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.

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.

More information >

PAT BRASSINGTON

A selection of works by PAT BRASSINGTON are currently on display at the Monash Gallery of Art as part of 'LEGACY +...collecting contemporary'. This offshoot of 'LEGACY. Your collection. Our Story,' showcases the work of artists who create incredibly potent narratives within their practice, with performative, experimental and chance encounters tying these works together.

The exhibition continues until 19 August. 

More information >

 Pat Brassington,  Starlight  from the series   Gentle , 2001, pigment print, 65 x 43.5cm.

Pat Brassington, Starlight from the series  Gentle, 2001, pigment print, 65 x 43.5cm.

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

F:Parkin MandarinDucks.jpg

'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.

More information >

EUGENIA RASKOPOLOUS | JULIE RRAP | ANNE ZAHALKA

EUGENIA RASKOPOULOS, JULIE RRAP and ANNE ZAHALKA have been included in the important exhibition Dark Rooms: Women Directing the Lens 1978–98 at Griffith University Art Museum. 

Griffith University Art Museum says: "Against the backdrop of the feminist movement and activism in arts and politics, many women artists during this period made work that refused the male gaze. Acutely aware of the ways in which the lens could empower or reduce the subject, they put themselves, friends, and family in the picture, and in doing so, changed the cultural landscape of Australia. Photomedia became an important way for artists to confront racism and the objectification of peoples; disrupt and subvert sexually violent imagery; and forge a renewed interest in psychoanalytic theory."

The exhibition opens 14 July from 2pm at the Griffith University Art Museum, Brisbane.

The exhibition runs until 25 August.

More information >

 Eugenia Raskopolous,  Untitled No 3,  1998, Ilfachrome photograph, 77 x 99 cm.

Eugenia Raskopolous, Untitled No 3, 1998, Ilfachrome photograph, 77 x 99 cm.

 Julie Rrap,  Persona and Shadow: Madonna , 1984, cibachrome print, 194 x 105cm. 

Julie Rrap, Persona and Shadow: Madonna, 1984, cibachrome print, 194 x 105cm. 

 Anne Zahalka,  The Artist (Self-Portrait), Berlin , 1987, cibachrome photograph, 80 x80cm. 

Anne Zahalka, The Artist (Self-Portrait), Berlin, 1987, cibachrome photograph, 80 x80cm. 

PAT BRASSINGTON

 Pat Brassington,  Heart's Blood , 2017, pigment print, 90 x 65cm. 

Pat Brassington, Heart's Blood, 2017, pigment print, 90 x 65cm. 

PAT BRASSINGTON currently has her second solo exhibition on at Ten Cubed. 

Ten Cubed first began collecting Brassington's works in 2010, acquiring two prints – 'Going' and 'By the Way' – from her self-titled exhibition here at ARC ONE held in the same year. Early on, Brassington was selected as a core artist in Ten Cubed's collection and her first solo exhibition was held in 2014.

The exhibition will continue until 8 September, 2018.

More information >

HONEY LONG & PRUE STENT

In an extraordinarily short time HONEY LONG & PRUE STENT have achieved considerable recognition in Australia and overseas in L.A, Zurich and Mexico. Here's a list of recent international publications the collaborative duo have been included in: Sleek, Kunst Forum International, Plastik Magazine, The September Issues, ETC and Moon Man.

Plastik Magazine >

Sleek Magazine >

 Honey Long & Prue Stent,  Nasturtium I , 2014, archival pigment print, 72 x 108 cm.

Honey Long & Prue Stent, Nasturtium I, 2014, archival pigment print, 72 x 108 cm.

GUAN WEI

 Guan Wei,  Treasure Hunt,  2017, woven by Chris Cochius, Pamela Joyce, Jennifer Sharpe & Cheryl Thornton, wool and cotton, 86.4 x 360cm, commissioned by the Australian Tapestry Workshop.

