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An image of Up in the sky 2 by Tracey Moffatt

Tracey Moffatt

(Australia, United States of America 12 Nov 1960 – )

Up in the sky 2, from the series Up in the sky
Media category
Materials used
toned photolithograph

61.0 x 76.0 cm image (irreg.); 72.0 x 101.5 cm sheet; 90.4 x 103.8 x 2.1 cm frame

Signature & date
Signed and dated l.r.corner sheet "Tracey Moffatt `97".
Purchased with funds provided by the Art Gallery Society of New South Wales Contempo Group 1997
Accession number
© Tracey Moffatt
Not on display
Further information

Tracey Moffatt’s photographic practice is firmly entrenched within the narrative and stylistic lexicon of television, film and media culture. Much of her work is based on recollections of media images from ‘a whole 1960s childhood and 1970s adolescence [spent] glued to the television or with my nose in a book’.1 She typically uses photography to raid the image banks of popular culture and personal memory, recasting familiar visual codes with an acutely critical edge. For example, her well-known 1989 series, ‘Something more’, draws on the imagery of B-grade films of the 1950s and the racy covers of schlock novels of the 1960s; while ‘Scarred for life’ 1994, references the photojournalism and photo essays of ‘Life’ magazine.

Like ‘Something more’, ‘Up in the sky’ returns to the subject of race and violence, presenting a loose narrative set against the backdrop of an outback town, ‘a place of ruin’ and devastation populated by misfits and marginal characters. Unlike previous series, it was shot on location and dispenses with the scenography which is a feature of her earlier work. ‘Up in the sky’ is one of Moffatt’s larger photographic series and takes many of its visual cues from Pier Paolo Pasolini’s masterpiece of Italian modernist cinema ‘Accattone’ 1961. The story hinges on a triangular mixed-race relationship. Of this work Moffatt has said: ‘My work is full of emotion and drama, you can get to that drama by using a narrative, and my narratives are usually very simple, but I twist it … there is a storyline, but … there isn’t a traditional beginning, middle and end.’2

1. Moffatt T & Newton G 1995, ‘Tracey Moffatt: fever pitch’, Piper Press, Sydney p 5
2. Matt G 2002, ‘An interview with Tracey Moffatt’, ‘Tracey Moffatt’, eds P Savage & L Strongman, City Gallery Wellington, Wellington p 34

© Art Gallery of New South Wales Photography Collection Handbook, 2007

Bibliography (8)

Judy Annear, Look: 1953-2003 celebrating 50 years, 'Art through a lens" photography and the Art Gallery Society', pg.48-50, Sydney, May 2003, 49.

Judy Annear, Look, 'Contempo supports Photography Collection', pg. 24, Heidelberg, Mar 1998, 24.

Centre national de la photographie and Centre Cultural de la Fundació "la Caixa", Tracey Moffatt, Paris, 1999, (colour illus.).

Bronwyn Clark-Coolee, Photography: Art Gallery of New South Wales Collection, 'Time - memory - people', pg.246-265, Sydney, 2007, 252, 262.

Helen Ennis, Photography and Australia, 'Localism and internationalism', pg.110-133, London, 2007, 129.

Adrian Martin, Artlink: The big pond, Australian artists overseas, 'Tracey Moffatt's lost highway', pg. 14-15, South Australia, Dec 1998.

Jane Somerville, Look, 'Where to now, Contempo?', pg.28-31, Sydney, Jul 2007, 30.

Wayne Tunnicliffe, Strange Days, 'Tracey Moffatt', pg. 18-25, Sydney, 1998, 18-25.

Exhibition history (3)

Tracey Moffatt: Free-Falling, DIA centre for the Arts, New York, 09 Oct 1997–14 Jun 1998

Strange Days, Art Gallery of New South Wales, Sydney, 29 May 1998–19 Jul 1998

Tracey Moffatt Up in the sky, Art Gallery of New South Wales, Sydney, 21 May 2011–18 Sep 2011