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.
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.
Imants Tillers, Installation, Journey to Nowhere, 2018.
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.
Robert Owen, Nocturne, 2018, synthetic polymer paint on linen, 260 x 187cm.
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.
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.
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.
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.
John Young, The Field, 2018, still image from looped HD video projected on wall.
A major new collaborative exhibition featuring JOHN YOUNG is opening at 4A Centre for Contemporary Asian Art next Thursday 28 June, 6-8pm.
For The Burrangong Affray 4A commissioned Chinese-Australian artists John Young and Jason Phu to trace the events and repercussions of the period between November 1860 and September 1881, where the goldfields of Burrangong (NSW) became the site of Australia's largest racially motivated riot. The works interweave accounts of history to create contemporary mediations that reflect identity, economics, race and otherness in Australia today.
The Burrangong Affray is the second iteration of a two-part exhibition project. The first was realised in Young in April 2018. The exhibition runs from 29 June until 14 August 2018.
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.
Anne Zahalka, The Bathers, 1989, from the series Bondi: Playground of the Pacific, chromogenic print, 95 x 112cm.
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 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.
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.
MARIA FERNANDA CARDOSO will create a major new series of sculptures from approximately 4,000 cubic-metres of ‘yellow Sydney’ sandstone, harvested and commissioned by TWT Property Group. The sandstone has been quarried from 15 layers on the site of TWT's upcoming NewLife Pyrmont development and will be incorporated into the design of the buildings.
Cardoso was selected from a list of leading Australian artists. Her proposal was selected as the most outstanding site-specific concept reflecting the beauty and importance of the sandstone.
Portrait of Maria Fernanda Cardoso
A review of JOHN YOUNG and Brian Castro's book 'Macau Days' is now online on Vault art magazine.
Dr Rachel Marsden writes: 'Rekindling Young’s 2012 solo exhibition in Hong Kong of the same name, Macau Days brings into focus the duo’s personal fascination and diaspora associations with Macau’s past, present and potential futures. Through an ambitious trilingual visual and textual approach in Portuguese, Chinese and English, they translate Macau’s transformative cultural history as a collective “line of flight”.'
John Young, Mazu, Goddess of the Sea I (Mazu Saves), 2012, oil on linen, 190 x 145cm.
Honey Long & Prue Stent, Sub Soil, 2018, archival pigment print, 106 x 159cm.
HONEY LONG & PRUE STENT's exhibition Phanta Firma has been reviewed in The Age today.
John McDonald writes: 'The anonymous figures are intended to be both alluring and unsettling. In conjoining the female body with the landscape, the artists say that they are liberating energies and celebrating "dualities of desire".'
HONEY LONG & PRUE STENT are taking over Vault's Instagram account for the next three days.
Honey Long & Prue Stent, on location, 2018
Phaptawan Suwannakudt, sketches for work Knowledge in your Hands, Eyes and Mind for Bangkok Art Biennale, 2018.
PHAPTAWAN SUWANNAKUDT has been invited to participate in the Inaugural Bangkok Art Biennale happening between 19 October 2018 - 2 February 2019.
The theme of the Biennale is Beyond Bliss. It is an open-ended question that invites everyone to contemplate their own notion of happiness and the way they find happiness, posing inquiry as to what the ultimate happiness is.
SBS shares the untold story from ANNE ZAHALKA in Nobody Loves You More Than Me: Finding Margarete.
Nobody Loves You More Than Me: Finding Margarete is a new interactive text based documentary produced by SBS Australia, which explores the story of Anne Zahalka's grandmother, Margarete Back, who disappeared during World War Two.
As next year marks the 80th anniversary of the start of WWII, this new interactive text based documentary offers a unique perspective on those who lived and those who lost loved ones during Hitler’s reign.
ANNE ZAHALKA, Nobody Loves You More Than Me: Finding Margarete, 2018.
JULIE RRAP and DANI MARTI are in the exhibition Hunter Red: Corpus, at the Newcastle Art Gallery.
The overarching exhibition theme of red is loaded with symbolism and tactile metaphors. The colour also provides audiences with an exploratory experience in the exhibition space with works of art that evoke life, death, blood, reproduction and mortality.
The exhibition opened on 26 May and will continue until 22 July, 2018.
Julie Rrap, Persona and Shadows: Christ, 1984, cibachrome print, 194 x 105cm.
Phaptawan Suwannakudt, Studio, 2018
PHAPTAWAN SUWANNAKUDT was one of seven artists selected for the 2017/2018 studio awarded residency at The Clothing Store, North Eveleigh, located within the Carriageworks multi-arts precinct.
The Clothing Studio Carriageworks is celebrating its one year anniversary on 6th June with friends and patrons.
EUGENIA RASKOPOULOS has been included in the video exhibition A Visibility Matrix at The Douglas Hyde Gallery in Dublin. Initiated by Dublin-based artists and long-term collaborators, Sven Anderson and Gerard Byrne, the exhibition unfolds as a response to the ambitions of abandoned art and technology projects from the 1960s–1980s that prioritised multiscreen video projection, monitor arrays, communications networks and algorithmic composition principles. These projects explored visual excess and hyperstimulation prior to the development of the Internet, and before multi-screen video displays expanded into the vernacular backdrop of everyday public and private life.
The exhibition opens Wednesday 6 June and continues until 25 August.
Eugenia Raskopoulos, Rootreroot, 2016, HD digital video, single channel, colour, stereo, 8.45mins.