Exhibitors include Rosslynd Piggot, whose massive white bed imposes an improbable and powerful presence above the space inviting all to dream.
The gorgeous black and white photography of Max Dupain of the 1950’s models portrays images of a graceful and bygone era.
Early collage work by Sidney Nolan and David Noonan are featured. A taxidermied black cat waves goodbye to us at the end of the show. It looks like a stage prop or TV show persona and not a gallery piece. Such is the depth and wonder of this show my eyes were opened to works by artists I knew but didn’t know were part of the Dada and Surrealism movements. Being removed from Europe and the USA these artists created their own version of the movement. It is a brilliant show and many of these influential artists are currently teaching and working in Australia.
I found particularly poignant and whimsical the installations by Judith Wright in the foyer. They are assemblages of found objects of childhood relics eg horses heads, child’s toys and a rowboat. These works depict the loss of her child, and are the artists imaginings of how her child’s life would be if she had lived and grown through childhood.
This exhibition educated and exposed me to a vast area of work by Australian artists working in a wildly inventive field of exploration.
Brilliant Dilletantes, Subculture in Germany, in the 1980’s, is on at RMIT Storey Hall Gallery now until 27 February 2016. I liked what I saw. Tonight, 3rd December at 5.30pm a talk is being given about a new book by Australian writer and Berlin resident, Stuart Braun, discussing his new book “City of Exiles:Berlin from the Outside In” with Dr Peter Milne.
I walked to Caulfield, from my home in Elsternwick to see the MADA Graduate Fine Art and Visual Art Exhibition. I wasn’t disappointed. The work on display was extremely innovative, explorative, and visually stunning. It covered a diverse range of visual practice including installation, photography, painting, printmaking, sculpture and drawing.
Spread over the entire floors of the old, iconic, former CIT Building, in Dandenong Rd, it embraced a fine visual aesthetic and displayed a comprehensive skill base of the newly graduated practitioners.
Of particular interest was the area where the Honours Students were exhibiting. This is the proposed 2016 studio space for the first year, Bachelor of Fine Art Degree students.
This comprehensive exhibition centred on the Boyd family, and their work, is informative and diverse. Historically interesting, it chronicles the work of one of the most influential, and significant Australian Art families. Working in the fields of painting, sculpture,pottery, ceramics, literature, architecture, poetry and music, there is much to see in the exhibition.Metric Boyd, Earthernware Vase, 1931
Arthur Boyd, My father, Merric Boyd’s pottery and kiln, 1934
‘Polly’ , Arthur Boyd, oil painting, 1951
Arthur Boyd, Landscape, oil painting, 1969
For fifty years, they resided in an area of Murrumbeena, a South Eastern suburb of Melbourne, in an idyllic bush setting which inspired much of their work.
dazzled. I wasn’t disappointed. There was a massive array of work on display, which attracted a large crowd. Seen lurking in the distance was Paul Borg, ex VU teacher, the enigmatic Louise Hall, current VU teacher but the mercurial Peter Burke was nowhere in sight! Perhaps still frantically installing the Graduate 2015 VU Exhibition?
The work was varied, innovative and skillful. Of particular interest were the large canvases, of either acrylic or oil paint, placed onto stretchers, displaying a variety of subject matter and painting styles. Several were figurative and realistic, but my favourites were abstract compositions, executed in a very painterly fashion, employing a bold colour palette. It is a method I have adopted in my own artistic practice in the latter half of the year, specifically following my Detroit field trip. My canvases were not stretched as I worked spontaneously off a roll of canvas I bought for my entry into the Basil Sellers Prize.
The end is in sight. It’s been two heady years at Victoria University, highs and lows, friendships forged and help given. I’ve loved it. I am eternally grateful to the chance I’ve been given, to return to my constant love, that of painting. Sometimes hidden in the background, but always on my mind, she is the constant nagging ache, that never quite goes away. I have embraced her these last few years after turning my back on her, for what I thought were more pressing demands on my time.
I’m loving what I do. Inspired, thankful, challenged, desperate, energised, I move onto the next phase of my artistic journey, hopefully receiving more brilliant tuition and networking opportunities with fellow visual artists.
The sleeping giant is awakened, but underneath I’m still a grateful, humble,
After dining on the obligatory American/ Italian Pizza Experience at Grimaldi”s, I went to this on a dark, wet night in Dumbo, Brooklyn, under the bridge and was impressed by what I saw.
A lot of the gallery spaces were shiny, commercial enterprises with expensive art hung on the walls. One had a Shepard Fairey, of street art fame, piece that had already been sold, but giving no indication to its price. I also visited artists studios, including the Triangle Residency, who provide a fantastic program to engage in artistic practice in Brooklyn, for international artists. Whilst many of the galleries were all about selling the work, some were artist run and owned, as they were literally just selling their pieces from their workshops or studios. It gave a valuable insight into the working artists life, in the crowded New York Art Scene, and was inspiring and informative to talk to the actual artist, and not to just to view the end product, in a commercial gallery space.