Hugo Michell Gallery invites you to the opening of our SALA exhibitions; Narelle Autio & Trent Parke’s The Seventh Wave and Philjames’ The Lite Ages, on Thursday, August 3 from 6pm!
First exhibited in 2000, The Seventh Wave is a collaborative exhibition by acclaimed photographers Narelle Autio and partner Trent Parke.
Penetrating the sea’s surface, they got under a nation’s skin. Their pictures catch Australians’ infinite patience in waiting for the next wave; their fearlessness in diving into the tumultuous swell; their blithe spirit in that final flick of the hair.
– Michael Fitzgerald
In his latest body of work, The Lite Ages, Philjames continues to intervene directly on vintage reproductions of traditional paintings with playful outcomes. Philjames presents the works as genuine artefact and elevates the status of pop culture comics such as The Simpsons and Mickey Mouse to historical significance. Humorous, entertaining and executed with faithfulness, The Lite Ages reveals the artist’s imagination and mischief.
Please join us in celebrating the launch of these two exhibitions on August 3!
Image: Narelle Autio, Untitled # 52, 1999 – 2000, from The Seventh Wave, silver gelatin print, 24 x 36 cm, ed. of 25; type C print, 80 x 121 cm, ed. of 15.
Image: Philjames, Stranger and Purer, 2017, from The Lite Ages, oil on vintage offset lithograph, 42 x 52 cm.
Congratulations to Justine Varga, Winner of the 2017 Olive Cotton Award! The Olive Cotton Award for photographic portraiture is a $20,000 biennial national award for excellence in photographic portraiture, dedicated to the memory of photographer Olive Cotton. Varga’s winning piece, Maternal Line, will also be acquired for the Tweed Regional Gallery collection.
Varga creates photographic works from an intimate exchange between a strip of film and the world that comes to be inscribed on it. Employing analogue techniques, sometimes using a camera and sometimes not, her exposures capture instantaneous moments or distill lengthy durational periods. In this portrait, Varga has imprinted directly on the negative, in collaboration with her maternal grandmother.
Award Judge Dr Shaune Lakin the Senior Curator of Photography at the National Gallery of Australia stated:
“While Justine’s work is very contemporary, she’s also deeply interested in the history of photography. It’s a very complex photographic portrait: it made me think a lot about the act of the making a portrait – about what it means today to make a photograph of someone else, even if in the end it doesn’t reveal what they look like. But photography has never just been about appearance. It’s also been part of the way that we experience things like memory and relationships. The image – a series of scrawls made by the artist’s grandmother directly onto a piece of film – has been printed at monumental scale. It’s a very moving portrait of the artist’s relationship with and love for her grandmother.”
Exhibition runs until October 8 at Tweed Regional Gallery.
Full media release here.
Image: Justine Varga, Maternal Line, 2017, chromogenic hand-printed photograph, 153 cm x 125 cm framed.
Congratulations to Richard Lewer, who has been selected as a Finalist in the 2017 Archibald Prize, and to William Mackinnon, who is a Finalist in the 2017 Wynne Prize!
Richard Lewer FINALIST in 2017 Archibald Prize
Elizabeth Laverty and her late husband Colin were among the first art collectors to travel the country and stay in remote Aboriginal communities, to visit the art centres, and to meet the artists whose work they were falling in love with. Over several decades, they built one of Australia’s best collections of Indigenous Australian contemporary art and worked tirelessly to raise money for community health and recreational facilities.
Over several decades, they built one of Australia’s best collections of Indigenous Australian contemporary art and worked tirelessly to raise money for community health and recreational facilities.
“I didn’t know any of this when I first met Liz, a year after Colin’s death. Prompted by my animation depicting a tragic love story about an elderly couple, we launched into a long conversation about life, love, and death. It was easy to feel an instant rapport with Liz – a fellow red-head – because she is a warm, passionate, humble woman,” says Richard Lewer. “I remember when I asked Liz if I could paint her portrait, her first response was, “Why would you want to paint me, what have I done?””
Exhibition runs from July 29 to October 22 at the Art Gallery of New South Wales, and the Winner will be announced on the evening of July 28.
