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343:. She described the painting "as an Australian coastal landscape set in an industrial timespan". Martin said she was "thrilled she was selected by the Parliament House Construction Authority", praising it for "its entrepreneurial attitude in commissioning works by younger and less established artists and obtaining works that suited the concept of the building, rather than staying solely with the more established names".
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Martin exhibited regularly, often with fellow lecturers at the School of Art in
Canberra. Her work was described as "flowing textured paintings and prints" and the local art critic found "boundless energy" in her dark industrial landscapes. By 1985, her work was considered to have achieved drama and
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Martin had initially pursued her creative expression through producing works on paper. Even though her work had long been about making social commentary, an exhibition of her prints on paper in 1977 examined her restrained interpretation of the subjects of corruption in big business and the
241:. Despite having to juggle her teaching and creating art, she would benefit from the increase in interest in Canberra-based artists and the stimulus to the art market that could reasonably be expected to accompany the build-up to the opening of the NGA in 1981.
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which represents the embedding of a sense of place into the thick oil surfaces of her work. Grishin commenting that he felt she had not "burnt-out" despite her youth, the profile she had developed and general acclaim she was experiencing in the art world.
377:. Again her work attracted the attention of art critic Sasha Grishin. Overall he described the exhibition as being of an "outstanding calibre" and Martin was included in high praise for the drawings that were neither "provincial nor nationalistic".
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had admired her drawing but hoped the artist would find a less literal way of expressing her ideas. There was a resurgence of interest in poster art in the last 1980s and Martin's early poster work was included in an exhibition at
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exploitation of workers. This exhibition could be seen as a pivotal point in her career as Martin transferred her method of expression through prints and posters to other art mediums, importantly painting with oils. The art critic
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art critic Sasha
Grishin praised her use of "thick, well-worked painterly and textured masses" and thought Martin creatively realised "her own sense of social imagery". On the other hand, reviewing a 2022/23 exhibition at the
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Martin returned to her activist roots and had been involved with the CLIMARTE organisation and associated festivals embracing the concept of 'Arts for a Safer
Climate' exhibiting her work that addresses the concept of the
237:(NGA), was purchasing works, described as 'unconventional', for the fast growing national collection, and acquired a number of her prints. Martin also sold her feminist themed, anti-Vietnam posters directly to the
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People can choose to engage if they like, and you can use it in a way which is quite seductive or interesting or humorous so an audience can empathise which then makes it possible for the content to come
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was a further examination of the variable New South Wales landscape and how the environment was affected by drought and coal mining. The works selected were drawn from the collection of the
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From 1990 Martin created strong depictions of industrial landscapes and was invited to exhibit with other significant
Australian artists and Martin's work was acquired by the
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in
Australia from the mid-1970s and as exhibited widely in Australia and internationally. In recent years she used the art she created as part of the ongoing debate on
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Prior to the opening in May 1988, Martin was also invited to contribute work to a major exhibition of works from the new
Australian Parliament House art collection.
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held a retrospective exhibition of their holdings of works by Martin from
November 2022 to early February 2023, "Mandy Martin – A Persistent Vision". Art critic
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Martin saw her strong conceptually-based recent work on the theme of climate change as an opportunity to get information across without lecturing her audience:
129:(ANU) School of Art from 1978 to 2003. As well as being a visual artist, Martin was an adjunct professor at the Fenner School of Environment and Society at the
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Regional
Gallery as well as works from the artist's personal collection. The exhibition included collaborative works with her son, artist Alexander Boynes.
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386:, Sonia Barron reviewed a group exhibition which included Martin and acknowledged that her theme of the industrial landscape had become quite familiar.
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described Martin's "handling of oil painting clumsy and without any refinement or subtlety. ... the paint application is brutal and yet inexpressive."
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Another milestone in
Canberra's history was to impact on Martin's professional artistic standing. Martin was commissioned to create a large painting,
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through a series of industrial landscapes, a subject matter she had been increasingly exploring and was to become a recurrent theme in her work.
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was held at the
Canberra Contemporary Art Space and Martin showed her work alongside internationally recognised Australian artists such as
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113:(18 November 1952 – 10 July 2021) was a contemporary Australian painter, printmaker and teacher. She was involved in the development of
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Holloway, Memory Jockisch, 1946– & Martin, Mandy, 1952– & Christine Abrahams Gallery & Latrobe Valley Arts Centre (1990).
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was reputed to be the largest work ever commissioned in Australia. Martin worked in an old cow shed in the rustic Canberra suburb of
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1988 continued to be an important year for Martin. In August she exhibited drawings at the University Drill Hall Gallery at the
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Martin continued to be involved with a series of art projects that focus on issues relating to Australia's emissions targets.
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factory buildings as a successful contrast of perspective and flat pattern, in contrast to the colossal oil painting
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In 1980 she had her first major exhibition of oil paintings on canvas at the Solander Gallery in Canberra.
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and her son Alexander Boynes is an artist and gallery administrator. She spent her last years living in
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Martin was the daughter of Peter and Beryl Martin. Her father was Emeritus Professor of Botany at the
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in New York. In Canberra, where Martin was still actively exhibiting, the long-time art critic for
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825:"The message takes over the medium – Mandy Martin retrospective at Geelong Gallery"
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402:, Sasha Grishin reviewed her 1991 exhibition of paintings and in particular her
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of Federal Parliament in Melbourne in 1901, which in those days was hung in the
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describes her small-scale black-and white print of a pathway between a row of
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whose substance does not repay the attention its size seemingly demands.
