HyperNormalisation
reviews Guardian
YouTube trailer
Bitter Lake
review Guardian
Saturday, 18 February 2017
Wednesday, 15 February 2017
Monday, 13 February 2017
documenta 14
Learning from Athens
How to write painting
Link documenta 14
How to Write Painting: A Conversation about History Painting, Language, and Colonialism with Gordon Hookey, Hendrik Folkerts, and Vivian Ziherl
Walks
http://www.documenta14.de/en/walks
http://www.art-agenda.com/reviews/documenta-14/#.WO0vGCUtdVo.twitter
April 10, 2017
The fourteenth edition of Documenta takes place, for the first time in the institution’s history, across two locations. By staging it in Germany and Greece, and expressing the hope that an exhibition bankrolled by the former might effectively critique the infrastructures of power that have immiserated the latter, curator Adam Szymczyk signalled that this would be a Documenta defined by its internal contradictions. The embrace of paradox continued in the press conference for the Athens opening, during which Szymczyk spoke about the possibility of “learning from Athens” through a process of “unlearning what we know.”
How to write painting
Link documenta 14
How to Write Painting: A Conversation about History Painting, Language, and Colonialism with Gordon Hookey, Hendrik Folkerts, and Vivian Ziherl
Walks
http://www.documenta14.de/en/walks
http://www.art-agenda.com/reviews/documenta-14/#.WO0vGCUtdVo.twitter
April 10, 2017
The fourteenth edition of Documenta takes place, for the first time in the institution’s history, across two locations. By staging it in Germany and Greece, and expressing the hope that an exhibition bankrolled by the former might effectively critique the infrastructures of power that have immiserated the latter, curator Adam Szymczyk signalled that this would be a Documenta defined by its internal contradictions. The embrace of paradox continued in the press conference for the Athens opening, during which Szymczyk spoke about the possibility of “learning from Athens” through a process of “unlearning what we know.”
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| Gordon Hookey, Solidarity, 2017. Athens photo ©Stathis Mamalakis |
Thursday, 2 February 2017
Sidney Nolan Centenary
Portraits/self-portraits
"The paintings are really more about myself and my emotional state, than Kelly," Nolan told writer Janet Hawley during the 1980s.Sidney Nolan Trust
Centenary Programme"Widely considered Australia’s finest painter, Sidney Nolan lived for most of his career in England. The ancient manor, The Rodd near Presteigne on the borders of Wales, was his home for the last nine years of his life and it was here that he founded the charitable trust in his name. The ancient landscape of its valley setting reminded him of the timeless and monumental wild places that he had visited in Australia and elsewhere throughout his career. His ambition was to create an inspirational gathering place for artists, scholars, students and others to meet, to exchange and develop their practise, and above all to create and to share widely their artistic endeavour."
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| Sidney Nolan, four abstracts, 1986, enamel spray on canvas, 305x457cm, Collection of the Sidney Nolan Trust, © Sidney Nolan Trust |
Accomodation nearby Rough Acre
Pallant House
ChichesterSidney Nolan exhibition from Feb 18
A major exhibition marking the centenary of the birth of Australian-born artist Sir Sidney Nolan (1917 – 1992), a leading figure of international 20th century art whose diverse oeuvre saw experimentation with a wide range of materials. Focussing on the artist’s time living and working in Britain, it brings together works that reveal recurring themes such as Australian history and literature, mythology, and the tragic hero/anti-hero. Iconic works from the 50s and 60s including paintings of the Australian outlaw Ned Kelly and the unfortunate explorers Burke and Wills are shown alongside Nolan’s sets and costumes from the 1962 Royal Ballet production of The Rite of Spring.
IKON Gallery
BirminghamSidney Nolan exhibition from June 2017
Sidney Nolan (1917 – 1992), one of the most important Australian artists of the twentieth century, lived his last years on the Welsh-Midlands border. To mark the centenary of his birth, in collaboration with The Sidney Nolan Trust, Ikon brings to light a selection of extraordinary paintings dating from the 1980s.
Fugitive portraits
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| Sir Sidney Nolan, Illuminations (1982). Spray on canvas. © Sidney Nolan Trust. |
Press The Australian
Telegraph Alistair Sooke
Art UK listings of works held in UK
On Desert Island Discs in 1962
On Front Row 17 Feb 2017 9'45-14'40: Richard Cork reviews
Transferences: Sidney Nolan in Britain is at the Pallant House Gallery, Chichester, West Sussex from 18 February - 04 June 2017.
Tuesday, 31 January 2017
Marking the Infinite
Marking the Infinite: Contemporary Women Artists from Aboriginal Australia
at Patricia and Phillip Frost Art Museum, University of Florida, 28 Jan - 7 May 2017.
