Julie Krone’s artistic practice is based on her interest in cultural identity. Born in Dunedin, New Zealand’s South Island, her work explores what it means to be a Pakeha (white European) growing up alongside a rich indigenous (Maori) culture. After moving to Australia in 1993, Julie established her practice in Robertson, NSW, finding that the distance from her homeland allowed her to reflect on her childhood experiences of her New Zealand.
While imitation or mimesis is commonly regarded as the opposite of “original” or “unique” and thus of lower rank, it is the vehicle through which information is shared and through which meaningful exchanges take place. It is through imitation that I will try to understand other cultures and make works that are open to translations (even wrong translations). The intersection of cultures and their languages creates dynamic passages, where issues related to property are discussed and exchanged.
My work will include large-scale prints that can be folded and unfolded into architectural shapes. Modules of different sizes will be wrapped in texts in a way to play with the manipulation and seduction inherent in the written word and expanding it in a three-dimensional space. In examining the frequent mistranslations that happen when you meet another culture, I appropriated particular words and patterns from Argentina and put them – perhaps wrongly – in an Australian context. I intend to suggest alternatives for a dialogue that crosses different cultures.
1961 | Dunedin, New Zealand.
She lives in New South Wales, Australia.
2005 | Master of Visual Arts, Sydney College of the Arts, University of Sydney, Australia
2003 | Bachelor of Visual Arts, Sydney College of the Arts, University of Sydney, Australia
1991 | Diploma in Visual Communication Christchurch Polytechnic, New Zealand
Individual exhibitions in Sydney, her work is part of public and private collections in Australia and New Zealand, including Dimensional Fund Australia and The University of Wollongong.
2012 | Finalist, Fremantle Print Awards at the Melbourne Art Fair, Australia. 2011 | Finalist, VARIO Print Exchange at Goulburn Regional Gallery of Wales, UK.
2011 | Finalist, Royal Bank of Scotland Award, UK.
Cycles @ Bs As
By the Law of Periodical Repetition, everything which has happened once must happen again and again and again-and not capriciously, but at regular periods, and each thing in its own period, not another’s, and each obeying its own law…the same Nature which delights in periodical repetition in the skies is the Nature which orders the affairs of the earth. Let us not underrate the value of that hint.
For the first ’aceNITE of the year, named Memory, an International Project developed during 2014 with the participation of 25 artists from Argentina, Australia, Canada, Spain, USA and New Zealand, called Cycles, was exhibited.
Cycles was an initiative through which we were able to make spaces available for work in print media to be created, as well as spaces for the interaction among artists from different nationalities. Each of the participants created a print inspired in the idea of [cycles] from their own multiple perspectives, alluding to the idea of movement, rotation, beginning and end, of mythical return of what was and ended, what opens and closed or what is repeated indefinitely leading to multiple visual interpretations.
After this project, 28 portfolios had been made, were 25 of them were donated to the artists, and the rest, were donated to two public collections at Frogman´s Print Workshop in the USA and the Talleres Nacionales de Gráfica in Mexico, as well one portfolio is part of the Fundación ´ace Art Archives.
Anne Heyvaert (Spain) | John Hitchock (USA) | Barbara Putnam (USA) | Toni Mosley (New Zealand) | Carlos Scannapieco (Argentina) | Silvana Blasbalg (Argentina)
Carla Beretta (Rosario, Argentina) | Alicia Candiani (Argentina) | Marcela Casals (USA) | Hera Chan (Canadá) | Paola Cohen (Argentina) | Cristina Duro (Argentina) | María Guerreiro (Argentina) | Julie Krone (New Zealand) | Alexandra Leeds (Portland, USA) | Nöel Loeschbor (Argentina) | Nico Mazza (Brooklyn, USA) | Adriana Moracci (Argentina) | Santiago Ocampo (Argentina) | Jennifer Pickering (Canada) | Viviana Sierra (Argentina) | Federico Signorelli (Argentina) | Cristina Solía (Argentina) | Laura Tecce (Argentina) | Norma Villarreal (Argentina)
Cycles | Ciclos
[CYCLES] Portfolio exchange – Caja Gráfica is an initiative that seeks to open spaces for the creation of graphic work, the interaction of artists of all nationalities with our neighborhood, the opening of places for exhibition and dissemination of work as well as interact with international artists. In this way [CYCLES] proposes the creation of a graphic portfolio-box with engravings / graphic pieces of each one of the participating artists and guests and offers the opportunity to exhibit that work both in Argentina and abroad.
