Daine Singer

27 March 2013

admin — Wed, 27 Mar 2013 04:04:10 +0000

Lane Cormick has a solo exhibition, Janis, at TCB art inc.

Opening: 6-8pm Wednesday 27 March, performance starts at 6pm.
Exhibition: 28 March – 13 April 2013
Address: TCB art inc. Level 1/12 Waratah Place Melbourne

>> TCB art inc

5 JUNE TO 6 JULY 2013 – FEEL FLOWS – MINNA GILLIGAN

admin — Fri, 22 Mar 2013 00:29:40 +0000

26 APRIL TO 1 JUNE 2013 – SKETCHES & CERTAINTIES – ANDREW MCQUALTER

admin — Fri, 22 Mar 2013 00:26:24 +0000

Sketches and Certainties is a collection of new works concerning knowledge, memory and states of being. Like much of McQualter’s work, they rely on the viewer to engage and respond, bringing their own experience to the ‘fact’ of the artwork. The works explore formal and material qualities, experimenting with graphic styles, repetition, pattern and object making.

In addition to his solo exhibition at Daine Singer, McQualter’s works are currently on display at the MCA, NGV, Shepparton Art Museum and MUMA. He has exhibited extensively throughout Australia and his work is held in the collections of the University of Melbourne, NGV and MCA.

Download essay by Peta Mayer

Installation view

Andrew McQualter, Sketches and Certainties, 2013
installation view
Photograph: Clare Rae

Installation view

Andrew McQualter, Sketches and Certainties, 2013
installation view
Photograph: Clare Rae

Installation view

Andrew McQualter, Sketches and Certainties, 2013
installation view
Photograph: Clare Rae

Untitled (finger in book)

Andrew McQualter, Untitled (finger in book), 2013
acrylic paint, plywood, metal, rock
69 x 45 x 35 cm
Photograph: Clare Rae

Untitled (birchtree)

Andrew McQualter, Untitled (birchtree), 2013
acrylic paint, plywood, pine, glue, metal, Ikea 'Frosta' stool
97.5 x 46 x 35 cm
Photograph: Clare Rae

Untitled (gestures)

Andrew McQualter, Untitled (gestures), 2013
acrylic paint, plywood, pine, glue, metal
55 x 41.5 x 3 cm
Photograph: Clare Rae

Untitled (placemarker)

Andrew McQualter, Untitled (placemarker), 2013
acrylic paint, plywood, pine, glue
31 x 35 x 3 cm
Photograph: Clare Rae

Untitled (pedestrians)

Andrew McQualter, Untitled (pedestrians), 2013
acrylic paint, plywood
56 x 36 x 30 cm
Photograph: Clare Rae

Untitled (performance)

Andrew McQualter, Untitled (performance), 2013
acrylic paint, plywood, pine, glue
14.5 x 56.5 x 3 cm
Photograph: Clare Rae

Untitled (orange)

Andrew McQualter, Untitled (orange), 2013
acrylic paint, plywood, pine, glue, metal
42.5 x 59 x 3 cm
Photograph: Clare Rae

Untitled drawing for R

Andrew McQualter, Untitled drawing for R, 2013
watercolour, coloured pencil and graphite pencil on paper
80.5 x 59.5 cm
Photograph: Clare Rae

Untitled drawing for R

Andrew McQualter, Untitled drawing for R, 2013
watercolour, coloured pencil and graphite pencil on paper
80.5 x 62 cm
Photograph: Clare Rae

Untitled drawing for R

Andrew McQualter, Untitled drawing for R, 2013
watercolour, coloured pencil and graphite pencil on paper
80.5 x 72.5 cm
Photograph: Clare Rae

21 March 2013

admin — Thu, 21 Mar 2013 05:51:24 +0000

Lane Cormick is presenting BPNM as part of Action/Response, a program of new site-specific works curated by Hannah Mathews. Cormick’s BPNM is a personal gesture reminiscing about the gambling days of the old TAB in Errol Street North Melbourne, a site where Cormick had his first big win of $300 in 1995 by backing a horse ridden by Brett Prebble. In front of the former betting agency, the artist has created a series of MDF placards with rubbed photocopy-transfers featuring portraits of Prebble, then an amateur jockey who has since gone on to become one of the stars of the racing industry, winning the Melbourne Cup in 2012.

Action/Response takes place on the 22nd and 23rd of March. The program for Friday 22nd March includes works by Natalie Abbott, Deanne Butterworth, Lane Cormick, Alicia Frankovich, Bianca Hester, Laresa Kosloff, Shelley Lasica, Jo Lloyd, Oliver Mann and Tony Yap and responds to a text written by Ramona Koval.

Lane Cormick’s BPNM will be on view for one hour only, from 6-7pm Friday 22 March.
Location: centre nature strip, Errol Street between Queensberry & Purcell Streets, North Melbourne.

