Aleks Danko, Wait … I think this is where I lost my hula-hoop. Photo: Ann Stephen
On the back of his successful Survey Exhibtion, MY FELLOW AUS-TRA-ALIENS at the Museum of Contemporary Art Australia, Sydney 2015 and the Heide Museum of Modern Art, Melbourne 2016, Aleks finally meets up with Eeva Hessa Atta Herrdressa to discuss language, laughter, Lippard, LeWitt and Long Noses. With Eeva, the crisis of lessnessness is never far away… And, as the day turns to night, and with the arrival of Knot and Blot, they all turn to an ordered purposelessness in which to examine the merits of the alphabet as bottled by Emily Foiled. They soon realise that space is the container or non-container of air ('and beyond it, deep blue air, that shows nothing, and is nowhere, and is endless') and should always, be taken hot (sic!). With sunrise it is all 'malsplaining' for the day ahead, with the weather forecast predicting A Little Morning Drizzle But Mainly Fine. Eventually events other than themselves dot the dot, mirror the mirror, felt a sketch, and, it becomes a case of Do The Dog Not The Donkey. But, in the end, in a state of muscular consciousness, and with a singleness of purpose, they all come up with one last meaningless refrain: 'You might as well laugh mate, there's nothing else to do … '
Denise Green, Needle, 1977. Oil on canvas, 152 x 152cm. Heide Museum of Modern Art, Melbourne. Gift of Denise Green, 2016.
This exhibition in Heide II traces 40 years of painting and drawing by Denise Green, an expatriate Australian artist born in Brisbane in 1946, who has lived in New York since 1969.
Green’s earliest works in the exhibition are drawn from a series that featured in the Whitney’s New Image Painting exhibition in 1978, which identified a new generation of artists whose work re-introduced the depiction of objects in response to the pure abstraction of the 1960s. Her objects are characteristically simple and archetypal: a fan, a tree, a needle, a vessel, often centrally presented against a reduced background.
Green’s distinctive visual language has developed out of a multitude of experiences and influences. Her artistic sources are as diverse as eastern calligraphy, Groote Eylant bark paintings, 1960s American abstraction (in which she was schooled at New York City’s Hunter College under Mark Rothko and Robert Motherwell), Etruscan pottery. These are synthesised in an intuitive painting style which gives expressive shape to ideas and emotional states that are often rooted in deeply personal experiences of loss and grief. Green’s mark-making process is one of discovery in which, as writer Ingrid Periz describes, she consistently aims for “a fusion of inner states and outer form”.
In 2007 Denise Green was awarded the Order of Australia for service to the arts, particularly as an abstract painter and an author, and through her promotion of Australian art and artists internationally.
This life of accretion is an exhibition of sculptural, encaustic paintings. Artist Taryn Lee-Steere has developed this style of work unlike any other Australian artist.
While the work is process driven, Lee-Steere’s intent is to make lyrical work of visual beauty that entices the viewer to at once be intrigued by the process and moved to think about the intent.
The action of applying molten wax and reducing each layer by way of fusing, to use the words of Bronwyn Oliver, results in “a conceptual and physical process of building and taking away at the same time.”
With a brush as Lee-Steere’s primary tool, the slow repetitive movements that encaustic requires allows her to focus closely on the precision of the work. The resulting raised surfaces and striking colour evoke a meditative experience that encourages us to look actively at the art and then back inwardly within ourselves, revealing underlying concepts relating to time slippage, memory and illusion.
The relief qualities make it a distinct hybrid – part painting, part sculpture. The haptic quality makes this work not only dynamic and innovative but also lustful and sensual. This connects artwork and viewer, mind and body, thought and sensation, idea and emotion.
The works in This life of accretion have a sublime quality. Thought provoking, mysterious and abstract, with a wide array of references, both natural and cultural that are embedded in them.
This life of accretion will include sculptural encaustic paintings, miniature resin casts of encaustic paintings, as well as polyester and resin sculptural works.
