JOHN YOUNG

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."

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John Young, Art Collector, Issue 84, April - Jun, 2018

John Young, Art Collector, Issue 84, April - Jun, 2018

PRUE STENT

Prue Stent, Fluid, 2015, archival pigment print, 108 x 72cm.

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.

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MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Actual Size II, 2015, pigment print on premium photo paper 300 grams.

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. 

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HONEY LONG & PRUE STENT

Honey Long & Prue Stent, Ameoba Phase II, 2015, archival pigment print, 72 x 108 cm. 

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."

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ROBERT OWEN

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. 

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Robert Owen, Model for Silence #2, 2012, painted stainless steel, 58 x 72 x 74cm.

Robert Owen, Model for Silence #2, 2012, painted stainless steel, 58 x 72 x 74cm.

CYRUS TANG

Cyrus Tang, Lacrimae Rerum - 4505.00s, 2016, archival giclee, 100 x 100cm. 

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.

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ROBERT OWEN

Robert Owen, Endings #4 (Rothko died today), 2009, archival print on 310gsm, 104 x 72.5cm.

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.

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MARIA FERNANDA CARDOSO

Maria Fernanda Cardoso, Actual Size II, 2015, pigment print on premium photo paper 300gr, 152.4 x 152.4 cm. 

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.

Read more here

 

 

 

GUAN WEI

Guan Wei, Dow Island, 2002, synthetic polymer paint on 48 canvases, 317 x 913 cm, National Gallery of Australia, Canberra.

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 >

ANNE ZAHALKA

Anne Zahalka, Leisureland series, installation view, 2018. 

Anne Zahalka, Leisureland series, installation view, 2018. 

The group exhibition, Incommensurable, featuring ANNE ZAHALKA's Leisureland series has been reviewed in the press. 

Gael Newton's review here

Art Almanac review here

The Canberra Times review here

The exhibition continues at ANU Drill Hall, Canberra until 8 April 2018. 

JANET LAURENCE

Janet Laurence, The Matter of the Masters (detail), 2017, Installation View.  Photo: © AGNSW, Christopher Snee 

Janet Laurence, The Matter of the Masters (detail), 2017, Installation View.  Photo: © AGNSW, Christopher Snee 

Revered contemporary artist Janet Laurence presents What Colour is the Sacred? at ARC ONE Gallery this March. Following her acclaimed exhibition, The matter of the masters, at the Art Gallery of New South Wales, Laurence will exhibit a new work using elements and concepts of the museum installation inspired by conservation research undertaken at the Rijksmuseum, Amsterdam

Laurence’s recent body of work investigates the intersection of art, science and nature through an analysis of artists’ materials and their origins. With a specific focus on the work of Rembrandt and other Dutch masters, Laurence explores the ‘physiology of a painting’ in her modular vitrines and haunting images derived from botanical illustrations and x-ray fluorescence scans. The exhibition harks back to the artist’s earlier alchemical works (with her research beginning 12 years ago) and reveals a view of colour from its source in the nature of the world.

From natural history collections she has sourced raw pigments and binders, commonly found in paintings, and presents these substances as scientific experiments or specimens in individual ‘cabinets of curiosity’. Interested in a scientific analysis of colour, Laurence likens her contained installations to an anatomy lesson, or a ‘medical examination’ of paintings. Elements such as eggshells, bone, and minerals are gathered, revealing the organic origins of the old masters’ materials and how they were subsequently transformed into powerful human stories and cultural objects. In providing an artistic interpretation of the palette of this era, Laurence stresses that all matter stems from the environment and that nature and culture are deeply entwined.

The exhibition also features Laurence’s iconic mixed-media wall work, including a long frieze with a series of panels moving between fluids and images, matter and light, fractured and fragile landscapes. Her Plants bleed lakes depicts a spectral range of colours sourced from plants paired with their botanical illustrations to reveal the scientific roots. Colours created by plants, often referred to as ‘lakes’, are transparent and fugitive by nature, like nature. Taking her title from Michael Taussig’s book of the same name, Janet Laurence’s What Colour is the Sacred? is an intelligent and beautiful meditation on the mysteries of colour, creative alchemy, and the enduring primacy of the earth.