>> Action/Response Dance Massive program

20 February 2013

admin — Wed, 20 Feb 2013 03:01:29 +0000

Andrew McQualter has a new wall work, The realised gesture, currently exhibited at Shepparton Art Museum. Andrew McQualter’s work is the tenth in a series of temporary, site-specific wall projects commissioned by SAM for their Drawing Wall.

13 February 2013

admin — Thu, 14 Feb 2013 03:17:11 +0000

Michael Needham has a sculptural installation, Journey of Articulation (Subsection), exhibited at Gear Box Gallery at Melbourne Grammar School until 15 March 2013.

>> Gear Box Gallery

5 February 2013

admin — Mon, 04 Feb 2013 21:58:33 +0000

Kate Just will be undertaking a London-based public art project from July 15 – October 10, 2013.

As the winner of a British Council Realise Your Dream Award for 2013, Just will travel to the UK to work with artists, members of the Stitch London community, and others to produce public knitting/art works. She will also undertake research in the Victoria and Albert Museum collections, the Tate, Make Women’s Library, the Feminist Archive in Leeds and the Newhall Women’s Art collection.

Kate’s UK project Women HOPE centres on the creation of large scale knitted banners that spell HOPE. During July, August and September 2013, she will hold knitting workshops and events for the project in London and other areas of the UK. Participants will be invited to create knitted squares and help assemble banners.

Following production of the banners, Kate will invite knitters and groups of women to walk behind the banners in ‘Hope marches’ through prominent city sites and local neighbourhoods

Kate is currently looking for participants in London, for more details download the full project brief.

>> Women HOPE project brief

14 MARCH TO 20 APRIL 2013 – KATE JUST – VENUS WAS HER NAME

admin — Sat, 02 Feb 2013 02:52:27 +0000

Venus Was Her Name brings to Melbourne works Kate Just produced during a recent three month residency and exhibition in Krems, Austria (2011-2012). Just’s interest in Krems was ignited by its close proximity to the town of Willendorf, home of the Palaeolithic female figurine The Venus of Willendorf (25,000 BCE). Continuing her interest in female representation, Just created a series of works exploring the legacy of The Venus in the area and its untapped subjective presence. Just drew on contemporary archaeological theories suggesting The Venus might be a self-portrait, or image of a textile practitioner. She produced a life-like knitted portrait of her own skin, and knitted a large twine sculpture of the word ‘VENUS’ with knitters across Austria, using archaic knitting symbols in place of letters. These works are shown alongside a a series of collages of women formed from images of archaic objects and a table of faux-archaeological relics relating to the artist and The Venus.

Kate Just was born in Connecticut in 1974 and moved to Melbourne in 1996. Just has a Master of Arts from RMIT, a Bachelor of Fine Arts from VCA and a Bachelor of Science (Film-making) from Boston University. She has been a Lecturer in Art at the Victorian College of the Arts since 2005. Just has exhibited extensively including at Auckland Art Fair, AC Institute New York, the Kunsthalle in Krems, Austria, Craft Victoria, Gertrude Contemporary, Centre for Contemporary Photography, Melbourne Art Fair, Contemporary Art Space of Tasmania, Chalk Horse Gallery, First Draft, MOP, Perth Institute of Contemporary Art, Canberra Contemporary Art Space, and Daine Singer. Recently, a survey exhibition of Just’s major knitted works was held at Ararat Regional Gallery entitled Kate Just: The Knitted Work 2004 – 2011. Her work is currently being exhibited in Louise Bourgeois and Australian Artists at Heide Museum of Modern Art. In May 2013, Just’s studio led PhD at Monash University will culminate in the exhibition The Texture of Her Skin. Just has held international residencies at KREMS AIR in Austria (2011) and the Australia Council Residency in Barcelona (2012). As a recipient of the British Council Realise Your Dream Award, Just will travel to London in 2013 to create a public knitting work entitled Women HOPE. Her work is held in collections including Artbank, Ergas Collection, City of Port Phillip, Ararat Regional Art Gallery and Proclaim Management Collection.

Download essay by Casey Jenkins

Venus Was Her Name (installation view)

Kate Just, Venus Was Her Name, 2013
installation view
Photograph: Clare Rae

Of Hearth and Home (female spindle/ web/ cloud)

Kate Just, Of Hearth and Home (female spindle/ web/ cloud), 2011
epoxy resin, wire, cotton, poppy seeds (web); epoxy resin, wire, poppy seeds (female spindle/ cloud)
Photograph: Clare Rae

Of Hearth and Home (vessel/ fingers/ spindle)

Kate Just, Of Hearth and Home (vessel/ fingers/ spindle), 2011
epoxy resin, wire, poppy seeds
Photograph: Clare Rae

Of Hearth and Home (tampon/ glasses/ Venus helmet)

Kate Just, Of Hearth and Home (tampon/ glasses), 2011
epoxy resin, wire, cotton, poppy seeds (tampon); epoxy resin, wire, poppy seeds (glasses)
Photograph: Clare Rae

