28 February, 2007
The idea of introducing movement into painting is as old as art itself. Perhaps it is more obvious in certain work, such as those of Michelangelo or other artists, in whom the desire to project figures into space, to create the illusion that they can move in all directions, becomes almost an obsession. In a more conceptual way, it is in Cezanne and the Cubists that one can see appear this dynamic « fourth dimension », which was eventually to take shape in isolated cases, such as Gabo's and Duchamp's machines or Calder's « mobiles ».
I think, however, that it is thanks to our generation that it has come to be understood world-wide that transformable art and the participation of the beholder are here to stay. When I speak of our generation, I mean all the artists whose approach has been marked, from the outset, by the revolutionary shock of the discoveries of modern science concerning the instability of matte rand the ambiguous nature of space, as well as relying on the notion of pure structure. This notion, developed by many different ways and means, has led to the true introduction of movement into the work of art, in what is usually called nowadays « kinetic art ». I must add that we have never amongst ourselves spoken of « kineticism », but always of « kinetic art », as we have never considered the individual development of our researches as an « ism », nor as a school or movement.
Jesus Rafael Soto was born in Ciudad Bolivar, Venezuela in 1923. Soto moved to Paris in the early fifties after receiving a government grant. He lived there until his death in 2005. He was a leader in the kinetic art movement working closely with Carlos Cruz-Diez, Yaacov Agam, Victor Vasarely, Alejandro Otero and others. His work are in numerous collections around the world.
in 1970, an exhibition was organized of the French-Venezuelan artist Jesus Rafael Soto (1923). This work was purchased on the occasion, among other things. The "Orange Extension" is a typical example of Soto's works. By including the observer and his/her haptic/kinetic sensations, the physically static matter is united with the changeable spatial and temporal elements.
The recent Jesús Soto retrospective at the Galerie Nationale du Jeu de Paume in Paris should initiate a reconsideration of kinetic art's emotional and existential range.
This exhibition at GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo presents over fifty works by the Venezuelan artist Jesús Rafael Soto (1923 – 2005), one of the pioneers and great exponents of Kinetic Art. Organised by the Museo Tamayo Arte Contemporáneo in Mexico City, this exhibition comes to Italy after being shown in Mexico and at Fundación Proa in Buenos Aires. The show was originally conceived as a selection of 27 representative works of the artist’s aesthetic investigations from the 1950s until the late 1990s, and has now been increased with a group of significant works as a result of GAMeC’s spatial characteristics.
Jesús Rafael Soto exhibit at Gamec in Bergamo with a virtual sphere composed of the colored strings suspended within a cube.
Video movimiento (MPG 80K)
Video Penetrable (MPG 120K)
In Ciudad Bolivar between the historic and the new city is the Jesus Soto Modern Art Museum. It is the concretion of Soto's dream to promote and increase the interest for art in his homeland. Thus, his native city was chosen to host a museum of which New York or Paris would be highly proud of.
27 February, 2007
The artist is best known for his geometrical networks of coloured lines. Since the early 1960s, the Artist has also created screenprints, lithographs and prints made by intaglio techniques, all within the realms of Op art.
A student of Josef Albers, he shares Albers' fascination with shapes and their relationships to color. Considered a major force in the op art movement, Anuszkiewicz is concerned with the optical changes that occur when different high-intensity colors are applied to the same geometric configurations. Each of his prints has its own rhythm and, therefore, its own energy as part of a lyrical composition.
Anuszkiewicz is one of the artists featured in the exhibition “Op Art” at the Schirn Kunsthalle Frankfurt featured in this earlier post
A friend obtained a copy of the catalogue for me and the exhibition looks very good.
26 February, 2007
"The strength, speed, fearlessness and aggression it takes to be a good soccer player do not coincide with either traditional femininity or the image of woman as victim."
Spelplan Landskrona Konsthall is now showing its first exhibition. An exhibition that pushes the boundaries between artists, actors and visitors.
Late-evening visitors to Slottsparken in Landskrona might well believe the museum has been converted to a gym for women who play soccer and practice karate. They can see how training is underway behind the vast, veiled windows. Once inside though, they see the training is actually projected shadows that are part of artists Elisabet Apelmo and Marit Lindberg’s exhibition Marked, Unmarked.
Sociologist Pierre Bourdieu believes that the female existence is constituted through male superordination as a perceived object, an object for others to look at. The negative collective expectations of women’s physical ability tends to become part of the body, expressed as permanent states of affairs. Bourdieu discusses sports as a means of changing these states. Intensive practice of sports “leads to a profound transformation of the subjective and objective experience of the body. [...] It [the body] is no longer merely a thing that is made to be looked at or which one has to look at in order to prepare it to be looked at. Instead of being a body for others it becomes a body for oneself; the passive body becomes an active and acting body” writes Bourdieu. Through the practice of sports, the passive and objectified woman becomes an active, and de facto stronger, subject. Sports may also function as one form of resistance against traditional femininity, wherein the risk of be ing the victim of male violence seems to be an accepted ingredient.
Karate is a concrete form of resistance, a martial art of self-defense. Can soccer be used as a more complex picture of resistance? Even though it is the most popular sport among women in Sweden, women soccer players are paradoxically enough considered unfeminine, mannish, or lesbian. The strength, speed, fearlessness and aggression it takes to be a good soccer player do not coincide with either traditional femininity or the image of woman as victim.
