CALL OF THE AVANT-GARDE
CONSTRUCTIVISM AND AUSTRALIAN ART
Heide Museum of Modern Art
5 July- 8 October 2017
Curator/s: Sue Cramer and Lesley Harding
7 Templestowe Rd, Bulleen VIC 3105.
Every Brilliant Eye: Australian Art of the 1990s
NGV AUSTRALIA,FEDERATION SQUARE, LEVEL 3
2 June 17 – 1 OctoberT 17
OPEN 10AM–5PM DAILY
Every Brilliant Eye: Australian Art of the 1990s explores a decade in Australian art. Drawn from the NGV Collection, it provides an in depth look at a period characterised by dramatic change as artists adopted new technologies and increasingly heterogeneous approaches to making art.
The exhibition offers an overview of art made from 1990 to 2000 and includes works in various media from video, installation, photography, painting, sculpture, drawing, fashion and design, as well as selected ephemera relating to various artist collectives, artist run spaces and various subcultures that emerged during this dynamic period in recent art history.
SELECTED WORKS FROM THE TARRAWARRA MUSEUM OF ART COLLECTION
A selection of works from the TarraWarra Museum of Art collection which situate figures in different atmospheres and contexts in order to challenge our preconceptions about the representation of the human form.
The exhibition features works by Davida Allen, Howard Arkley, Juan Davila,
David Noonan, Sally Smart, and Peter Tyndall.
TarraWarra Museum of Art
311 Healesville-Yarra Glen Road,
Healesville, Victoria, Australia
MUSEUM OF CONTEMPORARY ART
MCA COLLECTION: TODAY TOMORROW YESTERDAY
140 George Street, The Rocks
Drawn entirely from the Museum’s Collection, Today Tomorrow Yesterday considers the impact of the past and the influence of history on artistic practice today. From contemporary interpretations of ancestral stories to the continuing effects of early to mid-twentieth-century avant-garde ideas, each room presents a different perspective on the history of the present.
The title, Today Tomorrow Yesterday, is an adaptation drawn from The Prophet, a book of 26 prose poetry essays by the Lebanese artist, philosopher and writer Kahlil Gibran. He wrote: “…yesterday is but to-day’s memory, and to-morrow is to-day’s dream”. As well as reflecting on the passing of time, the title refers metaphorically to the museum’s challenging role in shaping a collection of contemporary Australian art that is simultaneously of its moment and hinged to history. The title and exhibition reference the circular, timeless wonderment of today tomorrow and yesterday celebrating artists deep and ongoing interest in different social, political, cultural and aesthetic histories.
Above all, this exhibition symbolises the guiding principles of the MCA Collection. It is focused on contemporary practices by Australian and Aboriginal and Torres Strait Islander artists, embraces all media and is motivated by a respect for the creative process and vision of today’s artists. Including work by more than forty artists from the 1960s to the present, recent acquisitions and a number of new commissions, Today Tomorrow Yesterday tells the story of the ever-evolving nature of contemporary art.
Today Tomorrow Yesterday is curated by MCA Senior curator Natasha Bullock
SALLY SMART THE CHOREOGRAPHY OF CUTTING
SARAH SCOUT PRESENTS
11 March to 15 April 2017
Sarah Scout Presents is delighted to present a solo exhibition by esteemed Australian artist Sally Smart. The Choreography of Cutting is a major ongoing project that reframes and refigures the historical avant-garde dance company Ballets Russes and its experimental choreography, costume and theatre design as well as its legacies. In this latest iteration, Smart premieres remarkable new assemblage embroidery works, fabricated by artisans at DGTMB Art Embroidery in Yogyakarta, Indonesia, from her digitally cutting up images of the costumes designed for the Ballets Russes by key early modernist artists including Pablo Picasso, Henri Matisse and Sonia Delaunay among others.
The Choreography of Cutting also includes ‘The Pedagogical Puppet’, which involved Smart working with a group of puppeteers at the University of Connecticut to produce a marionette of herself, together with a new large-scale blackboard drawing, giving form to her studio processes of thinking, mapping and planning through diagrams and notations. These works derive from Smart’s research into the European modern dance pioneer Rudolf Laban and his connections to the philosopher Rudolf Steiner, who used both blackboard dissertations and puppets in the pedagogical process.