Of Hearth and Home (snow Venus/ mirror/ sculpting tool)

Kate Just, Of Hearth and Home (snow Venus/ mirror/ sculpting tool), 2011
epoxy resin, wire, poppy seeds
Photograph: Clare Rae

Of Hearth and Home (rune/ Daphne pot/ crouching woman with pot), 2011

Of Hearth and Home (rune/ Daphne pot/ crouching woman with pot), 2011
epoxy resin, wire, poppy seeds (rune); epoxy resin, wire, found ceramic, poppy seeds (Daphne pot), epoxy resin, wire, found ceramic pot, poppy seeds (crouching woman with pot)
Photograph: Clare Rae

Of Hearth and Home (bulbous form/ child and cereal)

Kate Just, Of Hearth and Home (bulbous form/ child and cereal), 2011
epoxy resin, wire, poppy seeds
Photograph: Clare Rae

Of Hearth and Home (knitted hand/ vessel)

Kate Just, Of Hearth and Home (knitted hand/ vessel), 2011
epoxy resin, wire, poppy seeds, wool (knitted hand), epoxy resin, wire, poppy seeds (vessel)
Photograph: Clare Rae

Of Hearth and Home (Venus helmet/ fertility symbol)

Kate Just, Of Hearth and Home (Venus helmet/ fertility symbol), 2011
epoxy resin, wire, poppy seeds
Photograph: Clare Rae

Of Hearth and Home (knitting needles/ female spindle)

Kate Just, Of Hearth and Home (knitting needles/ female spindle), 2011
epoxy resin, wire, poppy seeds
Photograph: Clare Rae

In My Skin

Kate Just, In My Skin, 2011
hand and machine knitted acrylic yarn
178 x 88 x 1 cm
Photograph: Clare Rae

In My Skin

Kate Just, In My Skin, 2011
hand and machine knitted acrylic yarn
178 x 88 x 1 cm
Photograph: Clare Rae

Venus

Kate Just, Venus, 2011-2013
cardboard, tape, twine
116 x 500 x 23 cm
Photograph: Clare Rae

Venus (detail)

Kate Just, Venus, 2011-2013
cardboard, tape, twine
116 x 500 x 23 cm
Photograph: Christian Redtenbacher

Venus (detail)

Kate Just, Venus, 2011-2013
cardboard, tape, twine
116 x 500 x 23 cm
Photograph: Christian Redtenbacher

Venus (detail)

Kate Just, Venus, 2011-2013
cardboard, tape, twine
116 x 500 x 23 cm
Photograph: Christian Redtenbacher

Venus (detail)

Kate Just, Venus, 2011-2013
cardboard, tape, twine
116 x 500 x 23 cm
Photograph: Christian Redtenbacher

Venus (detail)

Kate Just, Venus, 2011-13
cardboard, tape, twine
116 x 500 x 23 cm
Photograph: Christian Redtenbacher

Matrikas #2-7

Kate Just, Matrikas #2-7, 2011
collage on plywood, masonite
Photograph: Clare Rae

Matrika #1

Kate Just, Matrika #1, 2011
collage on plywood, masonite
40 x 30 cm
Photograph: Clare Rae

Matrika #2

Kate Just, Matrika #2, 2011
collage on plywood, masonite
44 x 25 cm
Photograph: Clare Rae

Matrika #3

Kate Just, Matrika #3, 2011
collage on plywood, masonite
52 x 21 cm
Photograph: Clare Rae

Matrika #4

Kate Just, Matrika #4, 2011
collage on plywood, masonite
51 x 25 cm
Photograph: Clare Rae

Matrika #5

Kate Just, Matrika #5, 2011
collage on plywood, masonite
48 x 28 cm
Photograph: Clare Rae

Matrika #6

Kate Just, Matrika #6, 2011
collage on plywood, masonite
40 x 26 cm
Photograph: Clare Rae

Matrika #7

Kate Just, Matrika #7, 2011
collage on plywood, masonite
53 x 21 cm
Photograph: Clare Rae

31 JANUARY – 9 MARCH 2013 – SEAN BAILEY – ORDER AND DECAY

admin — Wed, 12 Dec 2012 01:02:05 +0000

Sean Bailey makes predominantly abstract paintings that are instinctive and process-based. He employs ‘direct’ mediums such as collage and other lo-fi techniques to investigate ideas of painting as an expression of agency. In the works he explores transformation, renewal, decay and transcendence by adding and subtracting layers of paint to found images, thereby simultaneously obscuring and forming meaning.