Video, sound and exercise
Elisabet Apelmo and Marit Lindberg
SE-261 31 LANDSKRONA
As the first art institution in Sweden, Göteborgs Konsthall is proud to present a one-person exhibition of the work of the Croatian artist Sanja Ivekovic.
Selected Works 1974-2007
February 3 – April 9, 2007
Opening Saturday 3 February, 11am – 5pm
Götaplatsen, SE-412 56 Göteborg,
tel +46 31 61 50 40
fax +46 31 61 50 43
Ivekovic was born in Zagreb in 1949 and has since the 1970s developed an innovative and critical artistic approach, establishing herself today as one of the most significant artists from the former Yugoslavia. A pioneer in her homeland within both feminist and video art, she serves today as inspiration to many young artists.
Ivekovic makes use of photography, video, installation and performance in her art. At first sight much of her work appears to follow the glamorous dictates of popular culture. She frequently contrasts the image of women as depicted by the media with the private vision derived from her own photo album (thus Double Life, 1975) and in this way succeeds in revealing how routines in our daily lives are influenced by fashion, advertising and celebrity attention. Sanja Ivekovic has always been a political artist and one who has committed herself and her ‘private’ sphere to confront the politics of the human body and the public domain.
Sanja Ivekovic has worked with mass media images throughout her career. The work Gen XX consists of advertising pictures of familiar photo models. The pictures can be seen at first glance as ordinary advertisements but their content is broadened by means of the texts affixed to them; these list the names of a number of national heroines from the anti-fascist struggles of the second world war. The women were familiar to the generation that grew up in Tito’s socialist Yugoslavia, and in Gen XX Ivekovic reintroduces them to the young Croats of today.
In several of her works (Personal Cuts, 1982, Gen XX, 1997-2001, Lost & Found, 2003-2004, Nada Dimic File, 2000-2001) Ivekovic focuses on social and ideological developments in the former Yugoslavia, developments which reflect the changes that have taken place and are taking place in the rest of Europe. In later works she also refers to ethnic cleansing (Rohrbach Living Memorial, 2005) and the living conditions endured by battered women in sheltered housing (Women’s House (Sunglasses), 2002-2004).
Curators for the exhibition are Natasa Ilic, independent curator at Zagreb, and Kathrin Rhomberg, formerly head of the Kölnischer Kunstverein, in collaboration with Göteborgs Konsthall. The exhibition is produced by Göteborgs Konsthall, Kölnischer Kunstverein and Galerie im Taxispalais.
IDEAL IMAGES? - Gender, power and societal change
In connection with the Sanja Ivekovic exhibition General Alert – Selected Works 1974-2007 Göteborg’s Konsthall is pleased to invite to a panel discussion. Participating in the discussion will be Sanja Ivekovic; Mikela Lundahl, recently appointed curator of Museion, and historian of ideas with special reference to gender perspectives; and Gertrud Sandqvist, Principal and Head of Department of the Malmö Art Academy.
Sunday, February 4, 2pm
Film viewing, including a selection of Sanja Ivekovic’s video works
Saturday, March 3, 2pm
The Feminist Future: Theory and Practice in the Visual Arts
Friday–Saturday, January 26–27, 2007
9:30 a.m.–5:30 p.m. both days
This symposium addresses critical questions surrounding the relationship between art and gender, bringing together international leaders in contemporary art, art history, and related disciplines. After the activism of the 1960s and ’70s, and the revisionist critiques of the 1980s and ’90s, this symposium will examine ways in which gender is currently addressed by artists, museums, and the academy, and its future role in art practice and scholarship. View the full symposium schedule.
Audio archives of the symposium are available on Art Radio WPS1.org.
Friday, January 26, 2007
Welcome and opening remarks
Deborah Wye, The Abby Aldrich Rockefeller Chief Curator of Prints and Illustrated Books, The Museum of Modern Art
Download M4V video file (9 min/51MB)
Coco Fusco, artist and Associate Professor, Columbia University School of the Art
Download M4V video file (16 min/90MB)
Guerrilla Girls Frida Kahlo and Kathe Kollwitz, two founding members of the feminist activist group
Download M4V video file (19 min/112MB)
Carrie Lambert-Beatty, Assistant Professor of History of Art and Architecture and Visual and Environmental Studies, Harvard University
Download M4V video file (25 min/148MB)
Richard Meyer, Katherine Stein Sachs CW'69 and Keith L. Sachs W'67 Visiting Professor, Department of History of Art, University of Pennsylvania
Download M4V video file (28 min/168MB)
Panel Discussion, moderated by David Little, Director of Adult and Academic Programs, The Museum of Modern Art
Download M4V video file (49 min/285MB)
Marina Abramovic, artist
Download M4V video file (23 min/98MB)
Beatriz Colomina, Professor of Architecture and Director of the Program in Media and Modernity, Princeton University
Download M4V video file (36 min/215MB)
Geeta Kapur, critic and curator, New Delhi
Download M4V video file (33 min/184MB)
Martha Rosler, artist
Download M4V video file (36 min/198MB)
Panel Discussion, moderated by Sally Berger, Assistant Curator, Department of Film, The Museum of Modern Art
Download M4V video file (36 min/211MB)
Catherine de Zegher, curator and art historian, New York/Kortrijk, Belgium
Download M4V video file (47 min/271MB)
23 February, 2007
NAS will host a symposium on Drawing In Contemporary Practice Today, in association with the exhibition Drawing Breath: 10 Years Of The Jerwood Drawing Prize, A Survey Exhibition Of Contemporary British Drawing presented by the NAS Gallery.
