LYNDELL BROWN & CHARLES GREEN

LYNDELL BROWN & CHARLES GREEN'S powerful panoramic photographic installation, 100 Years of Turbulence, 1918 - 2018, opens today at 4pm at the Castlemaine Art Museum as part of the Castlemaine State Festival.

The artists have constructed an immense visual countdown of images of turbulence, war, and aftermath from 1918 to 2018. The work is also an atlas of conflict, linking cause and effect from one conflict to another, composed of fragmentary parts in a panorama; a disjointed countdown of personal events and public disaster over the last 100 years, shared, persisting, haunted photos, sometimes over-painted, entwined with layers of meaning and political disputation. They overlay images of conflict and war with images of exactly the same places, now, in times of relative peace or continued conflict. The result shows the past reaching towards the present and the present towards the past: the countdown joins 1918 to 2018 in chains of causation and similarity.

100 Years of Turbulence, 1918 - 2018 will be on display until March 31.

Lyndell Brown & Charles Green, '100 Years of Turbulence, 1918 - 2018' (Detail), 2018, inkjet print on rag paper, 4 parts, each 120 x 360 cm.

LYNDELL BROWN + CHARLES GREEN & CYRUS TANG

Lyndell Brown & Charles Green, 100 Years of Turbulence, 2017, inkjet on rag paper, 125 x 450 cm.

LYNDELL BROWN + CHARLES GREEN and CYRUS TANG will feature in the 2019 Castlemaine State Festival, March 22 - 31. Here are Charles & Lyndell preparing the work they are exhibiting, 100 Years of Turbulence.

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CHARLES GREEN & JULIE RRAP

CHARLES GREEN and JULIE RRAP have written essays for the book, What is Performance Art? Australian Perspectives. The publication brings together texts from Australia’s most prominent theorists in the field together with major exponents of performance art themselves, creating a critical archive, and dialogue, that stands as central document of Australian performance art’s first fifty years.

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Julie RRAP, One Hand Making the Other Hand, 2016, cast aluminium and powder coated steel, 50 x 36 x 25cm.

LYNDELL BROWN & CHARLES GREEN

Lyndell Brown & Charles Green, Night propellor change, Gulf, 2007-09, digital colour photograph, inkjet print on rag paper, 37.4 x 51.7.

LEGACY. Your collection. Our story. curated by Anouska Phizacklea at the Monash Gallery of Art includes important works by LYNDELL BROWN & CHARLES GREEN (pictured) and ANNE ZAHALKA.

The exhibition celebrates the impact benefactors have had on the development of one of the nation’s most unique and important collections, a collection dedicated to Australian photography and its artists. LEGACY teases out the fascinating and compelling stories behind the works and their donors, and along the way showcases significant works that chart the history of MGA, from a Joseph Albers tapestry donated by Harry Seidler, the architect of MGA’s building, through to the most recent donated works.

The exhibition continues until 19 September.

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ROSE FARRELL & GEORGE PARKIN, LYNDELL BROWN & CHARLES GREEN, GUO JIAN, GUAN WEI, JOHN YOUNG

'Infinite Conversations: Asian-Australian artistic exchange', at the National Gallery of Australia, features iconic works by LYNDELL BROWN & CHARLES GREEN, ROSE FARRELL & GEORGE PARKIN (pictured), GUO JIAN, GUAN WEI, and JOHN YOUNG.

This exhibition considers the creative practice of artists from mainland China and Hong Kong, a number of whom settled in Australia following the 1989 Tiananmen Square protests. Using diverse modes of production, these artists confront and recount the challenges of making a new home with shifting degrees of grief, poetry and optimism. A second gallery examines the relationships between Asian and Australian artists, revealing a rich, sometimes disquieting dialogue as concepts of race and culture are provoked and explored.

The exhibition continues until 9 September.

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LYNDELL BROWN & CHARLES GREEN

Congratulations to LYNDELL BROWN and CHARLES GREEN who have been commissioned by the 2nd Battalion Royal Australian Regiment (2RAR) to create an enduring artistic record of 2RAR's involvement in the Vietnam War.

