MURRAY FREDERICKS

Murray Fredericks, ‘Array 11’, 2018, Digital pigment print on cotton rag, ed/7, 120 x 165 cm

Murray Fredericks, ‘Array 11’, 2018, Digital pigment print on cotton rag, ed/7, 120 x 165 cm

MURRAY FREDERICKS is interviewed in this month’s edition of Inside Out Magazine.

“Being isolated for extended periods of time, where your whole world becomes the day and night sky, takes you away from the trivial stresses of daily existence - it's an absolute joy," says Fredericks.

The leading image of the article is his photograph Array 11, which will be on view in our upcoming exhibition of Fredericks works opening 25 June 2019.

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JANET LAURENCE

Now you can listen to JANET LAURENCE and MCA Chief Curator Rachel Kent as they share insights on the making of Janet Laurence: After Nature. With a relationship spanning over two decades, Janet and Rachel explore key ideas that have shaped the artist's practice. During the conversation, they discuss Janet's passion for nature as well as her unique interdisciplinary and collaborative approach to art.

This conversation was part of the Museum of Contemporary Art Australia’s public programs for Janet Laurence: After Nature exhibition.

For more information on the exhibition and upcoming events, click here.

Cellular Gardens (Where Breathing Begins) , 2005, installation view,  Janet Laurence: After Nature , Museum of Contemporary Art Australia, Sydney, 2019, photograph: Jacquie Manning

Cellular Gardens (Where Breathing Begins), 2005, installation view, Janet Laurence: After Nature, Museum of Contemporary Art Australia, Sydney, 2019, photograph: Jacquie Manning

JACKY REDGATE

Jacky Redgate, 'Light Throw (Mirrors) Fold - Blue and Black' (detail), 2017, chromogenic photograph handprinted, edition of 3, 185 x 127 cm.

Jacky Redgate, 'Light Throw (Mirrors) Fold - Blue and Black' (detail), 2017, chromogenic photograph handprinted, edition of 3, 185 x 127 cm.

Shaune Lakin, Senior Curator of Photography at the National Gallery of Australia, has analysed JACKY REDGATE's artistic process in an important essay on colour photography for Artlink Magazine.

Lakin writes "Structurally, the negatives (and the positive prints conjured from them by Redgate and [master printer Sandra] Barnard) distil the fundamentals of colour photography: positive and negative, the chemical conversion of colour (and tone) to its complementary. There is also a mimetic aspect to this mirroring: it replicates the perceptual experience of colour in our bodies. The intelligence and rigor of this distillation no doubt reflects Redgate’s long-standing interest in the ways that disciplines such as physics and chemistry have sought to make sense of the sensational properties of colour – how we see it, how it affects us, how it is often difficult to see." .

The March issue of Artlink Magazine is on sale now.

TRACY SARROFF

TRACY SARROFF was recently interviewed by Lee-Ann Joy on Kiss FM’s Forum program.

Sarroff discussed her interactive light-based installation Light Buoys in the Docklands, and her current group exhibition Let There Be Light at the Justin Art House Museum.

Listen here >

Tracy Sarroff, 'Light Buoys', 2017, Docklands, Melbourne. Photograph: John Gollings

Tracy Sarroff, 'Light Buoys', 2017, Docklands, Melbourne. Photograph: John Gollings

MARIA FERNANDA CARDOSO

The Tate Modern has produced a documentary on MARIA FERNANDA CARDOSO.

Major works by Cardoso, including Actual Size I and Actual Size II were acquired last year by the Tate and the Museum of Contemporary Art, as part of a joint acquisition program aimed at bringing Australian art into the international spotlight.

In this film we visit Cardoso’s home and studio to discover more about her work.

Watch the film here >

Maria Fernanda Cardoso,  Actual Size IV Maratus harrissi , 2019, deep focus microscopy, pigment print on premium photo paper, 150 x 190 cm

Maria Fernanda Cardoso, Actual Size IV Maratus harrissi, 2019, deep focus microscopy, pigment print on premium photo paper, 150 x 190 cm

HONEY LONG & PRUE STENT

Honey Long & Prue Stent,  In Her It , 2018, archival pigment print, edition of 3, 106 x 159 cm

Honey Long & Prue Stent, In Her It, 2018, archival pigment print, edition of 3, 106 x 159 cm

Congratulations to HONEY LONG & PRUE STENT, whose work In Her It is a semi-finalist in the Moran Contemporary Photographic Prize (MCPP).