Aimee Rytenskild takes a process-based approach to painting and sculpture. Her first solo exhibition Surfaces explores the relationship between the physical action of mark making, and the role of the unconscious mind that drives it. Brilliant colours are applied with both vigorous and controlled movements, utilizing the medium of abstraction as an interpreter of unconscious dialogue.
The use of multiple mediums such as acrylic, pastel and collage, using a palette knife to both liberally apply paint and scratch it off again, creates layers of intense colour and texture. Using this process of application and reduction produces dense and energetic imagery that bears a strong emotive quality.
Paintings are given the space to evolve in both style and form. This freedom encourages each work to emerge from a place of constant experimentation and reconfiguration, creating an aesthetic based on a rich narrative of joy, energy and vigour. Three dimensional works visually echo the density displayed within each painting, however when viewed within a spatial context, becomes an immersive environment in which the materiality of the work begins to dictate and seep into the space.
A vibrant palette often thrown and splashed over surfaces and refined by considered mark making results in imagery that pulsates with energy, triggering a contemplation of the subconscious mind driving these impulses and actions. Just as our own psyche is built upon layers of experience, so is this collection of work.
Wednesday, 21 June, 2017 to Saturday, 8 July, 2017
Entanglements establishes a dialogue between the practices of Perth-based West Australian emerging artists Jessica Tan and Kimberley Pace through the manifestation of objects and site-specific installation. A collaborative inquiry into the unstable parameters of corporeality and the embodied everyday space, the exhibition project transforms and shifts meanings associated with materiality and aesthetics.
For Julia Kristeva, the abject establishes that we first understand the world through materiality. Our symbolic relationships with our bodies and our relationships with the space around us are determined first by how things feel, look and smell. Materials tell us how to think and how to feel. We develop relationships bound to how things appeal to us, or repel us or even occupy a space between.
Kimberley Pace and Jessica Tan explore these relationships through a collaborative exchange of ideas, works and materials resulting in the negotiation of process-based outcomes that generate and develop further material conversations. These outcomes explore the relationships between the natural and artificial, the alluring and uncomfortable, and the material object, the body and the space they exist within.
For Entanglements, both artists create objects that extend on individual practice concerns engaging the unstable parameters of corporeality and embodied everyday space. The intersection of these practices constructs an ambiguous space for the viewer, which questions perceived meanings associated with material response and aesthetics.
Wednesday, 21 June, 2017 to Saturday, 8 July, 2017
Chinese Whispers and Other Stories is an exhibition that brings together four female artists of Chinese descent. Through photographs and video, their work negotiates ideas about cultural identity, otherness and place through stories of migration, diaspora and belonging.
Wednesday, 31 May, 2017 to Saturday, 17 June, 2017
Thanks for Having Me draws from recognized visual artifices and stimulators known to arouse a sense of pleasure. Over time humans have developed powerful emotional responses, which guide our actions and ultimately improve our chances of reproduction and survival. Focussing on the theatrical and corporeal, Thanks for Having Me explores how universal bedrocks of attractiveness influence the way we design and are drawn to images and spaces that delight and give pleasure. How do broader processes such as natural and sexual selection inform the way we respond to and create spaces in which to live, entertain and seduce?
Through the eyes of women artists, the exhibition explores the shift in perception that comes with different ages and phases of life. The artists engage diverse practices to touch on a an array of relationships to womanhood and also explore the theme of woman as Object vs Subject – thereby challenging, complicating, and confronting the traditional notion of a ‘male gaze’ in art.
MONOGRAPH x BLINDSIDE: Feminist Reading Circle | Saturday 13 MAY 2pm
Please join MONOGRAPH, the reading circle for art lovers, for a special feminist reading group as part of the exhibition No Woman is an Island.Participants are asked to bring along a recent book or text that they have read that has inspired them, with particular reference to feminist text and authors. Discussion and criticism is encouraged. This group is open to all with an interest in art and books.
THE FEMALE GAZE: Artists' and Curator Panel | Saturday 27 MAY 2pm
As part of No Woman is an Island, exhibition curator Sophia Cai will lead a discussion with artists Clara Bradley, Anna Farago, Kate Just and Stephanie Leigh about their artistic practices as it relates to female experience.