Janet Laurence is a Sydney-based artist who exhibits nationally and internationally. Renowned as one of Australia’s leading contemporary artists, her practice examines our physical, cultural and conflicting relationship to the natural world. She creates immersive environments that navigate the interconnections between organic elements and systems of nature. Within the recognised threat to so much of the life world, she explores what it might mean to heal, albeit metaphorically, the natural environment, fusing this with a sense of communal loss and search for connection with powerful life-forces.

Her work is included in museum, university, corporate and private collections as well as within architectural and landscaped public places. Key collections include: NGA, Canberra; AGNSW, Sydney; NGV, Melbourne; QAG, Brisbane; AGSA, Adelaide; Artbank Australia; Macquarie Bank Collection; and Kunstwerk Summlung Klein, Germany.

Recent significant projects include: Listen, to the Sound of Plants, Australian Tapestry Workshop, Melbourne (2017); The Pleasure of Love, October Salon, Belgrade (2016); Deep Breathing: Resuscitation for the Reef, for the Paris Climate Change Conference (2015) and the Paris International Contemporary Art Fair (2015), followed by the installation Deep Breathing at the Australian Museum, Sydney (2016); Tarkine for a World in Need of Wilderness, Macquarie Bank Foyer, London (2011); In Your Verdant View, Hyde Park Building, Sydney (2010); Waterveil, CH2 Building for Melbourne City Council; Memory of Lived Spaces, Changi T3 Airport Terminal, Singapore; Elixir, permanent installation for Echigo-Tsumari Art Triennial, Japan (all 2006); The Australian War Memorial (in collaboration with TZG Architects), Hyde Park, London (2003); In the Shadow, Sydney 2000 Olympic Park, Homebush Bay (2000); Veil of trees, Sydney Sculpture Walk (with Jisuk Han); 49 Veils, award-winning windows for the Central Synagogue, Sydney (with Jisuk Han, 1999); The Edge of the Trees (with Fiona Foley), Museum of Sydney (1994); and The Tomb of the Unknown Soldier, Australian War Memorial, Canberra (with TZG Architects, 1993).

Laurence has been a recipient of Rockefeller, Churchill and Australia Council fellowships; recipient of the Alumni Award for Arts, UNSW; and is currently visiting fellow at the NSW University Art and Design; Australian representative for the COP21/FIAC, Artists 4 Paris Climate 2015 exhibition; visiting fellow of the 2016/2017 Hanse-Wissenschaftskolleg (HWK) foundation fellowship; and artist in residence at the Australian Museum.

Her work, The matter of the masters, was recently shown at AGNSW in association with the Rembrandt and Dutch Masters exhibition.

JOHN YOUNG

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JOHN YOUNG will be discussing the collaboration between contemporary art and literature, based on the history of Macau, with VCA scholar Edward Colless and poet Hayley Singer on Thursday 8 March, 6:30pm at Readings, Carlton. 

Young will also be signing his latest publication Macau Days

Find out more here.

GUAN WEI & GUO JIAN

Guan Wei, Loong (Dragon), 2018. 

Guan Wei, Loong (Dragon), 2018. 

GUAN WEI AND GUO JIAN's spectacular Lunar Lanterns are now on view as part of City of Sydney's Chinese New Year Festival. GUAN WEI's Loong (Dragon) can be viewed on the forecourt of the Museum of Contemporary Art Australia and GUO JIAN's Rat in the East side of the Circular Quay in Sydney until 25 February.

More information > 

ANNE ZAHALKA

Anne Zahalka, Santa’s Kingdom Christmas Tunnel, Fox Studios, Sydney, 2004, light-jet print, Type C, 115 x 145 cm.

Anne Zahalka, Santa’s Kingdom Christmas Tunnel, Fox Studios, Sydney, 2004, light-jet print, Type C, 115 x 145 cm.

