PETER DAVERINGTON

 Peter Daverington,  Portrait of Rafael Bonachela , 2018, oil on canvas, 199 x 153cm.

Peter Daverington, Portrait of Rafael Bonachela, 2018, oil on canvas, 199 x 153cm.

Congratulations PETER DAVERINGTON for his selection as a finalist in the 2018 Doug Moran National Portrait Prize with his stunning portrait of Rafael Bonachela, the director of the Sydney Dance Company. 

More information >

CYRUS TANG

 Cyrus Tang,  A Simple Life (118) , 2018, archival pigment print, 65 x 65cm.

Cyrus Tang, A Simple Life (118), 2018, archival pigment print, 65 x 65cm.

Congratulations CYRUS TANG!

Cyrus Tang received the Colour Factory Honourable Mention for her work 'A simple life (118 minutes)', 2018 from her series 'Golden hour', as part of the William & Winifred Bowness Photography Prize.

More information >

HONEY LONG & PRUE STENT | CYRUS TANG

HONEY LONG & PRUE STENT and CYRUS TANG have been selected as finalists in the Josephine Ulrick and Win Schubert Photography Award 2018. The winner of the art price will be announced on 19 October, and an exhibition with the finalists will open on 20 October and run until 25 November at HOTA in the Gold Coast.

For more information, click here.

  Honey Long & Prue Stent ,  Salt Pool , 2018, Archival pigment print, 106 x 157 cm

Honey Long & Prue Stent, Salt Pool, 2018, Archival pigment print, 106 x 157 cm

ANNE ZAHALKA

ANNE ZAHALKA will be part of Civilization: The Way We Live Now, a major photography exhibition at the National Museum of Modern and Contemporary Art of Korea (MMCA). The exhibition, which comprises over 300 works depicting life in the 21st century, will be open from 18 October to 17 February 2019, and will then travel to different art institutions around the world, including the National Gallery of Victoria.

Zahalka will be showing her Open House series from 1995.

To view Zahalka’s Open House series, click here.

For more information, click here.

  Anne Zahalka ,  Sunday, 2:09 , 1995, Duratran and Light Box, 125 x 190 x 25 cm

Anne Zahalka, Sunday, 2:09, 1995, Duratran and Light Box, 125 x 190 x 25 cm

PETER DAVERINGTON

 Peter Daverington, Wall Street, 2018, Oil and Acrylic on canvas, 198 x 152 cm.

Peter Daverington, Wall Street, 2018, Oil and Acrylic on canvas, 198 x 152 cm.

New York-based Australian artist Peter Daverington returns to ARC ONE with an exhibition of new paintings, titled Surface Zero.

A contemporary artist with a rare mastery of oil techniques, Peter Daverington’s practice centres on his unparalleled capacity to work across a wide range of pictorial languages and artistic styles. With a foundation in graffiti and street art, his oeuvre critically engages with legacies of Western art history from a contemporary context; seamlessly integrating a vast array of disparate images, styles and references in an aesthetic maximalism relevant to our time.

In Surface Zero, Daverington forces together opposing attitudes in art to consider the potential of images as zones of conflict. A clash of viewpoints, opinions, and perspectives plays out across his layered canvases as hard-edge abstraction, classical figuration and Romantic landscape painting are severely juxtaposed in a heady aesthetic mélange.

Surface Zero is a disaster point of explosive force. Landscapes by the great Hudson River School painter Albert Bierstadt, and figurative works by the Flemish Baroque artist Peter Paul Rubens, have been deftly appropriated, with the brushwork, colour, and technique reflecting the originals as closely as possible. Bright, geometric, hard-edge line work interrupts these representational paintings creating a tension within the pictorial space between formalism and figuration. For Daverington, this interlocking of clashing styles is “a reflection on twenty-first century disorientation,” it is “like looking at life from multiple viewpoints simultaneously – whether different points in history, different cultures, different perspectives and so on. I like the stark contrasts of life, the very natural struggle between viewpoints and opinions. The only way I can express this is by trying to compress a wide range of pictorial languages to capture the bewildering spectacles of being human and of life itself.”