Image: Richard Lewer, Liz Laverty‘, 2017, oil on epoxy-coated steel, 110 x 110 cm.
William Mackinnon FINALIST in 2017 Wynne Prize
“I call my work psychological landscapes. In a way, the roads and houses are always something more than just roads and houses. The cracks, drains, shadows rips, and glitter are stand-ins for emotional states, or symbolic of greater themes of life. I am interested in communicating what it feels like to be in our world in this time. The more personal I seem to make my paintings, the more they connect with others.”
The 2017 Wynne Prize, for the best landscape painting of Australian scenery or figure sculpture, will be awarded on the evening of July 28. Exhibition runs from July 29 to October 22 at the Art Gallery of New South Wales.
Image: William Mackinnon, Landscape as self-portrait, 2017, acrylic, oil, and enamel on canvas, 190 x 163 cm.
Launching at the Anne & Gordon Samstag Museum of Art on Thursday, June 29, The Summation of Force is a collaborative multimedia installation by South Australian artist duo Trent Parke and Narelle Autio.
In their creative collaboration The Summation of Force, Parke and Autio turn their gaze to the possibilities of filmic narrative, and look to family and sport for subject material.
A multi-channel video work that pitches competitive sport and the mythical power of cricket as a metaphor for life and parenthood, The Summation of Force is no less than a Lynchian suburban dreamscape. It is a paean to collective dreams, youthful determination, and the bonds that sporting ambition can create both within families and nations.
The Summation of Force by Trent Parke and Narelle Autio has been produced in association with Closer Productions and the Adelaide Film Festival, and is presented by the Anne & Gordon Samstag Museum of Art for the 2017 SALA Festival.
Exhibition runs from June 30 to September 1. Head here for more information.
- Press release: The Summation of Force bowls into Samstag
- Art Guide: Trent Parke and Narelle Autio: The Summation of Force
- The Australian: Summation of Force pushes the boundaries of bat and ball
- ABC Radio: Photographer couple explores the evolution of cricket
- Arts Hub: Surprise! Arts sector to challenge screen world in Hive #4
- UniSA Alumni News: Narelle Autio
Janet Laurence is exhibiting in a number of international exhibitions, including Warning Shot at Topographie de l’Art, France, Moving Plants at Rønnebæksholm, Denmark, and Force of Nature, streaming online. An advocate for environmental issues, Laurence creates immersive installations that investigate the relationship between nature and the greater eco-system.
Warning Shot, Topographie de l’Art, France
Warning Shot, curated by Barbara Polla, features Janet Laurence alongside Amy Balkin, Ursula Biemann, Janet Biggs, Shaun Gladwell, Joanna Malinowska, and Gianluigi Maria Masucci. Laurence will exhibit Deep Breathing: Resuscitation for the Reef, a video work which was exhibited widely through 2016, including at the Muséum National d’Histoire Naturelle and the Australian Museum.
Exhibition runs from July 5 to 27. For more information head here.
Force of Nature, Carte Blanche to James Putnam
Force of Nature is an ongoing contemporary art project previously staged in London and Brussels. It aims to examine the way contemporary artists have been inspired not only by nature but also its processes – evolution, birth, growth, ageing, decay, change. Taking inspiration from nature’s inherent forces, their acute observations and individual approaches can result in works that are site-specific, monumental or ephemeral. Nature is constantly in a state of change and the artists’ awareness and sensitivity to this change is crucial to the creation of their work that can be representational, conceptual, abstract, and sometimes otherworldly.
Curated by James Putnam, Force of Nature features Janet Laurence, Antti Laitinen, Iyvone Khoo, and Cameron Robbins. Laurence exhibits a 2016 video work titled The Persistence of Nature.
See Ikon website for streaming details, and for more information head here.
Moving Plants at Rønnebæksholm, Denmark
Moving Plants is an exhibition and event series focusing on local plants based on the Laurence’s work in climate and environmental issues, including why plants are among our main earthbound partners, if we want to understand and survive in the new, climate-changed world.
The exhibition displays works by various artists from Denmark, Sweden, Hong Kong, Japan, USA, and Australia, many of whom have traveled halfway around the globe to work with local plants. Consequently, the exhibition examines global issues, while relating to Rønnebæk Holm’s own framework and local roots.