The MCPP is a national competition that awards and promotes Australian contemporary photography. The Moran Arts Foundation invites photographers to tell a story of how they experience living in Australia; places, people and lifestyle that make our loveable country quintessentially Australian.

More information >

LYNDELL BROWN & CHARLES GREEN | GUAN WEI

Guan Wei,  Gazing Into Deep Space #9 , 2000, acrylic on canvas, 127 x 159 cm (triptych).

Guan Wei, Gazing Into Deep Space #9, 2000, acrylic on canvas, 127 x 159 cm (triptych).

LYNDELL BROWN & CHARLES GREEN and GUAN WEI are featured in Between the Moon and the Stars at the Museum And Art Gallery Northern Territory.

Between the Moon and the Stars explores how the moon and its phases continue to impact on animal and human life. The exhibition includes ancient Aboriginal astronomical knowledge, dreaming stories and the history of stargazing in Australia.

Lyndell Brown & Charles Green,  Wild Nights,  2005, lightjet print on duraclear film, 104 x 107 cm.

Lyndell Brown & Charles Green, Wild Nights, 2005, lightjet print on duraclear film, 104 x 107 cm.

The exhibition continues until 29 March 2020.

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LYNDELL BROWN & CHARLES GREEN | CYRUS TANG

Cyrus Tang,  The Final Cast Off , 2016-17, 2 channel video projection on Chinese paper scroll, dimensions variable.

Cyrus Tang, The Final Cast Off, 2016-17, 2 channel video projection on Chinese paper scroll, dimensions variable.

LYNDELL BROWN & CHARLES GREEN and CYRUS TANG are included in the Castlemaine State Festival, opening today.
In Tang's work 'The Final Cast Off', exhibited as part of the festival, the artist has used incense ashes mixed with charcoal to create the images of Alice and Daisy, who represent the new Chinese elite. The video work is a gesture of worship for these two incredible Chinese women.

The exhibition continues until 31 March.

More information>

JANET LAURENCE

Janet Laurence’s sketchbooks at her studio, 2018. Photograph: Jacquie Manning

Janet Laurence’s sketchbooks at her studio, 2018. Photograph: Jacquie Manning

LYNDELL BROWN & CHARLES GREEN

LYNDELL BROWN & CHARLES GREEN'S powerful panoramic photographic installation, 100 Years of Turbulence, 1918 - 2018, opens today at 4pm at the Castlemaine Art Museum as part of the Castlemaine State Festival.

The artists have constructed an immense visual countdown of images of turbulence, war, and aftermath from 1918 to 2018. The work is also an atlas of conflict, linking cause and effect from one conflict to another, composed of fragmentary parts in a panorama; a disjointed countdown of personal events and public disaster over the last 100 years, shared, persisting, haunted photos, sometimes over-painted, entwined with layers of meaning and political disputation. They overlay images of conflict and war with images of exactly the same places, now, in times of relative peace or continued conflict. The result shows the past reaching towards the present and the present towards the past: the countdown joins 1918 to 2018 in chains of causation and similarity.

100 Years of Turbulence, 1918 - 2018 will be on display until March 31.

Lyndell Brown & Charles Green, '100 Years of Turbulence, 1918 - 2018' (Detail), 2018, inkjet print on rag paper, 4 parts, each 120 x 360 cm.

Lyndell Brown & Charles Green, '100 Years of Turbulence, 1918 - 2018' (Detail), 2018, inkjet print on rag paper, 4 parts, each 120 x 360 cm.

MURRAY FREDERICKS

ARC ONE in Sydney is delighted to present, WITNESS, the latest ‘cycle’ in award-winning Australian artist Murray Fredericks’ 16-year SALT Project. These visually-arresting abstract landscapes continue from the artist’s emotional engagement with Kati Thanda (Lake Eyre), South Australia.

Murray Fredericks,  Mirror 17 ,   2017, digital pigment print on cotton, edition of 7, 120 x 155 cm.

Murray Fredericks, Mirror 17, 2017, digital pigment print on cotton, edition of 7, 120 x 155 cm.

WITNESS will be exhibited at ARC ONE in Sydney, 36 – 40 Queen St, Woollahra, from 4 - 13 April, 11am – 6pm. An opening reception will be held on 4 April, 6pm – 8pm.