Sean has had solo exhibitions at galleries including: RM, Auckland; First Draft, Sydney; and in Melbourne at Daine Singer, Neon Parc, West Space, T.C.B., Joint Hassles and Clubs Project Space. He has participated in group exhibitions at University of Queensland Art Museum; Gambia Castle, Auckland; Special, Auckland; Amsterdam Biennial; CAST, Hobart; and in many Melbourne spaces including: Gertrude Contemporary, Sutton Project Space, Hell Gallery, Bus Gallery, Utopian Slumps, T.C.B. and Seventh. As a musician Sean is known for playing in groups including Paeces, Wasted Truth, Vivian Girls, Lakes and TAX as well as running the private press label Inverted Crux. He has a BFA (2005) from the Victorian College of Arts and is a 2013 Studio Artist at Gertrude Contemporary.

Download essay by Serena Bentley

Review by Ace Wagstaff and Tai Snaith on RRR (review starts at 39 minutes)

Review by Dan Rule in The Age

Installation view

Sean Bailey, Order and Decay, 2013
installation view
Photograph: Clare Rae

Installation view

Sean Bailey, Order and Decay, 2013
installation view
Photograph: Clare Rae

Installation view

Sean Bailey, Order and Decay, 2013
installation view
Photograph: Clare Rae

Installation view

Sean Bailey, Order and Decay, 2013
installation view
Photograph: Clare Rae

Two Oak Heads

Sean Bailey, Two Oak Heads, 2012
synthetic polymer paint  and collage on ply board
90 x 60 cm
Photograph: Clare Rae

Corner Painting

Sean Bailey, Corner Painting, 2012
synthetic polymer paint  and collage on glass
51 x 41 cm
Photograph: Jake Walker

Solar Praxis

Sean Bailey, Solar Praxis, 2012
synthetic polymer paint  and collage on ply board
50 x 45 cm
Photograph: Clare Rae

Silver Tree

Sean Bailey, Silver Tree, 2012
synthetic polymer paint  and collage on ply board
60 x 55 cm
Photograph: Clare Rae

Heads of Rome

Sean Bailey, Heads of Rome, 2012
synthetic polymer paint  and collage on linen board
51 x 40.5 cm
Photograph: Jake Walker

Doorway II

Sean Bailey, Doorway II, 2012
synthetic polymer paint  and collage on ply board
90 x 60 cm
Photograph: Clare Rae

Order and Decay

Sean Bailey, Order and Decay, 2012
synthetic polymer paint  and collage on ply board
90 x 60 cm
Photograph: Clare Rae

Wells and Springs

Sean Bailey, Wells & Springs, 2012
synthetic polymer paint  and collage on linen board
45 x 60 cm
Photograph: Clare Rae

Doorway I

Sean Bailey, Doorway I, 2012
synthetic polymer paint  and collage on ply board
50 x 45 cm
Photograph: Clare Rae

Yew Painting

Sean Bailey, Yew Painting, 2012
synthetic polymer paint  and collage on linen board
30.5 x 30.5 cm

Grey Head

Sean Bailey, Grey Head, 2012
synthetic polymer paint  and collage on ply board
50 x 45 cm
Photograph: Clare Rae

Emerging Head

Sean Bailey, Emerging Head, 2012
synthetic polymer paint  and collage on glass
68 x 55 cm
Photograph: Clare Rae

Tree

Sean Bailey, Tree, 2012
synthetic polymer paint  and collage on ply board
60 x 55 cm

Untitled

Sean Bailey, Untitled, 2012
synthetic polymer paint  and collage on ply board
60 x 55 cm

Channel

Sean Bailey, Channel, 2012
synthetic polymer paint  and collage on glass
60 x 55 cm
Photograph: Clare Rae

Throne

Sean Bailey, Throne, 2012
synthetic polymer paint  and collage on linen board
51 x 40.5 cm
Photograph: Clare Rae

Untitled

Sean Bailey, Untitled, 2012
synthetic polymer paint  and collage on glass
68 x 55 cm
Photograph: Clare Rae

Blooming Faces

Sean Bailey, Blooming Faces, 2012
synthetic polymer paint and collage on composite board
90 x 60 cm
Photograph: Clare Rae

Doorway III

Sean Bailey, Doorway III, 2012
synthetic polymer paint  and collage on linen board
40.5 x 40.5 cm
Photograph: Jake Walker

7 December 2012

admin — Fri, 07 Dec 2012 03:19:14 +0000

The National Gallery of Victoria has commissioned Andrew McQualter to create a new iteration of his wall painting, A partial index. Andrew has just finished installing this work on level three of NGV St Kilda Road, where it will be exhibited temporarily. The work will become a permanent acquisition of the Gallery, which will have rights to recreate the work in future.
Image: Andrew McQualter, A partial index, 2012 (detail), acrylic paint on wall, dimensions variable

4 December 2012

admin — Tue, 04 Dec 2012 02:26:02 +0000

Lane Cormick’s Club features on the cover of Un Magazine 6.2. Club was created for exhibition at Daine Singer in March 2012. Un Magazine 6.2 is edited by Lisa Radford, sub-edited by Liang Luscombe and designed by Brad Haylock.

Un Magazine will be holding launches in Melbourne and Sydney.

