News
https://maph.org.au/exhibitions/269/ Museum of Australian Photography, Shortlisted for the Bowness Prize, 2023
https://www.ngv.vic.gov.au/exhibition/photography-real-imagined/
Photography: Real and Imagined on show until 28 January 2024
20 October 2022 – 28 MAY 2023
https://castlemaineartmuseum.org.au/exhibitions/there-s-a-certain-slant-of-light-with-jane-brown
Image: Museum Object no. 173 (19th crystal prism mantel lustre / candleholder), 2022, wet collodion.
2023 Ravenswood Australian Women’s Art Prize, finalist.
https://www.ravenswoodartprize.com.au/artprize/home#finalists
The Crystal Palace, 2022, orotone photograph [DETAIL]
BOOK LAUNCH /
https://lamama.com.au/whats-on/playreadings-book-launches/book-launch-the-archaeology-of-a-dream-city/
Jane Brown’s photographs punctuate chapters in the novel to provide a figurative reading of the text and will be screened during the launch.
There will be a reading from the novel and copies will be available for sale at the event.
Images: Photographs by Jane E Brown copyright © 2021 Jane E Brown
Live music: The Matt Steele Duo
Finalist, Bowness Prize, 2020. Monash Gallery of Art.
In horticulture the glasshouse is sometimes referred to as a forcing house. The artifice of forcing something to grow where it would not normally is something l find conceptually interesting. Inspired by the way light fractured and then interplayed with the glass, steam and plants as well as an ongoing fascination with the botanical photography of Karl Blossfeldt and Albert Renger-Patzsch. The work is suggestive and illusory and says as much about photography as it does about plants. In a glasshouse plant specimens are collected, curated and protected. Printed during the Covid-19 lockdown (when the world too was confined for its protection) these images of plants, sometimes strained in their confinement, gained a new poignancy.
Ashley Lumb. September 22 – December 16, 2020.
https://www.smponline.org/https://www.smponline.org/
“The antipodes was seen as a world of reversals, the dark subconscious of Britain. It was for all intents and purposes Gothic par excellence.” –Turcotte, Gary, “Australian Gothic”, in Mulvey Roberts, M (ed.), The Handbook to Gothic Literature, Macmillan, Basingstoke, 1998. Comprising photographs taken in rural New South Wales, the ACT, Victoria, and Tasmania, this work takes its cue from the gothic imaginings of colonial Australia. We see images of a convict past, the bush Christmas, unforgiving landscapes and melancholic hotels. It carries echoes of the cinema of Wake in Fright (1971) and the Cars that Ate Paris (1974). Rendering visible the themes of the melancholic and the uncanny, Australian Gothic manifests itself in rural isolation – where the homely becomes unhomely (or unheimlich) and where nature is out of kilter.
https://vimeo.com/483204727
Novum, composed by Kitty Xiao
Inspired by Australian photographer Jane Brown’s Bushfire Landscape II, Lake Mountain Victoria from her series Australian Gothic.
Performed by Nimbus Trio
Alto flute/Bass flute – Jessica Laird
Violin – Cameron Jamieson
Piano – Kitty Xiao
Photo credit: Jane Brown. https://soundcloud.com/kitty-xiao/novum
Kitty Xiao has organised an
Australian Bushfires Relief Concert at UUU Art Collective, Rochester New York
153 State Street, Rochester, New York 14614. February 7 2020 – 7:30pm – 11pm
Interview, Basil Sellers Art Prize, Ian Potter Museum of Art
https://www.youtube.com/watch?v=bnajKJw2dcM
