but simply present them in an honest way,
as they had appeared directly to me. The liberties I did take
were to arrange then into compositions, either singularly or
in groups, to provide opportunities for formal art making structures.
I reasoned that the skins, like many other objects in the museum,
already carried their own meanings, their relevance for scientific
study and their own histories. They seemed a perfect metaphor
for the ecological issues of the contemporary world and had no
need for embellishment with artistic symbols or devices. I wanted
the graphic impact of the real just as the earlier etchings had
been.
This exhibition represents
four decades of constant practice, with many twists and turns.
I am personally thrilled to have been given this opportunity
to show a retrospective of this particular strand in my life's
work, and to see the growth over the years. There are also some
surprising continuities between the early and late works.
My enthusiasm for art making
is undiminished. As always I need to be astonished by the subject
before I can attempt to make art from it. I do not intend to
stop. I hope and expect to continue to visit the SA Museum, to
see where else I may find a new inspiration for my work. However
the birds, I know, will always have much to offer.
Rita Hall
June 2009
Web Blogspot, Quentin Chester, 4 June 2009
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My studio is located at
46 Hill Street, Crafers West, SA
where I work full time.
Visitors are welcome at any time by appointment,
Phone (08) 8339 2321
email ritahall@ozemail.com.au
PO Box 376, Stirling. SA 5152
| Rita Hall |
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Born:
Current Occupation:
Qualifications:
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Employment History:
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1947
.
1992
1975
1968
2009 - 1987
1987 - 1979
1976 - 1969
2000 - 1989
.
.
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The Netherlands, arrived Australia 1951
Full time Artist, Printmaker, Painter
Master of Visual Art, University of SA. SA School of Art.
Adv.Dip.T.(Fine Art), Torrens CAE. SA School of Art.
Dip.T.(Art), Western Teachers College. SA School of Art.
Operated studio workshop in printmaking & painting
Operated full time production studio in textile design and printing.
Full time Art teacher, Education Department of SA.
Part time Lecturer & Tutor at SA School of Art, Uni of SA,
TAFE Art schools and Adelaide Central School of Art in Printmaking, Painting,
Drawing, Life Drawing, Design and Visual Art Theory
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Grants and Awards:
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2007
1999
1995 & 1993
1994
1993
1993
1991
1989
1981
1975
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Waterhouse Natural History Prize, second prize for drawing.
Dragan Miljanovic Art Prize.
S.A. Dept. for the Arts and Cultural Heritage, Development Grant.
Flinders University of S.A., Suffrage Commemorative Print Folio.
FRSASA. Ass. Dip. Design Institute of Australia.
Members Print Commission, Print Council of Australia.
Kernewick Lowender Art Prize.
Fasson Award for Creative Excellence, Design Institute of Australia.
Artist Development Grant, Australia Council Crafts Board, SA Dept for the Arts.
Full time release scholarship, SA Education Department.
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Selected Solo Exhibition:
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2009
2007
2000/02/04
2003/04
2000
1998
1995
1993
1993
1991
1988
1988
1983
1982
1982
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1982 & 89
1981
1980 & 84
1977,78
1977 & 81
1969 & 72
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Museum Studies 1969-2009 SA Museum
Greenhill Galleries - Hilton International Hotel.
Hill-Smith Fine Art Gallery. Adelaide. Works on Paper.
Country Arts SA Travelling to 18 Regional Galleries.
Main street Editions Gallery- Hahndorf . Vessels. Works on Paper.