Melbourne: Thursday 13 Dec | 6-8pm | The Alderman | 134 Lygon Street, Brunswick East.

Sydney: Saturday 15 Dec | 4-6pm | Alaska Projects | Level 2 of the Kings Cross Car Park, 9A Elizabeth Bay Rd Elizabeth Bay (directly behind the Kings Cross Police station).

>> Un Magazine

Zoe Croggon

admin — Sun, 02 Dec 2012 22:30:05 +0000

Melbourne-based artist Zoë Croggon works with sculpture, video, drawing and primarily, collage. Her work brings different worlds and moments into collision, suggesting unexpected affinities of energy and form. Croggon’s collages are composed of images gleaned from sources such as sports encyclopaedias, photography manuals, film stills and dance catalogues. By exploring texture, light, and form through visual comparison and by making fluid or discordant juxtapositions and connections, she rouses the possibilities of metamorphosis and abstraction.

In the practice of collage, the identity of an object is suspended between its original context and the new conceptual whole in which it is set. An object in a collage surrenders its identity and function and undergoes an aesthetic transformation. Croggon is particularly interested in exploring the possibilities of subconscious perception and the power of suggestion over actual resemblance.

Zoë Croggon has a Bachelor of Fine Art at the Victorian College of the Arts with First Class Honours, where she received the ACACIA Art Award and was short-listed for the Wallara Travelling Scholarship. Recent exhibitions include Liquid Archive at Monash University Museum of Art, Exploration 12 at Flinders Lane Gallery and Future Now at The Substation. She has also exhibited in group exhibitions at NGV Studio, Blindside, Platform, Seventh, TCB, Tinning Street, blackartprojects and the VCA Margaret Lawrence Gallery.

Black + White #2

Zoe Croggon, Black + White #2, 2010
C-type print, 59 x 108 cm
edition of 5

Black + White #3

Zoe Croggon, Black + White #3, 2010
C-type print, 59 x 46 cm
edition of 5

Black + White #4

Zoe Croggon, Black + White #4, 2010
C-type print, 59 x 35 cm
edition of 5

Boxer #2

Zoe Croggon, Black + White #2, 2011
C-type print, 60 x 58 cm
edition of 3

Challenger

Zoe Croggon, Challenger, 2012
C-type print, 60 x 69 cm
edition of 3

Fonteyn

Zoe Croggon, Fonteyn, 2012
C-type print, 60 x 59 cm
edition of 3

Installation view

Zoe Croggon, installation view, 2012

Installation view

Zoe Croggon, installation view, 2012

Untitled #3

Zoe Croggon, Untitled #3, 2012
C-type print, 65 x 47 cm, 66.5 x 49 cm framed
edition of 3

Untitled #4

Zoe Croggon, Untitled #4, 2012
C-type print, 65 x 112 cm, 66.5 x 113.5 cm framed
edition of 3

Beyond Habitat

Zoe Croggon, Beyond Habitat, 2012
C-type print, 65 x 45 cm, 66.5 x 47 cm framed

Untitled #6

Zoe Croggon, Untitled #6, 2012
C-type print, 65 x 45 cm, 66.5 x 47 cm framed
edition of 3

Jetee

Zoe Croggon, Jetee, 2012
C-type print, 65 x 130.5 cm, 66.5 x 132 cm framed
edition of 3

Untitled #2

Zoe Croggon, Untitled #2, 2012
C-type print, 65 x 51 cm, 66.5x 52.5cm framed
edition of 3

Untitled #1

Zoe Croggon, Untitled #1, 2012
C-type print, 65 x 51 cm, 66.5 x 52.5 cm framed
edition of 3

Zoe Croggon (b.1989, Melbourne, lives Melbourne)

Education
2011 Bachelor of Fine Art (Honours),Victorian College of the Arts
2008-10 Bachelor of Fine Art (Drawing), Victorian College of the Arts

Solo Exhibitions
2013 (forthcoming) West Space, Melbourne
2012 Zoe Croggon, Daine Singer, Melbourne

Group exhibitions
2012-2013 Future Now, The Substation, Melbourne; Cowwarr Art Space, Gippsland
2012 Liquid Archive, Monash University Museum of Art, Melbourne
2012 Dodecahedron, Platform Contemporary Art Spaces, Melbourne
2012 Exploration 12, Flinders Lane Gallery, Melbourne
2012 Splitting Image, Tinning St Gallery, Melbourne
2012 Tenancy 3, blackartprojects, Melbourne
2012 Entry 2012, Brunswick Arts, Melbourne
2011 Graduate Exhibition, Victorian College of the Arts
2011 Consultancy, National Gallery of Victoria Studio, Melbourne
2011 Mainly Everything, TCB Gallery, Melbourne
2011 Here Is Where We Meet, Seventh Gallery, Melbourne
2011 Honourable Discharge, VCA Student Gallery, Melbourne
2011 Triple Double, The Mill Gallery, Tasmania
2011 Totes West, Basement Lounge Footscray Community Arts Centre, Melbourne
2011 Because We Are All Animals, Disco Beans Art Space, Melbourne
2011 Debut VII, Blindside Gallery, Melbourne
2010 Graduate Exhibition, Victorian College of the Arts, Melbourne
2010 Best Years of Our Lives, VCA Student Gallery, Melbourne
2010 Wallara Travelling Scholarship Exhibition, Margaret Lawrence Gallery, Melbourne
2010 Proud 2010, VCA Margaret Lawrence Gallery, Melbourne
2009 Stay Golden, VCA Student Gallery, Melbourne
2008 Habitat, Geidai University Gallery, Tokyo
2008 Pimp My Paper, VCA Student Gallery, Melbourne
2008 Proud 2008, Margaret Lawrence Gallery, Melbourne