We're looking forward to seeing the finished painting which will seek to evoke the experience of 2RAR troops at Nui Dat and in action during the Vietnam War!

Lyndell Brown and Charles Green, An End to Suffering, 2009, oil on linen, 170 x 170cm.

LYNDELL BROWN & CHARLES GREEN

The Morning Star tapestry, designed by LYNDELL BROWN & CHARLES GREEN, will be hosted at the Shrine of Remembrance until 25 February 2018. This gives audiences the chance to view the magnificent tapestry prior to its permanent relocation to the new Sir John Monash Centre at Villers-Bretonneux in France, which official opens on 24th April 2018.

In Morning Star tapestry evokes the experience of departure from their home country to war on foreign shores, in particular for Australians at the Western Front. Launched in the final year of the Centenary of the First World War, the tapestry will provide a lasting legacy, remembering the service of Australians in the First World War and commemorating the 46,000 Australian lives lost on the Western Front.

Find out more here. 

Morning Star, designed by Lyndell Brown and Charles Green, 2017.

LYNDELL BROWN / CHARLES GREEN

CHARLES GREEN recently gave a talk as part of the Biennale Archive Stories series with Terry Smith and Mami Kataoka, Artistic Director of the 21st Biennale of Sydney. In the talk, GREEN discusses Sydney and the challenges of the "Global" Exhibition.

You can now watch the full lecture here!

LYNDELL BROWN & CHARLES GREEN

Image: The Australian Tapestry Workshop (ATW)

A sneak peak of a major tapestry in progress at The Australian Tapestry Workshop (ATW) designed by prominent Australian artists LYNDELL BROWN and CHARLES GREEN for the new Sir John Monash Centre (SJMC) in France.

Find out more here.

LYNDELL BROWN & CHARLES GREEN

Lyndell Brown and Charles Green, Morning Star, 2017, wool, cotton, 250 x 504cm. 

LYNDELL BROWN and CHARLES GREEN have designed a major tapestry for the new Sir John Monash Centre (SJMC) in France.

The tapestry, woven by the Australian Tapestry Workshop, will provide a lasting legacy in perpetuity commemorating the 46,000 Australian lives lostin the battles of the Western Front in World War 1 and commemorate the Centenary of ANZAC. 

According to the artists, the tapestry aims to "evoke the soldiers’ pathway from home to the Front, and emphasizes the incongruity between the Australia that they imagined as they journeyed further and further towards the Front." 

Morning Star will be will be unveiled at the opening of the SJMC on ANZAC day in 2018.

PETER DAVERINGTON, JUSTINE KHAMARA, CYRUS TANG and LYNDELL BROWN & CHARLES GREEN

Justine Khamara, When this face is no longer yours, acrylic, inkjet on rag paper, hoop, pine, ply. 

Peter Daverington, WTF, oil on ply. 

VCA's 9 X 5 NOW exhibition features works from 350 VCA artists and alumni including our very own PETER DAVERINGTON, JUSTINE KHAMARA, CYRUS TANG and LYNDELL BROWN and CHARLES GREEN.

Curated by Elizabeth Gower, 9 X 5 NOW is inspired by the famous 9 by 5 Impression Exhibition held in Melbourne in 1889. The exhibition is comprised entirely of 9 x 5 inch (23 x 13cm) plywood boards from each contributing artist.

The exhibition continues until 25 June 2017 at Melbourne's Margaret Lawrence Gallery. 

Find out more here

View the catalogue here

Lyndell Brown & Charles Green, Insecurity (Mount Sinjar 2014), oil on ply. 

Cyrus Tang, Lacrimae Rerum- 7403.00S,
Archival giclée print on ply. 

LYNDELL BROWN / CHARLES GREEN

Congratulations to LYNDELL BROWN and CHARLES GREEN, whose double self-portrait An end to suffering (2009) has recently been acquired by UQ Art Museum in Brisbane. 

According to UQ Art Museum's Curator, Samantha Littley, “Brown/Green create a window into their universe and bring focus and empathy to issues affecting us globally. The insights they have gained into world conflicts through their travels, and their roles as official war artists, find expression in the objects and images they have woven into this complex and personal painting.”

