Public Galleries Association of Victoria and Australian Museums and Galleries Association Victoria are thrilled to announce the recipients of the 2024 Victorian Museum and Galleries Awards: FIRST NATIONS PROJECT OF THE YEAR: Australian Centre for Contemporary Art for Between Waves
This project was the standout among the entries, with ACCA’s exceptional community engagement and curator Jessica Clark's success in incorporating diverse voices making a strong impression. The exhibition felt incredibly contemporary and had a profound impact, with some of the best work produced by the artists who pushed their practices to exciting new heights. The program's holistic approach and ambitious scope highlight ACCA's success in embedding meaningful engagement within First Peoples' spaces, demonstrating a truly significant achievement. Between Waves presented ten major new commissions traversing internal and external worlds, embracing the sensory and cyclical rhythms of light and sound, thinking and feeling, listening and seeing, interwoven with ideas of material memory. Artists: Hayley Millar Baker, Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Jazz Money, Mandy Quadrio, Cassie Sullivan, and this mob.
Borrowed Landscapes features the work of artists exploring and connecting with the Australian landscape and telling stories that have been previously overlooked. Featuring beautiful scenes from the Australian landscape, artists James Tylor, Amanda Williams, Hayley Millar Baker, and Peta Clancy, amongst others, interrogate the grand narratives of colonial history through images that question, unsettle, and uncover culture, connection, and knowledge that has been lost.
Join us at e-flux Screening Room, Brooklyn, New York, on Thursday, September 26 at 7pm for View from a Body, a program exploring provocations that surround moving-image culture and notions of embodied affect via the works of ten Australian contemporary artists: Cate Consandine, Archie Barry, Hayley Millar Baker, Claire Lambe, Laresa Kosloff, Leyla Stevens, Tina Stefanou, James Barth, Ezz Monem, and Stephen Garrett. Navigating the imaginings of First Nations, diasporic, queer, and female artists, the screening presents affective embodied and disembodied perspectives, creating the space to reflect on how our bodies affect the way we see and understand moving images, and how artists use this through their work.
Art Guide September/October 2024 Issue. Women in the arts pervades the September/October issue and even though women outnumber men in the arts by two-to-one, gender inequities remain rife—women love the art world, notes writer Neha Kale, but does the art world love women?
Image: Hayley Millar Baker’s ‘Nyctinasty’, 2021.
Everything You Can Dream of is True is a moving image series that invites a re-imagining of ourselves and the world around us.
Over twenty First Nations, global Indigenous, and Diaspora artists interrogate the status quo and propose new ways of engaging with complex histories, politicised identities, and futurisms. Sparking conversations across Dharug land (Western Sydney) and Naarm (Melbourne), this new program is curated by Utp and delivered in partnership with West Space.
Participating artists: Hoda Afshar, Akil Ahamat, Tarik Ahlip, Maissa Alameddine, Paola Balla, Travis De Vries, Jagath Dheerasekara, Kuba Dorabialski, Tania El Khoury, Lux Eterna, Riana Head Toussaint, Roberta Joy Rich, Gillian Kayrooz, Eugenia Lim, Jumana Manna, Hayley Millar Baker, Sancintya Mohini Simpson, Jazz Money, James Ngyuen, Katy B Plummer, Khaled Sabsabi, Larissa Sansour, Feras Shaheen, Subash Thebe Limbu.
Hayley Millar Baker interviewed by Deakin University Art Gallery’s Tabitha Davies for the Deakin University Art Collection and Galleries.
Hayley Millar Baker’s 2024 photographic series ‘In Life, In Death’ is featured in the July – September 2024 issue of Art Collector Magazine in ‘Pull Focus,’ ‘where prominent critics and curators zone in on important major works.’ Written by Buxton Contemporary Art Museum curator Hannah Presley.
The CCP Fundraiser 2024 exhibition features works from 17 prominent Australian and international artists. All works will be available for purchase via silent auction, with proceeds going to support CCP’s exhibition program, artists, commissions, events and our ongoing mission to support Australian photography.
List of artists: Hoda Afshar | Ying Ang | Narelle Autio | Jo Duck | Odette England | Kyle Archie Knight | Katrin Koenning | Nikki Lam | Pixy Liao | Ruth Maddison | Georgia Metaxas | Hayley Millar Baker | Trent Parke | Patrick Pound | Lisa Sorgini | Tace Stevens | James Tylor | Anne Zahalka
Second Nature: Photography in the Age of the Anthropocene is the first major exhibition to examine the Anthropocene through the lens of contemporary photography. Comprised of forty-five photo-based artists working in a variety of artistic methods from studios and sites across the globe, Second Nature explores the complexities of this proposed new age. Collectively, these artists offer compelling visual imagery necessary for picturing the Anthropocene: aerial views of beautiful but toxic sites, collages that incorporate archival photographs to counter colonial narratives, depictions of urbanism on an unimaginable scale, and imagined yet precarious futures. In doing so, they address urgent issues such as vanishing ice, rising waters, and increasing resource extraction, as well as the deeply rooted and painful legacies of colonialism, forced climate migration, and socio-environmental trauma.
