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232:(1989) is a photographic series composed of six vibrant Cibachrome colour prints and three black-and-white prints. It is a now iconic series of photographs that built Moffatt's first widespread public attention, each of which borrows from film language to construct what is described as "an enigmatic narrative of a young woman looking for more out of life than the circumstances of her violent rural upbringing."
610:, Moffatt collates clips of black servants in Hollywood movies talking back to their 'bosses', attempting to expose the attitudes to race often found in mainstream cinema. Also, this film is written on two women, one white and one black. In this film, the story line shows the conflict between the white woman and the black woman who is her maid. It shows racial tensions.
310:. The story relies on a triangular mixed-race relationship. Of this work Moffatt stated: '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.'
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is a collection of clips from movies and television programs that depict artists at work, at play and in the act of creation. By showing the particular bias of television and cinema to what the role of an artist apparently means to modern society, the film reflects the sometimes uninformed, sometimes
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Tracey
Moffatt is an iconic figure to both of us. She holds a mirror up to a social landscape that we all understand, exposing the dynamics of power that we consume and enact. The ways in which our works engage and respond to each other creates a multi-layered dialogue that always seems to come back
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employs the theme of race and violence, displaying a loose narrative set against the backdrop of a remote town, 'a place of ruin' and devastation populated by misfits and minor characters. It is one of
Moffatt's larger series of photographs and takes its visual ideas from Italian modernist cinema
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In the film, Moffatt reminds and displays history of the colonial past of
Aboriginal people. The film makes connections between Aboriginal people and their colonizers by touching on systems that were used by colonizers to harm and put Aboriginals at a disadvantage. In the film, there is a clear
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This is an exhibition of contemporary art, not in the sense that it was done recently, but in that it is cased in the mentality, technology and philosophy of radical art of the most recent times. No one, other than the
Aborigines of Australia, has succeeded in exhibiting such art at the
369:(2005) is a series 40 images in which the artist takes on the persona of famous women born – like the artist – under the zodiac sign of Scorpio. The series reiterates the artist's ongoing interests in celebrity, alternate personas and constructed realities. Moffatt's 2007 series
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also use sound mixes that reinforce the 'fakeness' of the settings and use well-worn experimental cinema devices such as audio field recordings and low tones to provide atmosphere. Her series of montage video works made in collaboration with Gary
Hillberg, including
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explores the idea of 'celebrity' among people in her immediate social circle – family members, fellow artists, her dealer – through 'glamorised' renderings of their faces using computer technology, repetitive framing and bright colours.
365:(2004) is Moffatt's most unabashed fantasy series using painted backdrops, costumes and models (including the artist herself) to enact a soap opera like drama of doctors, nurses and pilots in a tropical setting.
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tackles problems of colonialism and imperialism in
Australia and how it affects the Indigenous population. This biennial is the first time since 1997 that Australia has been represented by an Indigenous artist.
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In 2000, Moffatt's work was amongst those by eight individual or collaborative groups of
Indigenous Australian artists included in a major exhibition of Australian Indigenous art held in the prestigious
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In 1997 Moffatt held her "first substantial exhibition to date" which established her artistic reputation internationally, at Dia Art
Foundation in the United States, featuring numerous works including
533:. Moffatt also makes explicit references to Australian art history, drawing parallels between Indigenous history and the recording the landscape by non-Indigenous artists by quoting artists such as
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magazine accompanied by captions. While the words are compelling, they don't explain the images, indeed they tend to add to their enigmatic nature as though more information is a further dead end.
291:" – Indigenous Australian children who were taken from their families and forcibly relocated under Government policy – was enacted and performed on location in Queensland's outback. Like
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st, Visit North
Terrace Adelaide SA 5000 Australia T. +61 8 8207 7000 E. infoartgallery sa gov au www agsa sa gov au AGSA Kaurna yartangka yuwanthi AGSA; l, s on Kaurna; Maps, Open in.
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Moffatt uses different aspects of colonization of
Aboriginal people to illustrate the damage and hurtful events that took place, reminding viewers of the past colonial history.
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coming fourth in their various competitions. Seeking to underline their outsider status, the images are treated so only the ignoble fourth place holder is highlighted.
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mother. At age three she was fostered out of her family, growing up as the eldest of three daughters in a white family and often left to look after her foster sisters.
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tension and mixed feelings between the characters, one being a white woman and the other an Aboriginal woman, who play adoptive mother and daughter, respectively.
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to ideas of perception and power. What dictates our perceptions of the world, how are we perceived and how do we participate in that equation with autonomy.
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Moffatt's work since 2000 has retreated from specific locales and subject matter and become more explicitly concerned with fame and celebrity. Her series
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In 2017 she represented Australia at the 57th Venice Biennale with her solo exhibition, "My Horizon". Her works are held in the collections of the
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Though she is best known for her photographic works, Moffatt has created numerous films, documentaries and videos. Her work often focuses on
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exploring mixed and sometimes obscure references to issues of sexuality, history, representation and race. Other series of images, notably
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Moffatt's work in film and video has included short films, experimental video and a feature film. The short films rely on the stylistic
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entertainment district looking for fun, presented in cut-away context with the historical oppression of Indigenous women by white men.
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reiterates many of Moffatt's visual motifs from her still photography – sets, non-acting, an evocative use of sound and music. In
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287:(1998) the artist's work again used a sequential narrative but instead of using fantasy settings, a story concerning Australia's "
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Moffatt's attempts to draw ironic or romantic connotations in juxtaposition to the images and narratives, such as her use of
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methodology of taking images from pre-existing sources and re-editing them into ironic commentaries on the material.