However, Smart not only reiterates the Ballet Russes, she recasts it through a distinctly feminist lens, insinuating Hannah Höch as central protagonist in a suite of large-scale collage works, and Martha Graham and Pina Bausch as natural successors. Smart maps multiple ideas, temporalities and space to create a dynamic materialisation of thought, gesture and action and in so doing, she reimagines and embodies a vigorous discourse between the historical and contemporary avant-gardes.
Sally Smart is one of Australia’s most significant contemporary artists, renowned for producing large-scale cut-out assemblage installations and more recently combining performance and video. Her practice engages identity politics and the relationships between the body, thought and culture. The recipient of numerous awards and prizes, Smart is currently a Vice Chancellor’s Professorial Fellow, University of Melbourne, was awarded an Australia Council Fellowship (2014) and Sackler Fellow Artist-in Residence, University of Connecticut, USA (2012). Sally Smart’s major public art commission Shadow Trees was installed in Melbourne Australia (2014).
Recent exhibitions include: The Choreography of Cutting, Postmasters Gallery, New York (2016); Odyssey: Navigating Nameless Seas, Singapore Art Museum (2016); Conversation: Endless Acts of Human History (with Entang Wiharso), Galeri Nasional Indonesia, Jakarta (2016); Six Degrees of Separation, Galeri Canna, Jakarta (2015); Dark Heart: 2014 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (2014); Negotiating This World, National Gallery of Victoria, Melbourne, Australia (2013); The Pedagogical Puppet, University of Connecticut, CT., USA (2012); Contemporary Australia: Women, Gallery of Modern Art (GOMA), Brisbane, Australia and No Name Station, Iberia Center for Contemporary Art, Beijing, China. Smart is represented in significant public and private collections including: National Gallery of Australia, Canberra; National Gallery of Victoria, Melbourne; The Art Gallery of South Australia, Adelaide; GOMA/Queensland Art Gallery, Brisbane; Museum of Contemporary Art, Sydney; The University of Melbourne Art Collection, Melbourne; Chartwell Collection, Auckland Art Gallery, Toi o Tamaki, Auckland, New Zealand; Herbert F. Johnson Museum, Ithaca, NY, USA; The William Benton Museum of Art Connecticut’s State Art Museum, USA; British Museum, London, UK; Deutsche Bank, Frankfurt, Germany; and the International Collage Center, Pennsylvania USA.
Level 1, 12 Collins St, Melbourne VIC 3000 AUSTRALIA +61 3 9654 4429 firstname.lastname@example.org
Collective vision: 130 years
Bendigo Art Gallery
4 March – 28 May
Bendigo Art Gallery celebrates 130 years in 2017 and to mark the occasion will present a dynamic new exhibition of historic, contemporary, curious, significant, and much-loved favourites from the gallery’s renowned collection.
Founded in 1887, the gallery was officially launched in refurbished Volunteer Rifles orderly rooms in 1890. Two new courts were added eight years later, designed in the grand European tradition with polished wood floors and ornate plaster arches and cornices. Since then, two contemporary wings have also been added, including a major new $8.5 million extension in 2014, which more than doubled the gallery’s exhibition space.
Odyssey: Navigating Nameless Seas
4 June 2016 – 28 August 2016
Singapore Art Museum
1 Bras Basah Road, Singapore
Featuring commissioned artworks, artist loans and works from the Singapore Art Museum collection, Odyssey: Navigating Nameless Seas invites visitors into Earth’s watery realms, as seen through the eyes of contemporary artists. Through the centuries, over numerous expeditions, and with ever-increasing sophistication in science and technology, humankind has sailed the seven seas and plunged into the very depths of oceanic trenches. Yet there remains much to be discovered of this alien world.
Odyssey: Navigating Nameless Seas is where artists delve into the unfathomable depths of the ocean’s mysteries, and also think through the tempests that batter our sails on this journey through life. Riddled with twists and turns, where will our explorations take us? While we seem to know more and more about the world around us, to what extent does it give us insights into human nature? To what ends our endless discoveries?
