Barron Field

Helen Johnson (Artist)

Research output: Non-textual formCommissioned or Visual ArtworkResearch

Original languageEnglish
Place of PublicationGlasgow, Scotland, UK
PublisherGlasgow International
Size3 paintings 230 x 180cm, 3 paintings 310 x 240cm
Publication statusPublished - 2016
EventGlasgow International - Kelvin Hall, Glasgow, Scotland, United Kingdom
Duration: 8 Apr 201625 Apr 2016

Cite this

Johnson, H. (Artist). (2016). Barron Field. Commissioned or Visual Artwork, Glasgow, Scotland, UK: Glasgow International.
Johnson, Helen (Artist). / Barron Field. [Commissioned or Visual Artwork].
@misc{5b848651a4c14182ad92a1e95f39ab01,
title = "Barron Field",
author = "Helen Johnson",
note = "Six paintings, acrylic on canvas. History Painting 310 x 240cm The Rape of Europa (Australian version) 310 x 240cm Title TBC 310 x 240cm Condition Report 230 x 180cm Title TBC 230 x 180cm Title TBC 230 x 180cm Curated by Sarah McCrory. Exhibition reviewed in 'Critic's Guide: Glasgow', Frieze.com, 13 April 2016; 'Female Artists Take Center Stage at Glasgow International 2016', Artnet News, 8 April 2016; 'Glasgow International Festival - 'Breadth and depth', Financial Times, 19 April 2016; The Art Newspaper Online, 13 April 2016; 'Seventh Heaven', Artforum Online, 20 April 2016; 'Painters Triumph at Glasgow International - even though installations dominate', The Spectator Online, 20 April 2016; The Art Newspaper, 20 April 2016; 'The Making of Ideas', The Scotsman Magazine, 23 April 2016. Two works - 'History Painting' and 'My Word' subsequently exhibited in group exhibition 'Painting. More Painting', Australian Centre for Contemporary Art, Southbank, Vic, Australia, 29 July 2016 to 25 September 2016. Curated by Annika Kristensen, Max Delany, Hannah Mathews. Inspired by showing in a space inflected with early 20th century historical loadings, this work posed questions about the ways in which history is formed and contemplated the readability of contextually specific cultural signifiers today. Some works played upon a tendency common among painters from Melbourne in the early 20th century, such as Rupert Bunny and Norman Lindsay, of adopting scenes from a European mythic vernacular and transplanting them into Australian settings. Drawing upon Ovid’s anti-epic Metamorphoses, the works mingled this contrivance with vestiges of colonialism and meditations on contemporary social bonds. Hung away from the walls, the backs of the paintings were also visible. They contain sketches and notes about their production as frontal image-spaces, becoming a metaphor for alternative accounts of history that persist as a foil to official versions. The approach to figurative painting is not one of conventional representation but a process of constructing figures and scenes from disparate sources, paring back and pushing source imagery towards abstraction.",
year = "2016",
language = "English",
publisher = "Glasgow International",

}

Johnson, H, Barron Field, 2016, Commissioned or Visual Artwork, Glasgow International, Glasgow, Scotland, UK.
Barron Field. Johnson, Helen (Artist). 2016. Glasgow, Scotland, UK : Glasgow InternationalEvent: Glasgow International, Kelvin Hall, Glasgow, Scotland, United Kingdom.

Research output: Non-textual formCommissioned or Visual ArtworkResearch

TY - ADVS

T1 - Barron Field

A2 - Johnson, Helen

N1 - Six paintings, acrylic on canvas. History Painting 310 x 240cm The Rape of Europa (Australian version) 310 x 240cm Title TBC 310 x 240cm Condition Report 230 x 180cm Title TBC 230 x 180cm Title TBC 230 x 180cm Curated by Sarah McCrory. Exhibition reviewed in 'Critic's Guide: Glasgow', Frieze.com, 13 April 2016; 'Female Artists Take Center Stage at Glasgow International 2016', Artnet News, 8 April 2016; 'Glasgow International Festival - 'Breadth and depth', Financial Times, 19 April 2016; The Art Newspaper Online, 13 April 2016; 'Seventh Heaven', Artforum Online, 20 April 2016; 'Painters Triumph at Glasgow International - even though installations dominate', The Spectator Online, 20 April 2016; The Art Newspaper, 20 April 2016; 'The Making of Ideas', The Scotsman Magazine, 23 April 2016. Two works - 'History Painting' and 'My Word' subsequently exhibited in group exhibition 'Painting. More Painting', Australian Centre for Contemporary Art, Southbank, Vic, Australia, 29 July 2016 to 25 September 2016. Curated by Annika Kristensen, Max Delany, Hannah Mathews. Inspired by showing in a space inflected with early 20th century historical loadings, this work posed questions about the ways in which history is formed and contemplated the readability of contextually specific cultural signifiers today. Some works played upon a tendency common among painters from Melbourne in the early 20th century, such as Rupert Bunny and Norman Lindsay, of adopting scenes from a European mythic vernacular and transplanting them into Australian settings. Drawing upon Ovid’s anti-epic Metamorphoses, the works mingled this contrivance with vestiges of colonialism and meditations on contemporary social bonds. Hung away from the walls, the backs of the paintings were also visible. They contain sketches and notes about their production as frontal image-spaces, becoming a metaphor for alternative accounts of history that persist as a foil to official versions. The approach to figurative painting is not one of conventional representation but a process of constructing figures and scenes from disparate sources, paring back and pushing source imagery towards abstraction.

PY - 2016

Y1 - 2016

M3 - Commissioned or Visual Artwork

PB - Glasgow International

CY - Glasgow, Scotland, UK

ER -

Johnson H (Artist). Barron Field Glasgow, Scotland, UK: Glasgow International. 2016.