Awards
2010 – Shortlisted for Wallara Traveling Scholarship
2010 – ACACIA Art Award

Bibliography
Dan Rule, ‘Zoe Croggon: In the Galleries’, The Age, Life&Style, 17 November, 2012, p.5
Dan Rule, ‘Body Building’, The Age, 31 October, 2012, p.13
‘Zoe Croggon,’ The Weekly Review, 31 October, 2012, p.16
Patrice Sharkey, Zoe Croggon, cat. essay, Daine Singer, Melbourne, 2012
Alexandra Spangaro, ‘Zoe Croggon Collage Exhibition’, Milk Bar Magazine, 29 October, 2012 >>
Geraldine Barlow, Liquid Archive, cat. essay, MUMA, Melbourne, 2012
Bella Arnot-Hoare, ‘Splitting the Image’, Broadsheet, Melbourne, 13 April, 2012
Dana Tomic Hughes, Yellowtrace, 5 November, 2012 >>
Shae Nagorcka, Debut VII, exh. cat., Blindside, Melbourne, 2011

Collections
Artbank
Acacia Art Collection

19 November 2012

admin — Sun, 18 Nov 2012 22:30:12 +0000

Sean Bailey will be joining Gertrude Contemporary next year as a 2013 Studio Artist. Also announced are: Agatha Gothe-Nape, Jess Johnson, Bridie Lunney, Taree Mackenzie, Alasdair McLuckie and Charlie Sofo.

>> Gertrude Contemporary

29 NOVEMBER TO 21 DECEMBER 2012 – I AM HEATHCLIFF – JANE BURTON, PHOTOGRAPHER HAL, LORRAINE HELLER-NICHOLAS, MS&MR, TIFFANY PARBS, BREYER P-ORRIDGE, MARC SAVOIA, SIMON SCHEUERLE, HEATHER B SWANN

admin — Fri, 09 Nov 2012 05:25:19 +0000

“Nelly, I am Heathcliff – he’s always, always in my mind – not as a pleasure, any more than I am always a pleasure to myself – but, as my own being – so, don’t talk of our separation again…”*

I am Heathcliff explores passion, obsessive desire and the destructive and pathological loss of self that can come with loving another. Evoking tropes of cinematic and literary romance, the exhibition celebrates love in an extreme form and explores the compulsion to merge identities with a loved one.

Some of the artists within the exhibition approach the symbiotic melding of identities as a positive act constituting a personal evolution of sorts. Others critique romance narratives offering promises of happy endings. Sinister, gothic elements runs through these works, revealing the sacrifice of the self to the couple and the dark side of romance as it dissolves into amour fou.

Breyer P-Orridge represented by INVISIBLE-EXPORTS, New York.
Jane Burton and Heather B Swann represented by Karen Woodbury Gallery, Melbourne.

*Emily Bronte, Wuthering Heights, 1847, Australia: Penguin, 2010, p.96

Download exhibition essay and artist biographies

Breyer P-Orridge

Breyer P-Orridge, Blood Sacrifice, 2011
single-channel high definition video, duration 1:30 min
edition of 3
courtesy of INVISIBLE-EXPORTS, New York

Breyer P-Orridge

Breyer P-Orridge, Blood Sacrifice, 2011
single-channel high definition video, duration 1:30 min
edition of 3
courtesy of INVISIBLE-EXPORTS, New York

Ms&Mr

Ms&Mr, Videodromes for the Alone: id pop (after the Gainsbourgs), 1988/2012
Performed and sung by: The artist (1988), The artist (2012)
Single channel video with sound, duration 3:17 min
Lyrics from ‘Lemon Incest’ (1986) written by Serge Gainsbourg, and originally performed with Charlotte Gainsbourg to an arrangement of Chopin’s ‘Étude Op. 10 No. 3’.
Vocal recording, musical arrangement and sound by nova Milne, Archived home movie VHS, HDV footage, animation.
edition of 5 +1AP

Ms&Mr

Tiffany Parbs

Tiffany Parbs, Bond, 2009
glass, digital print, 34 x 47 x 3.5 cm (print); 7 x 18 x 3 cm (object)
Photograph: Terence Bogue