Alfredo and Isabel Aquilizan | Choe U-Ram | Pratchaya Phinthong | Rashid Rana | Sally Smart | Wyn Lyn Tan | Richard Streitmatter Tran | Entang Wiharso | Ashley Yeo and Monica Moon
Sur (Sally Smart) Centro (Priscilla Monge) Norte (Lydia Dona)
25 Feb-May, 2016
Jacob Karpio Galeria
Barrio San Felipe,Bogota, Colombia
The approaches of contemporary women artists in this space are incredibly diverse. Yet their work is brought together by the fact that they have a shared concern with process, with the physicality of the art object and with the idea that the experience of art can be transformative.
Many artists working with photography are rediscovering the magical pleasures and beauty of photography’s traditional processes. The highly abstracted images and seductive surfaces of Jacky Redgate’s and of Justine Varga’s hand-printed colour photographs remind us of art’s capacity to take us to other places. Jan Nelson’s refined, vibrant portraits of adolescents combine an internal awareness of her subjects along with a sense of their connections with contemporary technology. Sally Smart’s major chalkboard installation contemplates how art and performance can be seen as a communion between artist and audience. Her use of text intersects with Dada-inspired puppets, video and dancers in an experience that engages with notions of the body, display, performance and philosophy.
Art often mirrors major issues that confront the world. Questions about power and those who wield it can be found at the heart of eX de Medici’s intricate watercolours and her remarkable Shotgun wedding dress/Cleave, especially commissioned for this space, and in Kate Just’s Uniform dad. Alternatives to aggression are also offered in Just’s giant knitted hedge Boundary (LOVE).
National Gallery of Australia (NGA)
Parkes Place, Parkes, Canberra, Australia
The Choreography of Cutting
Jan 30-March 12, 2016
Conversation: Endless Acts in Human History
Sally Smart and Entang Wiharso
Galeri Nasional Indonesia, Jakarta
Opening 14, January, 2016
Galeri Nasional Indonesia - Conversation: Endless Acts in Human History a two person exhibition by Australian artist Sally Smart and Indonesia artist Entang Wiharso
Conversation: Endless Acts in Human History is a unique collaboration between the two artists, who met in Melbourne in 2012 and have become close friends since that time. Engaged in a continuous discourse about their individual practices, this marks the first time Smart and Wiharso have worked together to realize a full-scale joint exhibition. Focusing on Smart and Wiharso’s work individually and in dialogue with each, Conversation recognizes the extraordinary synergies and cross cultural dialogues in their artistic practices. Displayed throughout the main space of the National Gallery, Conversation will feature newly conceived sculptures, paintings and installations, as well as works made at critical junctures in Wiharso and Smart’s careers.
Conversation: Endless Acts in Human History engages with dialogue and diplomacy as interconnected systems, socially and culturally produced and reproduced, and therefore embedded in individuals, institutions and states. Within this context, Smart and Wiharso explore the complexity of personal engagement (composed of responses/actions/reactions/interactions) and creative practice and subsequent social and artistic action. Exploring the conceptual and formal intersections of their practice through ideas and images of identity and politics, with representations of the body and the natural world, their works traverse thematically and technically. Wiharso comments, “Sally and I share many interests and certain ideas come up in both our works in different ways, for example the body and organs, borders and frontier, history, colonization, the art scene and art politics. And we both use cutting as a conceptual act in our practice.” The work in the exhibition exposes the similarities and differences between two artists whose lives and artistic practice reflect deep social, cultural, emotional and geographic intersections and synergies. Conversation echoes the relationship between themselves and the relationship that each artist has with old and new groups, organizations and institutions. Smart notes, “This is an act of trust and friendship,a conversation between two artists, to create an exhibition that speaks beyond us.”