Adelaide Festival of Arts - Art Images Gallery SA. Boots and All, Collographs
Anima Gallery, Adelaide. Contemporary Equine Etchings
Royal S.A. Society of Arts Gallery, Adelaide. Authentic Collections
Art Images Gallery, Adelaide. Stones Collographs
Reade Art Gallery, Adelaide. Stones Drawings and Paintings
Freeman Gallery, Hobart, Tasmania. Wood Cuts and Drawings
Tynte Gallery, Adelaide. Etchings
Sale Regional Gallery, Victoria. Textiles
Fremantle Arts Centre, Festival of Perth Invitation. Textiles
Touring Exhib, Regional Galleries of NSW: Orange, Wagga Wagga, Albury and
Lake Macquarie.Textiles
Mildura Art Centre, Victoria. Textiles and Wood Cuts
Barry Newton Gallery, Adelaide. Textiles
Jam Factory Gallery, SA. Textiles and Lake Eyre Series
Adelaide Fine Art and Graphics. Etchings
Naracoorte Regional Gallery, SA. Etchings and Drawings
ALdgate Crafts. SA. Textiles
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Selected Group Exhibition:
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2007
2007
2007/05/03
2006
2006
2005
2002
2000/01
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02/00/98/96/94
1999
1999/97
1999
1999
1998/00
1998/96
1997
1996
1992/93/97/06
1992
1992
1977,78,79,90,92
1976,88,90,93
1989
1981,83
1980,81,82,83
1980
1976,77,78,90
1976
1970,71,72,73
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Whyalla Art Prize, Finalist
Dobell Drawing Prize, Art Gallery NSW - Finalist
Waterhouse Natural History Prize, Finalist, category A&B
The Crafted Object 1960s - 80s, National Gallery of Australia
Scarlettis Gallery, Clare, S.A.
Geelong Print Prize.
Main Street Gallery, Adelaide Festival.
Federation: Australian Art & Society 1901 - 2001; National Gallery of Australia,
Canberra, ACT
Scotch College Festival- Adelaide
Ceramic Art Gallery. Works on Paper- Sydney
International Works on Paper Fair - Sydney
Adelaide Central School Gallery
Hermanns Art Award - Melbourne (Finalist)
The Hutchins School Art Prize, Hobart. (Finalist)
Duraloid Silk Cut Award, Melbourne. (Finalist)
St Peters College invitational art exhibition. Adelaide.
Survey Exhibition of Contemporary SA Printmakers.
Aptos Cruz Gallery, Stirling, SA.
Royal SA Society of Arts, Members Exhibition.
Masters and Graduate Diploma, University of SA. Museum.
Alice Springs Art Foundation Prize,(Finalist).
Fremantle Print Prize, (Finalist).
Adelaide\Himeji, Japan,(Selected).
Stirling Festival, SA, Art Prize.
Australian Crafts Board, Craft Expo.
Tamworth Fibre Award. (Selected)
Contemporary Art Centre, Adelaide, Members exhibition.
Channel Ten, Adelaide, Young Artists Award, Art Gallery of SA.
Whyalla Art Teachers.
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Selected Commissions:
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Unley City Council Museum
Mount Lofty House
Premiers Dept Hobart Tasmania
Centennial Park Trust
Hilton International Hotel
Marleston College of TAFE
Hindmarsh Building Society
Post Secondary Education Commission WA
South Australian State Government Agencies, including Education, Health, Equal Opportunities,
Community Welfare and Corporate Affairs
Immanuel College
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Public Collections:
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National Gallery of Australia
Art Gallery of SA
Art Gallery of WA
Museum and Art Gallery of Tasmania
Alice Springs Art Foundation
Tamworth Fibre Collection
Mildura Arts Centre
Naracoorte Regional Gallery
Flinders University of SA
Gold Coast City Art Gallery, QLD
Art Bank, NSW
Cromwell's Contemporary Collection
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Hamilton Regional Gallery
University of SA
Kernewick Lowender, Kadina SA
Print Council of Australia
Canson Australia Pty Ltd
Toowoomba College
State Bank of SA
Duraloid Australia
Adelaide Hills Council
Murray Bridge Regional Gallery
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Selected Bibliography:
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SA Museum Newsletter, Crispin Savage, April / June, 2009
The Adelaide Review, John Neylon, June 2009
Web Blogspot, Quentin Chester, 4 June 2009
Mt Barker Courier, Joan Clayton, 10 June, 2009
The Hills Weekender, Helen McGowan, May24, 2009
The Advertiser, Louise Nunn, p.57, 21 June 2009Adelaide Advertiser January 27th 2007, Review feature article, "Material Girl" by Samela Harris.
