Geoffrey Edwards, former Director of Victoria’s Geelong Gallery, details a stunning painting by PETER DAVERINGTON in a recent article in The Australian.
Welcome to the Pleasure Dome-A Homage to Bierstadt and Death of a Frontier is part of the Geelong Gallery collection and is currently on display at the gallery.
Click here to read the article.
Peter Daverington, Welcome to the Pleasure Dome-A Homage to Bierstadt and Death of a Frontier, 2009, oil and enamel on canvas, 183 x 154cm.
Guan Wei, Boatman No.1, 2005, acrylic on canvas, 137 x 162cm.
Chinese artist GUAN WEI will be exhibited in a group show, curated by Francis E. Parker, at the Monash Univeristy Museum of Art.
Borders, Barriers, Walls features 25 artworks from both Australian and international artists. Many of the works in the show address the subsequent shift in geopolitics and political unrest that has resulted in the displacement of peoples and the dramatic increase of refugees world-wide.
The exhibition continues 30 April - 2 July 2016.
TRANSFORMER
Lyndell Brown Charles Green, El Dorado (Detail), 2015, Oil on linen, 175 x 240 cm
ARC ONE Gallery is delighted to present Transformer, a major new exhibition by one of Australia’s foremost artist collaborations, Lyndell Brown & Charles Green. An opening reception will be held on Thursday 14 April, 6-8pm.
Brown and Green’s extensive practice has long been informed by currents of the past, whether (art) historical, cultural or geo-political. Their latest exhibition of large-scale paintings - alluringly titled Transformer – emerges from the intersection of the hippie, countercultural movement of the 1970s with their established visual language of cultural ‘mapping’ across continents and centuries.
The paintings in Transformer show contemporary and historical images mapped together like pictures of the subconscious, with overlaid, blurred, juxtaposed and exquisitely-rendered Tibetan, Nepalese and Australian landscapes. Transformer traces a genealogy in which, first, the pair’s autobiography and, second, their cry against the environmental catastrophe of climate change and ecological loss, is interwoven with 19th century yogis, Earth art, performances and the Beat Generation’s founding father, William S. Burroughs, all encountered in the form of newspaper fragments, found images, the authors’ own photographs and archival documents. The shapeshifting across themes is achieved through a meticulously painted trompe l’oeil. We are presented with clusters of information in constant flux, encouraging a navigational experience that is simultaneously thrilling and disorienting. This exhilaration was encapsulated in Swedish daily newspaper, Goteborgs Posten, which wrote that Brown and Green “are stupendously skilful painters … they pitch our modern society against ancient tradition and knowledge … Their art is difficult to grasp but exciting to experience.”
In Transformer, Brown and Green – themselves remarkable foragers, transformers and conduits of knowledge – draw on the capacity of painting to create new resonances between images and meanings. Transformer’s maps of the mind resemble night skies, with ideas forming, fading and finally resolving into their own and also each viewer’s histories.
Pat Brassington, Untitled VI, 1980-2002, inkjet print, 36.5 x 23.5cm.
PAT BRASSINGTON is included in the major group exhibition Public Image, Private Lives: Family, Friends and Self Photography at the Art Gallery of South Australia.
This exhibition highlights the often close connections between the photographer and subject, whether they be friends, family members or the photographers themselves.
It continues through 3 July 2013.
IMANTS TILLERS is included in the major exhibition of Aboriginal and Oceanic art Taba Naba - Australia, Oceania, Arts by People of the Sea at the Musée Océanographique de Monaco.
Tillers' work is included within the exhibition, Living Waters, which features the works of Australian contemporary artists invited to illustrate the intercultural themes of the exhibition and their relationship to water.
The international exhibition continues through 24 March - 30 September 2016.
Image: Imants Tillers, The Porous Vessel, 2015, acrylic, gouache on 54 canvas boards, 228 x 212cm.
Dani Marti, Black Sun, installation view, Fremantle Art Centre. Photo: Rhianna Nelson
Gemma Weston has written a fantastic review of DANI MARTI's exhibition Black Sun, for Artlink. The text analyses the show, acknowledging the honesty and sensitivity innate to Marti's works.
Black Sun was on display at the Fremantle Arts Centre, for the 2016 Perth International Arts Festival, from 7 February to 28 March.
To read the full review click here.