Sally Smart and Nari Ward
Collaborations: Puppetry and Contemporary Art
Contemporary Art Galleries
University of Connecticut, Storrs USA
August 10- September 4, 2015
Galeri Canna, Jakarta, Indonesia
June 13 - July 8, 2015
Antena Projects- YOS 15 :Thriving and Archiving
Black Goat Studios Yogyakarta Open Studio
29 May- June 14 2015
Sally Smart The Choreography of Cutting
Opening March, 2015
Purdy Hicks Gallery, London
Art Stage Singapore 2015
Sally Smart's The Pedagogical Puppet Instructions for Cutting and Tearing
video will be screened, coutrsey Postmasters Gallery, NY
Sally Smart Shadow Trees
Public Art Commission
Buluk Park Melbourne Australia http://www.sallysmart.com/cms-projects-10/index.phps
Postmasters Gallery, New York
November 29, 2014 - January 17, 2015
A group show of portraits, real and imagined, that reflect our moment in time, the currently available technologies and the growing popular fascination with portraiture over social media platforms. Titled Portrait in the Twenty-First Century the show includes work by:
MOLLY CRABAPPLE, KRISTIN LUCAS, KATARZYNA KOZYRA, SALLY SMART, SHAMUS CLISSET, AUSTIN LEE, ANTON PERICH and RYDER RIPPS.
54 Franklin Street, New York City, 10013
Hours: Tue-Sat 11-6p and Thur 11-8p - Telephone 212 727 3323 -
Sally Smart: interview
Sally Smart, known for her large-scale installations, talks about her recent project The Pedagogical Puppet, and her Bauhaus-inspired work, made during a residency at the University of Connecticut, by Janet McKenzie.
The Brassington Affair
Plimsoll Gallery, Centre for the Arts, University of Tasmania,
August 1- 31, 2014
Performance: The Choreography of Cutting
Choreographer and dancer Brooke Stamp performing a dance work - responding to Sally Smart's installation
The Choreography of Cutting (Spring) and performed in her installation space at the 2014 Adelaide Biennial,
Art Gallery of South Australia, on May 11, 2014
The 2014 Adelaide Biennial of Australian Art: Dark Heart
opens Saturday 1 March showing until Sunday 11 May 2014
Singular figures in modern and contemporary Australian painting and sculpture
22 February - 27 April, 2014
TarraWarra Museum of Art
Healesville Victoria Australia 3777
PARA - REAL
Thomas Demand – Jennifer and Kevin McCoy,
Jim Hodges – Robert Thierren
Eva and Franco Mattes – ShamusClisset
Vik Muniz – Greg Allen
Maurizio Cattelan – Sally Smart
Hiroshi Sugimoto – Adam Cvijanovic
Trevor Paglen – Melissa Dubbin/Aaron S. Davidson
601 West 26th St., #1755
New York, NY 10001
Grace Cossington Smith Gallery
12 October – 5 December, 2013
Abbotsleigh, 1666 Pacific Highway, Wahroonga NSW
Remix: Selections from the International Collage Center
June 30 – October 13, 2013
at the Katonah Museum of Art, NY, USA
LAKE MACQUARIE CITY ART GALLERY
13 SEPTEMBER – 17 NOVEMBER 2013
This project examines the phenomenon of art-collecting practice in Australia, and how we define our interests as a society. The research has focused on the role played by private collectors in shaping notions of a collective cultural identity. In order to contextualise the research, this exhibition concentrates on artists who were practising at the time of the Australian Bicentenary in 1988; a time when complex issues were raised about Australia’s collective identity.
A gallery project curated by Lisa Corsi of Artcell.
Strings, Rods, and Robots: Recent Acquisitions
Ballard Institute and Museum of Puppetry University of Connecticut, Storrs CT.,USA
The Pedagogical Puppet
Greenaway Art Gallery, Adelaide, Australia
3 APRIL - 5 MAY, 2013
BREENSPACE, SYDNEY, AUSTRALIA
22nd February - 23rd March, 2013
For her second solo exhibition with BREENSPACE, Choreographing Collage, Sally Smart will exhibit an ambitious installation work with photographs and collage from her new series, The Pedagogical Puppet Projects. Developed while artist-in-residence at the University of Connecticut, USA.