Artists include: Sammy Baloji (born in Lubumbashi, Democratic Republic of the Congo), Adrián Balseca (born in Quito, Ecuador), Matthew Brandt (born in Los Angeles, CA), Edward Burtynsky (born in St. Catharines, Canada), María Magdalena Campos-Pons (born in La Vega, Matanzas, Cuba), James Casebere (born in Lansing, MI), João Castilho (born in Belo Horizonte, Brazil), Elena Damiani (born in Lima, Peru), Gohar Dashti (born in Ahvaz, Iran), Sanne de Wilde (born in Antwerp, Belgium), Andrew Esiebo (born in Lagos, Nigeria), Gauri Gill (born in Chandigarh, India), Noémie Goudal (born in Paris, France), Todd Gray (born in Los Angeles, CA), Acacia Johnson (born in Anchorage, AK), Mouna Karray (born in Sfax, Tunisia), Robert Kautuk (born in Iqaluit, Nunavut), Zhang Kechun (born in Bazhong, Sichuan Province, China), Rosemary Laing (born in Brisbane, Australia), Sze Tsung Nicolás Leong (born in Mexico City, Mexico), Anna Líndal (born in Hvammstangi, Iceland), Inka Lindergård (born in Saltvik, Finland) and Niclas Lindergård (born in Sandviken, Sweden), Pablo López Luz (born in Mexico City, Mexico), Dhruv Malhotra (born in Jaipur, India), Laura McPhee (born in New York, NY), Gideon Mendel (born in Johannesburg, South Africa), Hayley Millar Baker (Gunditjmara and Djabwurrung, born in Melbourne, Australia), Joiri Minaya (born in New York, NY), Richard Mosse (born in Kilkenny, Ireland), Aïda Muluneh (born in Addis Ababa Ethiopia), Léonard Pongo (born in Liège, Belgium), Meghann Riepenhoff (born in Atlanta, GA), Cara Romero (Chemehuevi, born in Inglewood, CA), Anastasia Samoylova (born in Moscow, Russia), Camille Seaman (Shinnecock, Born in Huntington, NY), David Benjamin Sherry (born in Stony Brook, NY), Toshio Shibata (born in Tokyo, Japan), Sim Chi Yin (born in Singapore), Thomas Struth (born in Geldern, Germany), Danila Tkachenko (born Moscow, Russia), Rajesh Vangad (born in Dahanu, India), Letha Wilson (born in Honolulu, HI), Will Wilson (Diné/Navajo, born in San Francisco, CA), Yang Yongliang (born in Shanghai, China).
In this conversation with HOWL Magazine Issue 03 Chapter 1, Hayley Millar Baker is open about her unprocessed grief and rage over the No Vote on the Voice to Parliament and her focus on standing with the Palestinian people. Our chat also covers esoteric influences, raising boys and girls in a feminist context, fine artists as critical thinkers, the generational divide in parenting advice, and how shit making dinner every single night is.
Hair Pieces explores the evocative and complex significance of hair in contemporary culture through a selection of recent Australian and international works of art. For millennia hair has been a resonant and compelling site of meaning, transmitting ideas about gender, mythology, status and power, the body, psychology, feminism and notions of beauty. At once radiant and repellent, and often richly symbolic, it has always assumed a particular importance in relation to the self, history and society. This exhibition examines the myriad ways in which artists utilise hair to investigate and conjure generative and even magical possibilities encompassing growth, empowerment and transformation.
Artists include: Marina Abramović (SRB/USA) and Ulay (GER/USA), Janine Antoni (US), Georgia Banks (AUS), Polly Borland (US), Sonia Boyce (UK), Christina May Carey (AUS), Sadie Chandler (AUS), Edith Dekyndt (BXL/BE), Karla Dickens (AUS), Jim Dine (US), Peter Ellis (AUS), Tarryn Gill (AUS), Mona Hatoum (US), Zhang Chun Hong (US), Lou Hubbard (AUS), Jiang Jian (CN), Nusra Latif Qureshi (AUS), John Meade (AUS), Ana Mendieta (US), Hayley Millar Baker (AUS), S.J Norman (US), J.D ‘Okhai Ojeikere (NRA), Patricia Piccinini (AUS), Wes Placek (AUS), C. J Pyles (US), Chuxiao Qu (AUS), Julie Rrap (AUS), Charlie Sofo and Debris Facility (AUS), Christian Thompson (AUS), Kemang Wa Lehulere (SA), Helen Wright (AUS), Ai Yamaguchi (JPN), Shih Yung-Chun (TW), Louise Weaver (AUS).
Hayley Millar Baker guest edits Art Monthly Australasia issue 338 with curator Emily McDaniel. Issue 338, titled On Endurance, features seven female and non-binary artists, including Lilah Benetti, Hannah Brontë, Carmen Winant, Raphaela Rosella, Hoda Afshar, Brenda L Croft, and Julie Rrap, speaking on how endurance exhibits within their practices and lives.
Hayley Millar Baker’s Entr’acte in the Tasweekend Mercury Newspaper in a review by Andrew Harper.
Hayley Millar Baker’s The Umbra features in ACCA’s Screams on Screen program.
Over two heart-stopping nights in February, the historic cinema The Capitol will become the spookiest place in Melbourne!
Screams on Screens is a curated horror program presenting art, feature films, rarely-seen experimental shorts, artist and director talks, and live music that celebrate the monstrous emotions and transgressive, rebellious forces that fuel the horror genre.
Screams on Screen is co-programmed by Jessica Balanzategui (School of Media and Communication, SIGN network lead), Elyse Goldfinch, Jessica Clark (ACCA) and proudly presented by RMIT Culture and SIGN at RMIT in partnership with ACCA and supported by City of Melbourne Annual Arts Grants.
The annual lecture series ‘Being Collected’ acknowledges and celebrates the unique perspectives of curatorship from Aboriginal and Torres Strait Islander peoples. In 2023, artist Hayley Millar Baker was in conversation with Independent Curator Emily McDaniel. Hayley spoke about her work, 'Nytinasty,' which premiered in Sydney at the Chau Chak Wing Museum from 28 October 2023 until 11 February 2024.
