"(Removed) From an Untouched Landscape 6," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"(Removed) From an Untouched Landscape 10," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"(Vanished) From an Untouched Landscape 11," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"We Call this Place…Karta," 2020, Daguerreotype with engraved text, 4 x 5 in (10.2 x 12.7 cm).

"(Removed) From an Untouched Landscape 6," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"(Removed) From an Untouched Landscape 10," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"(Vanished) From an Untouched Landscape 11," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"We Call this Place…Karta," 2020, Daguerreotype with engraved text, 4 x 5 in (10.2 x 12.7 cm).

"(Removed) From an Untouched Landscape 6," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"(Removed) From an Untouched Landscape 10," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"(Vanished) From an Untouched Landscape 11," 2018, Inkjet print on Hahnemuhle paper with hole removed to a black velvet void, 19.5 X 10.5 in (50 x 50 cm).

"We Call this Place…Karta," 2020, Daguerreotype with engraved text, 4 x 5 in (10.2 x 12.7 cm).

James Tylor: From An Untouched Landscape

The removal of Aboriginal cultures due to colonisation has left the appearance that Australia was ‘Untouched’ before European arrival.
—JAMES TYLOR

July 1, 2022 – June 23, 2023

Artist James Tylor highlights under-told and unseen histories of Aboriginal peoples. Knowing Australia has been known by many names to many peoples, Tylor takes an expansive approach to photographing the landscape by incorporating his Kaurna Miyurna knowledge into his practice using both old and new technologies. In Tylor’s hands, photography, once used to survey Aboriginal lands and peoples, becomes a way to indigenize landscapes.

From an Untouched Landscape is Tylor’s first solo exhibition in the United States and was curated by Marina Tyquiengco (Col ’81), the inaugural Ellyn McColgan Assistant Curator of Native American Art at the Museum of Fine Arts, Boston.

Residency

James Tylor will visit Kluge-Ruhe in March 2023 as a resident artist! It will be our first in-person artist residency since the pandemic. While here, Tylor will speak to UVA classes, hold a photography workshop and much more. Check our calendar in the months leading up to the residency to see when you can connect with him.

Sponsors

This exhibition has been sponsored by Australia Council for the Arts, the Embassy of Australia, Washington, DC, and the Honorable Nick Greiner, Australian Consul-General, New York.

About James Tylor

James Tylor is an Australian multi-disciplinary
contemporary visual artist, whose practice
explores Australian environment, culture and
social history. He works in mixed media, including
photography, video, painting, drawing, sculpture,
installation, sound, scents and food. He was
born in Victoria, spent his childhood in New
South Wales, and then moved to the Kimberley
region in his adolescent years. After training
and working as a carpenter in Australia and
Denmark, he completed a Bachelors of Visual
Arts and a Masters in Visual Arts and Design,
both in Photography, at the South Australian
School of Art, as well as an Honors in Fine Arts in
Photography at the Tasmanian School of Art. He
has researched Indigenous and European colonial
history with a focus on South Australia. He is an
experienced writer, designer, curator, historian,
researcher, art gallery installation and museum
collection conservator. James currently works as a
professional visual artist in Canberra.

Photo by Tony Kearney.