Peter Daverington (b. 1974, Melbourne, Australia) has held more than sixty group and solo exhibitions in Australia, Europe, the Americas, and Asia since 2003. In 2006 Daverington completed an MFA at the Victorian College of the Arts where he received the prestigious KPMG tutorship to teach in the painting department. He has received two Australia Council for the Arts project grants, in 2005 and 2010 respectively; the John Coburn Emerging Artist Award in 2008, and the Rupert Bunny Fellowship in 2011 for his first moving image work. Solo exhibitions include Daverington does de Chirico, Susan Boutwell Gallery, Munich (2017); Before the Apocalypse, Shanghai Mass Art Centre, Shanghai (2016); Iconophilia, The Lodge Gallery, New York (2015); Lacuna, Chasm Gallery, Brooklyn, New York (2015); and Weltlandschaft (2016), Because Painting (2014), From the Future with Love (2013), and Poiesis (2011), all ARC ONE Gallery, Melbourne. Recent group exhibitions include Latent Content Analysis, The Lodge Gallery, New York (2017); The Oasis, Gitler_& Gallery, New York; Divine Abstraction, Justin Art House Museum, Melbourne (2016); Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria, Melbourne (2015-16); The Garden, QUT Museum, Brisbane (2015); 100 Little Deaths, Bravin Lee Programs, New York (2013); Peekskill Project V, Hudson Valley Centre of Contemporary Art, Peekskill, New York (2013); and Currents 2012 & 2014 – Santa Fe International New Media Festival, Santa Fe, New Mexico. He has been shortlisted for numerous prestigious art awards including the Moran Prize (2018), the Archibald Prize and the Sulman Prize (2014 and 2013); the Fleurieu Art Prize, (2013); and the Geelong Contemporary Art Prize (2012). His work has been acquired by several major collections, including Artbank, KPMG, MacQuarie Bank, Geelong Gallery and Gippsland Art Gallery, as well as private collections throughout Australia and abroad.

Peter Daverington lives and works in New York.

IMANTS TILLERS

 Imants Tillers,  Fiction of Place , 2018, synthetic polymer paint, gouache on 132 canvas-boards nos. 106258- 106389, 279.4 x 426.72 cm.

Imants Tillers, Fiction of Place, 2018, synthetic polymer paint, gouache on 132 canvas-boards nos. 106258- 106389, 279.4 x 426.72 cm.

ARC ONE is delighted to present Imants Tillers’ latest exhibition, Joy Knows No Mercy, across two locations: ARC ONE Gallery
(4 September – 6 October) and Sydney Contemporary (13 – 16 September).

As one of Australia’s most important living artists, Imants Tillers has been at the forefront of conceptual painting for over four decades. Since his first solo exhibition in 1973, he has forged a reputation as a rigorously intellectual and sophisticated artist with a singular visual language. Tillers juxtaposes layers of complex art historical, political, literary, personal, and philosophical references to create thought-provoking works that explore themes relevant to contemporary culture, identity, displacement, assimilation, and distance.

In Joy Knows No Mercy, Tillers employs his signature modular formations of small canvas-boards to form a series of profound and expansive tableaux. The monumental Fiction of Place (2018) is the centrepiece of the exhibition. It is the culmination of the artist’s Metafisica Australe series, an important chapter that explores the remarkable aesthetic connection between certain aspects
of contemporary Western Desert painting and European art. Tillers has based this large 132
panel work on Francesco Guardi’s Venetian scene, Bucentaur Departing for the Lido (c. 1775-80). However, what appears to be the sky is an appropriated section of Papunya Tula artist, Kenny Williams Tjampitjinpa’s, Kuniya Dreaming at Karriwarra (2004) which denotes a Western Desert landscape in Central Australia. Simultaneously, the interrelation of the colours and stylised zigzag patterning here evokes a de Chirico-esque rendering of water or a Post-Impressionist sky. As Tillers asserts, Fiction of Place “depicts the collision (or maybe the reconciliation) of the two worlds: the Aboriginal and the European.” This is a concept explored throughout much of his oeuvre.