Keynote speaker include: Professor Anita Taylor RWA (UK): Head of College and Professor of Fine Art at Wimbledon College of Art & Director, Jerwood Drawing Prize, Professor Stephen Farthing RA (UK): Rootstein Hopkins Professor of Drawing at the
University of Arts, London.
Symposium Venue: The National Art School, Forbes Street, Darlinghurst,
Symposium Dates: Thursday 29 March 2007 - Saturday 31 March 2007
For further information and registration details: please ph: 02 9339
8745 or email: email@example.com
Exhibition Venue: The National Art School Gallery, Forbes Street,
Exhibition Dates: Until Friday 13 April 2007
For further information: Go to http://www.nas.edu.au/Nas_gallery.htm
Bérénice Bailly met the British artists Gilbert & George, as a retrospective of their work is being presented at the Tate Modern in London until May 7th.
They consider the exhibition is "an extraordinary moment, an explosion. Our last retrospective in this country took place in 1981 ! For forty years now, we have been rejected by the art establishment and this is continuing: the critics are sharpening their knives. But they forget that we have a huge following here. What is equally important is the fact that we have had no problems of censoring with this exhibition. It could never be held in an American museum, never in a million years."
According to them, art can change the world, because, "forty years ago, you ended up in prison as soon as you were different, sexually or racially. Today you are free to express yourself. We like to think that we have played a little role in this evolution." (16/02/2007)
» full article (external link, French)
Film 1 - Gilbert & George introduce their exhibition.
George: We are very excited to be having this exhibition at Tate Modern because it is the first time a living artist has occupied the whole of the fourth floor, and it is very exciting that it is a first time British artists have exhibited at Tate Modern.
Film 2 - Gilbert & George explain how they keep track of the source material, indexing everything.
Film 3 - Gilbert & George never show their sketches publicly, but here, the artists offer a private view.
Film 4 - Gilbert & George discuss their use of computers to design their pictures
Printmaking with historical roots and promising future
A Private View on Contemporary Bulgarian Printmaking
25, Milin Kamak Street, Lozenetz
1164 Sofia, Bulgaria
Information you can find also here
February 22 – March 30, 2007
A Mirror exhibition
in conjunction with the presentation of
Contemporary Bulgarian Art
in Amsterdam - kaadeKUNST Gallery April 13 – April 27
and in Cremona – International Biennial April 15 – May 27 2007
22 February, 2007
21 February, 2007
3rd Auckland Triennial
The Asia–Pacific Triennial of Contemporary Art (APT)
Francis Bacon's studio
Hamad Khalaf - Darwin
Voiceless - Sydney
Birth of the modern poster
Damon Kowarsky - melbourne
CountryScapes 2007 - sydney
Chicks on Speed
SIXTH AUSTRALIAN PRINT SYMPOSIUM
50 Years at Universal Limited Art Editions
Sydney Prints: 45 years of the Sydney Printmakers
the0ry & criticism
Lucy R. Lippard
Feminist Future: Theory and Practice in the Visual Arts
IDEOLOGY of the IMAGINARY - symposium
Feminist Forum (2007)
Duchamp explains the readymade
The Art of Assemblage
Feminist Art - ARTnews
20 February, 2007
Which women artists' work were you particularly interested in during the 1970s? What work were you doing? If you have come of age since the 1970s, what works by women artists of that time or of your generation have been influential for you? What are you doing in your own work that you feel relates to the Feminist Art Movement?
Exhibitions that are part of the Feminist Art Project in 2006 to 2007 include
How American Women Artists invented Postmodernism 1970-1975, curated by Judith K. Brodsky and Ferris Olin at Rutgers University,
the opening of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum,
Global Feminisms curated by Linda Nochlin and Maura Reilly opening at the Sackler in March, and
WACK! Art and the Feminist Revolution, curated by Connie Butler, opening at the Museum of Contemporary Art in Los Angeles and coming to PS.1 in New York next year,
One True Thing, curated by Dena Muller at A.I.R. Gallery,
From the Inside Out: Feminist Art Then & Now at the Dr. M. T. Geoffrey Yeh Art Gallery at St John's University in Queens, curated by Claudia Sbrissa,
Re:Generation, curated by Joan Snyder and her daughter Molly Snyder-Fink, a show of 18 emerging women artists for the 35th Anniversary of the Womens' Artists Series at Douglass College, at Smack Mellon Galleries in Dumbo and The Kentler International Drawing Center in Red Hook, Brooklyn,
Women, Art, and Intellect, curated by Leslie King-Hammond, at Ceres Gallery; and also,
“The Feminist Future: Theory and Practice in the Visual Arts” a two-day symposium that was at MoMA in January 2007 and a day of panels that are part of the Feminist Art Project at the 2007 CAA Annual Conference in New York in February 2007.
19 February, 2007
Voiceless, the exhibition, will take place at Sherman Galleries from 23 February to 10 March 2007.