The selected artists developed a one-week micro residency to develop their work in the Foundation’s ´ace workshop. Each of the artists will have a portfolio box with the work of all the participants at the end of the project. The works carried out and the box-portfolio will be exhibited at the Foundation in 2014. Some boxes will be donated to international collections and will start a traveling exhibition.
For the Royal Spanish Academy [cycle] it is a period of history that is considered finished, the set of phenomena or operations that are repeated in an orderly manner, a group of epic traditions concerning a certain period of time or a series of phases through which a periodic phenomenon happens. On the other hand, the prefix “cycle” means “spins”, “spins”.
All disciplines, from anthropology to engineering, have cycles. As well as the cycles appear as processes that always follow the same phases in the same order. In this project we are inspired by the idea of [cycles] from multiple perspectives, alluding to the idea of movement, of turning, of beginning and end, of mythical return, of what left and ended, of what opens and It flourishes or repeats indefinitely giving rise to multiple visual interpretations. Beginning and end, return, stages, movement … will be some of the possibilities that artists can visually explore in this portfolio.
Silvana Blasbalg (Argentina) | Carla Beretta (Rosario, Argentina) | Alicia Candiani (Argentina) | Marcela Casals (USA) | Hera Chan (Canadá) | Paola Cohen (Argentina) | Cristina Duro (Argentina) | María Guerreiro (Argentina) | Anne Heyvaert (Spain) | John Hitchock (USA) | Julie Krone (New Zealand) | Alexandra Leeds (Portland, USA) | Nöel Loeschbor (Argentina) | Nico Mazza (Brooklyn, USA) | Adriana Moracci (Argentina) | Toni Mosley (New Zealand) | Santiago Ocampo (Argentina) | Jennifer Pickering (Canada) | Barbara Putnam (USA) | Carlos Scannapieco (Argentina) | Viviana Sierra (Argentina) | Federico Signorelli (Argentina) | Cristina Solía (Argentina) | Laura Tecce (Argentina) | Norma Villarreal (Argentina)
[CYCLES] @ University of Nebraska, USA
Cycles Portfolio was selected through an open call for exhibition during Frogman’s 35th Anniversary Print Workshop. The exhibition was featured at the University of Nebraska Omaha’s Weber Fine Arts Building . After the exhibition, the portfolio was donated by Fundación´ace to the Frogman´s Print Workshop collection.
ABOUT FROGMAN´S PRINT WORKSHOP
Frogman’s Print Workshop began humbly back in 1979 when Professor Lloyd Menard led five school teachers from Sioux City, Iowa to the Black Hills of South Dakota, USA, for a drawing class. Prints were first introduced in 1981 and the workshops evolved into the Black Hills Print Symposium which took place at various sites in Western South Dakota, USA.
The Black Hills set an amazingly beautiful backdrop to the workshops, but by 1996, the workshops had outgrown the confines of the Hills and were moved to Beresford, South Dakota, home of Frogman’s Press & Gallery. The workshops would only spend two years based out of Beresford before moving to nearby Vermillion and the University of South Dakota. Frogman’s would call USD home for nearly twenty years.
Later on, in 2016, Frogman’s made the big leap to Nebraska and the University of Nebraska at Omaha, where the Frogman took his first ever print class over 50 years ago. Currently, Frogman is directed by Lloyd Menard´s son, Jeremy Menard who is also University of Nebraska at Omaha as their Curator & Visual Resource Manager.
