Lyndell Brown & Charles Green's exhibition Morning Star: An Exhibition is currently on view at the Australian Embassy in Paris, France.
The exhibition continues until June1, 2018.
Lyndell Brown & Charles Green, Installation view Morning Star: An Exhibition, Australian Embassy in Paris, France
Vault Magazine, Issue 22
PRUE STENT & HONEY LONG have been featured in the current VAULT magazine, Issue 22. The feature article talks about the power of their collaborative process and their upcoming exhibition at ARC ONE, opening 24 May, 6-8pm.
NIKE SAVVAS has curated the Redlands Konica Minolta Art Prize 2018.
Covering two floors at the National Art School in Darlinghurst, the exhibition features nineteen artists and favours what Savvas calls “artist’s artists”. The exhibition, Extreme Prejudice has been reviewed by Arts Hub: "There are too many wonderful paintings and artists to mention here – being a painter herself it is not surprising that Savvas puts a lot of paintings in this show; it makes the experience very meaty and soothing".
If you are in Sydney, visit the National Art School in Darlinghurst.
The exhibition is on until 12 May, 2018.
Nike Savvas, 'Sliding Ladder - Black with White Pentagon 1', 2012, wool, wood, steel, 155 x 260 x 250cm.
Cyrus Tang, Golden Hour, Installation view, ARC ONE Gallery, 2018.
CYRUS TANG's exhibition at ARC ONE Gallery has been featured in the May Issue of Art Monthly Australasia.
An article on HONEY LONG & PRUE STENT has been published in The Good Life italia magazine #13.
Honey Long & Prue Stent, Fis-Net, 2017, archival pigment print, 58 x 87cm.
Cyrus Tang, 14.14.16.004, 2018, archival pigment print, 90 x 150cm; Cyrus Tang, Golden Hour, archival pigment print, 90 x 90cm
With a unique capacity to explore nostalgia, memory, and absence, Cyrus Tang’s arresting new body of work is a powerful elegy on damage and loss, existence and presence.
For her second solo exhibition at ARC ONE Gallery, Tang continues her project of paradoxically reconstructing and recording ephemeral mental images and sensations in permanent materials. In this latest suite of photographic work, she employs the concept of the ‘Golden Hour’ to further her meditations on humanity.
The term first came to prominence during World War One where it was used by medics to describe the critical liminality between life and death experienced by battlefield trauma patients; that narrow window of time when medical intervention can still have a successful outcome.
The term is also used by landscape photographers to articulate the transition of light between night and day. Here the ‘Golden Hour’ refers to a brief period just before sunset, or just after sunrise, when the harsher contrast of daytime is reduced and light has a gentle glow and appears rounded and mellow, with long and soft shadows.
These two meanings inform this exhibition as Tang considers the balance of life and death associated with trauma and the transition between light and dark in her juxtaposition of two aesthetically disparate series of photographs which explore experiences of damage and loss.
In her haunting cityscapes, Tang has used high speed still photography to chronicle the destruction of a model city as it is repeatedly bombarded. Brutalist inspired high fired porcelain architectural structures erupt into dust evoking all too familiar contemporary media images of humanity at crisis point.
While in her portraits of friends, acquaintances, and strangers with Chinese cultural backgrounds, Tang has used overlaid long exposure times to record her sitters’ reactions to films related
to Hong Kong, Chinese cultural issues or history. The overlaid exposure times trace the facial expressions, shifts in movement, comfort and discomfort, absorption and impatience of her sitters as they watch these films for up to three hours. This extended period of reflection exposes private memories and emotions to Tang’s lens, producing images that are a powerful confluence of past and present.