'Rita Hall's past, present and future" Adam Dutkiewicz. Independent Weekly. Feb. 17-23 2007. p31.
Adelaide Review, September 2000, John Neylon
Adelaide Advertiser, August 2000, Adam Dutkiewiez.
Ceramic Art and Perception, No 37, pp 70-71, Sue Rodwell, 1999.
Craft Arts International, No 45, Shaw Hendry, 1999.
Australian Printmaking in the 1990's. Sasha Grishan, Craftsman House pp116-117, 1997.
On Edge. 1995, Vol.2 , No 2, pp29 -32. Lois Turner, Rita Hall.
Imprint, Winter 1995. Vol.30 No. 2, p.15. Geoff Gibbons.
Adelaide Review May, 1995, John Neylon.
Adelaide Advertiser, April, 1995, Adam Dutkiewiez.
Adelaide Review, Sept. 1993, John Neylon.
Craft Arts International,No.17. Terry Davis, 1989.
The Adelaide Advertiser Weekend Magazine, Katherine Goode, August,1990.
Craft Australia, Autumn 1 1981, Winter 1 1983, Winter 2 Supplement 1984.
The Australian, Peter Ward January 1981.
Women Artists of Australia and New Zealand, Max Germain, 1991.
Imprint, 1992, Summer, 'Editions and Additions,' Rita Hall.
Ceramics Art and Perception, Jan. 1994. Rita Hall.
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Published Books:
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"The Goanna and the Cranefly", by Rita Hall, Collins, 1986.
"The Ant Explorer", by C.J.Dennis, Macmillan, 1988.
"The Frog and the Wild Rope", by Pam Shelldrake, Macmillan, 1990.
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Other Details:
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Unrestricted Private Pilots Licence, 1974; Ernabella Aboriginal Art Community Screen
Printing Coordinator, 1976 Travelled in Europe to visit major galleries, 1977;
Ceduna Aboriginal Art Tutor, 1977, Key Note Speaker, Eyre Peninsular Regional Arts Seminar, 1989;
Charter Member Hills Zonta Club International; Crafts Council of SA Management Committee 1979-82;
Trained Wendy Thurston 1981 and Gary Campbell 1985 Craft Board, Australia Council Trainee Grants;
Founding committee member Mt. Lofty Art and Craft Society; Founding Chairperson,
Whyalla Contemporary Art and Craft Society 1972 and awarded honorary life membership 1974;
Involved in various community activities, including Stirling Festival, Come Out Festival Mural Painting,
Co-ordinated Weekend Art School, teaching life drawing, general drawing and printmaking.
Guest lecturer for Weekend Art Schools for South East Cultural Trust,
1983,84 and Riverland Cultural Trust, 1987. Lecturer, Flinders University Etching Workshop,
1990, Roebourne Aboriginal Art Community WA, Teacher, 1994, Member SA Visual Art Committee,
1992/94. S.A. Representative for the Print Council of Australia, 1994/1995. Royal Society of Art, SA,
Executive Council, 1995/96. Curator, Survey Exhibition of Contemporary SA Printmakers, 1996.
Various Art Workshops in Drawing, Printmaking and Textile Printing. Invited to judge the
1998 Whyalla Art Prize, 1992 Kernewick Lowender Art Prize. Attended Life Drawing Workshop
with Godwin Bradbeer, National Art School, Sydney, 1999. Participant in SALA Week, 98/07.
Attended Drawing Summer School with Chris Orchard, Adelaide Central School of Art, 2000. 2001,
Drawing tutor for Mt. Torrens Art Society; On-going Weekend Workshops in Etching,
Collograph Printmaking. Gallery Guide, AGSA, 2002 - 2006. 2007 Guest speaker Art & Science Forum,
SA Museum & Queen Adelaide Club.
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Contact details:
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PO BOX 376, STIRLING, SA 5152.
Rita Hall Studio
'STRAWBERRY HILL'
46 Hill Street
CRAFERS WEST SA 5152.
PHONE: 08 8339 2321; FAX: 08 8339 1833
email: ritahall@ozemail.com.au
ABN: 58 542 569 864
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