The opening night is scheduled for 5.30-8.30 pm on Thursday, 22 February 2007.
Paddington Sydney 2021
Voiceless: I feel therefore I am is being mounted at a time when public awareness of environmental damage and the abuse of animals is rising exponentially, with visual arts exhibitions and publications nationally and internationally focusing on aspects of these issues.
18 February, 2007
Acts of War - Hamad Khalaf
FEB 16- 24 MARCH 2007
Between 1992 and 1994 Khalaf collected military objects abandoned by the Iraqi Army in Kuwait and painted them in the style of ‘Athenian Red Figure’ pottery. ‘Acts of War’ is a development on this work, consisting of painted military objects, paintings and installation.
In ‘Acts of War’ Khalaf uses terracotta fragments collected from ground zero of the 2002 Bali Bombing, painting body parts on them, and then constructing larger fragments out of canvas & wood to painted figures based on characters from ‘The Iliad’.
24HR Art - Northern Territory Centre for Contemporary Art
GPO Box 28 Darwin NT 0801 - AUSTRALIA
14 February, 2007
January 17–May 21, 2007
Prints and Illustrated Books Galleries, second floor
View the online exhibition
View the exhibition checklist
In 1957, a pioneering and creative woman named Tatyana Grosman founded Universal Limited Art Editions, a workshop for making prints and books on Long Island, just outside New York City. Passionate about lithography, she tirelessly coaxed and cajoled the leading vanguard artists from New York—including Jasper Johns, Robert Rauschenberg, Lee Bontecou, Barnett Newman, and many others—to try their hand at this unfamiliar and reputedly old-fashioned medium. These collaborative experiences with master printers at ULAE led many artists to become prolific printmakers and to make the medium integral to their overall practice. By the mid-1960s, artist-printer collaborations at ULAE and at other such print workshops in the United States gave rise to an explosion of contemporary printed art. By the 1980s, a new generation of artists had begun to work at ULAE, already aware of the aesthetic possibilities offered by printmaking and eager to experiment with its myriad techniques. Painters Terry Winters, Susan Rothenberg, and Carroll Dunham and sculptors Kiki Smith and Richard Tuttle have all found new artistic outlets collaborating with master craftsmen at ULAE. This installation showcases work by artists from both generations, highlighting the rich variety of ULAE prints and the continued relevance of printed art to contemporary thinking.
Organized by Wendy Weitman, Curator, Department of Prints and Illustrated Books.
IDEOLOGY of the IMAGINARY in the 21st century a symposium and exhibition project exploring cross issues of art, culture and new media.
1st and 2nd MARCH
10am - 4pm at the MERCURY CINEMA
Lion Arts Centre, North Tce, Adelaide
ADMISSION FREE. LIMITED SEATING. PLEASE REGISTER
Email your name, address, and how many attending
Full Program details http://www.eaf.asn.au/2007/symposium.html
Despite the numerous "tech-specific", or "future looking" events, appearing daily on the world stage, it is worth noting that we are almost at the end of the first decade of this century, and yet the discourses which we are using are quite
old - postmodern at its best!
The Symposium is therefore aimed at defining the concepts and processes characteristic for the beginning of the 21st century.
Some of the themes the speakers are urged to visit:
What are the decisive theoretical and practical developments
of this decade?
How has the ideological framework of images shifted in the 21st Century? How can we measure the real power of these images?
Are some aesthetic categories or concepts of the late 20th
century already obsolete? Are there new
categories appearing on the horizon?
Bio-technology and other wireless, or less so, technologies are offering themselves to us quite openly, but perhaps more important are the hidden, underlying processes in our society,
which we seem to constantly neglect.
Symposium convened by Melentie Pandilovski
Andreas Str?hl . Tania Fraga . Mark Pesce .
Melentie Pandilovski . Paul Majkut . H?l?ne
Frichot . Anna Munster . Friedrich Kirschner
+ video appearance by Roy Ascott
TANIA FRAGA, Responsive Membrane
2 MARCH - 5 APRIL (11 - 5 Tuesday - Friday, Saturday 2 - 5)
LEV MANOVICH, Soft Cinema
2 MARCH - 5 APRIL (11 - 5 Tuesday - Friday, Saturday 2 - 5)
Lion Arts Centre North Terrace at Morphett Street
Adelaide * http://www.eaf.asn.au *
13 February, 2007
The Feminist Future: Theory and Practice in the Visual Arts addresses critical questions surrounding the relationship between art and gender, bringing together international leaders in contemporary art, art history, and related disciplines. After the activism of the 1960s and '70s, and the revisionist critiques of the 1980s and '90s, this symposium will examine ways in which gender is currently addressed by artists, museums and the academy, and its future role in art practice and scholarship.