Recorded at the Chau Chak Wing Museum on 28 October 2023.
Hayley Millar Baker exhibits Nyctinasty at the Chau Chak Wing Museum.
Contemporary Art Project #5: the Sydney premiere of Nyctinasty (2021), a film by Hayley Millar Baker.
CASSANDRA BIRD is delighted to present the solo exhibition of artworks by artist Hayley Millar Baker.
Gallery One showcases the captivating and evocative moving-image, silent portrait titled Entr’acte (2023). This powerful artwork delves into the intricacies of womanhood and the daily burdens that women carry. Taking its title from the French word ‘Entr’acte’ – denoting the interlude between two acts of a play, Millar Baker's work revolves around a female protagonist. This symbolic figure represents the myriad struggles and challenges faced by women across diverse experiences, identities, and roles. Entr’acte, (2023) serves as a poignant exploration of the unequal burdens women bear each day. Through her art, Millar Baker skillfully captures the focus, determination, and strength of women, showcasing their resilience in the face of emotional turmoil and societal expectations. This thought-provoking exhibition transcends traditional boundaries, offering a unique blend of documentary and fiction that provokes essential social commentary.
Gallery Two features Millar Baker’s striking photographic suite, I Will Survive (2020), consisting of eight powerful images. This series delves into cautionary tales, superstitions, and survival stories passed down to Hayley from her Aboriginal and migrant parents and grandparents. These stories evolve over time, taking on fictionalised or cinematic qualities as they are retold. They serve as tangible representations of the memories and experiences that shape our journey through life.
Hayley Millar Baker presents Nyctinasty in The International Festival of Contemporary Theatre, Homo Novus, ...if the world is to mean anything curated by Andy Butler
Five artists with ties to Australia work with the moving image to make sense of the confluence of worlds they inhabit. Home to the oldest continuing cultures in the world, an ongoing settler colony since 1788, and with a contemporary flow of global migration that breaks the historical idea on which Australia was founded as a nation at the beginning of the 20th century – that it would be a home for white people. This idea has lingered for a century despite Australia neighbouring Southeast Asia.
If the world is to mean anything… is a series of works that respond to the contradictory layers of a landmass that is a microcosm of larger questions that are gripping the world. The artists collectively use the building blocks of filmmaking to think through the contemporary legacies of colonisation, finding voices from outside of the Euro-American power bloc and navigating the felt realities of anti-migration rhetoric.
Films by Hoda Afshar, Hayley Millar Baker, Andy Butler, Pilar Mata Dupont, James Nguyen & Victoria Pham
Artist Hayley Millar Baker (Gunditjmara/Djabwurrung) joins Anna Zagala, Associate Curator at Samstag Museum of Art, to discuss her moving image work, Nycyninasty (2021) currently screening at Samstag as part of the 4th Indigenous Art Triennial: Ceremony curated by Hetti Perkins for the NGA.
Hayley shares what prompted her to pivot from photography to moving image, how the pressure of the pandemic lockdowns created a shift in her work, and what fuels her art practice.
ON ART is supported by the Gordon Darling Foundation and Solstice Podcasting and produced by Tilly Balding in Tarntanya/Adelaide. The conversation was recorded on 30 October 2023.
Hayley Millar Baker announced for the 2023 DESA artist-in-residence cohort, Ubud, Bali, Indonesia.
Art Monthly Australasia (AMA) is pleased to announce Erin Vink (Ngiyampaa) as the magazine’s new Co-Chair. Since joining the AMA Board in September 2021. Sitting alongside Erin on the Board this year will be Gunditjmara/Djabwurrung artist Hayley Millar Baker.
Hayley Millar Baker joins season 3 of Pro Prac podcast. Hayley discusses what makes a successful art work, retiring her early career works, applying to residencies when you have a family and we dive into the issues with art prizes.
ACCA is proud to present Between Waves, which continues the Yalingwa exhibition series devoted to highlighting the significance of First Nations contemporary art practice of the Southeast within a national context.
Curated by Jessica Clark, and featuring new works by Maree Clarke, Dean Cross, Brad Darkson, Matthew Harris, James Howard, Hayley Millar Baker, Jazz Money, Mandy Quadrio, Cassie Sullivan, and this mob, the exhibition navigates the intersections and collisions between art, culture, materiality and technologies.
Yalingwa is a Victorian Government Visual Arts Initiative developed in partnership between ACCA, Creative Victoria, and TarraWarra Museum of Art. The program is overseen by the Yalingwa Directions Circle, chaired by Aunty Joy Murphy Wandin AO, and includes First Peoples Elders and cultural, curatorial, and community leaders.
Announced in 2017, the initiative comprises new curatorial positions and major exhibitions alternating between ACCA and TarraWarra.
Hayley Millar Baker joins the ABC’s The Art Show podcast to talk about her new filmic work ‘The Umbra’ for RISING Festival’s Shadow Spirit.
Hayley Millar Baker’s latest film The Umbra explores dreams and astral travel, a commission for Shadow Spirit, which opens in Melbourne in June.
An ambitious show featuring some of the country’s top Indigenous artists, Shadow Spirit will take over level three of Flinders Street Station, including the iconic ballroom, following on from street artist Rone.
The show is the brainchild of Rising’s associate director Kimberley Moulton, who says it came out of many years of thinking about the Indigenous stories of the spirit world.
Featuring 30 First Peoples artists and collectives, this sprawling exhibition serves as the physical and spiritual centre of Rising 2023, immersing visitors in Ancestral knowledge systems.