“Standing in the silken water, surrounded only by a boundless horizon, I sense a release, a surrendering as the self dissolves into the light and space.”
- Murray Fredericks

WITNESS continues Murray Fredericks’ deep relationship with Lake Eyre and his intrepid pursuit to understand the overwhelming emptiness and powerful emotional resonance of remote land and sky. Camping alone for weeks at a time, Fredericks’ spiritual and mental experience of this environment is encapsulated in his immersive abstract landscapes that bear WITNESS to the transcendent capacity of light, colour, and space.

Murray Fredericks, Array #11 (Venus Jupiter),    2018, digital pigment print on cotton, edition of 7, 120 x 165 cm.

Murray Fredericks, Array #11 (Venus Jupiter),  2018, digital pigment print on cotton, edition of 7, 120 x 165 cm.

Comprised of two significant bodies of work, Vanity (2017) and Array (2018), WITNESS sees the artist intersect endless space through the ethereal reflective quality of mirrors. Rather than employing the mirror as a symbol of self-reflection, Fredericks redirects our gaze away from ourselves and into the immense environment. His translations of the landscape verge on otherworldly; reflections hover together as geometric forms, apertures or portals, offering a dual experience of looking both into another realm and out, as the lake’s glass-like surface mirrors an infinite space above. These works plunge the viewer into a mesmerising spatial gestalt as Fredericks dissolves the contours of the landscape into a limitless optical deception. Place is defined by boundless empty space.

By removing his/ our reflection from the picture entirely, we are not the projected centre of the world. Fredericks subtly questions the narcissistic qualities of the human condition in the age of the Anthropocene, wherein human activity has become the overriding force on climate and the natural world. He casts our self/image adrift, so that we might be consumed by the sensory phenomena of light, colour and space on a visceral level, engaging another stratum of consciousness that echoes the artist’s own experience of living in solitude on the lake. 

These works offer a release from the ever-present vanity, anxiety, and doomed search for perfection inherent in human nature as we confront the pure potentiality of the natural world itself. In this exhibition, Fredericks’ meditations on the immeasurable and unknown void that encompasses us offer a space in which to escape ourselves and WITNESS a moment of transcendence.

Murray Fredericks,  Array 12 ,   2019, digital pigment print on cotton, edition of 7, 120 x 160 cm.

Murray Fredericks, Array 12, 2019, digital pigment print on cotton, edition of 7, 120 x 160 cm.

Both Vanity and Array are cycles of a much larger SALT Project which, to date, comprises 23 trips to Lake Eyre since 2003. SALT has unintentionally become a truly epic project in time and scale as Fredericks is drawn again and again to the desolate, empty and infinite salt pan that is Lake Eyre.

Murray Fredericks is an internationally acclaimed and multi-award-winning photographer and filmmaker. Fredericks has exhibited widely, including Fotográfica Bogotá, Museum of Photography, Bogota, Colombia, 2017; Inside the Dome (DYE2) (with Tom Schutzinger), Geelong Gallery, 2015-16; SALT, Perc Tucker Regional Gallery, Townsville, 2016; a major Australian landscape survey exhibition at the National Gallery of Victoria, 2012; and two solo shows at the Australian Centre for Photography, 2010 and 2015 respectively. His work has been acquired by prestigious public and private collections internationally, including the National Gallery of Victoria; Australian Parliament House; Australian National Portrait Gallery; Artbank; The Sir Elton John Collection; Macquarie Bank; Commonwealth Bank; The Myer Collection; The Valentino Collection; and a number of regional galleries across Australia. Fredericks has been the recipient of numerous awards and is a regular finalist in Australia’s top photography prizes. In 2015, he received the People’s Choice Award for the Bowness Photography Prize, was runner up in the Head-On Festival Landscape Prize and a finalist in the JUWS Photography Award. His first documentary film, Salt, for which he was cinematographer and co-director, won twelve major international awards, played over 50 festivals and was screened on the ABC and PBS in the USA.

CYRUS TANG

Cyrus Tang Exhibition  installation view, Ten Cubed, Glen Iris, 2019. Photograph: Cyrus Tang.

Cyrus Tang Exhibition installation view, Ten Cubed, Glen Iris, 2019. Photograph: Cyrus Tang.

CYRUS TANG will be giving an artist talk at Ten Cubed on Saturday 16 March, from 11am - 12pm.

Throughout her practice, Tang employs a range of variously permanent and ephemeral materials including clay, water, ash, steam, snow, human’s heartbeat, animal bones, and human hair. These produce a visual representation suggestive of the contrast and contradiction between appearance and disappearance, and between ephemerality and permanence.