Laurence exhibits alongside Watanabe Koichi, Yukiki Iwatani, Yeung Lin On, Camilla Berner, Wai Yi-Lai, Åsa Sonjasdotter, and Karin Lorentzen.
Exhibition runs July 1 to September 24. For more information head here.
Country Arts South Australia has partnered with numerous regional galleries to present Shed Wizard, a touring exhibition by James Dodd. In partnership with Tatiara District Council, Shed Wizard will launch at Walkway Gallery in Bordertown on Saturday, July 1, and will run until August 26. Dodd will exhibit his Painting Mill project as part of the touring exhibition, with a demonstration at Walkway Gallery at 11am on July 2.
This exhibition presents a range of recent outcomes from James Dodd’s exploratory practice. Dodd is an artist who celebrates cultures of DIY and life-hacking, a result of his upbringing in the ‘make-do’ context of an agricultural childhood.
Dodd applies radical curiosity and invention to investigations of public space, and plays with the idea of fantastic tools and the backyard as in important place to make art. A sense of adaptation and hybrid invention is especially present in his recent bicycle sculptures and art-machines.
Having spent a large period of time immersed in Australia’s street art movement of the early noughties, Dodd pursues a practice that borrows graffiti for gallery outcomes, and hijacks conceptual pursuits for application at the edges of society.
In Shed Wizard, Dodd presents vivid paintings, unusual bicycles, strange machines, and candid videos. The exhibition brings this range of objects together to examine Dodd’s trajectory over the past decade or so, and examines ongoing themes such as notions of social and political resistance, adventure and risk, and the hand-made contraption as a magical art device.
Shed Wizard tours to the following galleries on the following dates:
- Walkway Gallery, Bordertown, from July 1 to August 26
- Murray Bridge Regional Gallery, Murray Bridge, from September 1 to October 15
- Signal Point, Goolwa, from December 8 to January 21
Read Artlink’s review here!
Hugo Michell Gallery invites you to the opening of Fiona McMonagle’s A dog named Chop, and Tim Sterling’s Blinding by the light, on Wednesday, June 28 from 6pm!
Fiona McMonagle’s latest body of work, A dog named Chop, sees the artist present an entirely new body of work in her signature style. Echoing snapshots from a past era, the work appears uncannily familiar, yet loaded with personal relevance. Based in Melbourne, McMonagle recently exhibited in the 2016 Adelaide Biennial of Australian Art: Magic Object at the Art Gallery of South Australia. McMonagle also has works in numerous public collections, including the National Gallery of Victoria, Art Gallery of New South Wales, Artbank, and various regional galleries.
The denial of contingency is not simply an issue of aesthetics and visual order, but a much wider one of social control and cultural cleansing.
– J Till, 2008
Tim Sterling presents three large-scale investigations that dissect visual codes through the use of gridding, layer, and camouflage. Sterling’s work invites audiences to examine intrinsic patterns within mass representation. Tim Sterling received The Anne & Gordon Samstag International Visual Arts Scholarship, attending the Sandberg Instituut in Amsterdam, Netherlands. Sterling has exhibited widely including significant institutions such as the Museum of Contemporary Art, Contemporary Art Centre of South Australia, Australian Experimental Art Foundation, and the Perth Institute of Contemporary Art.
Please join us in celebrating the launch of these two exhibitions on Wednesday, June 28!
Image: Fiona McMonagle, Chop, 2017, from A dog named Chop, oil on linen, 60.2 x 50.5 cm.
Image: Tim Sterling, Tree (detail), 2016, from Blinding by the light, cable ties and pencils, 97 x 97 x 6 cm.
Congratulations to James Dodd and William Mackinnon, who have both been selected as Finalists in the inaugural Hadley’s Art Prize, Hobart! Australia’s richest landscape prize, it is an acquisitive prize valued at $100,000. Held annually to celebrate painting, printing and drawing, the Prize aims to reconnect with the history of art exhibitions at the Hadley’s Orient Hotel, which was built in 1834.
The 2017 theme is History and Place; the Prize will be awarded to the best portrayal of the Australian landscape which acknowledges the past.