The sources of Tillers’ imagery are significant. In Joy Knows No Mercy, Tillers references European artists and writers such as Guardi, de Chirico, Odilon Redon, Hilma af Klint, Stéphane Mallarmé, and Phillip Otto Runge. He has then juxtaposed these references against works by Australian and New Zealander artists such as Arthur Streeton, John Glover, Colin McCahon,
and Julian Daspher, acknowledging that distant, provincial cultures depend on imports from dominant cultures for much of their artistic inspiration and imagery. This layering of text and art references has become a powerful visual language for Tillers in his exploration of distance and issues of locality and identity, and constitutes a key feature of his practice, the ever unfolding Book of Power.

Imants Tillers has exhibited widely since the late 1960s, and has represented Australia at important international exhibitions, such as the Sao Paulo Bienal in 1975, Documenta 7 in 1982, and the 42nd Venice Biennale in 1986. Major solo surveys of Tillers’ work include Journey to Nowhere, Latvian Museum of Art, Riga (2018); Imants Tillers: works 1978–1988 at the Institute of Contemporary Arts, London (1988); Imants Tillers: 19301, at the National Art Gallery, Wellington (1989); Diaspora, National Art Museum, Riga, Latvia (1993); Diaspora in Context at the Pori Art Museum, Pori (1995); Towards In nity: Works by Imants Tillers, Museum of Contemporary Art (MARCO) in Monterrey, Mexico (1999); and in 2006 a major retrospective of his work, Imants Tillers: one world many visions, was held at the National Gallery of Australia, Canberra.

Tillers was the winner of the Art Gallery of New South Wales’ Wynne Prize for landscape painting for two consecutive years (2012-2013). He has received numerous awards and commissions, such as the Osaka Triennale Prize (Gold in 1993, Bronze in 1996, and Silver in 2001), and the inaugural Beijing International Art Biennale Prize for Excellence (2003).

GUAN WEI

 Guan Wei,  Feng Shui  (detail), 2004, acylic on composite board, Museum of Contemporary Art, donated through the Australian Government's Cultural Gifts Program by Cromwell Diversified Property Trust, 2017

Guan Wei, Feng Shui (detail), 2004, acylic on composite board, Museum of Contemporary Art, donated through the Australian Government's Cultural Gifts Program by Cromwell Diversified Property Trust, 2017

The Museum of Contemporary Art, Sydney has announced its 2019 exhibition program, with a major installation by GUAN WEI.

In October 2019, the Museum of Contemporary Art will present 'Feng Shui', an immense 18-metre-long multi-panelled painting by Guan Wei. 'Feng Shui' will be presented alongside two of Guan Wei’s key 1989-90 series of works on paper, from the Collection.

More information >

JANET LAURENCE

 Portrait of Janet Laurence

Portrait of Janet Laurence

The Museum of Contemporary Art Australia has announced its 2019 exhibition program, with a major solo exhibition by Janet Laurence.

In March, Janet Laurence, one of Australia’s key creative minds, will present After Nature, a major mid-career survey exhibition examining the critical issues facing the environment and the natural world. The exhibition will feature work from throughout her oeuvre, as well as a selection of new works.

For many years, my work has explored the poetics of space and materiality through the creation of site-specific works that deal with our experiential and cultural relationship with the natural world.  – Janet Laurence, 2018

More information >

PETER DAVERINGTON

PETER DAVERINGTON’s major commission The Raft of the Clan will be launched 22 October at The Great Hall, Parliament House, Canberra, and officially launched by former Prime Minister Julia Gilliard AC.

Commissioned by CLAN, Care Leavers Australasia Network,the artwork celebrates the remarkable triumph of Care Leavers who endured cruel and abusive childhood in Australia’s Orphanages, Children’s Homes, Missions & Foster Care that were run by State Governments, Churches and Charities.

 Peter Daverington,  Raft of the Clan , oil and enamel on canvas, 260 x 397cm.

Peter Daverington, Raft of the Clan, oil and enamel on canvas, 260 x 397cm.

IMANTS TILLERS

Terry Smith’s lecture on contemporary painters focusing on IMANTS TILLERS is now online. The lecture at the Latvian National Museum of Art is part of Journey to Nowhere, a major solo exhibition of TILLERS works.

You can watch the full lecture here:

PAT BRASSINGTON

PAT BRASSINGTON's work A's Joy has been featured on the cover of the book, 'The Mummy’s Foot and the Big Toe: Feet and Imaginative Promise'. In this book Alan Krell addresses the absurd, the abject, the banal and the romantic, as he describes the appearance of the foot in literature, photography, art and film.

