Press for DANI MARTI 's exhibition 'Oh Canola!'

Fabulous press for DANI MARTI’S latest exhibition ‘Oh Canola!’ at Maitland Regional Art Gallery, which was mentioned in the Newcastle Herald.

The main gallery space at Maitland Regional Art Gallery has one big, long wall and Dani Marti has created one work to fill it. It's all yellow, and stretches more than 11 metres. Made of several panels, installed by Marti to flow seamlessly, the wall sculpture titled Oh Canola! is made of almost 10,000 circular reflectors, the kind used along roads, but customised in yellow.
– JO BEVAN

EXHIBITION CLOSING – MAY 29th

JOHN McDONALD on JULIE RRAP at the Adelaide Biennial of Australian Art

John McDonald published a perceptive review in the Sydney Morning Herald today, writing on Sebastian Goldspink's "pioneering" curation of the current Adelaide Biennial of Australian Art at AGSA, which includes a focus on JULIE RRAP. Importantly McDonald pays homage to the late, great artist Hossein Valamanesh and visionary philanthropist Neil Balnaves, who are both dearly missed by friends and colleagues in Australia and abroad.

McDonald concludes with glowing praise of JULIE RRAP's installation, writing,

Julie Rrap, now one of the elders in this group, takes a more direct approach, with a multi-channel video installation called Write Me (2021-22), which features 26 images of her own face, laid out like the letters on a keyboard ... One can only admire Rrap’s bravery in creating so many self-portraits in which she has added years and wrinkles to her own face. It’s simultaneously an embrace and a defiance of the ageing process. In the context of this Biennial, in which the older artists seem to have produced the best, most coherent work, it’s also a testament to the value of experience.

READ MORE here

TRACY SARROFF in ARTIST PROFILE

TRACY SARROFF is featured in Artist Profile, with an article written by Lee-Ann Joy.

As Joy writes,
In a micro-galaxy of luminous tentacles that move and contort with a gentle ebb and flow, Red-Green Morph, 2018-20, is an elegant beauty and insight into the mysterious and molecular world of the microscopic.

READ MORE here

EUGENIA RASKOPOULOS in ‘Know My Name: Australian Women Artists 1900 to Now'

Eugenia Raskopoulos, Untitled no. 6, Gadigal land/Sydney, 1991 from the series Goddess/mother/daughter, gelatin silver photograph; Eugenia Raskopoulos, Untitled # 12, Gadigal land/Sydney, 1992 from the series Dangling virgins — Suicide for women in ancient Greece, gelatin silver photograph

EUGENIA RASKOPOULOS is included in Part Two of ‘Know My Name: Australian Women Artists 1900 to Now’ at the National Gallery of Australia.

‘Know My Name’ tells a new story of Australian art. Looking at moments in which women created new forms of art and cultural commentary such as feminism, the exhibition highlights creative and intellectual relationships between artists across time.

‘Know My Name: Australian Women Artists 1900 to Now’ continues until 26 June 2022.

New interview with JULIE RRAP

JULIE RRAP recently spoke with Kerrie O’Brien from The Age and The Sydney Morning Herald about her photographic series ‘Blow Back’, currently on view at the Centre for Contemporary Photography. This series continues her observations on the representation of women in art and society ——“In advertising, women often have their eyes closed and their mouths slightly open, it’s like this vacant entry point.”

“I always argue that the portrait is always more about the person looking at it than the person being photographed,” Rrap shared in the interview, “When you photograph somebody, it’s like this awkward moment when you have this existential crisis about who you are...while a portrait carries all this weight, it’s just a moment in time. Photography captures a fraction of a second of you but fixes you in time… They could be thinking about what they had for breakfast."

Read the full interview here. ‘Blow Back' is on display Centre for Contemporary Photography as part of the exhibition ‘We, Us, Them: CCP x Belfast Exposed’ until 17 April.

New interview with MURRAY FREDERICKS

Murray Fredericks, Mirror 16, 2017, digital pigment print on cotton rag, edition of 7/7, 120 x 155 cm.