Women artists in exhibition in Florida
Marking the Infinite curated by Henry Skerritt from the collection of Debra and Dennis Scholl
at Patricia and Phillip Frost Art Museum, University of Florida, 28 Jan - 7 May 2017.
Women artists in exhibition in Florida
Marking the Infinite curated by Henry Skerritt from the collection of Debra and Dennis Scholl
The exhibition will continue to travel throughout North America for the next two years, to the Scottsdale Museum of Contemporary Art in Arizona, the Nevada Museum of Art in Reno, The Phillips Collection in Washington, DC and the Museum of Anthropology at the University of British Columbia in Vancouver.
The exhibition originated at the Nevada Museum of Art in Reno under the guidance of William Fox, Director of the Center for Art and Environment, and Henry Skerritt, Curator of the Kluge-Ruhe Aboriginal Collection of the University of Virginia. The catalogue accompanying the exhibition features essays with some of the world’s leading experts in Aboriginal art, including Hetti Perkins, Tina Baum, Cara Pinchbeck, Howard Morphy, John Carty, and Henry Skerritt.
Friday, 27 January 2017
Thursday, 19 January 2017
AAMU to close in June 2017
So sorry to hear that the AAMU in Utrecht has to close its doors.
Dr Georges Petitjean has been curator for 12 years, following founding curator Annette van Ham.
Dr Georges Petitjean has been curator for 12 years, following founding curator Annette van Ham.
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| Dr Georges Petitjean. This photograph was taken during the 'Breaking with tradition' exhibition (2010/2011) (Photographer: Thijs Rooimans) |
Thursday, 12 January 2017
Monday, 9 January 2017
Not an Animal or a Plant
Vernon Ah Kee
Not an Animal or a Plant
showing at National Art School, Sydney during the Sydney Festival
He comments: that in this fiftieth year since the 1967 referendum which decided to include Aboriginal and Torres Strait Island people in the census count:
"We are going backwards as a country, especially in the last 15 years with Palm Island, the Cronulla riots, the re-election of Pauline Hanson, the intervention policies in northern communities, and the latest developments with asylum seeker policies. Anyone can see we are moving backwards. Quite a bit. Australia is no shining star in the human rights arena."
Andrew Frost in Guardian review: notes that Ah Kee was not counted as a human when he was born in 1967; and wonders if one work ( Born in this skin) distances the viewer from the racism of the artworld, and the viewers' own racism, by siting it in the ready-made doors taken from a toilet block on Cockatoo Island - far away.
Not an Animal or a Plant
showing at National Art School, Sydney during the Sydney Festival
He comments: that in this fiftieth year since the 1967 referendum which decided to include Aboriginal and Torres Strait Island people in the census count:
"We are going backwards as a country, especially in the last 15 years with Palm Island, the Cronulla riots, the re-election of Pauline Hanson, the intervention policies in northern communities, and the latest developments with asylum seeker policies. Anyone can see we are moving backwards. Quite a bit. Australia is no shining star in the human rights arena."
Andrew Frost in Guardian review: notes that Ah Kee was not counted as a human when he was born in 1967; and wonders if one work ( Born in this skin) distances the viewer from the racism of the artworld, and the viewers' own racism, by siting it in the ready-made doors taken from a toilet block on Cockatoo Island - far away.
Tuesday, 3 January 2017
Vale John Berger
To hear of John Berger's death this morning, before dawn in an already grieving household in Shropshire, brings the heavy sky closer. With our guides departing, we look to each other to expand, consciously, into the spaces made, to find a way to be in relation with the person who has gone. To hold their voices in a shell, to lift it to your ear. To listen. To heed. To act.
Watch 'Ways of Seeing' on UbuWeb
'Play Me Something' (1989) on BFI
John Berger & Susan Sontag 1983 To Tell a Story
Read On 'Play Me Something' and 'Walk Me Home' here
Michael McNay Obituary in Guardian Books
Robert Minto LA Review of Books
Jacob Brogan in the New Yorker
Philip Maughan in New Statesman
Adrian Searle in the Guardian
Colin McCabe Nov 2016 Prospect magazine
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| 5 November 1926 - 2 January 2017 |
Watch 'Ways of Seeing' on UbuWeb
'Play Me Something' (1989) on BFI
John Berger & Susan Sontag 1983 To Tell a Story
Read On 'Play Me Something' and 'Walk Me Home' here
Michael McNay Obituary in Guardian Books
Robert Minto LA Review of Books
Jacob Brogan in the New Yorker
Philip Maughan in New Statesman
Adrian Searle in the Guardian
Colin McCabe Nov 2016 Prospect magazine
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