Activism/Race/Geopolitics - listen | listen with RealPlayer
Presentations and discussion issuing from the panel organized at the Museum of Modern Art under the the topic of Activism/Race/Geopolitics on Jan. 26, 2007 with: Coco Fusco, artist and Associate Professor, Columbia University School of the Arts Guerrilla Girls Frida Kahlo and Kathe Kollwitz, two founding members of the feminist activist group Carrie Lambert-Beatty, Assistant Professor of History of Art and Architecture and Visual and Environmental Studies, Harvard University Richard Meyer, Visiting Professor, Department of History of Art, University of Pennsylvania Moderator: David Little, Director of Adult and Academic Programs, The Museum of Modern Art
Activism/Race/Geopolitics Q & A - listen | listen with RealPlayer
The question and answer session that followed the panel on Activism/Race/Geopolitics from Jan. 26, 2007 at the Museum of Modern Art. (32 minutes)
Body/Sexuality/Identity - listen | listen with RealPlayer
Presentations and discussion issuing from the panel organized at the Museum of Modern Art under the the topic of Body/Sexuality/Identity on Jan. 26, 2007 with: Marina Abramovic, artist Beatriz Colomina, Professor of Architecture and Director of Program in Media and Modernity, Princeton University Geeta Kapur, critic and curator, New Delhi Martha Rosler, artist Moderator: Sally Berger, Assistant Curator, Dept. of Film, the Museum of Modern Art (2 hours)
Body/Sexuality/Identity Q & A - listen | listen with RealPlayer
The question and answer session that followed the panel on Body/Sexuality/Identity from Jan. 26, 2007 at the Museum of Modern Art. (37 minutes)
Catherine de Zegher - listen | listen with RealPlayer
As the chosen Respondent for Day One of the The Feminist Future Symposium, Catherine de Zegher, curator and art historian (New York/Kortrijk, Belgium) gave this summary address. She concludes with a dialog with Carol Armstrong from Princeton University. (40 minutes)
- listen | listen with RealPlayer
From the historic and provocative symposium, The Feminist Future: Theory and Practice in the Visual Arts presented by the Museum of Modern Art on Jan. 26-27, 2007 we offer you the entire audio content of this presentation.
In this edition you will hear the opening remarks of MoMA curator Deborah Wye and MoMA president Agnes Gund and the keynote address of the acclaimed writer and activist Lucy Lippard.
Art Radio WPS1.org, the Internet radio station of P.S.1 Contemporary Art Center, streamcasted the live audio feed from the sold-out symposium, The Feminist Future: Theory and Practice in the Visual Arts . Organized by The Museum of Modern Art, the program took place on Friday, January 26 and Saturday, January 27 from 9:30 a.m. to 5:30 p.m. EST. Beginning with an introductory program at 9 a.m. EST on both days, Art Radio WPS1.org offered the symposium in its entirety, including introductory remarks, keynote addresses, panel discussions, respondent lectures, and concluding remarks.
12 February, 2007
SIXTH AUSTRALIAN PRINT SYMPOSIUM
National Gallery of Australia 30, 31 March, 1 April 2007
Convenor: Roger Butler, Senior Curator Australian Prints and Drawings, National Gallery of Australia
This symposium is supported by the Gordon Darling Australasian Print Fund
The Australian Print Symposium takes place at the National Gallery of Australia from Friday 30 March to Sunday 1 April 2007.
Organised by the NGA’s Department of Australian Prints and Drawings, with support from the Gordon Darling Australasian Print Fund, this important triennial event draws speakers and participants from all around Australia and the Australasian region.
This year the opening of the symposium coincides with the launch of the major historical survey exhibition, The story of Australian printmaking 1801–2005, and two related books, Printed images in Colonial Australia 1801–1901 and Printed images by Australian Artists 1885–1955.
Canberra artist eX de Medici, known for her intricate watercolours, tattoos and most recently her prints from her APW residency, is our keynote speaker. She will speak on the theme 'Mind as matrix'.
The symposium will include sessions on printmaking and tattooing, artists’ books, printed street art, contemporary teaching practice and print collecting. With more than 20 speakers there will be a rich array of presentations and opportunities for discussion among colleagues in the print world. Speakers include:
The symposium dinner promises to be another great occasion for catching up with colleagues and friends.
The two-and-a-half day symposium is linked to numerous satellite exhibitions in Canberra. Great viewing opportunities from this host of contemporary print exhibitions include:
Birth of the modern poster: National Gallery of Australia
Jan Hogan and a Survey of Honours Students: ANU School of Art
Belinda Fox and Marine Ky: Beaver Gallery
Barbie Kjar: Helen Maxwell Gallery
Michael Kempson, Deborah Williams and Milan Milojevic: Impressions on Paper Gallery
Printmakers in residence: Megalo Access Arts
Falaka Armide Yimer: Stephanie Burns Gallery
For further details about the program and bookings: 6th Australian Print Symposium.
EXHIBITIONS ON IN CANBERRA DURING SYMPOSIUM
1 Rosevear Pl., Dickson (ph. 6247 8736)
ANU School of Art.
