David Russell got down to the opening of Backwoods Galleries latest group show, “A Study Of Eyes” – the second in a series of shows (after the wonderful A Study Of Hands) featuring local and international artists producing work around various parts of the human body.
““A Study Of” is a decade-long project by curator Alexander Mitchell aiming to create an archive of anatomical and artistic studies by the world’s leading contemporary artists. The project was launched last year with “A Study Of Hands.”
This year, Backwoods Gallery will present the second installment,“A Study Of Eyes”, an exhibition consisting of 45 pieces of original artwork based on the eye by some of the world’s leading artists.”
I actually never realised it was a decade long project – talk about epic. Check out all the photos from the most recent iteration below, courtesy of David Russell …
Oh ho ho ho … excuse me, while I get all excited about this one!Once again, the Blender Christmas party has come around, that time of year when all things Franklin St and creative celebrates another massive year of accomplishments by all the artists involved down at one of the cities finest artistic establishment!!
“The Blender Studios Christmas exhibition is an opportunity to celebrate the art and party with the artists of Blender Studios. The hard work and dedication of the artists is evident in this annual event with 13 artists showcasing their work.
The exhibition will be hosted by Dark Horse Experiment and the studios will hold a series of performers and installations. The opening night is sure to be a stunning example of current practice in Melbourne right now. The opening night will include DJs, cutting edge performance artists, traditional works on canvas, live graffiti events, strange objects and dislocated renderings of suburbia.
After ten years the Blender Studios still hold true to the values of research, energy, independence and the solidarity.
With strong links to Melbourne Street Art and some of the most recognised and prolific artists calling the Blender home, the opening exhibition will attract a wide audience.The Blender Studios Christmas Exhibition, accompanied with a party, will open at Dark Horse Experiment on Friday 13th Dec, 2013 from 6 till late.”
I’ve been to the last few Blender Xmas parties, and I can safely say that this is one night on the Melbourne art calendar, and Xmas calendar, that you just can’t miss. Celebrations ahoy – seeyas there!!
Who: Adi, James Bonnici, Adrian Doyle, Michael Fikaris, Drew Funk, Heesco, George Manioudakis, Tim Sterling, Nick Ives,Sebastian Franz, Jo Harrison, Cam Scale,Paul Round and a bunch of DJs and performers What: Blender Studios Christmas Exhibition & Party Where: Blender Studios & Dark Horse Experiment, 110 Franklin St, Melbourne When: Friday 13th Dec, 2013 from 6 till late
Gary Seaman was here in Melbourne not too long ago, and, catching up on our snapshot backlog, we have all the photos from his show down at Just Another Project Space in Prahran! He also recently had a show this week up in Sydney, head over to The Opening Hours to check that one out!
For now, take a look at what he did whilst he was here in the ‘Burn, mad shit …
Last night myself (and many others) braved a chilly Melbourne evening to get down to the opening of the latest Studio 615 group show – Time Flies – and man was I glad that I did.
Held in Obscura Gallery off Carlisle st in Balaclava, previously mostly known for their photographic exhibitions, the entire crew put forth a show that I was immensely impressed by. Mike Danischewski, Sahil Silkroy, Sam Octigan, Marcus Dixon and Doug Aldrich all placed a firm foot forward with this group exhibition – and it showed.
I’ve been to countless group shows – some more impressive than others, and there was something about the 615 crews latest outing that, for me, really made an impact. There was a definite aesthetic within the show – the pieces flowed between the walls, and the themes reflected, as diverse as the work itself was, was entire cohesive. This is the thing that great crews are made of – individuals who can thrive off each others strength to present something new, intriguing and inspiring.
At a time when I’ve begun to lament that Melbourne may be on somewhat of a downward slide towards a certain lack of cooperation and "community" amongst its artists, a slide where a certain cut throat dog each dog mentality seems to be emerging amongst some of its various players (like in many other cities I’ve recently visited around the world), this show was a breath of fresh air. To say that seeing the spirit of cooperation and collaboration is alive and well here was heartening, is an understatement. Time Flies was an exemplary display of this sentiment – diverse, talented friends and peers working together for the common goal of artistic love.
Time Flies was everything that I loved about art and exhibitions in this unique city of ours – and I was glad to have been able to see it for myself.
Tuesday the 2nd of July saw the opening night of ‘Welcome To The World Of…‘ at Linton and Kay Galleries by Brooklyn based Perth artist, Daek William. The first solo exhibition in his hometown since his move to Brooklyn was a huge show, both in the the body of work and the opening night turn out. The night was distinctly Daek, with trademark renderings of folded and pictorial headdresses and the wine served in tea cups. Daek had made a lot of the work tactile and articulated, encouraging the public to engage and touch, rub, flick on a switch and even sniff the works. The works responded by automated moving parts, scents and change of colour. Too often an artist, whether intentionally or not, alienates the viewer and puts their work on a pedestal that the public must keep a respectful distance from. Daek’s background as a street artist seems to have carried over into his fine artwork exhibitions.
‘Welcome To The World Of…’ was a tight show by a talented original artist. If this is any indication of things to come, Daek William is one to watch.
The beautiful world of Max Berry will be unleashed in all of its fantastical glory next week, with the opening of his latest solo show – Which Way Home.
Having followed Maxs work for many years, I’ve always had a complete fascination with his ability to espouse uniqueness within his surrealistic and dreamily seductive paintings.
“Which Way Home” will highlight Max at a point in time where his strength of works promises to be the harbinger of a leading force in the future of Australian art. With a number of shows under his belt already, and having garnered no small amount of excitement within the art world, “Which Way Home” looks to be brilliant in both scope and execution.