Born in Hong Kong, Cyrus Tang moved to Australia in 2003. She completed her Bachelor of Fine Arts (Honours) at the Victoria College of the Arts, Melbourne, in 2004, and her Master of Fine Arts (Research) at Monash University, Melbourne, in 2009. Cyrus has participated in a number of residency programmes, including Helsinki International Artist Program (2013); The National Art Studio in South Korea (2012); Cité Internationale des Arts, Paris (2009); and the Banff Centre, Canada (2008). She was the recipient of the Asialink Grant (2012); the Australian Council for
the Arts Skills and Arts Development Grant (2011) and New Work (Emerging) Grant (2009);
the Georges Mora Fellowship (2008); Theodor Urback Encouragement Award (2004); and The National Gallery of Victoria-Trustee Award (2003). Her works have been shown across Australia and in various countries internationally, including Finland, South Korea, Singapore, Japan, France, China and Sweden. She currently lives and works in Melbourne, Australia.
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
Special thanks to John Young, Theodore Wohng, Pei Pei He, Sung Ling, Nikki Lam, Sophia Cai, Charles Lai, Zhong Chen, Yifeng Tan, Chonggang Du for their participation in this project.
Imants Tillers, Tomb, 1987, oil stick, gouache, synthetic polymer paint on 48 canvas boards, nos. 17665–17712, 229 x 203 cm.
A solo exhibition of IMANTS TILLERS' is currently on display at The University Gallery, Newcastle, NSW.
Curated by Olivia Sophia, the exhibition From the Studio presents 10 paintings drawn from Tillers' personal collection, spanning four decades of his practice.
The exhibition continues until 26 May, 2018.
Janet Laurence, Natural History, 2008, Glass vials, botanical specimens, wood, steel, polished aluminium mirror.
JANET LAURENCE'S stunning Natural History (Landscape and Residues series), 2008, is included in the group exhibition Genius Loci currently showing at the Canberra Glassworks.
The exhibition considers the ways in which the landscape is a rich starting point for the exploration of a broad variety of topics. From the connection to Country of Australia’s First Peoples through to the contemporary re-imagining of what a landscape is, the exhibition celebrate the beauty, power and fragility of the natural world.
The show continues until June 5.
The Canberra Times Review >
Long & Stent, Art Collector, Issue 84, April - June, 2018
HONEY LONG & PRUE STENT are profiled in What Next? in the latest edition of Art Collector, Issue 84. The article introduces five artists coming up in the art world.
"Taking photos and making art together, in a way, has documented our process of growing up and reflected our changing thoughts and feelings," says Stent. Long adds: 'We document interactions between bodies, materials, objects and landscape and I think we focus on capturing the feelings that take shape in these exchanges."
JOHN YOUNG is profiled in the latest edition of Art Collector, Issue 84. After more than 70 solo exhibitions worldwide, JOHN YOUNG continues to innovate his artistic practice. Briony Downes surveys his evolution. Portrait by Zan Wimberley.
Fran Clark, co-Director of ARC ONE Gallery says, "He is a visual artist with a deep passion and understanding for the creative worlds around him. Whether visual, sound or thoughts, his knowledge is deep in conversation with human history and our place in these multi-worlds of human understanding."
John Young, Art Collector, Issue 84, April - Jun, 2018
Prue Stent, Fluid, 2015, archival pigment print, 108 x 72cm.
PRUE STENT's work Fluid has been chosen as the lead image for the Dark Mofo Société Anonyme costume ball happening on 10 June, 2018.
Dark Mofo, Mona's winter festival, delves into centuries-old winter solstice rituals, exploring the links between ancient and contemporary mythology, humans and nature, religious and secular traditions, darkness and light, and birth, death and renewal.
Dark Mofo runs from 7-24 June, 2018.
Two of JOHN YOUNG's works are currently on display in the exhibition Infinite Conversations at the National Gallery of Australia, Canberra. The exhibition looks at 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.
John Young, Give and Take, Autumn 2001, digital print and oil on canvas, 2 panels, 212 x 132 cm each, 212 x 264 cm overall.
Maria Fernanda Cardoso, Actual Size II, 2015, pigment print on premium photo paper 300 grams.
Major works by MARIA FERNANDA CARDOSO, including Actual Size I and Actual Size II have been acquired by the Tate London and the Museum of Contemporary Art, as part of a joint acquisition program that aims to bring Australian art into the international spotlight.
