I visited the Bendigo Art Gallery last week to see the Ben Quilty show. I’ve been a fan of his painting since I saw one of his car crash paintings and a documentary about him where he spoke about Australian masculinity and what inspired him. European settlement and the plight of Indigenous Australians are ongoing themes in his work.
What fascinates me is the amount of paint he uses! When I look closely I always wonder how long his work must take to dry. I love his dramatically rough painterly style.
Kuta Rorschach No. 2, 2014, oil on canvas (detail)
Three of his Rorschach series of large landscapes are almost symmetrical mirror images, reflected from a central vertical axis. Fairy Bower Rorschach, 2012, oil on linen (detail)Continue reading “Ben Quilty”
Untitled (I will show the world how brilliant I am), 2014, David Shrigley
David Shrigley’s black humour is on display at NGV International until 1 March and I highly recommend the show for those who like a bit of absurdity in art. You will LOL (I did). His crude cartoon-y drawings comment on the everyday banality of modern life.
I particularly enjoyed the ‘general store’ and merchandise, including several wonderful books explaining his dystopian world view. Just reading the titles was amusing. Unfortunately, the tshirts were not for sale.
Twenty-two of Tony Tuckson’s beautiful abstract paintings have been bequeathed to our public art galleries by his widow Margaret, who passed away in September.
Tuckson was deputy director at the Art Gallery of New South Wales from 1957 until his death in 1973, and the conflict he perceived between this position and his art practice made him reticent about exhibiting his work.
I visited the Geelong Contemporary Art Prize recently. Forty-two painters make up a diverse show ranging from figurative and photorealistic painting to text-based and abstract work. I love painting and I enjoyed the wide range of styles and techniques used.
Adam Pyett’s Flowering Gum had deliciously thick paint and brushstrokes, scrapes and roughly applied patches of colour showing some of the underpainted canvas. I loved the sketchy and spontaneous quality of the work.
A couple of weeks ago, I approached a local real estate agent about some empty shops in my local area. I’d been thinking they would be great for a pop-up art show. I was thrilled when he agreed to let me use the space for a reduced rent.
I called my artist friends and said ‘We’re having a show! in Yarraville!!’ One friend immediately asked ‘What’s the theme?’ to which I replied ‘We’re not from the VCA*! We don’t need a theme! We’re having a show! Bring your work!!
The show is opening on Friday night, and about one third of the work is at the space. Now comes the challenge of curating – deciding which works to put together in which rooms. The space is large and there are 18 artists involved, most of whom I met while studying Visual Art at Victoria University. It’s difficult to get a show when you’re an emerging (unknown) artist, so this is a great opportunity to show our work. It’s so exciting!
Lo-fi: new art collective is at 130 Gamon Street, Yarraville from 1–4 August, opening 6pm on Friday 1 August. Everyone is welcome to come and have a glass of wine and celebrate with us at the opening!
You don’t know me, but I recently visited MONA for the first time.
Everything I’ve read and heard made me very curious to see this ‘maverick’ gambling millionaire’s folly/art extravanganza.
I spent Saturday afternoon and most of Sunday wandering around in awe (with breaks for food and drink, obvs) and I’m writing to offer my services to MONA. I’m an artist, graphic designer, proofreader/writer, and I’m convinced that working at MONA is my dream job! I’m happy to relocate to Hobart.
I feel we would get on well; the thing is most admire about you is the way you’ve got up the noses of the Art Establishment. Yay! I think art should be for the people, not the elite. And I agree that you don’t need a degree or specialist knowledge to appreciate art.
Love your work!
p.s. I loved the Ultimate Suicide Machine.
p.s. I hated the poo machine. I know humans are sophisticated poo machines. But we also have souls. Some of us are looking at the stars…
Charles Blackman (1928–) is regarded as one of the most important Australian figurative artists of the late 20th century. Stylised images of children, women, flowers, butterflies and cats recur in his work.
Blackman is a prolific artist and has produced hundreds of paintings, etchings, lithographs and drawings each year. In the 1950s he painted his famous schoolgirl series, followed by the Alice in Wonderland series. In 1951 Blackman married poet Barbara Patterson, who became his muse and inspired many of his works.
Born at Neuilly-sur-Seine in 1930, the painter and sculptor Niki de Saint Phalle grew up in New York. At 18 she eloped with writer and childhood friend Harry Matthews, and they had two children together. Niki didn’t fit the domesticated wife mould, and after a nervous breakdown she started painting as therapy. In 1960 Niki left her husband and children to devote herself to her art. She lived with sculptor Jean Tinguely, and became a member of the Paris group of artists the ‘Nouveaux Réalistes’.
In their group exhibition Niki presented her ‘shooting’ paintings for the first time. She filled polythene bags with paint and enclosed them within plaster on a board backing.
She, or spectators, then shot at the painting, releasing the paint in random explosions of colour.
From 1964 came her monumental goddess sculptures, the Nanas (‘nana’ is French for ‘chick’). The buxom, colorful female figures, inspired by a friend’s pregnancy, and first made of yarn, paper-maché and wire and later made of polyester, represent happy, freed women and harbingers of a new matriarchal age. Continue reading “Niki de Saint Phalle”