Thursday, 27 April, 2017 to Saturday, 1 July, 2017
As part of CLIMARTE's ART+CLIMATE=CHANGE 2017 Festival Arts Project Australia is excited to present Disparate Lands. Currently on display at Creative Space's The Guild, Disparate Lands considers various aspects and responses surrounding climate change. Featuring the work of Arts Project Australia artists including Michael Camakaris, Paul Hodges, Miles Howard-Wilks, Chris Mason and Cathy Staughton, the exhibition juxtaposes idyllic landscapes with works of unsettling and contaminated lands. Displaying large-scale works on canvas, the paintings depict the promise of hope, as well as the stark reality of the environmental challenges facing our global community today.
Saturday, 17 June, 2017 to Sunday, 3 September, 2017
New Alchemists comprises a diverse suite of works by Australian and International artists exploring ideas of futuristic biologies and post-human engagements within the broad intersections of art and science. Paralleling a view of the artist as contemporary alchemist, the selected works channel experiences beyond our accessible human and non-human worlds. Through play, ambiguity and provocation, the works engage in narratives that collapse our sense of familiarity and embodied otherness with the world around us.
These six artists explore the ideas, motifs and images from influential Australian artists, such as George Lambert, Ian Fairweather, Sydney Nolan and Albert Tucker, singling out works they feel they have a relationship with, examining them according to their own artistic practices.
Charcoal drawings by Tony Fitzsimmons convey a sense of individual identity and passion for seemingly ordinary occupations, be they musicians, mechanics, singers or bellringers. This body of work commenced during the artists’ 2015 summer Aberystwyth Art Centre residency in Wales.
Michelle Xen has engineered BENEVOLENT SYSTEM II during her three-month residency in our Mezzanine Studio throughout Autumn. Michelle lives in Burleigh Heads on the Gold Coast and is a graduate of the Queensland College of Art, holding a Bachelor of Visual Art in Fine Arts, and a Master of Arts in Research in interdisciplinary practice from the Queensland University of Technology. Her interdisciplinary practice oscillates between visual art, pop music, and the boundaries of performance. Her body of works sit within a spectrum from the contemporary visual art world, the independent music industry, to a range of hybrid spaces associated with contemporary experimental sound and performance.
This must be the place is a respite for the doubtful, a breather for the disheartened. A place to feel good and remember laughing is good stuff – especially when it’s at your own self. It’s somewhere where all the niggly, unsure, sore bits can hang out without getting a hard time. A place full of weird and wonky and warm things that will sympathetically tickle the discomfort of not-knowing and remind you that sense doesn’t need to be made of everything.
Hailey Atkins is a Brisbane based artist graduated from Queensland College of Art with a Bachelor of Fine Art with Honours (Class I). Her sculptural practice sits at the intersection of humour, failure and ambivalence, and explores how the resulting aesthetic can be utilised to meaningfully disrupt the negativity surrounding failure and doubt. She has exhibited widely in Queensland, as well as interstate (Sydney, Hobart) and internationally (Utrecht, Netherlands) and is forthcoming artist in
residence at Kaus Australis (Rotterdam, Netherlands) Oct-Dec 2017.
Elaine Haxton 1909–1999 Flower Bridge at Kwei-Lin 1956
pen and brush and ink, with ink wash, gouache and pastel with scratching back on paper
image/sheet 46.0 x 54.5 cm
Collection of The University of Queensland. Gift of Dr James Taylor Duhig through the Alumni Association, 1976.
Reproduced courtesy of the artist’s estate.
Philanthropists and collections explores the philanthropic impulse, and considers how patronage has helped shape the UQ Art Collection. A selective survey of the giving that has bolstered our holdings, it brings together a representative group of artworks that have been generously donated by organisations such as the Alumni Friends of The University of Queensland Inc. and altruistic individuals.
The exhibition provides us with an opportunity to thank all our donors and to reflect on the act of collecting. What leads someone to donate artworks, and how do these gifts influence the development of a collection? How does patronage contribute to the cultural heritage of an institution, and do objects ‘live’ differently in an art museum?