ANNE ZAHALKA

Anne Zahalka,  The Mallee, near Benetook in Sunraysia Region of Victoria , 2019, archival pigment ink on rag paper, 80cm x 80cm. Source: Museums Victoria.

Anne Zahalka, The Mallee, near Benetook in Sunraysia Region of Victoria, 2019, archival pigment ink on rag paper, 80cm x 80cm. Source: Museums Victoria.

ARC ONE Gallery is delighted to present Wild Life, Australia, a new body of work by one of Australia’s preeminent artists, Anne Zahalka.

The term Anthropocene describes an ecological turning point where the impact of human behaviour has significantly and permanently affected our planet, contributing to drastic changes on climate and the environment. In response, Anne Zahalka presents Wild Life, Australia, a reimagining of early Australian dioramas from natural history museums that mark out unsettling ethical and environmental issues in this country. Re-working these contrived ‘habitats’ to acknowledge First Nations people and the impact of colonisation, Zahalka reflects on the permanent altering of the Australian environment within the age of the Anthropocene.

Habitat displays and dioramas have been part of natural history museums since at least the late nineteenth century. Intended to educate museum visitors about native flora and fauna, these displays present pristine environments, frozen in time, devoid of man-made issues. By digitally inserting traces of reality into this idealised, optimistic imagery, Zahalka subverts these fixed narratives and reflects on the changing relationship that exists between people and the natural world. Working with conservationists, curators and photographers in the field of birds, bats, marsupials, mammals and amphibians, Zahalka has identified original habitat locations and incorporated new data to set out alternative and contemporary ways to view these landscapes.

Anne Zahalka,  Fruit Bat, Nepean River, Sydney Region of New South Wales , 2019, archival pigment ink on rag paper, 98cm x 80cm. Source: Museums Victoria.

Anne Zahalka, Fruit Bat, Nepean River, Sydney Region of New South Wales, 2019, archival pigment ink on rag paper, 98cm x 80cm. Source: Museums Victoria.

In this exhibition, Zahalka digitally disrupts, hand-colours, and evolves archival photographs of historic Australian habitat displays so they become bearers of contemporary meanings and inferences. Birds ingest plastic with devastating results, planes and helicopters slash across painted skies, waterholes are drained, heat exhausted fruit bats fall from trees, bushfires blaze, housing developments invade, and cars and buses scar the landscape. Based on current science and the damaging carbon footprint left by tourism, industry, and population growth, the digital interventions within these re-imagined displays are pointers to the ongoing negative impact humans have had on the natural world and the need to take action.

With a career spanning more than three decades, Anne Zahalka is one of Australia’s leading contemporary artists. She has exhibited widely since the 1980s, nationally and internationally. Zahalka’s work has featured extensively in major exhibitions, including Civilization: The Way We Live Now, National Museum of Modern and Contemporary Art of Korea, Gwacheon, South Korea (2018); The Photograph and Australia, Art Gallery of New South Wales, Sydney (2015); Mix Tape 1980s: Appropriation, Subculture, Critical Style, National Gallery of Victoria (2013); Things – Photographing the constructed world, curated by Helen Ennis, National Library of Australia; Three Australian Photographers: Bill Henson, Tracey Moffatt, and Anne Zahalka, GEM/ Fotomuseum, Den Haag, Netherlands (2007); Leisureland, Australian Embassy in Washington (2007); and Fieldwork: Australian Art 1968 – 2002, National Gallery of Victoria (2002).

Select recent solo exhibition include Street Photography, Sydney Living Museums, Museum of Sydney (2019); The Fate of Things: Memory objects and art, with Sylvia Griffin, Sydney Jewish Museum (2019); The Landscape Revisited, MAMA Murray Art Museum, Albury NSW (2017); Anne Zahalka: Playground of the Pacific, Manly Art Gallery & Museum, Sydney (2016); Parliament House at Work, 25th Anniversary commission, Parliament House, Canberra (2014); Anne Zahalka: A Case Study, Lake Macquarie City Art Gallery (2013).

Anne Zahalka’s work is held in many public and private collections including the National Gallery of Australia; Art Gallery of New South Wales; National Portrait Gallery; Australian Bicentennial Collection; National Art Gallery, Wellington, New Zealand; Parliament House Collection; National Gallery of Victoria; Sir Elton John Collection; Deutsche Bank Collection; International Polaroid Collection, USA; Visart, New York; and numerous other regional galleries, universities and private collections in Australia and abroad.

This exhibition is part of CLIMARTE’s ART+CLIMATE=CHANGE 2019 - a socially-engaged festival of climate change related arts and ideas featuring curated exhibitions and theatre works alongside a series of keynote lectures, events and public forums featuring local and international guests. www.artclimatechange.org.au.

