LYDIA WEGNER

Lydia Wegner,  Purple Split , 2018, Archival Inkjet print.

Lydia Wegner, Purple Split, 2018, Archival Inkjet print.

LYDIA WEGNER is featured in Still Life Pt. II, an exhibition curated by Adam Stone at Verge Gallery.
Still Life Pt. II investigates the historically significant genre of still life through a contemporary lens. The exhibition brings together an otherwise disparate group of artists working from ‘life’ or ‘fiction’ to meditate on the notion of what a still life is in our current times.

The exhibition runs from 28 Feb - 6 April.

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MARIA FERNANDA CARDOSO

Image: Maria Fernanda Cardoso,  Sheep (Red)  (detail), 2002, dyed sheep skins, dimensions variable.

Image: Maria Fernanda Cardoso, Sheep (Red) (detail), 2002, dyed sheep skins, dimensions variable.

MARIA FERNANDA CARDOSO is featured in Materiales en expansión, opening today. Curated by María Teresa Guerrero, the exhibition celebrates 30 years of the Espacio Alterno Gallery at the University of Los Andes, Bogotá, Colombia.

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ROSE FARRELL & GEORGE PARKIN

ROSE FARRELL & GEORGE PARKIN'S 'Annunciation' from the series 'Repentance' is currently on view at National Gallery of Australia.

The artists said of the series: "We are questioning the archetypes/icons history puts before us; taking up the mythology of history, created through representations, which tend to naturalize myth as realism.

An unheralded nexus occurs within the space between past and present, as we examine the inexplicable tensions of Ideals over Time. Our art-historical tableaux attempt to encapsulate the traditional image; re-presenting to the twentieth century, dislocated enigmas. The cipher is presented as fact."

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Rose Farrell & George Parkin,   The Annunciation  from the series  Repentance , 1988, chromogenic photograph, 164 x 127 cm.

Rose Farrell & George Parkin, The Annunciation from the series Repentance, 1988, chromogenic photograph, 164 x 127 cm.

HONEY LONG & PRUE STENT

Honey Long & Prue Stent, ‘Sub-Soil’, 2018, Installation view Incinerator Gallery, 180 Holmes Rd, Aberfeldie. Photograph by Amy Prcevich.

Honey Long & Prue Stent, ‘Sub-Soil’, 2018, Installation view Incinerator Gallery, 180 Holmes Rd, Aberfeldie. Photograph by Amy Prcevich.

HONEY LONG & PRUE STENT are currently exhibiting their work as part of The Billboard Project in Niddrie.

The Billboard Project, Niddrie is a series of large format photographic billboards that create unexpected public galleries in and around the Keilor Road Shops in Niddrie. The locations can be discovered around Wallace Mall, and they connect to the billboard in the front garden of the Incinerator Gallery.

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CYRUS TANG

Opening today is CYRUS TANG's first solo exhibition at Ten Cubed.

Ten Cubed began collecting Cyrus Tang in 2016 with the acquisition of the Children's Encyclopaedia series and has continued to collect her photographic and sculptural works throughout 2017 and 2018.

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Cyrus Tang,  4505.00s , 2016, archival giclee print, 100 x 100cm.

Cyrus Tang, 4505.00s, 2016, archival giclee print, 100 x 100cm.

JACKY REDGATE

Image: Jacky Redgate,  Light Throw (Mirrors) Fold - Yellow and White,  2018, chromogenic photograph handprinted, 185 x 127 cm.

Image: Jacky Redgate, Light Throw (Mirrors) Fold - Yellow and White, 2018, chromogenic photograph handprinted, 185 x 127 cm.

ARC ONE Gallery is delighted to present Light Throw (Mirrors) Fold /Unfold, a new exhibition by one of Australia’s most significant contemporary artists, Jacky Redgate.

For more than two decades Jacky Redgate has worked with mirrors and objects in her studio, exploring abstraction, light, space and reflection with remarkable photographic and sculptural outcomes. Perceptual systems such as linear perspective and Cartesian geometry and optics, which structures two-dimensional space into a simulation of the three-dimensional world, are a frequent motif in Redgate’s work.

In this exhibition Redgate extends her acclaimed and ongoing studio photographic series, Light Throw (Mirrors) commencing in 2009, with fresh experiments and revelations. Whereas the irony of her earlier Light Throw (Mirrors) works (2009­ ­–) was that there are no mirrors in the photograph – we only see their projected light and objects floating on surfaces – commencing in 2013 the artist elaborates the studio set-up by physically folding the prop that she rebounds light onto, later placing mirrors on its folding surface. Then in Unfold 2016, Redgate attempted to escape the visual vortex of her screen, breaking the symmetry of the fold and discarding the mirrors.  In this new series Redgate returns to the fold and mirrors, systematically rotating different primary coloured panels that mix colour across either side of the fold, as well as recycling the mirrors that rebound light from a battery of multiple flashes. The viewer is confronted by a flattening of space and a shimmering optical effect from the material construction.   