More information >

 Pat Brassington, A's Joy, 2005, pigment print, 84 x 62cm.

Pat Brassington, A's Joy, 2005, pigment print, 84 x 62cm.

JANET LAURENCE

 Janet Laurence,  What Colour is the Sacred? (Black)  (detail), 2018, plywood, acrylic, mirror, details of Karel Dujardin ‘Self-portrait’ 1662 printed on archival cotton rag, Oil glaze on acrylic, Carbon, bone, charcoal, ink, pigment, scientific glass, Barite, Goethite, Hematite, 45 x 60 x 45cm.

Janet Laurence, What Colour is the Sacred? (Black) (detail), 2018, plywood, acrylic, mirror, details of Karel Dujardin ‘Self-portrait’ 1662 printed on archival cotton rag, Oil glaze on acrylic, Carbon, bone, charcoal, ink, pigment, scientific glass, Barite, Goethite, Hematite, 45 x 60 x 45cm.

JANET LAURENCE has been invited to speak at 'Between Subjects and Collectiveness' at INHOTIM Institute, Brazil on 13 September 2018. The 4th International Education Seminar at Inhotim is focused on transformations subjects go through and their relationship with the environment in which they live. With guests from Brazil, Argentina, Austria, Chile, Colombia, India and Russia, the seminar proposes a reflection on the separation between the social and environmental dimension in contemporary life.

Panel Discussion 13 September | How can art question subject –environment relations?

More information >

JOHN YOUNG, HONEY LONG & PRUE STENT

‘Oceans from here’ at the Australian Centre for Photography in Sydney is currently on view. Featuring the work of JOHN YOUNG and HONEY LONG & PRUE STENT, the exhibition explores the aesthetics of water, and its ebb and flow as a global life force. John Young says of his work (above): "Nature is not only fragile, majestic and sublime in the old Kantian sense - but, as Virilio would have it, the ocean may well be frightful and monstrous in its answering back to the anthropocentric progressiveness of modernity’s folly".

The exhibition continues until 20 October.

More information >

 John Young,  Ancient Water I , 2018, Glicee print on archival Museo Silver Rag Paper, 73 x 126.5cm.

John Young, Ancient Water I, 2018, Glicee print on archival Museo Silver Rag Paper, 73 x 126.5cm.

CYRUS TANG

CYRUS_TANG_STUDIO.jpg.800x0_q85.jpg

CYRUS TANG has been profiled in NAVA's The Artist Files. 

In her video interview with NAVA, Tang chats about becoming an artist, developing her career and exploring her identity through her practice.

More information >

ROBERT OWEN

 Robert Owen,  Double Seed #2 , 2016-2018, from the 'Text of Light' series, Synthetic polymer paint on linen, 122 x 122cm.

Robert Owen, Double Seed #2, 2016-2018, from the 'Text of Light' series, Synthetic polymer paint on linen, 122 x 122cm.

ARC ONE Gallery is delighted to present, Afterglow, the latest body of paintings by leading Australian artist, ROBERT OWEN. These visually-arresting works continue the artist’s exploration of the perceptual and emotional effects of light, colour, and space.

Guided by curiosity and wonder, Robert Owen’s knowledge of colour is profound. In colour he nds harmony and melody, using chromatic combinations to achieve sensations that pulsate from the walls like sound waves or musical nuances. Afterglow at ARC ONE Gallery stems from one of Owen’s diary drawings executed while living on the Greek island of Hydra in the early 1960s. On the island, Owen witnessed an eclipse of the sun: an experience that has informed the artist’s enduring interest in the transcendent capacity of space, light, and colour.

Owen’s formative research and experiences of Constructivism and De Stijl are apparent in Afterglow where succinct geometric forms, vertical stripes, and squares of strong colour evoke the physical and metaphysical. Owen’s diary drawing from 1964, vibrant with its rework composition, perfectly encapsulates a synthetic moment and the relationship between time and progress. Describing the image, Owen draws on the paradox articulated by French philosopher Gaston Bachelard in his book, Intuition of the Instant, which posits life as an enduring string of moments that are in nite. It is this ash of illumination, combined with his poetic experiences on Hydra, from which Owen’s continued interest in the perceptual and emotional effects of space, light, and colour has materialised.