The 15 major works, including 14 new commissions, come from artists across Australia, including Brian Robertson (Maluyligal/ Wuthathi), Dylan Mooney (Yuwi, Torres Strait and South Sea Islander), Hayley Millar Baker (Gunditjmara ), John Prince Siddon (Walmajarri ), Judy Watson (Waanyi), Julie Gough (Trawlwoolway), Karla Dickens (Wiradjuri), Paola Balla (Wemba Wemba / Gunditjmara), Rene Wanuny Kulitja (Pitjantjatjara) Tiger Yaltangki (Yankunytjatjara) with Jeremy Whiskey (Pitjantjatjara/Yankunytjatjara), Vicki Couzens (Keerray Wooroong / Gunditjmara), Warwick Thornton (Kaytej), Aunty Zeta Thomson (Wurundjeri/Yorta Yorta), Maningrida Arts & Culture artists Anniebell Marrngamarrnga, Dorothy Bunibuni, Paul Nabulumo Namarinjmak, Ken Ngindjalakku Djungkidj (Kuninjku) and The Mulka Project with the late Mrs Mulkuṉ Wirrpanda (Yolŋu).
Nyctinasty presented at the Dunedin Public Art Gallery’s Rear Window Moving Image Programme, marking the first time Hayley Millar Baker has exhibited in Aotearoa.
Hayley Millar Baker joins the Powerhouse Photography Advisory Group.
Powerhouse has developed a unique role for the Photography Advisory Group where its members may be commissioned to work on a range of creative and collaborative projects. These projects span commercial, artistic, and research endeavours. Along with this active role, the Advisory Group is called upon to provide current industry knowledge, insights and advice to guide curatorial strategies relating to Powerhouse Photography, in a non-executive capacity. Meetings of the Advisory Group are held three times a year to share information, generate ideas and discuss industry challenges and opportunities.
Powerhouse Photography Advisory Group is comprised of Powerhouse representatives and photographic practitioners working across diverse disciplines. Members include: Tom Blachford, photographer, Cherine Fahd, photographer and UTS Associate Professor (co-chair), Merilyn Fairskye, photographer and filmmaker, Hayley Millar Baker, photographer, Lisa Moore, designer and photography archivist, Sarah Rees, Powerhouse Senior Curator (co-chair), Hugh Stewart, photographer, Jacqui Strecker, Powerhouse Head of Curatorial, Garry Trinh, photographer, Emily McDaniel, Inaugural Director First Nations, Zan Wimberley, Powerhouse Artistic Associate, and Meng-Yu Yan, photographer.
UNCONSCIOUS REVISIONS OF MEMORY AND IDENTITY CONNECTING WORLDS AND IDENTITIES THROUGH STORYTELLING. BY LAURA MACHADO.
The focus on connecting worlds explores the way in which storytelling can be personal and unique. This can happen through the use of alternative ways to the spoken, such as the written, the photographed, or a mixture of both, or, as Hayley Millar Baker shows us, through collage or film. The second article of this series features the work of Hayley Millar Baker, a Gunditjmara Djabwurrung photographer and artist from South-West Melbourne, Australia. In her work, Hayley combines photography and collage to create stories within images. She explores themes related to identity, existence, culture and human experience.
Hayley Millar Baker is a finalist in the Arte Laguna Art Prize, Venice, Italy, with her 2020 photographic series I Will Survive. The exhibition features 240 artworks from all over the world to take visitors on a journey through contemporary art.
Arte Laguna Prize at the Arsenale Nord, Venice
12.03.2023 – 16.04.2023
Arsenale Nord30100 Venice, Metropolitan City of Venice, Italy
Contemporary artists are looking to spiritual and divination systems to address today’s power structures. By Lisa Slominski.
Art Guide Australia’s 20 Questions with Hayley Millar Baker.
Hayley Millar Baker on purposefully eluding any particular era in photography
Between 2016 and 2019, Gunditjmara artist Hayley Millar Baker created five photographic series in black and white. Appropriating and citing images and research from history, alongside digital editing to create layered assemblages, Millar Baker’s images speak to Aboriginal experiences and build a complex conversation on time, memory, and identity. These exquisite images were shown in a 2022 survey exhibition at Flinders University Museum of Art titled There we were all in one place. We asked Millar Baker 20 quick questions about the exhibition and her art experiences.
Hayley Millar Baker features in the Perth Festival at the Fremantal Arts Centre in Other Horizons curated by Glenn Iseger-Pilkington.
Journeys under a shared sky, across vast seas to the continent we now call Australia, some revealing the terror of slavery, others focussing in on early migration histories, are offered alongside cinematic depictions of contemporary First Nations ritual, spirituality, and power in Other Horizons.
Celebrating the works of First Nations women and women of colour, Other Horizons is comprised of three independent artist projects from Atong Atem, Hayley Millar Baker, and Jasmine Togo-Brisby. It offers consideration and nuance to discussions around sovereignty, colonial adventure, migration, national identity, and belonging in contemporary Australia.
Collectively, the three projects that make up Other Horizons explore varied experiences of, and reflections upon, belonging in the context of Australia. From enduring attachments to Country founded in thousands of years of custodianship to those borne of the colonial adventure or more recent diaspora, this exhibition is a timely reminder of the many ways we connect with and belong to this place we call Australia, exploring the stories that comprise a complex, and often fractured, national identity.
Tiarney Miekus looks ahead to 2023 and selects what she’s looking forward to in the coming year.