The exhibition will also include new poetic, meditative videos on the nature of movement, dance, and the female figure. Smart has long been engaged with conceptions of feminine identity from both a contemporary and historical perspective. Informed by feminist discourses surrounding psychoanalytic theory and the anti-art movements of Dada and Surrealism, Smart's installations explore corporeality, gender and identity politics. Combining collage, screen-printing, drawing and photography she creates theatrical installations that employ a cinematic visual style. Smart has said about this project:
The inclusion of animation, film and puppetry develop the performative nature of my art practice, this includes the physical movement, placement and assemblage of cut out elements in space and the conceptual feminist framework in which I work …what made me interested in choreography and dance is thinking about representing movement through drawing …and I thought about how can I visualize that in my work. - Sally Smart
Level 3, 17–19 Alberta Street
Sydney NSW 2000 Australia
+61 2 9283 1113
Wednesday – Friday 11:00am – 6:00pm
Saturday 11:00am – 5:00pm
Time and Vision Exhibition in London -new work from Australian Artists 20.10.12 – 11.11.12
Over the past 20 years Acme Studios has hosted 70 artists from Australia in London as part of its International Residencies Programme. Time and Vision is a major project celebrating this milestone, highlighting the talent, range and vitality of contemporary Australian visual artists through an exhibition, a publication, film and online platform.
We invite you to attend the private view of the Time and Vision exhibition where His Excellency Mr John Dauth AO LVO, High Commissioner for Australia will officially open the exhibition and launch the Time and Vision publication
Bargehouse Oxo Tower Wharf, Bargehouse Street, South Bank, London Se1 9Ph
This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, with additional support from the Australian High Commission in London. This project has been managed by Acme Studios International Residencies Programme.
I Build My Time
I’ve wanted to make my cut out work in a way that moves…what made me interested in choreography and dance, is thinking about how do choreographers represent movement through drawing …
Sally Smart’s I Build My Time will exhibit the artist’s work with time-based media and performance : Working with shadow puppetry and dance choreography, Smart will be animating the cut-out elements from her assemblage work through stop-motion animation and film. I Build My Time continues Smart's emphasis on the processes of drawing, collage, assemblage construction and performance in her work and includes work from The Pedagogical Puppet, developed during her recent 2012 Raymond and Beverly Sackler Artist Residency at the University of Connecticut, USA
Fehily Contemporary, Melbourne, Australia
11 October to 3 November
The Pedagogical Puppet: Projects by Sally Smart
The University of Connecticut
September 24 - October 27, 2012
Exhibition's and Artist Reception
September 24 - 5:00 to 6:30 pm
Sally Smart and Puppeteers Dialogue
September 24 - 4:00 to 5:00 pm
As the Art and Art History, University of Connecticut’s 2012 Raymond and Beverly Sackler Artist-in-Residence, Smart plans to produce a new body of work that will include her first exploration with time-based media and performance. While on campus, Smart will be taking advantage of the expertise of UConn's world-renowned Puppetry Arts Program and Ballard Institute and Museum of Puppetry. Smart will also have use of the School of Fine Arts' newly outfitted Media Lab to do editing and high-speed film rendering.
Negotiating This World - Contemporary Australian Art
National Gallery of Victoria, Melbourne, Australia
September 28, 2012 - February 10, 2012
The Ian Potter Centre: NGV Australia at Federation Square
Twentieth – Twenty-First Century Australian Art (Gallery 16)
‘This exhibition brings together a selection of contemporary art from the NGV Collection acquired through the Victorian Foundation for Living Australian Artists. Reflecting the breadth of artistic practice in Australia over the past decade,Negotiating this world: Contemporary Australian Art includes more than 100 works by contemporary artists of diverse cultural backgrounds and practices. Encompassing a range of media, works in the exhibition include paintings, sculptures, drawings, photographs, prints, collage, video and installations. â€¨â€¨The exhibition will coincide with the 10 year anniversary of the opening of The Ian Potter Centre: NGV Australia.’ ( NGV website)
The Art Department Faculty Exhibition
The William Benton Museum of Art
Connecticut’s State Art Museum.
September 4th- October 14, 2012
Remix: Selections from the International Collage Center
Daum Museum of Contemporary Artâ€¨ Sedalia, Missouri, USA
September 29–December 16, 2012â€¨
Remix” will travel to Katonah Museum of Art, Katonah, NY, June – October, 2013;
Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville, TN, October – December, 2013,
Bates College Museum of Art, Lewiston, ME, January – March, 2014.