School of Art Gallery (ph. 6247 8736)
» Jan Hogan, Foyer Gallery
» Survey of Honours students, Print Media and Drawing Seminar Room
» Print media and Drawing Workshop will be open
ANU Drill Hall Gallery
Kingsley St., Acton. (ph.6125 5832)
81 Denison St., Deakin. (ph. 6282 5294)
opening 6.00pm Thursday 29 March
» Belinda Fox
» Marine Ky
Botany Bay Prints
(ph. 6247 9751)
» by appointment only
Canberra Contemporary Art Space
Gorman House Arts Centre, Ainslie Ave., Braddon. (ph.6247 0188)
Canberra Contemporary Art Space 3
19 Furneaux St., Manuka. (ph. 6295 3112)
31 Captain Cook Cres, Griffith. (ph. 6295 2550)
Canberra Museum and Art Gallery (ph.6207 3968)
» Meg Buchanan: Five years on. Meg was one of the founders of Studio One, Canberra (17 March-1 July 2007)
» Klaus Moje: Glass (31 March-10 June 2007)
Craft ACT Craft and Design Centre
North Building, London Circuit, Civic (ph. 6262 9333)
Geelong Street Antique Centre
4 Geelong St, Fyshwick. (ph. 6280 7005)
A small group of Australian prints always on view
Helen Maxwell Gallery
42 Mort St., Braddon. (ph. 6257 8422)
opening 6.00pm Friday 30 March
» Barbie Kjar
Impressions on Paper Gallery
7 Lonsdale St., Braddon. (ph. 6161 3185)
opening 7.00pm Friday 30 March (exhibition runs until 22nd April 2007)
» Michael Kempson: Beauty and Banality. Michael's recent etching work has the working title of Beauty and Banality and explores the graphic potential of urban and suburban metaphor using the paradigm of personal narrative.
» Deborah Williams: Unmarked Territory.
» Milan Milojevic: Prints from the Terra Frieze, Bird Tree frieze and Fish Frieze. These works are part of an ongoing series (titled Two Worlds) which references the mythological and fanciful creatures described by Argentinean poet, essayist and short story writer, Jorge Luis Borges (1899-1986) in his "Book of Imaginary Beings".
shop 11, Manuka Court, 11 Bougainville St. Manuka
» Selection of Australian artists prints always on display
National Gallery of Australia. (ph. 6240 6411)
» The story of Australian printmaking 1801-2005 (30 March - 3 June 2007)
» Birth of the modern poster (10 February -13 May 2007)
» New galleries of Asian and International art and Sculpture gallery
National Library of Australia. (ph. 6262 1111)
» Joseph Lycett: Convict artist. (1 March - 27 May 2007)
National Portrait Gallery
Old Parliament House. (ph. 6273 4723)
Tharwa Drive, Lanyon. (ph. 6237 5192)
Megalo Access Arts
49 Phillip Ave Watson 2602 (ph. 6241 4844)
» Printmakers in residence of 2006, 5 artists - Trevllian, Laffan, Kobal, Rae, Parrot, Schell
10 Schlich St., Yarralumla. (ph. 6285 2218)
» 33rd anniversary exhibition: Robert Juniper.
Stephanie Burns Fine Art (ph. 6285-2909)
Shop 2, 25 Bentham Street, Yarralumla ACT 2600
» Falaka Armide Yimer: Drifting in time
» Claudia Chaseling : Alps under water
11 February, 2007
In 1998, John Edwards, Bacon's sole heir, generously donated the entire contents of Francis Bacon's studio at 7 Reece Mews to the Hugh Lane Gallery. This remarkable donation is the most important received by the Gallery since it was established by Sir Hugh Lane in 1908.
1 December 2006 - 25 February 2007
Participating Artists: John Baldessari, Daniel Buren, Thomas Demand, Gerard Byrne, Urs Fischer, Peter Fischli / David Weiss, Isa Genzken, Andrew Grassie, Martin Kippenberger, Paul McCarthy, Bruce Nauman, Perry Ogden, Martha Rosler, Dieter Roth, Frances Stark, Wolfgang Tillmans, Ian Wallace, Andy Warhol
Curated by: Jens Hoffmann and Christina Kennedy
Inspired by the presence of the studio of Francis Bacon, which is on permanent view at the Dublin City Gallery The Hugh Lane, THE STUDIO sets out to investigate the role, the idea and function of the artist’s studio as the main space of activity in the making and production of art.
Queensland Art Gallery | Gallery of Modern Art
Until 27 May 2007
The Asia–Pacific Triennial of Contemporary Art (APT) is the Queensland Art Gallery’s flagship international contemporary art event.
Established in 1993, it is the only major series of exhibitions in the world to focus exclusively on the contemporary art of Asia and the Pacific, including Australia.
The fifth APT (APT5) will be the opening exhibition at the new Gallery of Modern Art (GoMA) — the Queensland Art Gallery’s much-anticipated second building, which will be the largest gallery of modern art in Australia. APT5 will also be shown in the original Gallery building, with displays across both sites making the exhibition twice the scale of previous Triennials.
APT5 will include around 270 works by 37 individual artists, filmmakers and performers, as well as two multi-artist projects. Highlights will include numerous commissioned works by artists such as Ai Weiwei (China), Dinh Q Lê (Vietnam) and eX de Medici (Australia), as well as the Triennial’s strongest representation of Pacific artists to date.http://asiapacifictriennial.com/
09 February, 2007
We can go shopping in the supermarket but we don’t play guitars
We shop more than other people, we don’t play guitars
Can you play guitar?
Can you play guitar?
We like using gaffa tape but we don’t play guitars
Give us your gaffa tape cos we don’t play guitars
Can you play guitar?
We don’t play guitars
We don’t play guitars
08 February, 2007
Opening 9 March 2007
The 3rd Auckland Triennial addresses the condition of turbulence - the complex and unpredictable cultural and political environment in which we live.
