News

  • 21st Mar 2019

    Paintings by Tom Polo will be on view in ‘The Whiteley at 20: Twenty Years of the Brett Whiteley Travelling Art Scholarship’, opening this evening at the S.H. Ervin Gallery in Sydney.

    The exhibition features artists that have entered and/or won the scholarship and their works resulting from their residency at the Cité Internationale des Arts, Paris along with recent work. The four paintings by Brett Whiteley that secured him the Italian Government Travelling Scholarship will also be on view, displayed together for the first time since 1959.

    Tom Polo was awarded the 2015 Brett Whiteley Scholarship.

    (image: Tom Polo, ‘a new neck’ 2018)

  • 16th Mar 2019

    New work by James Deutsher x FFIXXED Studios has been commissioned for ‘ENTER’: the inaugural exhibition of the newly opened Lyon Housemuseum Galleries in Melbourne.

    The Housemuseum Galleries, an extension of the Lyon Housemuseum established by Corbett and Yueji Lyon, is a new and independent cultural space dedicated to exhibiting ambitious and experimental works of contemporary art and design. For his contribution to 'ENTER', Deutsher has turned the gallery into a site of of consumer and conceptual play, the audience invited to enter the space, take off a coat, use the sculptures as mirrors, view advertising as painting and and interpret meaning from furniture.

    (image: James Deutsher x FFIXXED Studios, ‘Not sure about the turtle, but the copy reads very elegant in Chinese: NATURE DOES NOT COME WITH A LOGO’ 2019 (detail))

  • 14th Mar 2019

    Sam Martin has a new work included in ‘Pictures Made of Wool’, curated by John Nixon and on show for one week only at Gertrude Contemporary, Studio 14.

    (image: Sam Martin, ‘Air Above Mountains’ 2019)

  • 13th Mar 2019

    Dane Lovett's solo exhibition 'Slow Rise / Burning Up' opens tonight at Bus Projects, 6-8pm.

    In this new body of work, Lovett continues his practice of ‘repetitive paintings’, this time taking as source material an icon from popular culture. Lovett is particularly interested in how recognisable images can slip between the familiar, the strange, the ugly and the beautiful, and occasionally reverberate between all four.

    (image: Dane Lovett, 'Burning up 3' 2018)

  • 11th Mar 2019

    Patrick Pound is one of thirteen Australian artists included in the centrepiece exhibition ‘Defining Place/Space: Contemporary Photography from Australia’ at the Museum of Photographic Arts (MOPA), San Diego, USA.

    The exhibition represents the current state of contemporary photography in Australia, and was organised with the expertise of five Australian curators and former-curators, who were invited by MOPA’s Director and Chief Curator Deborah Klochko to nominate work.
    ‘Defining Place/Space’ shows a country at the forefront of photographic image-making, opening a dialogue with the rest of our world about the place Australia holds in the creation of art.

    (image: Patrick Pound, ‘The wind heading right’ 2018)

  • 10th Mar 2019

    Consuelo Cavaniglia transformed the gallery with this wall painting for the ‘Visitants' exhibition at Port Hedland Courthouse Gallery, WA.

    The exhibition, with Penny Coss, showcases outcomes from both artists' residencies in the Pilbara during 2016.

    (image: Consuelo Cavaniglia, ‘Untitled (atmospheres II)' 2019)

  • 9th Mar 2019

    Reko Rennie is featured in ‘Fatherhood’, a group exhibition at Over The Influence Gallery in Los Angeles, USA.

    This exhibition takes as its point of departure a condition so ubiquitous as to usually pass without comment. The messy, overwhelming, terrifying, frustrating, exhausting and joyful experience of being a father is evoked by artworks in diverse media by a group of male artists most of whom – though not all – are parents. This is not an exhibition about patriarchy, but perhaps its opposite: an exploration of the sensations of failure, fear, inadequacy, care, and devotion that commonly accompany fatherhood.

    (image: Reko Rennie, 'Untitled # 7’ 2019)

  • 6th Mar 2019

    Nell is featured in the current issue of VAULT, with an article authored by editor Alison Kubler.

    "I have lost the fear of making or saying anything I need to, and there is such a wonderful freedom in that. No matter how difficult the subject matter, I feel safe making art. I don’t know what art is for. And I love the unknown. It’s in the unknowable that we connect to the mystery of all things throughout space and time! Art – and music – just make more sense to me than anything else.” - Nell

  • 6th Mar 2019

    Work by Daniel Boyd and Tony Schwensen will be on view in ‘National Anthem’, the upcoming exhibition at Buxton Contemporary.

    Built around key works in the Michael Buxton Collection, this project reflects on the ways that the desire for a singular national identity often excludes Indigenous histories and denies the multiplicity of voices, cultures and experiences that enrich, contest and enhance Australian life. Channelling humour and satire and engaging in tactics such as play, intervention and confrontation, the artists in 'National Anthem' seek self-determination and collectively hold a mirror up to contemporary Australia, prompting new representations of who we are or who we might aspire to become.

    (image: Daniel Boyd, 'Untitled (GMGCC)' 2018)

  • 1st Mar 2019

    Isadora Vaughan’s exhibition ‘Gaia Not The Goddess’ opens tomorrow at Heide Museum of Modern Art.

    In realising her large-scale sculptural forms, Vaughan reconsiders the basic properties of materials and their capacity to suggest meaning beyond themselves—poetic, political, organic or otherwise.

    For this installation, Vaughan has worked with bio-composite materials that have lately been gaining traction in debates around sustainable development: fungal mycelium and a compound of hemp and lime variously marketed as Hempcrete or Hemplime, along with materials local to Heide: the Mt Gambier limestone of McGlashan and Everist’s iconic Heide II, and beeswax from Heide’s colonies.

    (image: Isadora Vaughan, 'Gaia Not The Goddess' 2018 (process image))

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