Photographer Hal

Photographer Hal, Flesh Love #44 (Sakamaki & Makino), 2011
archival pigment print, 80 x 60 cm
edition 1/11

Lorraine Heller-Nicholas

Lorraine Heller-Nicholas, Loves Me, Loves Me Not, 2012
Sound design: Alice Hui-Sheng Chang
animation, duration: 2:15 min (loop)
edition of 5

Heather B Swann

Heather B Swann, Giraffe, 2010
bronze, 70 x 20 x 35 cm
edition of 5
courtesy of Karen Woodbury Gallery

Marc Savoia

Marc Savoia, The Philadelphia Story, 2011
digital print on polypropylene, marine ply, plexi-glass, stainless steel bolts, 122 x 87 cm

Jane Burton

Jane Burton, Ivy no.9, 2009
pigment print on aluminium, 75 x 61.5 cm
edition 2/5
courtesy of Karen Woodbury Gallery

Simon Scheuerle

Simon Scheuerle, Half a Bird, 2009
ether foam, 25 x 58 x 75 cm

Peter Davidson

admin — Thu, 11 Oct 2012 23:45:26 +0000

Peter Davidson is an internationally renowned architect, best known for designing Melbourne’s Federation Square as co-director of LAB architecture studio. He has also had a distinguished career teaching and lecturing worldwide and has designed buildings across the world, with major projects in the UK and China.

Davidson graduated in 1980 from the NSW Institute of Technology in Sydney (now UTS), after which he moved to London and ran his own practice while simultaneously teaching at various institutions. Davidson has taught and lectured internationally including at the AA, London; Bartlett School of Architecture, London; as Adjunct Professor at UTS in Sydney; Visiting Professor at Cooper Union, New York and MIT, Boston. In 1994 Peter Davidson co-founded LAB architecture studio and won the competition to design Federation Square in 1997, at which time he moved from London to Melbourne.

After suffering a major stroke in 2010, Davidson stopped practicing as an architect and devoted himself full time to his artistic practice. Davidson’s drawings are meticulous and intricate, tracing a multitude of patterns and forms through the strict constraint of black lines on paper, his recent drawings take his relentless desire to explore the line in architecture to a different dimension of artistic expression. Recent exhibitions of his work include A Fine Line, Daine Singer (2012) and Draw the Line, National Gallery of Victoria (2009).

Installation view

Peter Davidson, A Fine Line, 2012
installation view
photograph: Craig Burgess

Installation view

Peter Davidson, A Fine Line, 2012
installation view
photograph: Craig Burgess

Installation view

Peter Davidson, A Fine Line, 2012
installation view
photograph: Craig Burgess

Untitled #28-34

Peter Davidson, Untitled #28-34, 2011-2012
pen on paper, each 18 x 28.5 cm
photograph: Craig Burgess

Untitled #36-39

Peter Davidson, Untitled #36-39, 2011-2012
pen on paper, each 18 x 23.5 cm
photograph: Craig Burgess

Untitled #40-43

Peter Davidson, Untitled #40-43, 2011-2012
pen on paper, each 18 x 23.5 cm
photograph: Craig Burgess

Untitled #67-70

Peter Davidson, Untitled #67-70, 2011-2012
pen on paper, each 18 x 23.5 cm
photograph: Craig Burgess

Untitled #90-97

Peter Davidson, Untitled #90-97, 2011-2012
pen on paper, each 18 x 28.5 cm
photograph: Craig Burgess

Untitled #104-107

Peter Davidson, Untitled #104-107, 2011-2012
pen on paper, each 27 x 34.5 cm
photograph: Craig Burgess

Untitled #109-110

Peter Davidson, Untitled #109-110, 2011-2012
pen on paper, each 42 x 58
photograph: Craig Burgess

Untitled #114-116

Peter Davidson, Untitled #114-116, 2011-2012
pen on paper, each 21 x 28.5 cm
photograph: Craig Burgess

Untitled #150-156

Peter Davidson, Untitled #150-156, 2011-2012
pen on paper, each 27 x 34.5 cm
photograph: Craig Burgess

Untitled #162-165

Peter Davidson, Untitled #162-165, 2011-2012
pen on paper, each 27 x 34.5 cm
photograph: Craig Burgess