The Auckland Triennial is New Zealand's premier international contemporary art exhibition providing a window into the art of today. turblence is presented at 5 different venues. Auckland Art Gallery - New Gallery, ARTSPACE, The Gus Fisher Gallery, St PAUL ST and Academy Cinemas.
Click here for more information
07 February, 2007
Marcel Duchamp - listen | listen with RealPlayer
Duchamp explains the readymade! - defines art! - as he speaks with Richard Hamilton and George Heard Hamilton. Originally broadcast by the BBC, October 20, 1962. (26 minutes)
Moderator William Seitz hosts a symposium with Marcel Duchamp, Robert Rauschenberg, Lawrence Alloway, Roger Shattuck and Richard Huelsenbeck. Could it possibly get better than this? Recorded October 19, 1961. (2 hours)
The Past, Present and Future of
Why are museums now focusing on women’s art? With major exhibitions in New York and Los Angeles, the opening of a feminist art center in Brooklyn, and a MoMA-sponsored symposium and book featuring women artists in the collection, ARTnews looks behind the scenes - and ahead - to explore the who, what, where, why, and why now of women’s art.
We talk to legendary art historian Linda Nochlin (author of the groundbreaking “Why Have There Been No Great Women Artists?,” which appeared in the 1971 ARTnews); look at the history of women’s art – assessing where it is today and where it is going; explore the definition of feminism – which young artists use the f-word, which don’t, and why; and speak with Elizabeth Sackler, who just funded a new Center for Feminist Art at the Brooklyn Museum featuring Judy Chicago’s iconic piece, The Dinner Party.
PLUS – a profile of Kim Sooja, the South-Korean born artist who creates fabric projects, performances and installations; and a studio visit with Afro-Cuban photographer and installation artist Maria Magdalena Campos-Pons.
For the most thoughtful and thorough art world analysis and commentary, the news angles, the perspectives, the insider insight -- subscribe to ARTnews.
‘We’re Finally Infiltrating’
This year’s slate of major shows, books, and panels on feminist art reflects the rise of powerful female curators, art historians, and—notably—patrons, who are working to change art institutions from the inside
Where the Great Women Artists Are Now
Linda Nochlin on the many faces of contemporary feminist art
06 February, 2007
Birth of the modern poster
10 February – 13 May
Birth of the modern poster examines poster art and its evolution from the late 19th century to the early 20th century.
Drawn exclusively from the National Gallery’s collection of international posters the exhibtion takes us on a journey from one age to another, with each of the more than forty works in the exhibition originally conceived as ephemeral posters, representing a step along the way.
I am very pleased to invite you to attend the opening of
The exhibition opens on Wednesday February 7 from 6 - 8pm and continues until the 4th of March.
Dickerson Gallery Richmond
2A Waltham Street
Richmond Victoria 3121
03 9429 1569
Gallery hours are Tue-Sat 11-6pm and Sun 12-5pm
A map and copy of the invite can be found at
With kind regards, and I hope to see you there.
05 February, 2007
The emergence of Op art and kinetic art in the early 1960s evinced a strong interest in objectivity and in scientific experiment. Fascinated by the physical laws of light and optics, a whole generation of artists devoted themselves to exploring visual phenomena and principles of perception. Probing the possibilities of optical illusion, Victor Vasarely, Bridget Riley, François Morellet, Julio Le Parc, Gianni Colombo, and others deliberately aimed at producing visual irritations. In large-format paintings, objects, and environments, they caused more than the observer’s eye to move. Their works immerse their viewers in color, plunge them in the infinity of mirrors, or offer them a poetic play with light. The interaction between the work and the viewer fulfills itself in installations that not only entail physical effects in the form of afterimages, vibrating colors, or flickering light but affect the entire consciousness.
Op art plays with the viewer’s sensory premises. It is an art which deliberately demands too much of the eye. Overloading the human visual organ results in contrast effects, halations, suggestions of movement in space, simultaneous color effects turning black-and-white pictures into color images (where the viewer’s perception alone provides the color). The strategies of Op art prevent an adaptation of the eye and insert themselves between seeing and understanding. It makes us see things that are not even there and thus provides a “critique of consciousness.” A process of seeing that stabilizes itself and can never be perfect conveys the idea that pure seeing must remain an illusion. Speaking of “optical effects” describes the issue only superficially. The approach aims at an experience of the limits of perception that clearly goes beyond seeing, at becoming aware of one’s sensory and psychological apparatus – a process which not only includes the body but also comprises the i ntellectual dimensions of reception.
In the mid-1960s, Op art flourished in both Europe and America with centers not merely in Western Europe and the USA but also in Eastern Europe and Latin America. Thus, Op art is one of the few movements in art with a global dissemination including the most diverse political and cultural contexts – a fact not least resulting from the universal character of its artistic means and furthered by a form of perception which, first of all, requires only little apart from an open eye. Op art does not seem to depend on preliminary knowledge and thus grants a spontaneous experience of the artworks presented.