Although Gunditjmara and Djabwurrung artist Hayley Millar Baker is foremost known for her poignant black-and-white photographs exploring memory, identity and Aboriginal experiences, she recently delved into video, creating the cinematic work Nyctinasty. The short film was first shown at the National Gallery of Australia for the 4th National Indigenous Triennial: Ceremony and will also screen at Gertrude Contemporary. Nyctinasty is extremely personal, expressing Baker’s own experiences of self-preservation and the links between the physical and spiritual worlds. It looks at the big questions — the connections between life, death and the afterlife — but also delves into her own psyche and domestic sphere. By further looking at female strength through tropes of the horror genre, Baker centres women’s empowerment alongside histories of magic and spirituality; the intimate is a form of wider revelation.
Hayley Millar Baker’s early-career survey exhibition There We Were All In One Place catalogue won Highly Commended in the 2022 AAANZ AWAPA award for Art Writing.
Monash University is proud to announce Gunditjmara artist Hayley Millar Baker has been selected to be artist-in-residence at the Monash University Prato Centre in 2020.
Located in the heart of Tuscany, Italy, the Centre is Monash University's European base and facilitates a variety of education programs and research collaborations. For Australian artists, the residency program is an opportunity to sustain and deepen their practice and research, free from the distractions and duties of daily life.
Millar Baker was selected from a wealth of competitive applications received via a public call earlier this year. She will be the twelfth artist to take up residence, following several high-profile Australian artists, including Jon Campbell, Maree Clarke, Laresa Kosloff, and David Rosetzky.
The National Gallery of Australia presents The Moving Image artist-talk recording with Hayley Millar Baker, Dylan River and Gutiŋarra Yunupiŋu.
We're joined in the James Fairfax Theatre by Ceremony artists and film-makers Hayley Millar Baker, Gunditjmara and Djabwurrung peoples, Dylan River, Kaytetye people, and Gutiŋarra Yunupiŋu, Dhuwala people, for a panel discussion. Led by Ceremony curator Hetti Perkins, Arrernte and Kalkadoon peoples, this conversation explores First Nations perspectives on contemporary film-making practices from across the country. Presented as part of the Ceremony Opening Weekend.
The National Gallery has the 4th National Indigenous Art Triennial: Ceremony.
From the intimate and personal to the collective and collaborative, ceremonies manifest through visual art, film, music and dance. This immersive exhibition and program of events will challenge and unsettle; animate and heal. Through the work of 35 artists from around Australia, Ceremony reveals how the practice of ceremony is at the nexus of Country, culture and community.
‘The National Indigenous Art Triennial is a part of the Gallery’s DNA and has showcased more than 100 artists over 15 years – helping bring new understanding and audiences to the work of First Nations artists’ said Mitzevich.
The fourth iteration, Ceremony, curated by Hetti Perkins, Arrernte and Kalkadoon peoples, will present the work of 35 artists as they explore how ceremonial acts continue to be a prevalent forum for artmaking in First Nations communities today.
Robert Andrew Yawuru people, Joel Bray Wiradjuri people, Kunmanara Carroll Luritja and Pintupi peoples, Penny Evans K/Gamilaroi people, Robert Fielding Western Arrernte and Yankunytjatjara peoples, Nicole Foreshew Wiradjuri people and Boorljoonngali Gija people, Margaret Rarru Garrawurra and Helen Ganalmirriwuy Garrawurra Liyagawumirr-Garrawurra peoples, Dr Matilda House and Paul Girrawah House Ngambri (Walgalu) – Wallaballooa (Ngunnawal) – Pajong (Gundungurra) – Wiradjuri (Erambie) peoples, Hayley Millar Baker Gunditjimara and Djabwurrung peoples , Mantua Nangala Pintupi people, S.J Norman Wiradjuri people, Dylan River Kaytetye people, Darrell Sibosado Bard people, Andrew Snelgar Ngemba people, Joel Spring Wiradjuri people, James Tylor Kaurna people, Yarrenyty Arltere Artists: Marlene Rubuntja, Western Arrarnta people, Trudy Inkamala, Western Arrarnta and Luritja peoples, Dulcie Sharpe, Luritja and Arrernte peoples, Rhonda Sharpe, Luritja people, Roxanne Petrick, Alyawarre people, Nanette Sharpe, Western Arrarnta people, Sheree Inkamala, Luritja, Pitjantjara and Western Arrarnta peoples, Rosabella Ryder, Arrernte people, Louise Robertson, Walpiri people, Cornelius Ebatarinja, Western Arrarnta and Arrernte peoples, Tangentyere Artists: Betty Conway, Pitjantjatjara people, Nyinta Donald, Pitjantjatjara people, Sally M. Mulda, Pitjantjatjara and Luritja peoples, Majorie Williams, Western Arrarnta people, Lizzie Jako, Pitjantjatjara people, Grace Robinya, Western Arrarnta people, Doris Thomas, Luritja people, Gutiŋarra Yunupiŋu Gumatj people.
(AFTER)CARE TRAUMA . VULNERABILITY. ACCOUNTABILITY
With this new issue, “(After)care, “ The Eyes explores the methods and approaches of photographers who address the most traumatic chapters of our individual and collective histories.
This issue explores the role of responsibility in the process of photography. Many questions are raised in this issue: how do we portray our deepest wounds? What is the significance of vulnerability in the creation of photographs? How can we ensure that the violence of the world is not repeated through the violence of images?
This issue of The Eyes features a variety of works and books by artists who all represent, in their own way, a practice of “photographic care”. The works address subjects as diverse as colonial wars, natural disasters, sexual and gender violence, and disability. Texts and interviews with researchers and artists broaden the reflection on this subject, which is as yet little discussed.
ARTISTS PORTFOLIOS: Hoda Afshar, Robert Andy Coombs, Kitra Cahana, Joana Choumali, Jérémie Danon, Masina & Gal, Hayley Millar Baker, Margo Ovcharenko, Max Pinckers, Aida Silvestri, Ana Vallejo, Carmen Winant.