Philanthropy: The art of giving
Bendigo Art Gallery , Bendigo, Australia
September 8 –November 18, 2012
The Anatomy Lesson The Ian Potter Museum of Art,
University of Melbourne, Melbourne, Australia
1 Sep 2012 to 20 Jan 2013
Guest curator: Jenny Long
The anatomy lesson includes a wonderful range of images and objects sourced from the university’s many distinctive collections. Seventeenth-century anatomical texts and prints from the Special Collections at the Baillieu Library are juxtaposed with paintings and drawings from the University of Melbourne Art Collection and the Victorian College of the Arts Collection. The exhibition is laid out in the form of a giant atlas of the human body, with the feet pointing west and the brain contained within the annex gallery to the east.
Sally Smart is a recipient of an Australia Council 2012 Visual Arts Fellowship
Raymond and Beverley Sackler Artist-in-Residence for 2012
The Department of Art and Art History Convocation will be on September 13, at 6 pm in von der Mehden Recital Hall. The featured speakers are Sally Smart, the 2012 Sackler Artist-in-Residence, and Holland Cotter, art critic for the New York Times, who will deliver the Gene and Georgia Mittelman -Distinguished Lecture in the Arts. Convocation is co-sponsored by the William H. Benton Museum of Art and is free and open to the public.
Feminage. The logic of feminist collage
2 August to 15 September 2012
Opening: Saturday 4 August at 3pm
Artists: Karla Dickens, Elizabeth Gower, Emily Hunt, Mehwish Iqbal, Deborah Kelly, Fiona MacDonald, Paula do Prado, Sangetta Sandrasegar, Sally Smart, Tai Snaith, Nancy Spero, Jemima Wyman
The Exquisite Pirate
24 May - 18 June, 2012, London
Purdy Hicks Gallery
ArtHK 2012 Amelia Johnson Contemporary
16-20 May, 2012, Hong Kong
Sally Smart The Log Dance (In Her Nature), 2012
“I wanted to begin not with characters or ideas, but with movements . . .I wanted significant movement. I did not want it to be beautiful or fluid. I wanted it to be fraught with inner meaning, with excitement and surge.” Martha Graham
Sally Smart’s solo presentation at ArtHK 2012 for the Amelia Johnson Contemporary Gallery is a large-scale wall-assemblage made of painted and printed fabric and collage elements, titled The Log Dance. The work is a continuation of the Australian artist’s research into dance, performance and choreography. The Log Dance is a weave of modernist references and abstractions of documentation from various performances; in particular Martha Graham’s dance work, Appalachian Spring (1944). The Log Dance is an articulation of the freedoms and restraints of staged gesture, as well as the interplay of accompanying design elements, which further code gesture.
The Log Dance is the second work, in a site-specific series by Smart, In Her Nature, first shown at Breenspace, Sydney in 2011. In Her Nature points to the natural world: The phrase ‘in her nature’ suggests a temperament, a characteristic of personality, an inclination, a leaning, a movement.
In unison, the collaged elements of The Log Dance insinuate rather than illustrate movement. Smart’s large-scale wall-assemblages characteristically comprise interconnected collaged elements including fabric, canvas, embroidery, silk-screened and photographic parts. Smart’s own manipulation of material, pattern and texture, describe a push/pull between human features and natural elements, as the exchange between bodies and objects depicts unseen forces. Rendering not only the physical aspects of performance visible, Smart also partially reveals aspects fraught psychological play and internal conflict.
Within the work, time is depicted as a pale disjointed grid or stage-like structure comprised of a striated and patterned braid of uprooted trees, logs, patterned tree bark. The adjoining line-work, projects the figures in mid-gesture, into the foreground of the work. Segmented and fragmented, the figures engage in a dance, which is felt and explosive. Smart’s construction of each body is laid bare, where pins, stitches and cut marks also indicate broken and contorted limbs. As a leitmotif, logs, uprooted trees and tree bark within The Log Dance, also point to’ lopped nature’, where truncated and distorted limbs are set in permanent motion.
Smart's long-term interest in the construction of feminine identity is apparent in her process-oriented practice which involves cutting, collage, photo-montage, stitching and pinning, all of which have historical and political associations with the traditional activities of women. Smart characteristically subverts these hierarchies and her methodology of construction, deconstruction and reconstruction within the installation space, are integral to the conceptual unfolding of the work.
Smart will continue the series In Her Nature, while at the University of Connecticut, USA, where she is in the Art and Art History Department's Raymond and Beverley Sackler Artist-in-Residence for 2012.