ANNE ZAHALKA is included in Incommensurable, a group exhibition at Drill Hall Gallery in Canberra. The show looks at photo media in the era of globalisation and includes a selection of works from Anne's Leisureland and Natural Wonders series. 

Incommensurable will be on view from 22 February until 8 April. The artists will be in conversation with exhibition curator Terence Maloon Friday 23 February at 12 noon.

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JULIE RRAP

JULIE RRAP is a featured artist in Hannah Gadsby's new two-part series, Nakedy Nudes, in which the comedian takes a close look at the nude - one of the most enduring subjects in western art historyThe show will air on the ABC Tuesday 27 February and Tuesday 6 March, at 9:30pm.

More information > 

Article in The Guardian >

Julie Rrap, Window Dresser No. 1 (Marilyn) A-R-MOUR Series, 2000, digital print, 195 x 122 cm.

Julie Rrap, Window Dresser No. 1 (Marilyn) A-R-MOUR Series, 2000, digital print, 195 x 122 cm.

MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO's 'The Art of Seduction' has been featured in the Good Weekend Magazine, on Saturday 17 February. 

You can read John McDonald's article here

Maria Fernanda Cardoso, Look at me! I am an artist from Australia. Maratus splendens, 2018, lenticular print, 10.2 x 15.2cm. 

Maria Fernanda Cardoso, Look at me! I am an artist from Australia. Maratus splendens, 2018, lenticular print, 10.2 x 15.2cm. 

GUO JIAN

GUO JIAN is included in Carnival of the Bold's art exhibition, Chindia, in which six visual artists feature works exploring cultural and national identity, politics, displacement and diaspora histories of those with Chinese and Indian heritage.

The show includes two special events — ‘Chindia: Stories from the Artists’ and ‘Chindia: Short Films from the Diaspora’

This free exhibition runs from 15 – 26 February 2018, at Gaffa Gallery, 281 Clarence St Sydney.

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Guo Jian, The Landscape No.3, inkjet pigment print, 5 panels, 2016, 200 x 235 cm (overall). 

Guo Jian, The Landscape No.3, inkjet pigment print, 5 panels, 2016, 200 x 235 cm (overall). 

MARIA FERNANDA CARDOSO

MARIA FERNANDA CARDOSO's works will be shown in Chaos & Order: 120 Years of Collecting at RMIT, an exhibition which will run at RMIT Gallery from 13 April to 9 June 2018. Drawn from the University Art Collection, Chaos & Order is an ambitious survey of artwork collected by RMIT over the last century.

Maria Fernanda Cardoso, Naked Flower #1: One wife, three husbands, 2013, digital print, acrylic face mounted on aluminium, 45 x 30 cm.

Maria Fernanda Cardoso, Naked Flower #1: One wife, three husbands, 2013, digital print, acrylic face mounted on aluminium, 45 x 30 cm.

JACKY REDGATE

Jacky Redgate, Light Throw (Mirrors) Fold #10 of 10, (detail), 2014-15, chromogenic photograph, handprinted in 2 parts from original negative, 206 x 248cm.

Jacky Redgate, Light Throw (Mirrors) Fold #10 of 10, (detail), 2014-15, chromogenic photograph, handprinted in 2 parts from original negative, 206 x 248cm.

JACKY REDGATE has a forthcoming solo show at Latrobe Regional Gallery in Morwell, Victoria. Titled Light Throw (Mirrors) Fold #1 ­–10, the exhibition will showcase Redgate's photographic series of the same name for the first time in its entirety, which she produced between 2014 and 2015. The work is part of her ongoing investigation of light and space, her photographs and sculptures are grounded in conceptualism and minimalism.

The exhibition will run from 10 February to 20 May 2018.

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EUGENIA RASKOPOULOS

EUGENIA RASKOPOULOS's work is featured in a new exhibition at the Centre for Contemporary Photography titled Figuratively Speaking, curated by Laura Lantieri. The show looks at the body as a medium for language in lens-based media and includes three of Raskopoulos's striking large-scale prints from her 'Diglossia' series. 

The exhibition runs from 2 Feburary - 11 March 2018. 

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

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