Guan Wei, Treasure Hunt, 2017, woven by Chris Cochius, Pamela Joyce, Jennifer Sharpe & Cheryl Thornton, wool and cotton, 86.4 x 360cm, commissioned by the Australian Tapestry Workshop.

GUAN WEI's Treasure Hunt will be cut from the loom next Tuesday 10 July. 

Commissioned for the Australian Tapestry Workshop, the woven work will then make it's way to Sydney to the Australian Design Centre for Painting with Thread, an exhibition of recent tapestries and samples from the collection of the Australian Tapestry Workshop. 

The exhibition will be from 3 August - 26 September, 2018.

More information >
 

 

JANET LAURENCE

JANET LAURENCE's work is included in the upcoming exhibition at 45 Downstairs, All We Can’t See: Illustrating the Nauru Files.  

The exhibition depicts individual interpretations of the leaked Nauru files exposed by The Guardian in 2016, illuminating the stark human cost of Australia’s policies of offshore detention. 

The Nauru Files are Australian stories. They are the consequence of Australian government policies, and they are shaping our national identity.

The exhibition opens 31 July and continues until 11 August, 2018.

More information >

 Janet Laurence,  Flotsam /ˈflɒts(ə)m/noun – People or things that have been rejected or discarded as worthless , 2017, Duraclear on acrylic, mirror, 60 x 60cm

Janet Laurence, Flotsam /ˈflɒts(ə)m/noun – People or things that have been rejected or discarded as worthless, 2017, Duraclear on acrylic, mirror, 60 x 60cm

NIKE SAVVAS

 Nike Savvas,  Atomic #1 , 2005-2012, C-Type Photograph, 124 x156cm

Nike Savvas, Atomic #1, 2005-2012, C-Type Photograph, 124 x156cm

NIKE SAVVAS' spectacular installation work Atomic: Full of Love Full of Wonder is included in the exhibition Spacemakers and roomshakers at the AGNSW. 

Nike will talk about her work on Thursday 26 July, at 12pm at the AGNSW. Meet at the information desk.

More information >  

JULIE RRAP

JULIE RRAP is co-curating Critical Bodies at Verge Gallery.  The body has been a vehicle for experimentation into all realms of human experience, including emotion, violent action, religious expression, political engagement, gender questions, and medical intervention. This exhibition demonstrates how ‘the body’ continues to provide a rich source of exploration for younger generations of artists.

The exhibition will run until 11 August.

Curators Julie Rrap and Cherine Fahd will give a critique of the exhibition August 11, 1-3pm.

More information >

 Julie Rrap,  Remaking the World #4,  2015, pigment print on paper, 160 x 160.  

Julie Rrap, Remaking the World #4, 2015, pigment print on paper, 160 x 160.  

JOHN YOUNG

 John Young Zerunge's video,  The Burrangong Affray , at 4A Centre for Contemporary Asian Arts, Sydney (2018). Photo: ArtsHub.

John Young Zerunge's video, The Burrangong Affray, at 4A Centre for Contemporary Asian Arts, Sydney (2018). Photo: ArtsHub.

JOHN YOUNG's new body of work The Burrangong Affray has been reviewed by Arts Hub.

The Burrangong Affray, currently on view at 4A Centre for Contemporary Asian Art, is researched and produced in collaboration with artist Jason Phu, offers contemporary mediations in reflection on the nature and legacy of the largest racially motivated riots in Australia's history. 

More information >

 

IMANTS TILLERS

IMANTS TILLERS' major solo exhibition Journey to Nowhere is opening tonight at the Latvian National Museum of Art.

The exhibition will continue until 30 September.

A review of the exhibition can be read here

More information >

 Imants Tillers, Installation,  Journey to Nowhere , 2018.

Imants Tillers, Installation, Journey to Nowhere, 2018.

ROBERT OWEN

ROBERT OWEN's upcoming exhibition Afterglow has been featured in the current edition of Art Collector, Issue 85, in the section Not to be Missed.  

Written by Ashley Crawford, the article talks about Owen's inspirations and time spent in the 1960s living on the Greek island of Hydra.