HAYLEY MILLAR BAKER, Visual Resident Artist 2022 Artista in residenza 2022.
Come and meet the artist and find out more about her work. Un'occasione per conoscere da vicino l'artista e il suo lavoro.
The event will be held in English. Open to the public, places limited.
L’evento sarà in lingua inglese. Ingresso libero con posti limitati.
Launched in 2013, Sharjah Art Foundation’s annual Vantage Point Sharjah spotlights some of the best up-and-coming photographers from around the world through an open call submission process. Its ninth edition, which runs from September 18 to December 18 this year at the Foundation’s off-site venue Al Hamriyah Studios, features a brand-new jury as well as nearly 200 images by 53 photographers from 30 countries in categories such as conceptual, photojournalism, documentary, experimental and staged photography. From beautifully composited images of everyday life to fascinating explorations of culture in the Middle East and Africa, this year’s best photographers at Vantage Point Sharjah reframe life and the world around us with new meaning.
Artists were selected for their work in the Open Call categories of Conceptual, Experimental, Photojournalism and Documentary, and Staged Photography.
Conceptual Photography Finalists: Maha Alasaker, Kathy Anne Lim, Hayley Millar Baker, Aline Deschamps, Farheen Fatima, Gabriel Gauffre, Majid Hojati, Alaa Jaafar, Işık Kaya, Wendy Marijnissen, Sara Sallam, Hiro Tanaka and Han Shun Zhou.
FUMA Gallery In conversation with Hayley Millar Baker
Ali Gumillya Baker in conversation with Hayley Millar Baker as part of There we were all in one place, a UTS Gallery & Art Collection touring exhibition curated by Stella Rosa McDonald.
Photographer and film-maker Hayley Millar Baker is the recipient of the Collingwood Yards First Nations Studio Residency, announced by the Collingwood Yards First Peoples’ Reference Group today.
The studio residency offers a free space for 24 months to a single artist or duo in the second-floor studio complex of Collingwood Yards’ Perry Street Building. Hayley Millar Baker will take up her residency at the first available opportunity, using the time and space to work on upcoming commissions.
Hayley said “I’m very excited to be awarded the First Nations Studio Residency at Collingwood Yards. It has come at a pivotal moment in my camera career where I’m stepping into a new chapter of my practice, a reinvention, with new mediums and narratives.”
RUSSH Magazine speaks with Hayley Millar Baker on separating memory from experience and finding strength in the moments in-between
Hayley Millar Baker nominated and shortlisted for the 2021 Soverign Asian Art Prize in Hong Kong.
Launched in 2003, The Sovereign Asian Art Prize increases the international exposure of artists in the region while raising funds for programmes that support disadvantaged children using expressive arts. Held annually, The Prize is now recognised as the most established and prestigious annual art award in Asia-Pacific.
24 finalists have been selected from more than 350 entries for the Ramsay Art Prize 2021, a biennial $100,000 acquisitive art prize presented by the Art Gallery of South Australia and supported by the James & Diana Ramsay Foundation. The Ramsay Art Prize is open to submissions from Australian artists under the age of 40 working in any medium. The aim of the prize is to encourage growth in Australian artists at a pivotal moment in their career.
“We are thrilled to present contemporary talent from every state and territory for the first time in the third iteration of the Ramsay Art Prize,” says AGSA Director Rhana Devenport ONZM.
The three judges who selected the finalists are Wiradjuri artist Karla Dickens, Dr Daniel Mudie Cunningham, Director of Programs at Carriageworks and Rebecca Evans, Curator of Decorative Arts & Design at AGSA.
All works selected as finalists will be exhibited at the Art Gallery of South Australia from 22 May until 22 August. The winner will be judged from the exhibition and announced at a media preview on Friday, 21 May. The People’s Choice Prize, supported by Lipman Karas, is a non-acquisitive cash prize of $15,000 chosen by a public vote and announced on Friday, 13 August 2021.
The 2021 finalists are:
Hoda Afshar (VIC), Cigdem Aydemir (NSW), Ella Barclay (ACT), Nathan Beard (WA), Kate Bohunnis (SA), Sam Cranstoun (QLD), Dean Cross (NSW), Zaachariaha Fielding (SA), Liam Fleming (SA), Julia Gutman (NSW), Solomon Kammer (SA), Kieren Karritpul (NT), Juanella McKenzie (SA), Daniel McKewen (QLD), Alasdair McLuckie (VIC), Hayley Millar Baker (VIC), Nabilah Nordin (VIC), Tom O’Hern (TAS), Tom Polo (NSW), Anna Madeleine Raupach (ACT), Anna Louise Richardson (WA), Lisa Sammut (ACT), Nicola Smith (NSW), Kasia Tons (SA).
Hayley Millar Baker: Constructive Memory & Storytelling
Hear from some of the leading cultural minds of our time in Perspectives, a new initiative developed by ACE Open, Guildhouse, and The Bob Hawke Prime Ministerial Centre, University of South Australia. This annual series of thought-provoking lectures invites leading artists, makers, and thinkers to Adelaide to engage with the compelling ideas currently shaping our world.
Hayley Millar Baker (Gunditjmara AU) is a storyteller for a new generation. From her extensive research process to her intricately layered compositions, the photographic artist is redefining not just how, but why stories are told. Millar Baker’s latest photographic series I Will Survive exemplifies this creative methodology through a deeply personal exploration of memory, in the context of her Aboriginal and migrant family heritage.
