• 9th May 2018

    Laith McGregor has been named as a finalist in the 2018 Paul Guest Prize, a biannual prize highlighting contemporary drawing practice in Australia, hosted by the Bendigo Art Gallery. The artworks of all fifty finalists will be on show from 30 June - 9 September 2018, with the winner to be judged by Roger Butler, Senior Curator, Australian Prints and Drawings at the National Gallery of Australia.

    (image: Laith McGregor 'This Old Island’, 2018 (detail))

  • 5th May 2018

    Sarah Contos’ new suspension work ‘Nikola Teska Sends Theda Bara To Mars’ opened at the National Gallery of Australia on Friday. This ambitious and dramatic arial installation will transform the NGA foyer with cinematic tableaus replete with nostalgia and glamour. Made possible by the recently launched Balnaves Contemporary Intervention Series, a multi-year commissioning platform which provides leading artists with the opportunity to present innovative works not previously deemed possible, the installation will remain on view until 24 September.

    (image: Sarah Contos 'Nikola Teska Sends Theda Bara To Mars', 2017-18 (detail))

  • 3rd May 2018

    Tom Polo and David Griggs have been announced as finalists in the 2018 Archibald Prize. Awarded annually to the best portrait of a person distinguished in art, letters, science or politics, and painted by any artist resident in Australasia. This open competition is judged by the trustees of the Art Gallery of NSW, with the finalists being displayed in an exhibition at the Gallery.

    Griggs is also represented in this year’s Sulman Prize.

    (image: TomPolo ‘I once thought I'd do anything for you (Joan)’, 2018)

  • 2nd May 2018

    Zac Langdon-Pole is currently presenting work in the inaugural exhibition Loose Ends Don’t Tie at PS120, Berlin, the first of three in the exhibition series The Way Things Run (Der Lauf Der Dinge). The exhibition investigates the migration of people, objects, and images in contemporary global societies. Nomadic circulation transforms people, cultures, and ideas. It leads to multiple, dyssynchronous states of being; it produces new narratives of belonging and of displacement. Through investigation and shared art historical practices, Loose Ends Don’t Tie brings attention work from the hypervisible art canon to the yet to be visible emerging artists.

    Langdon-Pole exhibits alongside Alvaro Barrington, Tom Burr, Renee Green, Iman Issa, Mirak Jamal, Joan Jonas, Tarik Kiswanson, Olu David Ogunnaike and Rosemarie Trockel.

    Until 27 May, PS120 Berlin, DE.

    (image: Zac Langdon-Pole 'Residuals (c)', 2018)

  • 28th Apr 2018

    Ray Edgar has reviewed Robert Hunter’s NGV retrospective, published in today's issue of The Age:

    "Just as we experience architecture through light and space, appreciating Hunter's work requires active engagement: moving around the painting, occupying the space and responding to the physical qualities of light, material and space that bring the painting to life. The work can appear both as a depthless window onto the world, and a repeating pattern that extends beyond the frame”.

    (image: Robert Hunter installing ‘Untitled’ 1971 at the Lalit Kala Academy, New Delhi in 1971. Courtesy Monash Museum of Art)

  • 27th Apr 2018

    A retrospective surveying the work of Robert Hunter opened Friday 27 April, at NGV Australia. 

    In a career spanning almost five decades, Hunter developed an idiosyncratic visual language that drew upon the logic of minimalism. Using a basic geometric lexicon and everyday materials such as house paint and masking tape, he endlessly reinvented the modernist grid. From his earliest near-white square canvases, the wall paintings that dominated much of his output in the 1970s, and the finely nuanced white-on-white compositions of the works for which he is now best known, he produced a remarkably consistent body of work that tests the very limits of visual perception.

    Robert Hunter’s uncompromising vision and commitment to a singular aesthetic position is unique in Australian art.
 Mounted in tandem with ’The Field Revisited’, which celebrates the 50th anniversary of the first comprehensive display of colour field painting and abstract sculpture initiated by an Australian institution, both exhibitions continue at NGV Australia until 26 August.

(image: Robert Hunter ‘Untitled (#3)’ (detail) 2016)

  • 27th Apr 2018

    Daniel Boyd has received a commission to design a new pavilion in collaboration with Edition Office at the Australian War Memorial.

    The work, 'For Our Country’, will recognise and commemorate the military service and experience of Aboriginal and Torres Strait islanders.

    'For Our Country' is set behind a ceremonial fire pit within a circular stonefield, incorporating a mirrored glass façade covered in thousands of mirrored circular lenses that reflect the viewer and the Memorial across its surface. Behind the glass veil is an intimate, contemplative space with a curved back wall and seating constructed of black pigmented rammed earth from which to see back through the thousands of transparent lenses to the fire and memorial grounds beyond.

    With permission from the Ngunnawal Elders, an open invitation will go out to every Aboriginal and Torres Strait Nation for soil from their lands to be offered into the ceremonial cham­ber at the centre of the pavilion which penetrates deep onto the ground below the work. In this way each Nation is unified together in this place, where a piece of real country can act as sym­bolic remains of the fallen who have died in the protection of their country.

    'For Our Country' will occupy a prominent position in the Memorial Sculpture Garden and is planned to be constructed in November/December 2018.

    (image: courtesy of Edition Office)

  • 26th Apr 2018

    Laith McGregor and Sam Martin have been shortlisted for the 2018 Geelong contemporary art prize.

    Selected from over 550 entries from around the country, the 36 shortlisted works will be on view at the Geelong Art Gallery from 9 June to 19 August, with the winner of the $30,000 acquisitive prize announced on the evening of 8 June.

    (image: Laith McGregor, ‘Tired Mantra’ (detail) 2018)

  • 25th Apr 2018

    Isadora Vaughan will be contributing work to ‘There is a pain - so utter’, opening at Gertrude Glasshouse this Thursday. Curated by current Gertrude Studio Artist Beth Caird, the exhibition includes new and recent works by Australian and international contemporary artists that reflect strategies of withdrawal, investigate what it means to be an artist and not create work and explore vulnerability and transformation as artistic gestures. 

    Opening Thursday, 26 April from 6-8pm, ‘There is a pain - so utter’ continues until 26 May.

    (image: Isadora Vaughan, ‘Recalcitrant Bodies’ 2017, installation view. Photo credit: André Piguet)

  • 21st Apr 2018

    New work by Consuelo Cavaniglia will be presented in ‘Vanishing Point’, a group exhibition of new work at Hazelhurst Arts Centre, Gymea that relates to the concept of places where opposing ideas meet. Exploring loci of desire, visions and mirages, Cavaniglia's work references infinity screens and invented spaces - spaces other than the one the subject is in.

    Opening tonight, Friday 20 April, ‘Vanishing Point’ continues until 10 June.

    (image: Consuelo Cavaniglia 'Unitled', 2018)