ABOUT UNO (University of Nebraska)
UNO is Nebraska’s metropolitan university — a university with strong academic values and significant relationships with its community that transforms and improves the lives of those on a local, regional, national, and international level.
UNO is dedicated to the city and state of Nebraska. As the University of Nebraska’s metropolitan university campus, no fences or barriers separate students from the opportunities offered by the greater Omaha area. It addresses real issues, providing relevant learning opportunities that uniquely prepare our graduates as professionals and active members of their community.
Gallery Talk | July 8, 2016
Silvana Blasbalg (Argentina) | Carla Beretta (Argentina) | Alicia Candiani (Argentina) | Marcela Casals (USA) | Hera Chan (Canada) | Paola Cohen (Argentina) | Cristina Duro (Argentina) | María Guerreiro (Argentina) | Anne Heyvaert (Spain) | John Hitchock (USA) | Julie Krone (Australia) | Alexandra Leeds (USA) | Nöel Loeschbor (Argentina) | Nico Mazza (USA) | Adriana Moracci (Argentina) | Toni Mosley (New Zealand)| Santiago Ocampo (Argentina) | Jennifer Pickering (Canada) | Barbara Putnam (USA) | Viviana Sierra (Argentina) | Carlos Scannapieco (Argentina) | Federico Signorelli (Argentina) | Cristina Solía (Argentina) | Laura Tecce (Argentina) | Norma Villarreal (Argentina)
Group exhibition ´ace Collection
Territories is an exhibition curated by Adriana Moracci among artworks from the ‘ace collection. The aims of this selection is to allow us to reflect upon political, economic, linguistic and corporal territories. They have been interpreted by contemporary artists through photography, performance and printmaking.
ABOUT TERRITORIES (by Adriana Moracci
Territory is a defined, outlined and demarcated place that provides belonging and identity to whom occupy it. In some cases it is a place to access or emigrate. The territory notion goes beyond a determined border. Although the etymology of the word indicates land or field not every community has its own physical territory, but yes, all have their own idiosyncrasy, language and culture that unites and links. The body is also a territory, one that is always present and constantly changing. A territory that contains and links us with the other, through verbal and corporal language. A territory that enables encounter with the ancestral and the primary.
Artists in Dialogue
On Wednesday July 30th the Fundación ‘ace para el Arte Contemporáneo hosted the ‘aceNITE. Under the name Traces the work produced by the July artists-in-residence and a Argentinian artist invited to the SUB30 Program were presented.
Mimesis from Julie Krone (Australia) and Vestiges from Jessica Simmons (Chicago, USA) was exhibited in the Poliglota Room. In the Dialogue Space, Shed, an installation by Jill Fitterer (Idaho, USA) was exhibited, the artist also presented Hairstory-Herstory a community based project that started in Boise, Idaho and continued in the Centre Arminda Aberastury in Buenos Aires.
In the Transverse Space David López Mastrángelo (Argentina) presented an installation.
Is an event that occurs periodically, on Wednesdays from 7pm to 10pm. During this time ´ace opens its doors and exhibition spaces to the community to show projects made by the artists in residence as exhibitions, installations and audiovisual presentations, art works of Argentine and Latin American artists selected in a free way through Fusionarte Contemporaneo, present books, art critics, hold performances or to do everything together!
Artist Julie Krone presented large-scale prints that respond to the architecture and language of Buenos Aires, quoting the sala políglota balcony door, for the ‘aceNITE Traces and as part of the project Mimicry.
The artist played with manipulations and seductions inherent in the written word and expanded them into visual patterns.For this project we utilized a new technique developed in ´ace using photo litho plates that are sensible to laser beans.
Mimicry, often set up as the opposite of ‘originality’ or ‘uniqueness’, is designated an inferior position, and yet it is the vehicle through which shared communication and meaningful interaction take place.
It is through mimicking that I will attempt to understand other cultures and make work that is open to mis-translation. The overlap of cultures and their languages create dynamic passages, where ownership is debated and exchange takes place.