Afterglow opens Wednesday 1 August, 6-8pm and continues until 1 September, 2018.

More information >

 

 

 Robert Owen,  Nocturne , 2018, synthetic polymer paint on linen, 260 x 187cm.

Robert Owen, Nocturne, 2018, synthetic polymer paint on linen, 260 x 187cm.

MURRAY FREDERICKS

 Murray Fredericks,  Mirror 25 , 2017, digital pigment print on cotton rag, 120 x 155.

Murray Fredericks, Mirror 25, 2017, digital pigment print on cotton rag, 120 x 155.

The stunning works of MURRAY FREDERICKS have inspired Prince Nikolaos of Greece.

"I really identify with Murray's works. He's a fantastic photographer and spends weeks at a time on trips taking pictures in open light," says Prince Nikolaos. "What drew me to his work is his love of vast wide-open spaces – you get to see that in the images he takes of the sea, desert and architecture," he says.

More information > 

PAT BRASSINGTON

 Pat Brassington, Camourflage #2, 2018, pigment print, 78 x 56 cm.

Pat Brassington, Camourflage #2, 2018, pigment print, 78 x 56 cm.

One of Australia’s most significant and influential artists, Pat Brassington, returns to ARC ONE with Nonetheless, a new body of work that provokes, delights, and disturbs the senses.

Since the mid-1980s Pat Brassington has worked predominantly in photo-media within a disrupted surrealist aesthetic. Informed by feminism, psychoanalysis and contemporary critical theory, she has developed a unique oeuvre of enigmatic and visually intriguing photomontages constructed from seamlessly joined found and taken images. Suffused with suggestions of fear, repulsion, desire, sex, and memory, but with few clues to decode their narrative contexts, these images exist in an ambiguous space that triggers unexpected associations.

 Pat Brassington, The Sleeper, 2018, pigment print, 90 x 68 cm.

Pat Brassington, The Sleeper, 2018, pigment print, 90 x 68 cm.

In Nonetheless, images and motifs familiar from previous series evolve and shift, becoming bearers of new meanings and insinuations. Bodies are fragmented, distorted and foreshortened, female lingerie is submerged and sodden, flowers are erotic, reds and fleshy tones pulsate, feet are hyper-pointed and elongated, and shoes are fetishised. Digitally manipulated, evocatively juxtaposed, and placed within claustrophobic, eerily lit interiors, these innocent forms and bodily fragments are rendered abject and sublime, unsettling and seductive through their superbly loaded connotations.

These works are provocatively ambiguous. Drawing influence from the Surrealists, notions of the uncanny, and Walter Benjamin’s ‘optical unconscious’, as well as literary references such as Alice in Wonderland, Brassington employs photomontage to reveal the incredible power of the mind to transform mundane objects and situations into sites/sights of horror, menace, sensuality, and desire.

As Brassington explains: When morphing an image I baulk prior to resolution and prefer to leave it hovering in uncertainty. Our visual brain endlessly seeks resolution and hence the real exerts a magnetic attraction. My aim is to use this gravitas to spin off towards other possibilities.

With a career spanning more than three decades, Pat Brassington is one of Australia’s leading contemporary artists. This year, Brassington won the prestigious Australia Council Award for Visual Arts. In 2017, she was awarded the inaugural Don Macfarlane Prize. In 2013, she won the Monash Gallery of Art Bowness Photography Prize. In 2012, she was honoured with a major nationally touring survey of her work, A Rebours, by the Australian Centre for Contemporary Art (ACCA). Brassington’s work has also featured extensively in major exhibitions, including The Shape of Things to Come at Buxton Contemporary, Melbourne (2018); Today Tomorrow Yesterday at the Museum of Contemporary Art, Sydney (2017); Lurid Beauty: Australian Surrealism and its Echoes, National Gallery of Victoria, Melbourne (2015); Adelaide Biennial Parallel Collisions (2012); Feminism Never Happened at the Institute of Modern Art, Brisbane (2010); the Biennale of Sydney (2004); World Without End - Photography and the 20th Century at the Art Gallery of New South Wales (2000); and Fotokunst Aus Australien, Berlin (2000), curated by Bernice Murphy.