MURRAY FREDERICKS was recently interviewed by 71 Magazine with two of his significant bodies of work: 'Array’ and ‘Vanity’.

In the article, Fredericks talked about his new creative direction: “Australia’s landscape is at the forefront of our changing world. Our droughts and floods are becoming extreme and more frequent. From having the worst fires on record in 2020-21, to this year seeing usually dry, ephemeral rivers throughout the inland flowing at capacity. I’m searching for a way to make imagery out of this that moves from pure documentation to something more long-lasting.”

Access the e-magazine
& read the full interview here

JULIE RRAP at the ADELAIDE BIENNIAL OF AUSTRALIAN ART

JULIE RRAP’s newly commissioned and major installation, Write me, 2021, is currently on display in the 2022 Adelaide Biennial of Australian Art: Free/State at the Art Gallery of South Australia.

“For Julie Rrap, technology, albeit still fraught, may ultimately provide us with a space for shared experience and accountability. Write Me (2021) examines the social contract of the public sphere. In a career that has often returned to the body as a site of action and politics, recent times have reduced Rrap to a constrained and warped vision of their familiar face. 26 times over, across a keyboard shaped grid, with its familiar, specific alignments, play out 26 versions of the artists face, each representing a letter of the alphabet.”

— Bradley Vincent, AGSA.

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Adelaide Biennial of Australian Art: ‘Free/State’ is on view until 5 June.

Learn more via @agsa.adelaide bio or visit

CYRUS TANG at Linden New Art for PHOTO 2022

IMAGE: Cyrus Tang, 'Tree Study 2’ [detail], 2020-21, pigment print on cotton rag, Edition 5+2AP, 80 x 80cm.

CYRUS TANG's exhibition,'Time Fell Asleep in the Evening Rain’, opened on Friday 11 March at Linden New Art as part of PHOTO 2022.

Presenting a new series of photographic works and light boxes, Tang continues her exploration of time and memory in the context of the pandemic in this exhibition.

‘Time Fell Asleep in the Evening Rain’ continues until 5 June.

Art Guide interviews JULIE RRAP

JULIE RRAP, Drawn Out [installation view at ARC ONE], 2022, video, 12 minutes.

Art Guide writer Briony Downes sat down with JULIE RRAP to have a conversation on women’s liberation, feminist representations and the inspiration of her new video work ‘Drawn Out', which was a highlight of her recent solo exhibition at ARC ONE.

“I imagined it as a playful gesture where the traditional nude female life model draws herself. Now, seeing Secret Strategies, Ideal Spaces together with Drawn Out, I think there is a fantastic conversation across time; not only because my body is 35 years older but because it has liberated me from having to perform historical works. Now I am simply drawing for myself. The active quality of the video also animates the stillness of the early photographs.”

READ MORE in Julie Rrap on women’s liberation, performance and being a trickster

Congratulations to IMANTS TILLERS and the late KUMANTYE (M.N) JAGAMARA

Imants Tillers and Kumantye (M.N.) Jagamara, The Call from Papunya, 2018, 202.2 × 283.5 cm. Tate, London

We are thrilled to announce that ‘The Call from Papunya’ (2018) has been acquired by Tate, London. The painting is one of 16 collaborative works completed by Kumantye (M.N.) Jagamara and IMANTS TILLERS over the past two decades. This is the second work by Imants to be acquired, following the acquisition of ‘Kangaroo Blank’ (1988) in 2018, and the first work by Jagamara to be acquired by Tate.

The central element in ‘The Call from Papunya’ is Possum Love Story – a tale of forbidden love which has been told for thousands of years in Jagamara’s Warlpiri tradition. It is one of the five stories depicted in his iconic painting ‘Five Dreamings’ (1984).

Imants has expanded the central image with line-work referencing both the Papunya artist Kenny Williams and the Italian Metaphysical painter Giorgio de Chirico. Fragments of philosophy and poetry have also been incorporated.

The painting’s title refers to Jagamara’s habit of calling Brisbane daily (and occasionally Cooma) on the public telephone at Papunya general store, to chat about his work, enquire about projects, update his needs for shopping or simply to give a weather report.