As Australia’s largest and most significant photography festival, PHOTO 2021 has commissioned photographers from across the globe to create new, thought-provoking works that explore the critical relationship between photography and ‘The Truth’. With 40 free outdoor works and 39 free exhibitions— accompanied by events and an extensive online offering—audiences can expect to bask in powerful imagery displayed at outdoor spaces and venues across the city, and beyond.
Over 120 artists will showcase work at over 65 cultural institutions, museums and galleries and outdoor spaces. This will include new commissions and works from artists including Zanele Muholi (South Africa), Sam Contis (USA), Hoda Afshar (Iran/Australia), Brook Andrew (Wiradjuri/Celtic, Australia), Patrick Waterhouse (UK), Daniel Shea (USA), Yvonne Todd (NZ), Hayley Millar Baker (Gunditjmara, Australia), Atong Atem (South Sudan/Australia) and many more.
Every two years the National Photography Prize offers an opportunity to consider the vital role of photography in contemporary art in Australia. In 2020, the National Photography Prize finalists’ exhibition presented a selection of the most innovative and thoughtful photo-based practices from across the country. The exhibition gave audiences the ability to consider each of the finalists’ work in depth, with a number of key recent works by each finalist resulted in an exhibition that had much room for reflection on the current state of photography and image based work in Australia.
Generously supported by the MAMA Art Foundation, the National Photography Prize offers a $30,000 acquisitive first prize, the $5000 John and Margaret Baker Fellowship for an emerging practitioner, and further supports a number of artists through focused acquisitions.
Debra Phillips was the winner of the National Photography Prize 2020.
Hayley Millar Baker was the recipient of the John & Margaret Baker Fellowship for an emerging artist.
In May 2020, Weaving Futures gave 15 contemporary artists from around Australia the unique opportunity to develop concepts for contemporary tapestry, nurturing their professional development and creativity during an extraordinarily challenging time. Through re-imagining our usual commissioning process, an inspiring portfolio of ‘loom ready’ tapestry designs emerged — opening up the possibility for these artists to work with the ATW in the future.
In 2021, support for Weaving Futures from Creative Victoria and the Playking Foundation brought tapestry designs by artists Atong Atem, Troy Emery, Eugenia Lim and Hayley Millar Baker onto our looms. ATW weavers Pamela Joyce, Emma Sulzer, Tim Gresham, and Amy Cornall collaborated with these artists, working at the forefront of Australian contemporary art practice.
First Nations artist Hayley Millar Baker foregrounds herself as a storyteller, blurring the formal conventions of photography to construct probing narratives that mine contemporary empathy and language.
Anna Westbrook reviews Hayley’s early-career survey There We Were All In One Place.
Hayley Millar Baker’s early-career survey free digital learning experience 'There We Were All In One Place launches online.
Hayley Millar Baker presents her first early-career survey exhibition There We Were All In One Place.
From 2016 to 2019, Hayley Millar Baker (Gunditjmara, AU) produced five photographic series. Made almost exclusively in black and white, the photographs use historical re-appropriation and citation, in tandem with digital editing and archival research, to consider human experiences of time, memory, and place.
Millar Baker’s layered photographic assemblages affirm the Aboriginal experience and culture within the Australian Imaginary to form a complex image narrative of place, family, identity, and survival. Her work is informed by her Gunditjmara and cross-cultural heritage, grounded in historical archive research, and guided by a non-linear form of storytelling that sees past, present, and future as an unbroken continuum.
Curated by Stella Rosa McDonald, There We Were All in One Place brings these five bodies of work together for the first time to consider how Millar Baker uses photography and storytelling to re-author history and assert the authority of memory and experience across generations.
We are delighted to announce that Hayley Millar Baker has been awarded the inaugural Photography Fellowship. The $15,000 Fellowship provides a unique opportunity for an artist to conduct innovative research to interrogate the relationship between photography and truth in response to State Library Victoria’s photography collection.
Bundoora Homestead Art Centre is proud to announce that the winner of the 2019 Darebin Art Prize is Hayley Millar Baker. As the winner, Hayley Millar Baker will receive a cash prize of $10,000 and their artwork will be acquired into the Darebin City Council’s permanent art collection.The exhibition celebrates contemporary artworks across all media, from painting, drawing, photography, sculpture and craft, through to video art. Artists from across Australia are represented in this major exhibition which includes a $10,000 acquisitive prize and $1,000 People’s Choice Award.
15 Artists is an annual acquisitive art prize at the Morton Bay Gallery & Museums that celebrates the best of contemporary art practice by Australian artists. In its 22nd year, the prize invites 14 artists and the winner of Redcliffe Art Society’s 2019 Exhibition of Excellence to participate.
This year’s exhibiting artists include Hayley Millar Baker, Christopher Bassi, Eric Bridgeman, Elisa Jane Carmichael, Yoriko Fleming, Minka Gillian, Bridie Gillman, Shirley Macnamara, Archie Moore, Raquel Ormella, Ryan Presley, Brian Robinson, James Tylor, Shireen Taweel, and Yhonnie Scarce.
Today the Art Gallery of South Australia announces twenty-three finalists have been selected for the Ramsay Art Prize 2019, a $100,000 acquisitive prize for contemporary Australian artists under the age of forty. The finalists are: Liam Benson (NSW), Jessica Bradford (NSW), Ry David Bradley (VIC), Eric Bridgeman (QLD), Lina Buck (VIC), Dale Collier (NSW), Julia deVille (VIC), Kuba Dorabialski (NSW), Emily Ferretti (VIC), Tom Freeman (WA), Tarryn Gill (WA), Nathan Hawkes (NSW), Sophia Hewson (VIC), Hayley Millar Baker (VIC), Viv Miller (VIC), Pierre Mukeba (SA), Vincent Namatjira (SA), Phuong Ngo (VIC), Ramesh Mario Nithiyendran (NSW), Jahnne Pasco-White (VIC), Huseyin Sami (NSW), Isadora Vaughan (VIC), Sera Waters (SA).
