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It is no secret that from around 2010 the medium of drawing has plateaued. Yet it remains an art form that has succeeded since time immemorial. To suggest that drawing could fail is at a glance, fanciful, headline grabbing hyperbole. After all drawing is a material event that manifests often before we can talk: it seems hard wired into the human DNA.
A fearless and at times brutal re-imagining of the act of contemporary figurative painting, the artwork of Celeste Chandler unmistakably engages with the development of a new set of strategic maneuvers in her reconfiguration of a visual lexicon with which to communicate ideas…Celeste Chandler
I’ve never adhered to the conceited nature swirling around the notion of an artistic full stop, specifically with regard to the medium of painting. That form of lexicality for me has never articulated what a medium can or cannot express at any given moment throughout history…Chris Worfold
Our Inaugural Seminar was presented in two half hour time slots by Associate Professor Rex Butler. The first paper – “I Am, You Are, We Are Australia” – co-authored by Rex Butler and A.D.S Donaldson began with the premise: What do a series of works called ‘Australia’ done by artists who do not come from Australia have to tell us about ourselves? Equally, what does the presence of paintings of gumtrees throughout European modernism have to tell us about the Australian landscape tradition?
It’s an immense curatorial challenge to bring together a diverse range of mediums in one exhibition, but co-curators Margaret Hancock Davis, Margot Osborne and Brian Parkes use the irregular space at the Gold Coast gallery to great advantage. Recessed cubicles, staggered walls and display cabinets enable smooth transitions between mediums. They also offer intimate spaces for audiences to view individual works…The Jam Factory
In a crisis of faithlessness akin to the plight described by de Botton, Plowman tackles the papal portraits of the Renaissance and other religious icons with a conflicting blend of respect and mockery. Respect for tradition is suggested in the detailed copying of parts of the original work, and mockery arises from the artist’s changes that alter the entire tone of the original painting…Nic Plowman
The understanding of how to make paintings that are both original and reiterative of something else is highlighted throughout this show. As a PhD candidate, the depth of Degroot’s research means his work must knowingly take onboard the impossibility of undoing the Modernist monochrome.
Throughout her complex and multi-faceted oeuvre Tribe is well known for her pathological amounts of appropriation. The cult of postmodern cultural quotation is simply inescapable. The language that Tribe utilises…
Print making is often considered one of the more menial mediums throughout contemporary art practice. However when we look forward from say Goya, we can clearly see print making involved in the distribution and subversion of knowledge: providing it, instituting it and importantly challenging acquired knowledge. And it is this form of disruption that can clearly find the viewer and artist inhabiting a space of artistic rupture. © Carolyn Craig all rights reserved.
Throughout the month of October, Brisbane was treated to a series of events intended to focus attention on and raise the profile of Queensland fashion designers and trends. In particular under the banner Resort 2016, the James Street precinct became the focus for a three day festival which included lunches with fashion industry notables, seminars on fashion, art and design, talks and parades. Arguably, the highlight of this festival was Cruise, the Friday evening presentation of Queensland designer Gail Sorronda’s 2016 spring summer ready to wear range.
Where once the locations in Werner’s paintings were clear, this new body of work sheds the referent to engage more purely with colour, composition and sensory experience.
Discussing and disseminating questions surrounding fashion, body modification and the the post human condition, Dr Courtney Pedersen lays the historical foundation upon which a contemporary configuration of the post human condition can clearly be reconciled. Dr Laini Burton takes us on a fantastical journey surrounding how we might fashion our bodies in the future.
Painting for Katherine Brimblecombe-Fox is a spiritual event. It is something that she has always done. Her work has a lyrical optimism that emanates from the beauty of the work itself and from the poetic nature of her supporting texts. Her personal oeuvre is both intelligent and understated. It comes with a big agenda – to make the world a better place in which to live. A daunting goal: but for Brimblecombe-Fox, optimism is a state of mind – a matter of choice – a way of always moving forward.
And at a relatively early stage of his career the works impact as holding a maturity and knowledge beyond the artists years. This holds the affect of exhibiting a combined ancestral awakening that is gently guiding Robert Andrew into playing a role of mediation between himself, between cultures and country. This is the conversation we all need to attenuate – we need to navigate these dualistic binaries – when viewing Andrew’s liminal artistic objects…Robert Andrew
As we engage with artworks and seek out meaning, the process of belief and its suspension has begun. In the case of Peter Hennessey: Making It Real, the concept of belief is of paramount importance.
Header Image courtesy the artist: Caitlin Franzmann, Dissolve, six helmets, audio, lightbox shelf and light installation. Fresh Cut 2013, Pt1, Institute of Modern Art, Brisbane. Music Courtesy: Raphaella Smits, Le-Romantique, Johann Kasper Mertz.
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