Exhibition opens July 14, where the Winner will be announced. The exhibition will run from July 15 through August.
Image: James Dodd, Nowhere, 2016, acrylic on linen, 137.2 x 96.5 cm.
Nowhere is a painting produced as part of a suite of works by Dodd responding to sites along the Murray River in South Australia. The work incorporates visual impressions of the cliff-faces that are iconic of this region, and interprets the colours and textures of the landscape as a heightened, almost synthetic experience. All of the text, marks and inscriptions that are integrated into the representation have been collected from physical surfaces of the region; this is to say that the original marks are the scrawled residues from people who have passed through and inhabited the region over an extended period of time. Dodd has a long-standing interest in the ways in which graffiti, marked and found on public surfaces, might be incorporated into the representation of landscape in such a way as to imply the people and histories of places.
Image: William Mackinnon, Community, 2010, acrylic, oil and automotive enamel on linen, 99 x 122 cm.
Paul Yore is exhibiting as part of mad love a group exhibition at Arndt Art Agency (A3) curated by Del Kathryn Barton. mad love is part of the cultural initiative Australia now – a year-long program celebrating Australian arts, culture, science and innovation across Germany. Yore will exhibit alongside Brook Andrew, Del Kathryn Barton, Pat Brassington, Dale Frank, Mirdidingkingathi Juwarnda Sally Gabori, Ramesh Mario Nithiyendran, Patricia Piccinini, and Ben Quilty.
A3 is pleased to present the group exhibition mad love, that provides a contemporary image of current Australian art within the context of Germany and Europe. Held at Arndt Art Agency’s premises in Berlin, the show is curated by leading Australian artist Del Kathryn Barton.
Barton’s personal selection of prominent Australian visual artists each engage with ideas surrounding instinct, innate urges and the corporeal. Artworks included will consist of paintings, sculpture, mixed media, photography, and works on paper.
Body as pleasure. Body as machine. Body longing, always longing. Hungry body, filthy body. Body to run. Body to deny. Thinking body. Muscle Body. Body as instrument and song, as instinct towards life. Body light. Body dark. Evolutionary body, dinosaur body. Plastic body. Colour body. BODY as unmitigated surges of light and energy, just briefly, but oh, such, such love……… mad, mad love.
– Del Kathryn Barton
Image: Paul Yore, Dreams Can Come True, 2016, wool needlepoint, 48 x 29 cm irreg,
Hugo Michell Gallery invites you to the opening of Lucas Grogan’s Thoughts & Prayers, and South, North to Indented Head featuring Tia Ansell, Matt Arbuckle, and Gabriel Curtin, curated by Richard Lewer, on Wednesday, May 24 from 6pm!
Lucas Grogan manipulates a controlled palette, pairing an expert use of line and pattern with an acerbic wit. His pithy phrases and vignettes of everyday life make acute observations and connections across a broad spectrum of experiences.
Grogan’s work is held in the collections of the National Gallery of Australia, Artbank, Deutsche Bank, Wesfarmers, Newcastle Region Art Gallery, Ararat Regional Art Gallery, the Art Gallery of Ballarat, and private collections nationally and internationally. He has been widely commissioned for public murals both nationally and internationally.
South, North to Indented Head, curated by Richard Lewer features three Melbourne-based painters, all born internationally (NZ & UK). Working predominantly in painting and weaving, Tia Ansell’s practice is bound to the idealised nature of techniques of a craftsman and focuses on knowledge gained through touch and movement – the intimate connection between hand and head. For Matt Arbuckle the qualities of a found object present stimulus for creative expansion; a textured ground, a scuffed scrawl or a folded spine elicits a responsive gesture. Presenting a medley of imagery and textures, Gabriel Curtin constructs an arena where new and familiar thoughts coexist.
Please join us in celebrating these the launch of these two exhibitions on Wednesday, May 24!
Image: Lucas Grogan, Ask the universe #1, 2017, from Thoughts & Prayers, ink and acrylic on archival matt board, 60 x 50 cm.
Image: Tia Ansell, Energy, 2017, oil on canvas, ply with carpet, 72 x 62 cm.