Robert Owen is an internationally recognised and award-winning artist with a sustained practice of more than ve decades. Working in painting, sculpture, installation, and photography, he has received widespread acclaim for his work, including major public commissions such as such as Webb Bridge, Docklands (in collaboration with Denton Corker Marshall), and the Craigieburn Bypass, Melbourne (in collaboration with Architects Taylor Cullity Lethlean and Tonkin Zulaikha Greer). He represented Australia at the 38th Venice Biennale in 1978, and in 2003 he received the Australia Council Visual Arts/ Crafts Emeritus Award for a lifelong service to the visual arts. He is represented in public and private collections throughout Australia and internationally.

CYRUS TANG

 Cyrus Tang,  Golden Hour – 16.43.12.2001 , 2018, archival pigment print, 120 x 70cm.

Cyrus Tang, Golden Hour – 16.43.12.2001, 2018, archival pigment print, 120 x 70cm.

CYRUS TANG is included in the exhibition This Wild Song at Town Hall Gallery, Hawthorn Arts Centre. 
The exhibition celebrates strong female leaders in the arts community and their creative vision.

The opening is 1 September, 2 - 4pm and continues until 21 October.

More information >

EUGENIA RASKOPOULOS

 Eugenia Raskopoulos,  Diglossia  #4 , 2009, pure pigment print on archival paper, 140 x 93.5 cm. 

Eugenia Raskopoulos, Diglossia  #4, 2009, pure pigment print on archival paper, 140 x 93.5 cm. 

Congratulations to EUGENIA RASKOPOULOS! Announced as one of the artists selected for The National: New Australian Art 2019 at Carriageworks. 

The exhibition presents the latest ideas and forms in contemporary Australian art, curated across three of Sydney's premier cultural institutions: the Art Gallery of NSW, Carriageworks and the Museum of Contemporary Art Australia. 
 

More information >

IMANTS TILLERS

IMANTS TILLERS is included in the exhibition '20/20 Celebrating twenty years with twenty new portrait commissions' at the National Portrait Gallery, Canberra. '20/20' showcases the dynamic suite of new portraits commissioned to celebrate the National Portrait Gallery’s 20th year. 


Imants Tillers has painted a portrait of one of Australia’s most prolific playwrights Louis Nowra. 


The exhibition opens 20 October and continues until 10 February 2019.

More information >

 Imants Tillers, 'Study of Louis Nowra', 2018, synthetic polymer paint and gouache on 64 canvas boards. Commissioned 2018.

Imants Tillers, 'Study of Louis Nowra', 2018, synthetic polymer paint and gouache on 64 canvas boards. Commissioned 2018.

ROBERT OWEN, JULIE RRAP & ANNE ZAHALKA

 Robert Owen, 'Feeling Form (Blind Carving)', 1958, plaster of paris, 7.5 x 18 x 9.5cm.

Robert Owen, 'Feeling Form (Blind Carving)', 1958, plaster of paris, 7.5 x 18 x 9.5cm.

ROBERT OWEN, JULIE RRAP and ANNE ZAHALKA are included in the exhibition 'National Art: Part One' at the National Art School Gallery'.

A review of the exhibition, with a photograph of Anne Zahalka standing in front of her work 'Outlawed!' was published in the Sydney Morning Herald yesterday.

Pictured is one of Robert Owen's blind carving sculptures he did at the National Art School from 1958.

The exhibition continues until October 27.

More information >

GUAN WEI

GUAN WEI is included in Painting with Thread, an exhibition of recent tapestries and samples from the collection of the Australian Tapestry Workshop, Melbourne (ATW). 

Painting with Thread will offer Sydney viewers a glimpse into the behind-the-scenes process of tapestry creation by ATW weavers from design, sampling, to weaving and completion. The selection of tapestries and samples on display emphasise the experimental and innovative approaches to contemporary tapestry design, as well as the diversity of recent projects and collaborations at ATW. 

Reviewed in Art Guide, the exhibition continues until 26 September. 

Read the Review >

More information >

 Portrait of Guan Wei at The Australian Tapestry Workshop

Portrait of Guan Wei at The Australian Tapestry Workshop