HONEY LONG & PRUE STENT

Honey Long & Prue Stent, 'Dust Flood', 2018, archival pigment print, 72 x 108 cm

Honey Long & Prue Stent, 'Dust Flood', 2018, archival pigment print, 72 x 108 cm

HONEY LONG & PRUE STENT have four works featured in the 'Eyes on Main Street' Wilson Outdoor Photo Festival.

The festival sees the main street of historic downtown Wilson, North Carolina, transformed into a vibrant gallery of large-scale photographs. For 100 days, 100 photographs will be displayed on 100 storefront windows, spanning seven city blocks. Now in it's fifth edition, the 2019 festival is focussing on the theme 'A Crossroad of Cultures' and showing work from 45 countries with an equal number of male and female artists. 

More information >

PETER DAVERINGTON

Image courtesy of the artist.

Image courtesy of the artist.

PETER DAVERINGTON has recently completed a 55-metre-long wall mural in Queens, New York.

Commissioned by The National Audubon Society and Durst Organisation, the mural features the American Black Duck, a species native to New York that is being threatened by the effects of climate change. The project is part of the Audubon Mural Project, an undertaking inspired by Audubon scientists' 2014 Birds and Climate Change Report, which concluded that over half of American bird species are under threat.

The mural's bright, sunset-coloured blues and oranges stretch out along the wall while a male and female duck float along the gradient, just as the species is often spotted doing in the East River.

More information >

ROBERT OWEN | HONEY LONG & PRUE STENT

Congratulations to ROBERT OWEN and HONEY LONG & PRUE STENT on being selected as finalists of the Deakin University Contemporary Small Sculpture Award 2019.

Celebrating its 10th anniversary, this annual acquisitive award and exhibition is organised by the Art Collection and Galleries Unit at Deakin University. One work will be awarded $10,000 and become part of the Deakin University Art Collection. The winner will be announced at the opening of the exhibition of finalists’ work on Wednesday 29 May 2019. The finalist exhibition will continue until 12 July.

More information >

Robert Owen, 'Shadow Caster 2', 2019, painted stainless steel, 65 x 69 x 62 cm

Robert Owen, 'Shadow Caster 2', 2019, painted stainless steel, 65 x 69 x 62 cm

Honey Long & Prue Stent,  Field Sip XIII,  2018, blown glass, water sample, rock

Honey Long & Prue Stent, Field Sip XIII, 2018, blown glass, water sample, rock

GUO JIAN

Guo Jian, 'The Day Before I Went Away' ,  2004, oil on canvas, 213 x 152 cm

Guo Jian, 'The Day Before I Went Away', 2004, oil on canvas, 213 x 152 cm

On Thursday 2 May at 6pm, GUO JIAN will speak at ACMI on a panel exploring censorship, restrictions, and the creativity that emerges in resistance.

Guo Jian's art practice has been fuelled by his position as a reflective, sharply satirical Chinese expatriate who grew up during the Cultural Revolution and under a deeply communist regime. His early experiences of art were inevitably entwined with communist authority, ideology and militaristic power. Guo Jian's first acquaintance with art was time spent as a propaganda-poster painter for the People’s Liberation Army then later, as an art student in Beijing, he took part in the protests which led to the Tiananmen Square massacre in 1989. 

Reserve tickets here >

EUGENIA RASKOPOULOS

Image: courtesy of Power Publications

Image: courtesy of Power Publications

Eugenia Raskopoulos: Vestiges of the Tongue is the first monograph documenting three decades of work from the photo-media artist, exploring themes of gender, migration and globalisation, and the ways they shift between our eyes and our tongues. Co-published by Formist and Power Publications, this is a beautifully crafted book and an important recognition of Raskopoulos' pioneering practice.

To mark the special occasion of this book launch, Carriageworks is hosting a panel on Tuesday 16 April 6 - 8.30pm. Hear from Raskopoulos as well as selected contributors to the publication and curators of 'The National' as they discuss how art can navigate the nuances between images and text.

Click here for event details! This is a free event, and a 10% book discount will be offered to all attendees.

JANET LAURENCE

JANET LAURENCE is featured in the book Un Art Écologique : Création plasticienne et anthropocène by Paul Ardenne.

The book looks at art in the Anthropocene era and how artists are adapting to the demands of sustainable development. Ardenne deals with a number of artists whose work seeks to repair and reestablish a connection with the Earth through “green” forms of artistic expression, and announces a new age in art - Ecological Art.

Laurence is featured alongside artists who work in, and with, nature, develop laboratories, practice recycling and create ephemeral interventions.

The book is available in French here.

Un-art-ecologique book cover.jpg

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.

More information >

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.

More information>

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.