Selected recent solo exhibitions include Pat Brassington at Ten Cubed, Melbourne (2018); The Body Electric, Art Gallery of New South Wales, Sydney (2017); Just So, ARC ONE Gallery, Melbourne (2016); In search of the marvellous at CAST Gallery, Hobart (2013); a survey exhibition at the Lönnstrom Art Museum, Finland (2008); Pat Brassington at the Institute of Modern Art, Brisbane (2007); a major solo retrospective at the Ian Potter Museum of Art, Melbourne (2002) and Gentle at Australian Centre for Contemporary Art, Melbourne (2001).

Pat Brassington’s work is held in many public collections including the Art Gallery of NSW; Queensland Art Gallery; National Gallery of Australia; Museum of Contemporary Art, Sydney; National Gallery of Victoria; Art Gallery of Western Australia; Museum of Old and New Art, Hobart; Buxton Contemporary, Melbourne; ArtBank, Sydney; Monash Gallery of Art, Melbourne; Cologne Museum of Contemporary Art, Germany; Heide Museum of Modern Art, Melbourne; Geelong Art Gallery; Ian Potter Museum of Art, Melbourne; City of Yarra Collection; University of Technology, Sydney; Banyule City Council; Horsham Gallery of Art; Murdoch University, WA; Devonport Art Gallery, Tasmania; Burnie Regional Gallery, Tasmania; Fremantle Arts Centre, WA; University of the Northern Territory, Darwin; La Trobe University Art Collection, Melbourne; Collection of Legal Aid Victoria.

Pat Brassington lives and works in Hobart, Tasmania.

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

ANNE ZAHALKA

ANNE ZAHALKA's iconic work The Bathers is currently on view at the Monash Gallery of Art in Legacy. Your Collection. Our Story. 

LEGACY teases out the fascinating and compelling stories behind the MGA's collection and their donors, and showcases significant works that chart the history of MGA.

The exhibition continues until 22 July.

More information >

 

 Anne Zahalka,  The Bathers , 1989, from the series  Bondi: Playground of the Pacific , chromogenic print, 95 x 112cm.

Anne Zahalka, The Bathers, 1989, from the series Bondi: Playground of the Pacific, chromogenic print, 95 x 112cm.

JACKY REDGATE

 Jacky Redgate,  Light Throw (Mirrors) Fold - Blue and Black,  2017, chromogenic photograph, 152.5 x 122cm. 

Jacky Redgate, Light Throw (Mirrors) Fold - Blue and Black, 2017, chromogenic photograph, 152.5 x 122cm. 

JACKY REDGATE has been selected for an upcoming exhibition on contemporary Australian photographic artists at the Museum of Photographic Arts in San Diego. The exhibition will occur in 2019.

PAT BRASSINGTON

PAT BRASSINGTON has been selected for an upcoming exhibition on contemporary Australian photographic artists at the Museum of Photographic Arts in San Diego. The exhibition will occur in 2019.

 

  

 Pat Brassington,  Mantle , 2017, pigment print, 90 x 76.5cm.

Pat Brassington, Mantle, 2017, pigment print, 90 x 76.5cm.

NIKE SAVVAS

 Nike Savvas,  Atomic: full of love full of wonder , 2005, AGNSW, Contemporary Collection Benefactors'.  Photo by Jenni Carter.

Nike Savvas, Atomic: full of love full of wonder, 2005, AGNSW, Contemporary Collection Benefactors'.

Photo by Jenni Carter.

NIKE SAVVAS' work Atomic: full of love full of wonder will be exhibited at the AGNSW in Spacemakers and roomshakers: Installations from the collection. The impressive installation will be on view from mid July through to October alongside other immersive and expansive artworks in the Gallery's collection.

More information >