Author: admin

  • Amy Sillman

    . . . texts to remind her that she has homework due. She seems embarrassed that she’s forgotten but wears that embarrassment lightly. 

    https://www.amysillman.com

    https://podcasts.apple.com/au/podcast/a-brush-with/id1525997434?i=1000601003942

    https://www.frieze.com/article/amy-sillmans-philosophy-of-doubt

  • Franz West

    “The subversiveness of using furniture as sculpture and vice-versa is self-evident. It was West’s attempt to challenge the aesthetic relationships between art and objects of everyday life.” David Zwiner

    https://www.davidzwirner.com/viewing-room/2019/franz-west-furniture

  • Mikala Dwyer

    Mikala Dwyer

    Mikala Dwyer

    http://www.mikaladwyer.com/bird-2021/4j9znaaosvmixa6xwamajefy68kmsf

  • Karla Black

    Thanks Dom,

    Karla Black 2023
    Karla Black Doesn’t Care In Words 2011 (detail), Cellophane, paint, Sellotape, sugar paper, chalk, powder paint, plaster powder, wood, polystyrene, polythene, thread, bath bombs, petroleum jelly, moisturising cream, Dimensions Variable. Photo: Colin Davison, Courtesy the artist and Galerie Gisela Capitain, Cologne

    https://www.instagram.com/p/CsZijTkM33x/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==
    Karla Black Venice Biennale 2011
    Vidoe still
    https://www.nationalgalleries.org/art-and-artists/features/karla-black

    Karla Black 2023
    Instagram post

    https://www.instagram.com/p/CsZijTkM33x/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==
  • Sally Smart

    Sarah Scout Presents

    Recently I visited Sarah Scout Presents. Looking at the Sally Smart: Danser Brut exhibition. The exhibition shows a series of works produced by Smart, the work is made of fabric, painting, assemblage and collage and photography. They are large in scale and have a playful and exuberant quality to them. Made up of simple forms, and recurring motifs, the squiggly lines are repeated across numerous pieces as are the harlequin pattern and the wheel.

    The last two images are from a large scale work hung in the Ballarat Art Gallery,

  • Clarice BeCkett Geelong Gallery

    Small intimate paintings fill the space. Possibly some of the most beautiful paintings I have ever had the pleasure to send time with.They are roughly rendered, the paint is applied thinly, with often only one layer, sometimes revealing the substrate underneath. Occasionally the paint is smudged, or blurred, like feathering gone wild, other-times it is hurriedly gestural, the action of the artists hand is apparent in these quick momentary movements. Their power is great, they evoke the nature of the thing they portray but only in essence, removed from context they have an abstract gestural quality, these quickly rendered snippets of Melbourne life, evoke the grey and often lonely lives of the city. 

    Up close you lose the spender of the painting, wanting to examine how paint if applied is one of my pastimes but when you get too close to these works they fall apart, losing their intention, they insist on being viewed from afar, closeness is all to dull. Perhaps this is reflective of how the artist lived? Perhaps not.

    The gallery has chosen the hang some of the works on painted walls, and some not, I find this a little perturbing. why not go all out? 

    A sense of otherness and eeriness is deeply embedded in these works, they successfully evoke atmosphere and environment. You can feel the wet cold Melbourne evening, it is uncomfortable yet romantic with lights and early twentieth century neon. reflected on the wet road.

    Some are more successful than others, it greatly saddens me that most of her works were destroyed. it also saddens me that in her lifetime she appeared not have sold anything much, but maybe she didn’t paint for sale, maybe she painted for the thrill of it, I imagine that to many the word thrill and painting don’t really go together but for me they do, painting gives me the most joy in life, I feel alive when it works I feel a bit broken when it doesn’t.