Jacky Redgate,  Light Throw (Mirrors) Fold - Blue and Black,  2017, chromogenic photograph handprinted, 185 x 127 cm.

Jacky Redgate, Light Throw (Mirrors) Fold - Blue and Black, 2017, chromogenic photograph handprinted, 185 x 127 cm.

In all of Redgate’s iterations of her mirror works dating back to STRAIGHTCUT (2001–) she uses the 4 x 5-inch camera in a fixed position and she regularly describes herself as an ‘absent/presence’ in the work. Curator, Robert Leonard has recently observed that her mirror works ­ – “... deranges the reciprocity between seer (photographer/viewer) and seen.  Despite all those mirrors, neither photographer nor camera are visible. Standing in Redgate’s place, we might feel that the image isn’t returning our gaze, but that it looks past us, looks awry. She/we aren’t the projected centre of the world’. [1]

 

Jacky Redgate is regarded as one of Australia’s leading contemporary artists, with a practice extending four decades. Redgate’s career began in the context of late 1970s feminism, minimalism and conceptual art. She is known for her photographic and sculptural work using systems and logic. Working across photographic and object-based practices, Redgate has exhibited extensively within Australia and internationally since the end of the 1970s. Recent selected solo exhibitions include: WORK-TO-RULE (NEGATIVE), Kronenberg Wright Gallery, Sydney, 2018, Jacky Redgate Light Throw (Mirrors) #1-10, 2018, Latrobe Regional Gallery; Jacky Redgate: Mirrors, University Art Gallery, the University of Sydney (2015); Jacky Redgate: the Logic of Vision, Art Gallery of New South Wales, Sydney (2012); Visions From Her Bed, Institute of Modern Art, Brisbane (2008); Jacky Redgate: Life of the System 1980–2005, Museum of Contemporary Art Australia, Sydney (2005–06); and Jacky Redgate: Survey 1980–2003, Contemporary Art Centre of South Australia, Adelaide (2004). She is a recipient of the 1st prize, Bowness Photography Prize, Monash Gallery of Art, Melbourne (2011). Her work is included in major national collections and survey exhibitions including two Australian Perspecta exhibitions, three Biennales of Sydney, the Clemenger Art Award at the National Gallery of Victoria (2006), and the Heide Museum of Modern Art’s Cubism & Australian Art (2009).

[1] Robert Leonard in Ann Stephen and Robert Leonard, Jacky Redgate: Mirrors, University of Sydney, Power Publications, p.83. This 2016 publication is an important new monograph which focuses on Redgate’s eminent work with mirrors in recent decades co-published by Power Publications with the University Art Gallery, The University of Sydney, in partnership with the University of Wollongong.

 

 

JULIE RRAP

Image: Julie Rrap,  Puberty  from the series  Persona and Shadow , 1984, cibachrome print, edition of 9, 194 x 105 cm.

Image: Julie Rrap, Puberty from the series Persona and Shadow, 1984, cibachrome print, edition of 9, 194 x 105 cm.

JULIE RRAP’S Puberty from the series Persona and Shadow is included in Bodies of art: Human form from the national collection at The National Gallery of Australia.

The exhibition considers the human figure as one of the most enduring subjects of art. By exploring contrasting figures together in one space, this display reflects both the significance of the human body as a subject for art and reveals its range of uses over time.

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NIKE SAVVAS

Image: Nike Savvas,  The Oarsman , 2018.

Image: Nike Savvas, The Oarsman, 2018.

NIKE SAVVAS' striking The Oarsman, 2018, is included in the Mustafa Hulusi Posters project, Hoxton Square, London.

The work incorporates the image of a Perpetual Motion balancing toy – a small stainless steel rowboat that is set adrift in a big blue beyond. As a mesmerising ocular device intended for relaxation it swings and bobs under its own trapped momentum and energy.
As a broader metaphor for life, the oarsman speaks to a zone of perpetual transition, of comings and goings, of ups and downs, of changed directions and arrivals and departures. It speaks of ebbs and flows, of temporal states and the passage of time. While the term ‘row your boat’ may infer taking charge of the course for one’s own life, it also acknowledges the struggles that are to be endured in striving to overcome our limits.

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JUSTINE KHAMARA & NIKE SAVVAS

Justine Khamara,  Untitled Portrait 1,  2007, assembled colour photographs, 188 x 150 x 116. Photographer: John Brash.

Justine Khamara, Untitled Portrait 1, 2007, assembled colour photographs, 188 x 150 x 116. Photographer: John Brash.

Nike Savvas,  Halo  ,  2016, perspex, mirror, 210 x 310cm

Nike Savvas, Halo, 2016, perspex, mirror, 210 x 310cm

JUSTINE KHAMARA and NIKE SAVVAS are featured in Echo Chambers: Art and Endless Reflections at Deakin University Art Gallery. Curator James Lynch has said "The exhibition contains rarely seen photographic and sculptural works which focus on shadows, reflections, duplicates, doubles and doppelgängers, stretching our fixed and complete sense of the self."