Cyrus Tang's solo exhibition at Ten Cubed continues until 4 May.

TRACY SARROFF

Tracy Sarroff,  Rhizopoda Radiaria , 2008, perspex with light component, 54 x 44 x 44 cm.

Tracy Sarroff, Rhizopoda Radiaria, 2008, perspex with light component, 54 x 44 x 44 cm.

TRACY SARROFF is included in Let There Be Light currently showing at the Justin Art House Museum. The exhibition features a range of immersive works that reflect upon the powerful force that light plays on the human psyche.


The exhibition continues until 12 June 2019.

More information here >

LYDIA WEGNER

Lydia Wegner,  Orange Push , 2019, archival inkjet print, steel frame, 120 x 80 cm.

Lydia Wegner, Orange Push, 2019, archival inkjet print, steel frame, 120 x 80 cm.

Lydia Wegner’s third solo exhibition at ARC ONE Gallery, Shifting Light, articulates a curiosity of illusion and light, shadow and form, and the unexpected dissolve of reality. An opening reception will be held on Thursday 14 March, 6-8pm.

Featuring a suite of twelve new works, Shifting Light continues Lydia Wegner’s ongoing exploration of staged photography and visual abstraction. Conjured from analogue processes that manipulate form, colour, and shape, these works stretch our perception to the limit as fixed space and familiar objects are transformed into illusionary abstraction.

Wegner’s works emerge from the tabletop of her studio as the artist carefully layers and balances found objects, coloured and transparent papers, and other visual materials to form ephemeral assemblages. White lights and coloured lighting gels cast sharp lines, bold colour, soft haze, and shadow while mirrors reflect and refract causing a distortion of scale, perspective, and space. These precarious constructions and chance moments are then photographed by Wegner and resolved as inkjet prints. For Wegner, “There’s a kind of magic which happens when I use the camera. You get an image that you may not be able to see by the eye.”

Lydia Wegner,  Purple Split , 2019, archival inkjet print, steel frame, 120 x 80 cm.

Lydia Wegner, Purple Split, 2019, archival inkjet print, steel frame, 120 x 80 cm.

In these works, the viewer is confronted by a flattening of space, a colliding of weightless geometric forms, blocks of vibrant colour, shadows, sheens, and textures born from their material construction but now released from it. Recalling the history of formalism, particularly the Bauhaus geometry of László Moholy-Nagy (1895 – 1946), and the conceptual photography of Barbara Kaston (b. 1936), these sculptural studies dissolve reality into pure abstraction.

Lydia Wegner graduated with a Bachelor of Fine Arts, Honours, from the Victorian College of the Arts in 2011. Recent solo exhibitions include Swing, ARC ONE Gallery, 2017; Silver Shadow, Bus Projects, 2016; Assemble Colour, ARC ONE Gallery, 2014; and Folded Colour, Centre for Contemporary Photography, 2013. Group exhibitions include: Robin Boyd, a Portrait of an Australian House, Monash Gallery of Art, 2019 (forthcoming); Still Life Pt. II, Verge Gallery, 2019; Perceptual Abstraction, The Honeymoon Suite, 2017; In the White Square, ARC ONE Gallery, 2016; Is/Is Not, Westspace, 2016; Genteel Notions, LON Gallery, 2016; Melbourne Now, National Gallery of Victoria, 2013- 14; Das Boot, Next Wave, 2014; Fundraiser Exhibition, Centre of Contemporary Photography, 2013; Low Relief, Seventh Gallery, 2012; FotoFreo (Fremantle Festival of Photography), FutureGen12, Fremantle, 2012; and Art of the Ordinary, ARC ONE Gallery, 2011. She was a Finalist in the 2016 & 2015 Josephine Ulrick & Win Schubert Photography Award, and was a Finalist in the 2015 churchie national emerging art prize. In 2010, she was a Finalist in the Wallara Travelling Scholarship Prize, Margaret Lawrence Gallery, Victorian College of the Arts, and in 2013 she was a Finalist in the Keith and Elizabeth Murdoch Scholarship Prize. Wegner was also awarded a Hill End Artist Residency through Bathurst Regional Art Gallery in 2013. Her work is held in the collections of the National Gallery of Victoria, Artbank, and PwC Collection.

MURRAY FREDERICKS

Murray Fredericks,  Mirror 16 , 2017, digital pigment print on cotton rag, edition of 7,120 x 155 cm.

