JONATHAN JONES

JONATHAN JONES: THE APPROACH


I am challenging western romanticism and perspective, and critiquing the grand, colonial narratives of western art that have been imposed on an Australian setting to create a new Aboriginal framework. 

Concerned with making a connection to the local, I looked at the landscape of the south- east and the region’s main artery, the Murray-Darling River system. The rivers connect both Kamilaroi and Wiradjuri in the upper catchment with Ngarrindjeri at the mouth of the river. This connection is the foundation to the region’s traditions, including linguistic commonalities where languages like Kamilaroi and Wiradjuri are set on similar syntax to that of Ngarrindjeri in the south. During the initial stages of colonisation the rivers’ connection was evident, with smallpox carried along the river ahead of any contact with white people, severely decimating the population.

The fallen tree displaces the Gallery’s colonial depictions of the Murray-Darling River country, many of which use the traditional colonial framing device of placing a tree in the foreground. By re-sitting the ‘position’ of the tree, I am challenging western romanticism and perspective, and critiquing the grand, colonial narratives of western art that have been imposed on an Australian setting to create a new Aboriginal framework.

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Jonathan Jones Gurrajin (Elizabeth Bay) 2006

Jonathan Jones revolution 2010

Jonathan Jones untitled (the tyranny of distance) 2008  
  Jonathon Jones Untitled (domestic heads or tails) 2009
 

 

JONATHAN JONES
Gurrajin (Elizabeth Bay), 2006
installation view, Elizabeth Bay House, Sydney
fluorescent tubes and fittings, electrical cables
dimensions variable
photography: Jenni Carter
Courtesy of the artist and Gallery Barry Keldoulis, Sydney
JONATHAN JONES
Revolution, 2010
installation view, Gallery Barry Keldoulis, Sydney
fluorescent tubes and fittings, powder-coated steel, electrical cables, graphite on paper
photography: Richard Glover
Courtesy of the artist and Gallery Barry Keldoulis, Sydney
JONATHAN JONES
untitled (the tyranny of distance), 2008
installation view, Sherman Contemporary Art Foundation, Sydney,
fluorescent tubes and fittings, aluminium, tarpaulin, electrical cables,
dimensions variable
photography: Richard Glover
Courtesy of the artist, Gallery Barry Keldoulis, Sydney, and Sherman Contemporary Art Foundation, Sydney
JONATHAN JONES
untitled (domestic heads or tails), 2009
installation view, Artspace, Sydney
fluorescent tubes, powder-coated metal, electrical wiring
dimensions 62 x 35 x 35 cm each
photography: Silversalt
Courtesy the artist and Gallery Barry Keldoulis, Sydney



 

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