The exhibition will run from 13 February to 29 March across three separate galleries at Deakin University.

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Art Guide review >

GUO JIAN

Guo Jian,  The Beauty No. 1,  inkjet pigment print (three panels), 200 x 300 cm.

Guo Jian, The Beauty No. 1, inkjet pigment print (three panels), 200 x 300 cm.

In a new interview with White Rabbit Gallery, GUO JIAN explains his intricate photographic collages that depict serene landscapes, animals, and religious icons based on traditional Chinese paintings. Up close, his images subtly unfold to reveal a sea of montaged clippings the artist has extracted from excessive trash found throughout the streets and land across China.
Guo Jian's work Untitled - Early Spring is currently featured in SUPERNATURAL at White Rabbit Gallery. The exhibition continues until 3 February.

View interview here >

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Intromittent organ of the Allonuncia Grandis (Harvestman) Opiliones, 2009, archival pigment print, 2002 x 90 cm.

Maria Fernanda Cardoso, Intromittent organ of the Allonuncia Grandis (Harvestman) Opiliones, 2009, archival pigment print, 2002 x 90 cm.

MARIA FERNANDA CARDOSO is included in La Vuelta at Museo De Arte Moderno de Medellín, Colombia.

La Vuelta showcases the work of twenty-six Colombian artists and photographers of different generations. For the traditional genres of portrait and landscape photography to experimental and investigative practices, the exhibition explores how contemporary artists who use photography and its expanded forms perceive and experience the varied and changing cultural, social, and political landscapes in a country marked by a history of sixty years of armed conflict.

The exhibition continues until 17 February.

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HONEY LONG & PRUE STENT

Honey Long & Prue Stent,  Venus Milk , 2015, archival pigment print, 106 x 159 cm.

Honey Long & Prue Stent, Venus Milk, 2015, archival pigment print, 106 x 159 cm.

HONEY AND PRUE are included in the exhibition Anticipation is part of the seduction opening today 5 December at Blindside, Melbourne. The exhibition is part of their Emerging Curator Mentorship Program, curated by Jonathan Homsey with Hannah Mathews as a mentor.

Exhibition Dates: 5 - 22 December.
For more information, please click here.

MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso,  On the Origins of Art I and II , 2016, Film Still.

Maria Fernanda Cardoso, On the Origins of Art I and II, 2016, Film Still.

Elizabeth Ann Macgregor, Director of the Museum of Contemporary Art, discusses MARIA FERNANDA CARDOSO on this week's 'Self Improvement' with Richard Glover on ABC Radio Sydney.

Major works by Cardoso, including her video work 'On the Origins of Art I & II' have been acquired by the Museum of Contemporary Art and the Tate, as part of a joint acquisition program that aims to bring Australian art into the international spotlight.

Interview >

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.

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

IMANTS TILLERS

MAJOR MONOGRAPH

IMANTS TILLERS: JOURNEY TO NOWHERE

Co-published by Power Publications, Sydney and the Latvian National Museum of Art, Riga, the major monograph 'Imants Tillers: Journey to Nowhere' was launched at the MCA on Wednesday 21 November and is now available in Australian bookshops.

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SAM SHMITH

Sam Shmith,  Parade , 2007, pigment print on lustre, 27 x 40cm.

Sam Shmith, Parade, 2007, pigment print on lustre, 27 x 40cm.

New York based artist SAM SHMITH is currently undertaking the Byron School of Art Ralph Woodford Residency.

Sam is currently working towards his exhibition for next year at ARC ONE Gallery.

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TRACY SARROFF & NIKE SAVVAS

TRACY SARROFF and NIKE SAVVAS are included in the exhibition 'Curiouser & Curiouser' at Bathurst Regional Art Gallery.

Curated by Julian Woods, the exhibition takes inspiration from the opening passages of Lewis Carroll's book 'Alice's Adventures in Wonderland', exploring ideas of time, perception, the inexplicable and tactility. 'Curiouser & Curiouser' opens on 14 December.

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Tracy Sarroff,  Cyber Plant – Blue , 2012, acrylic, fluorescent light, 14 x 14 x 127cm.

Tracy Sarroff, Cyber Plant – Blue, 2012, acrylic, fluorescent light, 14 x 14 x 127cm.

IMANTS TILLERS

The Museum of Contemporary Art is presenting with the Power Institute, the Australian premiere screening of the feature-length Imants Tillers documentary Thrown into the World, directed by Antra Cilinska of Juris Podnieks Studio, and the launch of the Imants Tillers’ new monograph, Journey to Nowhere.

The screening will be followed by a short Q&A with Professor Mark Ledbury and Imants Tillers.

5.45 – 8.30pm | 21 November 2018
Museum of Contemporary Art

*Please note that this event is sold out. Contact the MCA to go on the Waiting List.

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Imants Tillers, Studio, Image Courtesy of Museum of Contemporary Art.

Imants Tillers, Studio, Image Courtesy of Museum of Contemporary Art.