Murray Fredericks, Mirror 16, 2017, digital pigment print on cotton rag, edition of 7,120 x 155 cm.

MURRAY FREDERICKS is on the judging panel for Australasia’s Top Emerging Photographers 2019. . Australasia’s Top Emerging Photographers recognises, encourages, and promotes talented photographers in the early stages of their careers. Winners and runners up will be showcased in the May/June issue of Capture Magazine. 

JANET LAURENCE

Laurence_Janet_inhotim.jpg

Alongside the exhibition Janet Laurence: After Nature, there is a series of public programs, including: Talking Trees a collaboration with Sydney University where philosophers, poets and scientists bring aspects of trees to a public audience; and Janet Laurence's interactive (Desire) Elixir Lab' a performative installation which was recently shown at the Inhotim Institute, Brazil.

Desire (Elixir Lab) is a unique sensory experience that involves the tasting of medicinal plants in the form of liquid elixirs. Facilitated by a botanist performer, participants gain insight into the cultural and biochemical connections between the body and plants.

PAT BRASSINGTON | JACKY REDGATE

PAT BRASSINGTON and JACKY REDGATE are included in the important exhibition Defining Place/Space: Contemporary Photography from Australia at the Museum of Photographic Arts in San Diego, opening tomorrow. The exhibition reflects upon the current state of contemporary photography in Australia through the work of thirteen artists. . The exhibition is open from 6 March – 22 September.

More information here>

Review here >

Defining Place/Space: Contemporary Photography from Australia, installation view, Museum of Photographic Arts, San Diego, 2019. Courtesy of the Museum of Photographic Arts, San Diego.

Defining Place/Space: Contemporary Photography from Australia, installation view, Museum of Photographic Arts, San Diego, 2019. Courtesy of the Museum of Photographic Arts, San Diego.

JANET LAURENCE

Janet Laurence   in her Sydney studio. Photograph: Jacqui Manning. Courtesy the Museum of Contemporary Art, Sydney.

Janet Laurence in her Sydney studio. Photograph: Jacqui Manning. Courtesy the Museum of Contemporary Art, Sydney.

JANET LAURENCE is renowned as one of Australia’s leading contemporary artists. Her ground-breaking practice responds to the cry of the natural world and addresses our relationship to nature. Laurence creates visually immersive environments forcing us to reflect on the mutability of nature, science, memory and loss. Through her extraordinary work, Janet Laurence offers us a deeply experiential and cultural relationship to the environment. 

From March 1 - June 10, 2019, the MCA will present Janet Laurence: After Nature, a major survey exhibition of Janet Laurence's oeuvre. Curated by Rachel Kent, the exhibition will encompass three decades of Laurence’s unsurpassed practice, including key chapters such as Vanishing, Forensic Sublime, Birdsong, Deep Breathing and Cellular Gardens alongside Theatre of Trees, a new work that addresses our cultural, political and biological relationship to trees. 

Janet Laurence: After Nature will explore the critical issues facing the environment and the natural world: the epoch of the Anthropocene. For Laurence, “the ecological crisis demands us to shift our focus from a human-centred perspective to a broader multi-species, environmental approach”. Within the recognised threat to so much of our world, this exhibition 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. 

As Laurence explains, “I create elemental and fugitive spaces that express ephemerality through a language of veiling, transparency and translucency to form enmeshed environments, slowed spaces that express porosity and fluidity and a fusion with the environment. There are no boundaries but membranes.”

Alongside the exhibition, there will be a series of public programs, including: Talking Trees, a collaboration with Sydney University where philosophers, poets and scientists bring aspects of trees to a public audience; and Janet Laurence's interactive The Elixir Lab, a performative installation which was recently shown at the Inhotim Institute, Brazil.

Janet Laurence is a Sydney-based artist who exhibits nationally and internationally. 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. 

 

PAT BRASSINGTON | JULIE RRAP | HONEY LONG & PRUE STENT

Pat Brassington,  The Wedding Guest , 2005, pigment print, 84 x 62 cm.

Pat Brassington, The Wedding Guest, 2005, pigment print, 84 x 62 cm.

PAT BRASSINGTON, JULIE RRAP and HONEY LONG & PRUE STENT are included in In Her Words at Horsham Regional Art Gallery, opening this weekend. .

In Her Words focuses on women behind and in front of the camera. Women who are in control of their own story; whether they are speaking their own truth or re-enacting the accounts of others. The exhibition aims to get to the core of the female experience, rights and challenges. The exhibition continues until 19 May.

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