    Detail

    Detail

  • Robyn Kingston

    RMIT Building 24

    Wall painting – continuous, ongoing project, freehand painting, bright high key colours, iridescent pigment, a mix of informal marks and formal shapes. Some of the marks are ungainly, some offer the glimpse of the perfect, mistakes are celebrated, and embraced . the space its self is as much a part of the work, as the work itself, it informs form, and structure, the work replies to the space. The physical boundaries of the artist body inform the size and shape of each of the elements. Gesture of the hand informs the texture of the paint, the artist is as present in the works as the space is.

  • Kate Tucker

    Ararat Gallery TAMA

    Kate Daw

    Sarah Scout Presents

    August 2022

    Love, Work (for KD)

    A tribute show for Kate Daw, a very moving account of the artist and her community,

    I wrote the letter below the week she died, overwhelmed with grief which was completely inexplicable. Maybe!

    Dearest Kate,

    I admired you from afar, never having had the opportunity to get to know you well enough to call you a friend. I feel a loss that is not my own, I feel a hole in the world has opened up. You’ve left the kind of mark that shall never be erased. 

    I don’t understand the extent of my grief right now. I can only think that that your dying has opened up a wound long thought healed. Maybe it’s as simple as a sharp reminder that life is too short. Life should not be taken for granted and wasting it on petty shite and a career that means nothing and adds nothing to the world, is not a life worth living. not for me anyway.

    I’m sorry for the tears that have been shed by your family and friends and I’m sorry for a life cut so short. I suppose the saying, only the good die young rings truest for you. 

    I’m hoping someone will put a book together of your work and your writing. If only for me to get to know you a little better. (Selfish aren’t I.)

    My life in comparison to yours is nothing, your beauty, intelligence and creativity . . .  I’ve loved your work ever since I came across it. When I was helping Vicki I would sit and look at your Acapulco painting, longing to have it as my own. 

    I know that writing this will not change anything. I know they, Vikki and Kate and all your loved ones are hurting, and it’ll feel like it’s never going to pass. I’m sad for your friends and family and the pain they must feel. It’s a familiar pain, I’ve carried for decades now. One that somehow never really leaves. One you just learn to live with. 

    you will be missed

    x

    https://www.sarahscoutpresents.com/exhibitions/84-love-work-for-kd-kate-daw-with-stewart-russell-and-special-guests/

  • Kate Daw

    Sarah Scout Presents

    August 2022

    Love, Work (for KD)

    A tribute show for Kate Daw, a very moving account of the artist and her community,

    I wrote the letter below the week she died, overwhelmed with grief which was completely inexplicable. Maybe!

    Dearest Kate,

    I admired you from afar, never having had the opportunity to get to know you well enough o call you a friend. I feel a loss that is not my own, I feel a hole in the world has opened up. You’ve left the kind of mark that shall never be erased. 

    I don’t understand the extent of my grief right now. I can only think that that your dying has opened up a wound long thought healed. Maybe it’s as simple as a sharp reminder that life is too short. Life should not be taken for granted and wasting it on petty shite and a career that means nothing and adds nothing to the world, is not a life worth living. 

    I’m sorry for the tears that have been shed by your friends and I’m sorry for a life cut so short. I suppose the saying, only the good die young rings truest for you. 

    I’m hoping someone will put a book together of your work and your writing. If only for me to get to know you a little better. (Selfish aren’t I.)

    My life in comparison to yours is nothing, your beauty, intelligence and creativity . . .  I’ve loved your work ever since I came across it. When I was helping Vicki at SSP I would sit and look at your Acapulco painting, longing to have it as my own. 

    I know that writing this will not change anything. I know they Vikki and Kate and all your loved ones are hurting, and it’ll feel like it’s never going to pass. I’m sad for your friends and family and the pain they must feel. It’s a familiar pain, I feel I’ve carried for decades now. One that somehow never really leaves. One you just learn to live with. 

    you will be missed

    x

    https://www.sarahscoutpresents.com/exhibitions/84-love-work-for-kd-kate-daw-with-stewart-russell-and-special-guests/
  • Mark Rodda

    Mark Rodda

    Stockroom Kyenton

    September 2021