Narelle Jubelin (Australia born 1960)
‘Ungrammatical Landscape.3’, 2003–2009
Fold-down display in two parts. Form ply with piano hinges; paint: Dulux Vinyl Matt and Acquatech gloss, black and red. Colour and distribution adapted from Ian Burn, ‘Left to Right Painting’, 1965. Polymer paint on canvas, 38.5 x 64cm.
‘A LANDSCAPE IS NOT SOMETHING YOU LOOK AT BUT SOMETHING YOU LOOK THROUGH’, Madrid 2004–2006
13 part sewn essay, 2003-06, petit point cotton thread over silk ground, perspex, each 15.0 x 20.0 x 2.5cm, white lettering. Title and structure of elements adapted from Ian Burn, ‘Homage to Albert (South Through Heavitree Gap)', 1989. Watercolour on bromide, plexiglas, wood, 30 x 23 x 10cm, exhibited Artworkers Union Benefit, Tin Sheds, Sydney, 1989. Ian Burn is an Australian artist who formed part of the New York wing of Art & Language.
Sewn rendition from a photograph Locations Melbourne 1964, painted wood frame by Mel Ramsden cited in the chapter “Making Art From A Different Place,” written by Art & Language [Text by Mel Ramsden, annotated by Michael Baldwin] Published in Ian Burn ‘Minimal-Conceptual Work 1965-1970’. Catalogue published to coincide with the exhibition of the same title, 6 February – 29 March 1992, Art Gallery of Western Australia.
Sewn rendition from a photograph of a permanent Donald Judd Concrete Installation, Chinati Foundation, Marfa, Texas, reproduced in the chapter entitled “Acrescentando (Adding).” D.A.1 Documentos De Arquitectura, Facultad De Arquitectura, Lisboa, Primavera 1996.
Sewn rendition from a photograph of a concrete building, an abandoned project with Judd practicing as architect, Chinati Foundation, Marfa, Texas, published in the exhibition catalogue Donald Judd-Architektur, Westfälischer Kunstverein, Münster, del 16 de abril al 4 de junio, 1989.
Sewn rendition from a photograph of the exhibition site for ‘Double Sided, Part I’, April 1996. A temporary installation at the Chinati Foundation, Marfa, Texas where American artist, Donald Judd, once worked. Showing the sequence of mirrors placed by Ângela Ferreira to reflect the surrounding landscape and ex-military constructions. Cited in the exhibition catalogue ‘Ângela Ferreira Em Sítio Algum /No Place At All’, Museu Do Chiado – Museu Nacional De Arte Contemporànea, Lisboa 23 October 2003–18 January 2004.
Sewn rendition from a photograph of a façade detail of the exhibition site for ‘Double Sided, Part 'I’, April 1996 showing the reflection of the adjacent concrete building in one of the mirrors placed by Ângela Ferreira to reflect the surrounding landscape and location; Chinati Foundation, Marfa, Texas.
Sewn rendition from a photograph of the exhibition site for ‘Double Sided, part II’, January 1997 a temporary installation at the Ibis Art Centre in Nieu Bethesda, South Africa the location where South African artist Helen Martins once worked. Exterior aluminium structure detail showing sculptural windows designed by Ângela Ferreira, based on the Donald Judd windows of the Northern Artillery Shed of the Chinati Foundation, Marfa, Texas.
Sewn rendition from a photograph of the interior of the Northern Artillery Shed, Chinati Foundation, Marfa, Texas, with the permanent installation of fifty-two Aluminium works by Donald Judd. Roof and windows are also by Donald Judd. Ibid., ‘Donald Judd-Architektur’. (Note: This is the only interior view in the 13 part sewn sequence.)
Sewn rendition from a photograph of haystacks by Narelle Jubelin, sourced to reference the landscapes of what could be termed temporary installations of minimalist sculptural works, outside Salamanca, Spain, Saturday 16 October 2004.
Sewn rendition from a photograph of adobe buildings, Saturday 16 October 2004. Located by Narelle Jubelin to reflect the exhibition sites of Ângela Ferreira’s temporary installations ‘Double Sided Parts I and II’ at both Nieu Bethesda, South Africa and Marfa, Texas. These buildings sit beside the haystacks and adjacent to the Centro Penitenciaría (prison) located on the National Highway N630, 313km outside Salamanca. In a repeated television news reports this prison was erroneously cited as a probable location for discussions between members of ETA and alleged Islamic extremists by members of the Spanish conservative party, Partido Popular, in the wake of the Atocha train bombings in Madrid of March 11, 2004.