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The Wizard of Oz, 1956, (1994), Scarred for Life by Tracey Moffatt – The Collection – Art Gallery of New South Wales
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2003 saw Moffatt named by Australian Art Collector magazine as one of the country's 50 most collectible artists.
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a landlord who evicts a family from a house. The images were partly inspired by memories from her early life.
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As her work progressed over the next decade, Moffatt began to explore narratives in more gothic settings. In
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1271:. Art Gallery of New South Wales Photography Collection Handbook (2007). Art Gallery of New South Wales
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125:(born 12 November 1960) is an Indigenous Australian artist who primarily uses photography and video.
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1216:"Tracey Moffatt interviewed by M Cathcart, 'Arts Today', ABC Radio National, Sydney, 31 Jul 2000"
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in Russia. The exhibition received a positive reception from Russian critics, one of whom wrote:
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is composed of three self-contained narratives with recurring visual motifs. In the first story
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274:(1999) again tackled these themes but which referenced the photojournalism and photo essays of
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for example provides a commentary on the clichéd role of the artist in Hollywood cinema, and
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acted in this film, and also danced in and choreographed another of Moffatt's short films,
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236:(1989) is one of Moffatt's best-known films. Inspired by the 1955 classic Australian film
226:(1987). Commissioned by the Murray Art Museum Albury and shot in Link Studios in Wodonga,
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it tells the story of an Aboriginal woman forced to care for her ageing white mother.
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remixes a collection of scenes of destruction from disaster movies. Her feature film
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AGNSW collection record – Up in the sky 1, (1997), Up in the sky by Tracey Moffatt
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Senzani, Alessandra (2007). "Dreaming Back: Tracey Moffatt's Bedeviling Films".
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In 2024, Moffatt created the gothic photographic series of eight images,
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1385:"'Land Abounds': Considering the breadth and blind spots of art history"
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The Encyclopedia of Women and Leadership in Twentieth-Century Australia
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Grishin, Sasha (15 April 2000). "Aboriginal art makes it to the top".
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Moffatt uses the character of an American soldier, in the second part
513:(1993) is a trio of narratives themed around spirits and hauntings.
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railway tracks connect a series of events and in the final part
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Primarily concerned with a series of almost static vignettes,
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and the way they are understood in cultural and social terms.
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List of Indigenous Australian art movements and cooperatives
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for her solo exhibition "My Horizon", which was curated by
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In 2017 Moffatt was selected to represent Australia at the
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In 2020, Moffatt was awarded an Honorary Fellowship of the
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National Aboriginal & Torres Strait Islander Art Award
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Moffatt holds a degree in visual communications from the
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Commissioned for the 16th Biennale of Sydney in 2008.
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1067:"Tracey Moffatt – Museum of Contemporary Art, Sydney"
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1117:"NIGHT CRIES - Ronin Films - Educational DVD Sales"
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623:humorous view of society towards artists today.
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1030:"Historyonics: Tracey Moffatt's Something More"
431:as well as video works by Moffatt, runs at the
419:From 28 May until 24 July 2022, the exhibition
887:"Tradition today: Indigenous art in Australia"
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352:(2001) used images of sportspeople from the
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835:"National Gallery - Search the Collection"
390:. The exhibition consisted of two videos,
1438:"'Land Abounds' presented by Ngununggula"
858:AGSA - The Art Gallery of South Australia
439:(meaning "belonging". Abdul-Rahman said:
919:. United States of America. p. 144.
891:AGNSW collection record – Tracey Moffatt
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1334:. January–March 2003. Archived from
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945:"The secret lives of Tracey Moffatt"
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915:Foster, Gwendolyn Audrey (1997).
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792:"Tracey Moffatt born 1960 | Tate"
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262:(1998) returned to the themes of
178:in 1960 to a white father and an
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1786:Queensland College of Art alumni
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1196:. Art Gallery of New South Wales
1169:. Art Gallery of New South Wales
1142:. Art Gallery of New South Wales
893:. Art Gallery of New South Wales
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206:Something More (Tracey Moffatt)
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1357:Searle, Adrian (10 May 2017).
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1478:"Festival de Cannes: Bedevil"
1324:"50 Most Collectible Artists"
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584:Lovin' the Spin I'm in
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1502:SMITH, SARAH (2008).
1190:"Scarred for life II"
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1004:Indigenous Law Centre
971:"Honorary Fellowship"
885:Fink, Hannah (2014).
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429:Abdul-Rahman Abdullah
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683:INXS: The Messenger
641:Nice Coloured Girls
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470:Nice Coloured Girls
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212:Nice Coloured Girls
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1163:"Scarred for Life"
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1720:Judy Watson
1690:Fiona Foley
1558:Night Cries
1442:A Rich Life
1416:Ngununggula
1082:23 February
1047:23 February
1014:10 December
999:"Gail Mabo"
635:Filmography
539:The Pioneer
527:Night Cries
523:Night Cries
493:(2007) and
474:Night Cries
450:The Burning
437:Ngununggula
435:gallery of
318:(1997) and
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234:Night Cries
200:Early works
93:Photography
71:Nationality
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1740:Categories
1136:"Laudanum"
801:27 October
750:References
719:REVOLUTION
618:Moffatt's
602:Lip (1999)
495:REVOLUTION
408:My Horizon
344:Hermitage.
306:(1961) by
180:Aboriginal
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63:Queensland
48:1960-11-12
1487:22 August
925:cite book
647:Watch Out
371:Portraits
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256:Pet Thang
224:Watch Out
220:Gail Mabo
79:Education
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260:Laudanum
176:Brisbane
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1567:at the
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725:Mother
721:(2008)
715:(2007)
713:DOOMED
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543:Cannes
507:DOOMED
503:Artist
499:cut up
491:DOOMED
483:Artist
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320:Heaven
153:Sydney
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