“‘Which way home’ is an exhibition of new works that continue to explore a dreamlike and desolate landscape, whose inhabitants are often caught in moments of reflection and introverted retrospection. The inclusion of portraits, timber carving and ceramic sculpture demonstrate a willingness to explore new directions whilst strengthening his existing world.”
Not only is this going to be an amazing show, but it is also the release of Maxs book of his last few years of work – a short synopsis from the forward of the book below …
“The Figure and the Ground
I once lived in a terrace house in Sydney. Out the front on the letterbox was a handcrafted sticker of a smaller house, all red roofed and four walled. The sticker was made by one of my then housemates, Max Berry. Expanding out from this letterbox, one could follow a trail of similar stickers, placed on the back of street signs, fences or whatever surface came to hand, that together plotted paths taken by Max between his studio, work and home.
Across Max’s practice – which covers paintings, sculpture, jewelry, murals and paste-ups – the home is an enduring leitmotif which is used both as a “signature” and to address underlying conceptual concerns. Rich with associations of security, comfort, the personal and familiar, in Max’s work the home is presented in relation to a larger world, whether this be the immediate environment of the street or the ficitionalised landscapes of his paintings.
His landscapes are endless horizons or alternately cast adrift aboard as floating masses. Amongst such scenes, the presence of the home acts as a reprieve to the indeterminate nature of these places. When it is not present, its absence is felt through a cast of characters – sometimes human, other times animal, and always slightly fantastical – each rendered in moments of despondency, introspection and transcendence. Ladders, doorways, boats and signposts suggest possible directions, which offer reprieve or the possibility of more hospitable, stable ground.
Throughout Max’s work, the relationship established between the figure and the ground is all-important. Like the trail of stickers that plotted Max’s own path from the front of our house throughout the surrounding suburbs, his work speaks to the way that individuals navigate our world and the importance of the places we find shelter.
Make sure you head down to China Heights and check out this show!!
Who: Max Berry What: Which Way Home Solo show Where: China Heights Galley, 16-28 Foster street, Surry Hills, Sydney When:
Show opens Friday 19th July 2013 from 6pm til 9pm and runs until Jul 21st
Check out Max Berry as well as the China Heights gallery website for more info on the show.
So Dave Russell and I went and checked out Oz Comic Con last Saturday. What a laugh of a day. Saw some awesome costumes, and some pretty disturbing ones also HAHA!!
We checked out all the stalls in particular anyone that was drawing live. Lot’s of random characters scattered around the convention which made for some great shots, not to mention the Cos Play competition. Check out some great shots from Dave below.
Sometimes when you’re travelling you are just in the right place at the right time – luckily for me thats happened during my visit here to NYC.
Amongst that fortune was being able to catch up with The Yok and Sheryo last week in the lead up to their opening, and, of course, being able to attend that very same opening tonight at Krause Gallery down near the Bowery.
The calibre of work in display was second to none – having seen them labour over the work whilst I was visiting possibly gave me a greater appreciation of the whole thing, but seeing work in progress and then the finished products all up on the walls and installed is something else. On the surface, many off the images seem quite simple in their iconography – that simplicity, however, is only on a casual glance, in each piece there is a complex play of ideas and head-nods to a whole swath of cultural foibles and fancies.
From beautifully rendered porcelain pots to the firehouse white on blue plates, there is a measure of immaculate detail hidden within each of this duos works. Messages both written and placed upon paper or ceramic surface as near hieroglyphic entreats – and though some of these can be obviously translated, you also get the sense that there are some distinctly playful in-jokes between the two artists scrawled across their work.
The upstairs section of the show was formal in its presentation – that aforementioned white and blue sprayed across the room. The bars and plates, though made of fragile material had a strengthened presence that belied their canvases.
Downstairs however, was a loose assortment of painted walls and printed materials documenting the couples journeys across SE Asia, Mexico and here in NYC, their adopted home.
I loved this section – you don’t always get such a complimentary display in an exhibition of some of the more intimate processes and plans behind the finished product. Playful scrawlings on found pages and plans for walls painted and finished abounded in ramshackle manner – a perfect juxtaposition to the room above.
Often when artists collaborate, the seams between styles are in some evidence, instead of a perfunctory presence – yet of all the times I looked upon this work, I often found it difficult to discern, happily, where the Yok ended and Sheryo began – or visa versa.
For me, this is the essence of collaboration – that wavering grey area where two talents are able to combine into a distinct entity – something that the viewer, and even the artists themselves, have never seen before – and which would never have eventuates without such a close working relationship. Though this show was billed as two artists, it could have easily been one – such was the ease by which their merger of styles was both demonstrated and substantiated.
As I sit here, tapping into my phone and writing this over tea and post-show congee, I cant help bit think that this might be what NYC is really all about. Not the glitz and glamour and "oh New York is so fkn coool" and all the "art scene" bullshit, but about individuals, artists, having the opportunity and ability to present new shit in such a broad, dynamic environment – and being embrace for it. Not only did I see some amazing work tonight, but I also saw the "Pipe Dreams" of two artists literally manifested upon the walls of this grand old metropolis.
I love this city, and I love its artists, new and old, and I loved this fucking show.
Check out more of the photos from the show below – apologies for not being the best, I had to resort to my point and shoot after my dslr craped out … but I hope you enjoy them!
Invurt webzine provides information on AustralAsian street, urban, illustrative, graffiti and other genre defying, nu-contemporary art to readers around the world. It specialises in events and artists who are working, displaying and visiting Australasia – particularly with a focus on exhibitions, live art and other events the artists are partaking in.