Untitled #187

Peter Davidson, Untitled #187, 2012
pen on paper, 42 x 58 cm

Untitled #191

Peter Davidson, Untitled #191, 2012
pen on paper, 42 x 58 cm

Untitled #193

Peter Davidson, Untitled #193, 2012
pen on paper, 42 x 58 cm

Untitled #207

Peter Davidson, Untitled #207, 2012
pen on paper, 42 x 58 cm

Untitled #210

Peter Davidson, Untitled #210, 2012
pen on paper, 42 x 58 cm

Untitled #211

Peter Davidson, Untitled #211, 2012
pen on paper, 42 x 58 cm

Untitled #221

Peter Davidson, Untitled #221, 2012
pen on paper, 42 x 58 cm

Untitled #224

Peter Davidson, Untitled #224, 2012
pen on paper, 42 x 58 cm

Untitled #225

Peter Davidson, Untitled #225, 2012
pen on paper, 42 x 58 cm

Untitled #228

Peter Davidson, Untitled #228, 2012
pen on paper, 42 x 58 cm

Untitled #229

Peter Davidson, Untitled #229, 2012
pen on paper, 42 x 58 cm

11 October 2012

admin — Thu, 11 Oct 2012 02:29:08 +0000

Kate Just is one of ten Australian artists exhibiting in Louise Bourgeois and Australian Artists at Heide Museum of Modern Art. The exhibition features works by artists who have been inspired by Bourgeois, revealing the depth of her influence locally. The exhibition includes works by contemporary Australian artists that share Bourgeois’ compelling combination of abstraction and figuration, her psycho-sexual themes and surrealist sensibility. The exhibition also includes a number of works by Bourgeois from Australian collections. The exhibition runs 13 October 2012 – 14 April 2013.

>> Heide Museum of Modern Art

10 October 2012

admin — Wed, 10 Oct 2012 03:20:11 +0000

Andrew McQualter has created a new reading room installation for the exhibition City Within the City at Gertrude Contemporary, Melbourne.

City Within the City examines how through activating urban spaces, we might engender them as sites for creative expression, transgression and resistance. Co-curated by Gertrude Contemporary and Artsonje Centre, Seoul, City Within the City features seventeen Australian and international artists whose works reveal the personal, fictional, composite and re-purposed narratives that arise when human subjectivity encounters the built environment.

City Within the City was first presented at Artsonje Centre (11 November 2011 –15 January 2012) as a flagship cultural project for the diplomatic Year of Australia – South Korea Friendship. This second iteration of the exhibition is a site-specific reimagining of City Within the City curated for the Melbourne International Arts Festival 2012.

The exhibition runs until 7 November 2012.

>> Gertrude Contemporary

9 October 2012

admin — Wed, 10 Oct 2012 03:10:02 +0000

Andrew McQualter’s Untitled wall painting (for Helen Johnson), 2006-7/2012 is currently installed at the Museum of Contemporary Art in Sydney.

>> MCA

1 NOVEMBER TO 24 NOVEMBER 2012 – ZOE CROGGON

admin — Wed, 03 Oct 2012 02:31:30 +0000

Croggon’s long-standing interest in dance and theatre leads her to use the kinetic body in relation to its environment as a vehicle to discuss the phenomenon of perception. She works toward a sense of estrangement, urging the viewer to see common things in an unfamiliar way, and therefore augmenting perception of the familiar. Her work relies on the psychological compulsion to draw comparisons, or to compose visual similes. She is particularly interested in the inclination of recognition – a kind of pattern recognition – that allows two images to communicate.

Essay by Patrice Sharkey

Installation view

Zoe Croggon, installation view, 2012

Installation view

Zoe Croggon, installation view, 2012

Installation view

Zoe Croggon, installation view, 2012

Installation view

Zoe Croggon, installation view, 2012

Installation view

Zoe Croggon, installation view, 2012

Untitled #3

Zoe Croggon, Untitled #3, 2012
C-type print, 65 x 47 cm, 66.5 x 49 cm framed
edition of 3

Untitled #5

Zoe Croggon, Untitled #5, 2012
C-type print, 65 x 35 cm, 66.5 x 36.5 cm framed
edition of 3

The Fall

Zoe Croggon, The Fall, 2012
C-type print, 65 x 38 cm, 66.5 x 39.5 cm framed
edition of 3

Untitled #4

Zoe Croggon, Untitled #4, 2012
C-type print, 65 x 112 cm, 66.5 x 113.5 cm framed
edition of 3

Beyond Habitat

Zoe Croggon, Beyond Habitat, 2012
C-type print, 65 x 45 cm, 66.5 x 47 cm framed

Untitled #6

Zoe Croggon, Untitled #6, 2012
C-type print, 65 x 45 cm, 66.5 x 47 cm framed
edition of 3

Jetee

Zoe Croggon, Jetee, 2012
C-type print, 65 x 130.5 cm, 66.5 x 132 cm framed
edition of 3

Untitled #2

Zoe Croggon, Untitled #2, 2012
C-type print, 65 x 51 cm, 66.5x 52.5cm framed
edition of 3

Untitled #1

Zoe Croggon, Untitled #1, 2012
C-type print, 65 x 51 cm, 66.5 x 52.5 cm framed
edition of 3

21 September 2012

admin — Fri, 21 Sep 2012 03:32:05 +0000

Alice Wormald has a solo exhibition, In the Unreal Air, at Blindside ARI in Melbourne. The exhibition opens Thursday 27 September 6-8pm and runs until 13 October.

>> Blindside