Contemporary Australia: Women
21 April – 22 July 2012 | Gallery of Modern Art, Brisbane (GOMA) | Free admission
GOMA Opening Hours
10.00am — 5.00pm Monday to Friday
9.00am — 5.00pm Saturday and Sunday
9.00am — 5.00pm Public Holidays
‘Contemporary Australia: Women’ is the second in the Gallery’s ‘Contemporary’ Australia triennial series — the most extensive regular presentation of contemporary Australian art in the country.
‘Contemporary Australia: Women’ is a celebration of the way women artists have reshaped, and continue to shape, the landscape of art in Australia. It demonstrates the diversity, energy and innovation of contemporary Australian women artists through the work of 33 artists and collectives.
The exhibition explores a range of key themes: the idea that one performs femininity or performs as a woman; the place of personal and intimate spheres — such as sexuality, the body, motherhood and ageing — in work by women; the return to everyday and domestic materials; and the ways some artists are ‘redressing the canon’ of painting.
Remix: Selections from the International Collage Center
currently on view at the Samek Art Gallery, Bucknell University, Lewisburg, P, USA
Touring through 2012 -The Ewing Gallery of Art and Architecture, University of Tennessee, Knoxville, (TN) and Bates College Museum of Art, Lewiston, (ME) USA
Your Move: Australian artists play chess
14 October – 16 December 2011
Anne and Gordon Samstag - Museum of Art,
University of South Australia
No – Name Station
Opening: 6-8pm, Friday 16 March 2012
Exhibition: 16 March – 14 April 2012
The project has been initiated by Gertrude Contemporary in Melbourne, in collaboration with Warmun Arts Centre in Western Australia and Iberia Center for Contemporary Art in Beijing. It has been developed with the support of the Australian Embassy in Beijing and the Department of Foreign Affairs and Trade, and will be promoted as a part of DFAT’s 2010 Year of Australian Culture in China campaign. The exhibition and book launch in Beijing in October 2010
Brook Andrew, Gao Shiqiang, Newell Harry, Mabel Juli,Gabriel Nodea, Marika and Marissa Patrick, Rusty Peters,
Rammey Ramsey, Liang Shuo, Sally Smart, Wang Wei, Zhao Zhao
200 GERTRUDE STREET
FITZROY VIC 3065 AUSTRALIA
The Devil Had a Daughter
Monash University Museum of Art | MUMA Caulfield campus
4 August - 1 October 2011
Curator: Kirrily Hammond
Artists: Pat Brassington | Tony Garifalakis | Jason Greig | Petr Herel | Dylan Martorell | David Noonan | Mike Parr | Stuart Ringholt | Sally Smart
The Devil Had a Daughter reflects an enduring fascination with allegorical, theatrical and macabre imagery apparent throughout the history of printmaking. Developed by MUMA Curator Kirrily Hammond, and drawing upon various forms of printmedia such as the artist’s book, performative works, found printed matter, architectural installations, as well as longer standing print traditions, this exhibition aims to open up the definition of printmaking towards an expanded understanding of its role and form in contemporary art. As Dr Melissa Miles suggests: ‘Long disparaged as a lesser sibling of high Art, printmaking’s processes of conceptual and material reproduction threaten our most treasured myths of the almost divine creative conception of an original work of art.’ This grain of instability – present the medium since its inception – has contributed to the increasing vast range of production methods and distribution formats for printmaking.
Greenaway Art Gallery, Stand 16
COLORIFIC! We Make An Art Rainbow
Organized by Paulina Bebecka
Postmasters Gallery, New York
July 15 - August 19, 2011
May - July 2011
Postmasters Gallery 459 West 19th Street (between 9 and 10 Avenues)
New York, NY 10011
Open Tuesday through Saturday 11 – 6 pm
March – May 2009
Zhongjian : Midway - 15 Contemporary Artists
from China and Australia initially touring
Beijing, Shanghai, Tianjin and Xiamen in China.
459 W 19 Street
New York, NY 10011
30 January – 10 March 2007
Curated by Tracy L. Adler
The Bertha and Karl Leubsdorf Art Gallery at Hunter College
New York, NY, USA