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Lyndell Brown/Charles Green, An end to suffering, 2009, oil on linen, 170 x 170 cm, Collection of The University of Queensland, purchased 2016.

PETER DAVERINGTON, LYNDELL BROWN/CHARLES GREEN

Peter Daverington, Expedition to the Snowy Mountains, 2016, oil and enamel on linen, 122 x 91 cm

Lyndell Brown/Charles Green & Jon Cattapan, Untitled (Look II), 2016, digital print with alkyd-modified oil paint on Duraclear, mounted on perspex, 100 x 100 cm

Congratulations to PETER DAVERINGTON and LYNDELL BROWN/CHARLES GREEN & JON CATTAPAN, who have been selected as Finalists in the 2016 Bayside Acquisitive Art Prize! 

The opening event and winner announcement is Thursday 12 May, 6-8pm, at the Bayside Arts & Cultural Centre, Brighton. The exhibition runs to 26 June 2016.

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LYNDELL BROWN CHARLES GREEN

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.

LYNDELL BROWN & CHARLES GREEN

LYNDELL BROWN & CHARLES GREEN and Jon Cattapan’s Scatter (Dusk, Santa Cruz), 2014 has been acquired by The Collection of The University of Queensland.

Samantha Littley, Acting Senior Curator at UQ Art Museum, had to say this about the work: 

The painting exemplifies the strength of Brown/Green and Cattapan’s collaborative partnership, and the confidence each of them has in their own work. It takes self assurance to allow others to access your creative processes. The artists’ rapport is evident in the unity of their composition. This coherency has a basis in their shared experiences. Although their terms as Official War Artists were not concurrent, these commissions have clearly given them a mutual sense of purpose.
 

Lyndell Brown/Charles Green and Jon Cattapan, Scatter (Dusk, Santa Cruz), 2014, oil and synthetic polymer paint on linen, 152.5 x 243.5 cm

LYNDELL BROWN CHARLES GREEN

Lyndell Brown and Charles Green, The Painters’ Family, oil on linen, 2007, 185 x 185 cm

Joseph Hinchliffe writes on LYNDELL BROWN and CHARLES GREEN’s entry in the Arthur Guy Memorial Painting Prize in the Bendigo Advertiser. Read about their creative process and their entry entitled Song of Sorrow, which will form part of an upcoming series centred on the landscapes surrounding their home and studio.

To read the full article, click here.

LYNDELL BROWN CHARLES GREEN / GUAN WEI

Lyndell Brown and Charles Green, Song of Sorrow, 2015, oil on linen, 151 x 151 cm. 

LYNDELL BROWN and CHARLES GREEN and GUAN WEI who have been named as Finalists for the 2015 Arthur Guy Memorial Painting Prize. The announcement and official opening will be held at Bendigo Art Gallery from 6pm, Friday 28 August 2015. The exhibition of all finalists' work will be on show from 29 August – 1 November 2015.

For more information, click here.

LYNDELL BROWN CHARLES GREEN / ANNE ZAHALKA

Lyndell Brown/Charles Green, Atlas, 2005, Lightjet print on duraclear film, 104 x 107cm.

LYNDELL BROWN/CHARLES GREEN and ANNE ZAHALKA are exhibiting as part of Mornington Peninsula Regional Art Gallery's group show Storm in a Teacup, which explores Australia's relationship with tea.

For more information click here.

LYNDELL BROWN CHARLES GREEN

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.

LYNDELL BROWN CHARLES GREEN

Lyndell Brown/Charles Green, Jon Cattapan, Lesson Plan (The Second Attention), 2014, oil and acrylic on inkjet print on linen, 180 x 350 cm

LYNDELL BROWN/CHARLES GREEN and JON CATTAPAN's stunning exhibition, Spook Country: A Collaboration has been given a stellar review by Dan Rule in The Age.

"The lasting resonance of this work, which is rich in personal and historical references, is that of the sheer historical, social, spiritual, political and infrastructural complexity and repercussions of conflict on us all."

To read the full article click here.