These works were shown at the beginning of the year at ARC ONE gallery in the exhibition, The Art of Seduction. In this exhibition, Cardoso looked at the complex behaviour of miniscule animals to explore notions of sexual selection and how that might relate to our aesthetic sense. Along with the spectacular video work On the Origins of Art, this body of work also represented Australia in the Cuenca Biennial.
Elizabeth Ann Macgregor, Director of the MCA has said that the works will be shared by both major institutions.
IMANTS TILLERS' work Kangaroo Blank, has been acquired by the Tate and the Museum of Contemporary Art, as part of a joint acquisition program that aims to bring Australian art into the international spotlight.
The work was originally commissioned for the bicentennial exhibition, Creating Australia: 200 years of art 1788-1988 and according to the Sydney Morning Herald is a 'post-modern commentary on the way Australian has been misrepresented down the ages'.
Using his signature canvas boards, Tillers employs appropriation and textual references to create highly personal and thought provoking paintings that explore themes relevant to contemporary Australian culture.
Imants Tillers, Kangaroo Blank, 1988, oilstick, gouache, oil and synthetic polymer paint on 78 canvas boards.
Honey Long & Prue Stent, Ameoba Phase II, 2015, archival pigment print, 72 x 108 cm.
Congratulation to HONEY LONG & PRUE STENT for their inclution in Forbes' 30 under 30: The Arts.
"Creative duo Honey Long and Prue Stent are multidisciplinary artists whose work spreads across photography, performance, installation and sculpture. In their exploration of the fleshy female form and its expression of femininity, the pair use material or objects to disguise and veil the body, often in dreamy abstract contexts which reimagine and allude to a representation of the female form."
ROBERT OWEN's work is included in Another Dimension at McClelland Sculpture Park + Gallery. The exhibition explores the dynamic relationship between form and content in contemporary art, by positioning sculpture as part of a broader two and three-dimensional spatial practice.
This exhibition will run from 1 April - 15 July, 2018.
Robert Owen, Model for Silence #2, 2012, painted stainless steel, 58 x 72 x 74cm.
Cyrus Tang, Lacrimae Rerum - 4505.00s, 2016, archival giclee, 100 x 100cm.
CYRUS TANG has been shortlisted for the 65th Blake Prize, one of Australia’s longest standing and most prestigious prizes which encourages conversation about spirituality and religion through art.
The winner of the $35,000 Blake Prize will be announced at the exhibition launch on 19 May 6-9pm at Casula Powerhouse Art Centre, Sydney.
Robert Owen, Endings #4 (Rothko died today), 2009, archival print on 310gsm, 104 x 72.5cm.
ROBERT OWEN's work is featured in Antipodean emanations: cameraless photographs from Australia and New Zealand at Monash Gallery of Art. The exhibition brings together Australian and New Zealand artists who push boundaries through experimentation, unearthing the elemental properties of photographic practice.
Exhibition dates are 10 March until 27 May, 2018.
Maria Fernanda Cardoso, Actual Size II, 2015, pigment print on premium photo paper 300gr, 152.4 x 152.4 cm.
MARIA FERNANDA CARDOSO's work can be seen in QUEENIE: Selected artwork by female artists from El Museo del Barrio's collection in New York.
QUEENIE features a selection of artworks by female artists across various media from the Permanent Collection of El Museo del Barrio. The exhibition brings together works which prompt a multifarious dialogue around society and gender through the artists’ varying perspectives and experiences.
As a collaboration between two East Harlem cultural institutions, El Museo del Barrio and Hunter East Harlem Gallery, QUEENIE provides a platform for the underrepresented presence of the female voice in the community. The exhibition runs 21 March - 23 June, 2018.
Guan Wei, Dow Island, 2002, synthetic polymer paint on 48 canvases, 317 x 913 cm, National Gallery of Australia, Canberra.
GUAN WEI's Dow Island, part of the National Gallery collection, is being included in the group exhibition Infinite Conversations: Australian Asian Artistic Exchange at the National Gallery of Australia, Canberra.
The exhibition considers the creative practice of artists from mainland China and Hong Kong. In Guan Wei's enormous 48 panelled work, the artist explores the idea of journeys across time and place. This work is on view in the Australian Galleries, Level 1.
Read more here >