AGSA Director, Rhana Devenport ONZM, says, ‘We are thrilled to present the second iteration of the important Ramsay Art Prize. This year’s finalists are testament to the energetic pulse of contemporary Australian art, and we are excited to celebrate the vision and ingenuity of artists from across the country at AGSA.’ Over 350 artists under the age of forty submitted entries for the
Ramsay Art Prize 2019. The twenty-three finalists were selected by judging panel of contemporary art specialists including Russell Storer, Deputy Director (Curatorial and Research), National Gallery of Singapore, Richard Lewer, contemporary artist, and Dr Lisa Slade, Assistant Director, Artistic Programs, Art Gallery of South Australia. All works selected as finalists will be exhibited in a major exhibition at the Art Gallery of South Australia from 25 May to 25 August 2019. The winner will be announced on Friday 24 May 2019. The winning work will be acquired into the Gallery’s collection.
Since 2010, the John Fries Award has recognised the contribution and achievement of early career practitioners from Australia and New Zealand. The Award matches the philanthropic support of the Fries family with the Copyright Agency’s enduring commitment to the career development of artists. As a result, the Award has profiled an outstanding group of more than 120 finalists and winners.
2019 John Fries Award finalists are Madison Bycroft (Marseilles, France/Adelaide, SA); Betty Chimney & Raylene Walatinna (Indulkana Community, APY Lands, SA); Dean Cross (Sydney, NSW); David Greenhalgh (Canberra, ACT); Nadia Hernàndez (Sydney, NSW); Jenna Lee (Brisbane QLD/London, UK); Hayley Millar Baker (Melbourne, VIC); Elena Papanikolakis (Sydney, NSW); The Ryan Sisters (Pip and Natalie Ryan, Melbourne, VIC); and Justine Youssef (Sydney, NSW). Curator Miriam Kelly
COOL HUNTER PREDICTIONS: HAYLEY MILLAR BAKER
Hayley Millar-Baker’s visually arresting mise en scenes are quick to draw us in, revealing a coexistence of different times and places – alternative stories and histories told through each feather, every branch.
By Hayley Megan French.
These Australian artists are making waves with work that explores the complex, contested issue of identity in MCA Australia’s 2018 Primavera: Young Australian Artists.
ABC Arts By arts editor Dee Jefferson
Primavera is the MCA’s annual exhibition of young Australian artists aged 35 years and under. Primavera 2018 will bring together eight of the most exciting young artists working in Australia.
This year’s exhibition asks, ‘Why is identity important today?’ The participating artists consider, explore and re-examine the politics of identity, visibility and representation. Working across a range of media, they highlight and counter the complex social, political and cultural frameworks that underpin the construction and interpretation of personal and collective identity.
In its 27th iteration, Primavera 2018 features artists working with archival materials, installation, painting, performance, photography, sculpture and video. The artists are Hoda Afshar (VIC), Caroline Garcia (NSW), Hayley Millar Baker (VIC), Spence Messih (NSW), Phuong Ngo (VIC), Jason Phu (NSW), Ryan Presley (QLD) and Andrew Tenison (ACT).
Curated by Megan Robson.
Unsettlement is an international group exhibition that explores the ways that power manifests through architecture and in the built environment. The artworks presented register the material force and histories of architecture, and encourage a productive sense of upheaval and re-appraisal.
Unsettlement features artists from Indonesia, Saudi Arabia, United States of America, Italy, United Kingdom, Iraq, Slovenia and Australia. Through their engagement with specific architectural forms, the works in the exhibition offer insights into distinct cultural contexts, histories and social struggles. A number of defining characteristics of our contemporary condition emerge; namely the effects of accelerating globalisation and mass urbanisation, the legacies of colonial occupation across the world, and the control enacted by state and economic infrastructures.
Artists: Dana Awartani, Monica Bonvicini, Aliansyah Caniago, Jasmina Cibic, Forensic Architecture, Hiwa K, Jill Magid, Hayley Millar Baker, Archie Moore and Amie Siegel
In October, the new Melbourne Art Trams will begin rumbling around the city as part of the Melbourne International Arts Festival. Seven are in line with the typically bright and colourful designs seen in previous years, and one even uses augmented-reality technology.
But perhaps the most striking is a monochrome photo assemblage from Gunditjmara artist Hayley Millar Baker.
The Churchie Special Commendation prize of $5,000, sponsored by NK Orthodontist, was awarded to Hayley Millar Baker for her series of three photographic collages, Even if the race is fated to disappear (Peeneeyt meerreeng / Before, now, tomorrow) 2017.
Established in 1987, ‘the churchie’ has developed as one of Australia’s ‘to watch’ prizes, promising a glimpse into the future of the nation’s contemporary art scene. In 2017, as ‘the churchie’ celebrates 30 years, QUT Art Museum has taken on the role of exhibition partner for the second year in a row. Throughout the exhibition process, artists worked closely with the exhibition curator to bring a selection of their works to the public.
From over 900 artworks submitted from around 400 entrants, 30 emerging artists were selected as finalists for ‘the churchie’ in 2017. Finalists were selected by a panel comprising Vicky Leighton, Head of Art, Anglican Church Grammar School; Abigail Bernal, Assistant Curator of International Art at QAGOMA; and Kevin Wilson, Curator, QUT Art Museum. An exhibition of the finalists’ work can be seen at QUT Art Museum in Brisbane until 17 December.