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a large work depicting a landscape deeply altered and scarred by mines,
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Martin was working and exhibiting in a rapidly changing city. In 1978,
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in Canberra as the issues dealt with in the mid-1970s had not changed.
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Martin retired from the Canberra School of Art in 2003 moving to the
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In 2017, a touring survey exhibition was held of 20 selected works.
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997:"Opening of the new Parliament House – Art: integral to any House"
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157:(1972–1975). She exhibited her works on paper, including strongly
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192:. In 1976, Martin was part of a group exhibition celebrating the
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Martin made her mark early in her career in the 1975 exhibition
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as well as giving lectures. In 2014 she exhibited alongside
149:, in 1952, Martin attended Presbyterian Girls' College (now
121:, an area in which she was "prolifically active". Based in
1355:"Arts scene mourns death of one of its greatest painters"
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described the work as a "grim and impressive landscape".
668:. Vol. 98, no. 5000. 27 March 1976. p. 11
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on 10 July 2021, after undergoing treatment for cancer.
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Mandy Martin : peripecia, the Salvator Rosa series
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at the Hogarth Galleries in Sydney, showing alongside
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Academic staff of the Australian National University
1300:"Family chat spawned Alexander Boynes' ANCA artshow"
1274:"Beryl Martin Biography - Art Room Artists Archives"
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where she relied on scaffolding to create her large
500:. Martin was formerly married to Australian artist
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1328:"Major artist with close links to Canberra dies"
131:ANU College of Medicine, Biology and Environment
125:for many years, she was also a lecturer at the
723:"Women explore social issues through posters"
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874:"Country-life artist wins national award"
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1147:"Guy Abrahams: an art dealer's epiphany"
1058:"Fine collection of etchings and prints"
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1419:. Drill Hall Gallery, Canberra, A.C.T.
380:As early as 1989, then art critic for
1536:Deaths from cancer in New South Wales
1408:. Latrobe Valley Arts Centre, Morwell
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283:Although not the winner of the 1982
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219:Australian Girls Own Gallery (aGOG)
544:"A wealth of artistic resonance –
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1384:Ewington, Julie (22 April 1986),
1086:"Authentic elements of landscape"
846:"Man's impact on the environment"
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1056:Sonia Barron (9 December 1989).
1029:"Outstanding drawing exhibition"
967:Mandy Lynch (5 September 1987).
789:"Transitory, fragmented reality"
1541:20th-century Australian artists
1122:"Vale Mandy Martin (1952–2021)"
459:Central West of New South Wales
1452:Art Gallery of New South Wales
1390:(exhibition catalogue essay),
1298:Pryor, Sally (28 March 2014).
945:. 3 September 1987. p. 12
508:near Orange, New South Wales.
375:Australian National University
196:in the small group exhibition
155:South Australian School of Art
127:Australian National University
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1443:National Gallery of Australia
1326:Evans, Steve (12 July 2021).
797:. 2 December 1980. p. 16
703:. 25 October 1977. p. 19
494:University of South Australia
425:Vivitur Ex Raptor (for Bulga)
235:National Gallery of Australia
159:politically-motivated posters
83:South Australia School of Art
16:Australian artist (1952–2021)
1434:National Gallery of Victoria
1205:ANU Climate Change Institute
695:"Preaching to the converted"
581:"Mandy Martin: Eco-worrying"
579:Soboslay, Zsuzsanna (2009).
496:and her mother a recognised
396:Solomon R. Guggenheim Museum
293:National Gallery of Victoria
1226:"Mandy Martin Interview in
937:"True-blue art of politics"
754:"Canberra art sales steady"
404:Yallourn Power Station No 2
317:Australian Parliament House
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1176:"Mandy Martin: Homeground"
465:where she had her studio.
194:United States Bicentennial
1305:The Sydney Morning Herald
882:. 6 March 1982. p. 1
762:. 4 June 1978. p. 23
548:Artist of the Year Award"
274:, Homage to Ludwig Becker
270:Reconstructed narrative:
104:www.mandymartinartist.com
1516:Australian women artists
1005:. 9 May 1988. p. 36
854:. 2 May 1992. p. 23
731:. 8 May 1989. p. 20
639:Design and Art Australia
1174:Pessa, Melissa (2017).
325:painting of the opening
239:Australian War Memorial
64:Orange, New South Wales
1521:Australian printmakers
831:The Weekend Australian
822:(14–15 January 2023).
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438:Regional Gallery, the
163:limited edition prints
1511:Artists from Adelaide
1392:Roslyn Oxley9 Gallery
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307:Achieving recognition
1411:Martin, Mandy &
1228:The Melbourne Review
906:"Diverse approaches"
613:Australian Galleries
517:Orange Base Hospital
482:Factory 2 (Sawtooth)
348:Art and Architecture
295:. The then director
291:was acquired by the
198:America As We See It
182:University of Sydney
178:Women's Art Movement
1526:Australian painters
1260:Geelong Art Gallery
904:(15 October 1985).
542:(12 October 1991).
470:Geelong Art Gallery
253:Geelong Art Gallery
176:, organised by the
174:Fantasy and Reality
1333:The Canberra Times
1155:. 11 February 2014
1091:The Canberra Times
1063:The Canberra Times
1034:The Canberra Times
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546:The Canberra Times
400:The Canberra Times
383:The Canberra Times
247:The Canberra Times
1359:Canberra CityNews
1236:. 1 February 2014
1201:"Ms Mandy Martin"
1027:(1 August 1988).
820:Christopher Allen
474:Christopher Allen
390:The mature artist
297:Patrick McCaughey
272:Strzelecki Desert
184:with Jude Adams,
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25:Mandy Martin
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1501:1952 births
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