Sewn rendition from the original photographic transparency of graffiti ‘Sadam Es Malo Bush Es Peor’ [Sadam Is Bad Bush Is Worse] a photograph commissioned by Donald Judd and later reproduced as an anti-war poster for a Donald Judd show held at Galería Theospacio, Madrid, April 1991; transparency reproduced courtesy of Galería Elvira Gonzalez, Madrid. The post-exhibition poster was published in the exhibition catalogue ‘Donald Judd’, Tate Modern, London 5 February – 25 April 2004, K20 Kunstsammlung Nordrhein-Westfalen, Dusseldorf 19 June – 5 September 2004 and Kunstmuseum Basel 2 October 2004 – 9 January 2005.
Sewn rendition from a photograph of graffiti ‘Bush Asesino Mentiroso Asnar Complice’, [Bush Lying Assassin Asnar Accomplice] Photographed by Narelle Jubelin, Ibiza, August 31 2004. (The misspelling of “Aznar”, the ex- Prime Minister of Spain, phonetically mimics how Bush pronounced it, and establishes a wordplay that suggests the word “ass” in Spanish.)
Sewn rendition from a photograph of graffiti at Redfern, Sydney, ‘If You Voted Liberal … I Will Hunt You Down And Kill You. I Don’t Know Where You Live But I’m Very Good @ Research’; photographer unknown, forwarded by email to Narelle Jubelin after the Australian Federal Legislative Elections, on 9 October 2004, where the conservative coalition of the Liberal and the National Party of Australia won a fourth three-year term.
Sewn rendition from a photograph of Robert Smithson’s ‘Overturned Rock, Uxmal (Second Phase')’, 1969. Reproduced in ‘Robert Smithson: The Collected Writings’, University of California Press Berkeley, Los Angeles, London.
Copyright 1996 The Estate of Robert Smithson.
(Adapted from “Ungrammatical Landscape Annotations” by Narelle Jubelin, 2003-2006, Centro José Guerrero, Granada, April 28th – July 16 2006)
Fold-down display in two parts. Form ply with piano hinges; paint: Dulux Vinyl Matt and Acquatech gloss, black and red. Colour and distribution adapted from Ian Burn, ‘Left to Right Painting’, 1965. Polymer paint on canvas, 38.5 x 64cm. ‘A landscape is not something you look at but something you look through’, Madrid 2004–2006 13 part sewn essay, 2003-06, petit point cotton thread over silk ground, perspex, each 15.0 x 20.0 x 2.5cm, white lettering. Title and structure of elements adapted from Ian Burn, ‘Homage to Albert (South Through Heavitree Gap)', 1989. Watercolour on bromide, plexiglas, wood, 30 x 23 x 10cm, exhibited Artworkers Union Benefit, Tin Sheds, Sydney, 1989. Ian Burn is an Australian artist who formed part of the New York wing of Art & Language.
petit point: 15.0 x 20.0 x 2.5 cm each
Signature & date
Not Signed. Not dated.
Contemporary Collection Benefactors’ 2009 with the assistance of Andrew and Cathy Cameron and the support of Claire Armstrong & John Sharpe, Bambi Blumberg, Joe Catanzariti, Kemsley Brennan & Stephen Buzacott, Edmund & Joanna Capon AM, OBE, Ginny, Leslie & Donna Green, Jan McCulloch, Reg Richardson, Garry & Susan Rothwell, Sheryl Ryan, John Schaeffer & Tina Dalton, Penelope Seidler, Vivienne Sharpe
Not on display
Shown in 3 exhibitions
Ungrammatical landscape [Paisaje agramatical], Centro Jose Guerrero, Diputacion de Granada, Granada, 28 Apr 2006–16 Jul 2006
Front of House, Parasol unit foundation for contemporary art, London, London, 16 Apr 2008–29 May 2008
The Great Divide, Art Gallery of New South Wales, Sydney, 19 Feb 2009–14 Jun 2009
Referenced in 4 publications
Ann Stephen, Art and Australia (Vol. 44, No. 4), ‘The Ungrammatical Landscape of Narelle Jubelin’, pg. 576-581, Sydney, Jun 2007-Aug 2007.
Wayne Tunnicliffe, Look, 'The Great Divide, building layered narratives’, pg.16, Sydney, Feb 2009, 16.
Unknown, Front of House, 2008.
Unknown, Narelle Jubelin. Paisaje agramatical [Ungrammatical Landscape], 2006.