EDITOR’S LETTER

My first day at the National Gallery was the day we closed because of the coronavirus lockdown. To start this exciting new role during a global pandemic was surreal to say the least, and after eight weeks I have still not met many of my colleagues in person.

This issue was produced entirely from the lounge rooms of myself and designer Kirsty Morrison, the pair of us sending files back and forth daily and having endless production conferences over Skype. Despite the challenges of working remotely we forged ahead because we wanted to continue to share the national collection with you, to bring you hope, inspire ideas and a way to escape through art during this difficult period.

We also wanted to support our industry which has been hit hard by this pandemic. We commissioned artist Angelica Mesiti, in lockdown in Paris, to write an essay about connection; poet Evelyn Araluen responds to Pixy Liao’s work from The Body Electric about the physical embrace; and Bill Henson discusses two new works – hauntingly beautiful images of a pre-pandemic Rome – that he released during isolation. We talked with several artists about how lockdown affected their creativity, and curator Kelli Cole provides an insight into the impact it had on Indigenous communities and their arts centres. We have also introduced two new regular columns: Studio Spotlight and Director’s Choice, which I hope you will enjoy.

I was lucky enough to have a first-hand experience of watching the Blue poles conservation project, visiting conservator David Wise every week to capture our cover story. To be up close with this masterpiece was an extraordinary experience and I hope you enjoy our exclusive behind the scenes insight.

For me personally it is an absolute honour to take the helm of this esteemed publication. While editing this, my first issue, I tried to stay connected during lockdown by taking regular runs past the Gallery and getting to know different works in the Sculpture Garden. I celebrated the end of my first week by visiting one of my favourites, Bert Flugelman’s Cones, 1982. The setting sun was sparkling on the stainless steel and, combined with the chorus of birdsong and breeze swaying through the gum trees, it was a completely captivating scene. It literally took my breath away and for that moment I was totally immersed in art, nature and memory. Flugelman has had a presence throughout my life – I grew up in Adelaide where his sculptures dominated the main shopping mall and the Festival Centre, key playgrounds to my childhood in the 80s.

That’s what I love about art; it can stop you in your tracks, evoke a feeling or a memory, and make you see the world in a different light.

For those of you who have suffered during this difficult time we send you our heartfelt best wishes. I hope we all emerge from this with the ability to reset our thinking and make positive changes in the world, especially through art.

Sophie Tedmanson

Artonview.Editor@nga.gov.au @sophieted

The National Gallery of Australia acknowledges and pays its respect to the Traditional Custodians of the Canberra region, the Ngunnawal and Ngambri peoples and their Elders past and present.

Artonview may contain names and images of deceased Aboriginal and Torres Strait Islander people.

Editor

Sophie Tedmanson

Designer

Kirsty Morrison

Rights and permissions

Ellie Misios

Contributors

Celeste Aldahn, Jaklyn Babington, Jennifer Barrett, Tina Baum, Alanna Bishop, Roger Butler, Kelli Cole, Sam Cooper, Deborah Hart, Samantha Jones, Shaune Lakin, Keren Nicholson, Sarina Noordhuis-Fairfax, Elspeth Pitt, Maryanne Voyazis, Lucina Ward

Advertising enquiries

ArtonviewAdvertising@nga.gov.au

Enquiries

Artonview.Editor@nga.gov.au

nga.gov.au/artonview

© National Galley of Australia 2020 PO Box 1150, Canberra ACT 2601, Australia +61 (0)2 6240 6411 | nga.gov.au

Published quarterly. Copyright of works of art is held by the artists or their estates. Every effort has been made to identify copyright holders but omissions may occur. Views expressed by writers are not necessarily those of the National Gallery of Australia. ISSN 1323-4552 ISSN 2208-6218 (Online) Printed by Adams Print, on FSC certified paper using vegetable-based inks, FSC-C110099

* Copyright Agency, 2020

Photo by Sam Cooper. Editor’s photo features Bert Flugelman, Cones 1982, polished stainless steel, commissioned 1976, purchased 1982 *© Bert Flugelman