The exhibition “Op Art” at the Schirn Kunsthalle Frankfurt offers a major survey of its most important positions without distinguishing between two-dimensional pictures and three-dimensional objects. The argument for exploring Op art and kinetic art together is primarily based on the observation that this art is something that cannot be pinned down. Only an overview of the various media can disclose the concept of a form of painting encompassing space, embracing the environment, and only establishing itself in between the picture and its viewer. Op art and kinetic art are interested in the idea of “pictures” which affect the viewer by combining mechanical and optical movements and not focusing on the existence of form or material. Distinct aspects overlap: the mechanical, actual movements, the optical movements resulting from changes of the viewer’s position, apparent movements due to perception effects such as a flickering between the lines, and, finally, perceptual movement s through reverse effects in the picture. In addition, the different phenomena blend into each other. Frequently, the hybrid character of the movement’s form already springs from the immaterial nature of three-dimensional visual objects such as Jesús Rafael Soto’s “Vibration Structures” or Yaacov Agam’s “Tableaus transformables” – convertible pictures that the viewer is called upon to reconstruct with his or her hands.
The presentation centers on large-format pictures and extensive installations since visual effects of works that are aimed at integrating the viewer depend on size to a high degree. The hypnotic and pulsating effects increase when they occupy large parts of the visitor’s field of view; the artistic means employed by Bridget Riley, Richard Anuszkiewicz, or François Morellet certainly mark a peak in this respect. The dimensions that conquer the viewer’s entire optical field, as it were, sometimes turn into an overpowering strategy (a perceptive compulsion). The Op artists’ large-size paintings, environments, and installations not only set the observer’s eye in motion: the interaction between the work and the viewer – a central topos of contemporary art – culminates in installations that affect the whole being and not just produce physical effects in the form of unexpected afterimages, color vibrations, or flickering light. The interaction between picture and viewer unfolds the background for a significant new aesthetic approach: Op art replaces thinking in objects by thinking in spaces.
Installations such as Gianni Colombo’s “After Structures” (1964–67), Davide Boriani’s “Ambiente stroboscopico” (1967), or Julio Le Parc’s “Lumière en vibration” (1968) integrate the viewers and aim at a comprehensive intervention of their senses. Confusing one’s notion of the space and causing disorientation, Christian Megert’s impressive “Mirror Room,” realized for the “documenta 4” in 1968, makes the viewer feel as if tumbling into something bottomless. Carlos Cruz-Diez with his “Chromosaturation” (1965) or Otto Piene with his light spaces pursue a more contemplative dimension of spatial art and surprise the visitor with this form of art’s multiple possibilities and wide range of variations. The exhibition assembles a total of nine sensually spectacular environments, some of which will be on show for the first time since the 1960s.
LIST OF PARTICIPATING ARTISTS: Yaacov Agam, Getulio Alviani, Giovanni Anceschi, Richard Anuszkiewicz, Marina Apollonio, Alberto Biasi, Hartmut Böhm, Davide Boriani, Martha Boto, Pol Bury, Gianni Colombo, Toni Costa, Franco Costalonga, Carlos Cruz-Diez, Bill Culbert, Dadamaino, Hugo Demarco, Gabriele Devecchi, Milan Dobe_, Günter Dohr, Angel Duarte, Günter Fruhtrunk, Horacio Garcia Rossi, Hermann Goepfert, Gerhard von Graevenitz, Franco Grignani, Gruppo MID, Gruppo N, Edoardo Landi, Wolfgang Ludwig, Adolf Luther, Heinz Mack, Enzo Mari, Almir Mavignier, Christian Megert, François Morellet, Julio Le Parc, Helga Philipp, Otto Piene, Bridget Riley, Paolo Scheggi, Nicolas Schöffer, Francisco Sobrino, Jesús Rafael Soto, Joël Stein, Zdenek Sykora, Luis Tomasello, Günther Uecker, Gregorio Vardanega, Grazia Varisco, Victor Vasarely, Ludwig Wilding, Jean-Pierre Yvaral, Walter Zehringer.
CATALOGUE: “Op Art”. Ed. by Martina Weinhart and Max Hollein. With a preface by Max Hollein and texts by Frances Follin, Claus Pias, Martina Weinhart. German/English edition, 320 pages, ca. 220 color illustrations, Verlag der Buchhandlung Walther König, ISBN: 978-3-865660-206-0.
DIRECTOR: Max Hollein
CURATOR: Dr. Martina Weinhart
OPENING HOURS: Tue., Fri.–Sun. 10 a.m. –7 p.m., Wed. and Thur. 10 a.m. – 10 p.m.
PRESS CONTACT: Dorothea Apovnik, phone: (+49-69) 29 98 82-118, fax: (+49-69) 29 98 82-240, e-mail: firstname.lastname@example.org, http://www.schirn.de (texts and images for download under PRESS).
17 February – 20 May 2007
SCHIRN KUNSTHALLE FRANKFURT
60311 Frankfurt, Germany
phone: (+49) 69 29 98 82-0
fax: (+49) 69 29 98 82-240
02 February, 2007
Finalists in one of Australia's richest art prizes, the $35,000 Country Energy Art Prize for Landscape Painting will be on show at Artspace, Woolloomooloo from 22 January 2007.
The CountryScapes 2007 exhibition of the 42 finalists is a unique opportunity for Sydney-siders to see the broad range of artists currently working outside Sydney, Wollongong and Newcastle.
The exhibition will include the Country Energy Art Prize for Landscape Painting 2006 winning work Conifer – Braidwood, painted by Oberon artist Joanna Logue.
View the CountryScapes media release for more information or download the exhibition catalogue.