Imants Tillers, Kosciuszko, 2008, synthetic polymer paint, gouache on 77 canvas boards, 223.5 x 284.5 cm.
IMANTS TILLERS is part of a new exhibition called Sublime Point: The Landscape in Painting, at Hazelhurst Regional Gallery & Arts Centre. The exhibition brings together 25 leading painters from around Australia, who share an interest in the landscape as subject. The exhibition will run from 11 October to 30 November 2014.
For more information, click here.
JANET LAURENCE will be part of Siteworks 2014, Bundanon Trust’s annual event, with a new site-specific commissioned installation inspired by Bundanon’s Living Landscape Project. The 2014 Siteworks will be held on the weekend of 27-28 September 2014 at the Bundanon site, and will turn its attention to ideas around biodiversity, with a particular focus on the concept of earth law.
For more information click here.
Janet Laurence, Mining Residue, 2014, mixed media, 36 x 37 x 34 cm
JANET LAURENCE is part of the group exhibition What Marcel Duchamp Taught Me at The Fine Art Society Contemporary in London, UK’s oldest commercial gallery. This exhibition comes together one hundred years after Duchamp created the first readymade and is on from 10 October – 5 November 2014.
A statement by Janet Laurence featured in the exhibition catalogue:
"It’s difficult to imagine contemporary art if there hadn’t been Marcel Duchamp. He enabled me to make art that begins as an idea, letting the non-retinal to enter into the work process and its reading. His ‘serious’ playfulness enabled the imprinting of the instantaneous and elusive, a play between thoughts, the senses, chance and the occult."
To download the exhibition catalogue click here.
John Young Flower Market (Nanjing 1936) #2, 2010, digital print and oil on Belgian linen, 240 x 331 cm
Saftey Zone: A John Young Project is soon to be exhibited at the Museum of Australian Democracy at Eureka (M.A.D.E), in Ballarat. JOHN YOUNG’s body of works pays tribute to the 1937 event in China, where the lives of 300,000 Chinese citizens were saved by foreigners and sheltered in the city’s internal Safety Zone. The exhibition is on from 25 September – 2 November 2014.
More information here.
Nike Savvas' Sliding Ladder: Octagonal Prism featured on the cover of ACCA Optical Mix booklet.
Optical Mix', a group exhibition at ACCA that includes the sculptures of NIKE SAVVAS, has been reviewed by Robert Nelson in The Age.
To read the review, click here.
Optical Mix is on until 28 September 2014.
Robert Owen, Fallen Light A, 2012, stainless steel, 105 x 115 x 170 cm
ROBERT OWEN will be speaking at SCULPTURE NOW, a half-day seminar exploring contemporary sculpture at the National Gallery of Victoria on Wednesday 17 September. He will be joined by NGV Director Tony Ellwood, Assistant Director Isobel Crombie, curator Simon Maidment, Melissa Loughnan of Utopian Slumps, collector Rae Rothfield & artists Emily Floyd, Steaphan Paton, Louise Paramor & Patricia Piccinini.
For more information and to book, visit the NGV website
DANI MARTI’s George, 2001, is currently on display at Newcastle Art Gallery, New South Wales, as part of the exhibition One From none: The minimal aesthetic in art. On display from 23 August – 16 November 2014, this show brings together a range of works from the Newcastle Art Gallery collection. It highlights the principle of actual space rather than the depicted space within an artwork, and artists like Dani Marti also pay particular attention to materiality.
Dani Marti, George, 2001, (triptych) nylon, polypropylene and polyester on a wooden frame, 200 x 600 cm
View the exhibition here.
Lyndell Brown/Charles Green and Jon Cattapan, War and Peace #11: Night Vision, 2014 oil and acrylic on digital print on duraclear film, 104 x 108 cm
Chris McAuliffe writes about LYNDELL BROWN/CHARLES GREEN AND JON CATTAPAN’s exhibition Spook Country: A Collaboration at ARC ONE and Station. This fantastic review discusses the strategies adopted by the collaboration when depicting war art and how their experiences as war artists informs their artistic process.
To read this article, click here.
Nike Savvas, Epic 8000, 2013, Commission by Nike for NikeTown, San Francisco, glass and steel wire, 336 x 600 cm
NIKE SAVVAS is featured in the new publication Big Art Small Art by Tristan Manco. Scale is being taken to new extremes in art: big and bold on the one hand, intricate and intimate on the other. This book is divided into two sections, big art and small art, and includes profiles of forty-five contemporary artists who are revolutionising our approach to scale with works that provoke questions, arouse emotions and offer fresh perspectives. This survey comprises everything from beautifully carved leaves (Lorenzo Manuel Durán, Spain) and micro reproductions of artists at work in their studio (Joe Fig, USA) to giant mechanical kinetic sculptures (Theo Jansen, Netherlands) and immersive galaxies of shimmering spheres (Nike Savvas, Australia).
For more information click here.
Phaptawan Suwannakudt, Not For Sure, 2012, drafting paper, paper with vegetal fibres, ink, bitumen, gold leaf, dye and pigment, dimensions variable. Installation view of the 18th Biennale of Sydney (2012) at the Museum of Contemporary Art Australia. Photograph: Ben Symons.
PHAPTAWAN SUWANNAKUDT is featured in the current issue of Eyeline magazine. In the introduction to Uncertainty is Certain: The work of Phaptawan Suwannakudt, Adam Geczy writes of individuals being the passive observers on the faith of others, an inviting aspect in Suwannakudt’s art. While her work is faithful to the Buddhist notion, it seeks to introduce and incorporate the viewer despite their cultural or religious positions. The title from her 2012 installation Not for Sure, is derived from the yogic statement that ‘uncertainty is certain’, a reminder that our conceptions of the world are fleeting, relative, and fragmented.
To view the article click here.
