ArtSlant - Openings & events en-us 40 Han Sungpil - Arario Gallery (Seoul) - March 5th, 2013 6:00 PM - 8:00 PM <p>Arario Gallery Seoul Cheongdam hosts Han Sungpil’s solo exhibition from March 5 to April 7. The exhibition, entitled ‘Illusion, and the Meaning of Space Containing Memories and Traces’, will present new photos, videos and installations from Façade Project, which the artist has been working on since his solo exhibition in 2011. <br /> The exhibition consists of three parts: “Façade Project”, which expands its scope to installations of Korea’s cultural heritages; “Memories and Trances”, in which the artist captures the memories and times of his personal history and family redevelopment sites; and a newly released video work, realizing the world’s first 4K UHD image. These works not only mark a new era in the technological history of media, but also delves into the fundamental question of “conceptual interpretation of space’ and ‘original and copy’ in the photographic media. <br /> <br /> <br /> 아라리오 갤러리 서울 청담은 3월 5일부터 4월 7일까지 한성필 작가의 개인전을 개최한다. 본 전시는 ‘환영, 그리고 기억과 흔적을 담은 공간의 의미’ 이라는 주제로 작가가 2011년 개인전 이후 발전시켜 온 파사드 프로젝트 (Façade Project)의 새로운 사진, 영상, 설치 작업을 공개한다.<br /> <br /> 전시는 크게 세 부분으로 구성되는데 첫 번째로 국내 문화재의 설치작업으로 폭을 넓힌 파사드 프로젝트 (Façade Project), 두 번째로 재개발 현장에서 개인과 가정의 기억과 시간을 포착해 나가는 기억과 흔적 (Memories and Trances), 마지막으로 세계 최초의 4K UHD 영상을 구현한 신작 영상 작업이 있다. 이는 기술적으로 사진, 미디어사 (史)의 새로운 획을 그을 뿐 아니라, 내용적으로 ‘공간의 개념적 해석’과 ‘원본과 복제’라는 사진 매체의 근본적 질문을 보여주고 있다.</p> Sat, 02 Mar 2013 07:49:14 +0000 Jamie Boyd - AUSTRALIAN GALLERIES 35 Derby Street - March 5th, 2013 6:00 PM - 8:00 PM <p>Painter Jamie Boyd, son of celebrated Australian artist Arthur Boyd,. studied at the Central School of Art and Design in music and composition, graduating in 1960. He has exhibited in Sydney and internationally in London, Germany, Holland and Italy. His work is held by the National Gallery of Victoria, Melbourne; the Queen Victoria Museum and Art Gallery in Tasmania and Artbank, Sydney. A monograph of Boyd’s work titled ‘<em>Jamie Boyd - Paintings 1965 - 1980</em>’ was published in 1980 and his work has featured in books on the work of the Boyd’s including Dobrez and Herbst’s ‘<em>The Art of the Boyd’s</em>’ in 1991 and Niall’s ‘<em>The Boyd’s</em>’ 2002.</p> Sat, 02 Mar 2013 23:27:29 +0000 Andrea J. Smith - AUSTRALIAN GALLERIES 35 Derby Street - March 5th, 2013 6:00 PM - 8:00 PM <p class="p1">Andrea J. Smith hails from Mildura, Victoria, but has travelled, studied and painted overseas for the last 25 years. After completing her Bachelor of Education at The Victorian College of Advanced Education, she furthered her studies in Florence and New York. In 1998, Smith won the Alice Bale Oil Prize and in 1999 the Alice Bale Travelling Prize.</p> <p class="p1">Her passion for art education has led her to found schools in both New York (The Harlem Studio) and Rome (Atelier Canova) and she has lectured at the Dahesh Museum of Art in New York, and taught at The New York Academy of Art.</p> <p class="p1">Smith has exhibited in London, Germany, Italy, Los Angeles, San Francisco and is also represented in the United States by Forum Gallery. She has had solo shows in Los Angeles and New York. Her work has been shown in Australia at the Salon Des Refuses in Sydney and the National Portrait Gallery in Canberra.</p> <p class="p1">Smith currently resides in Rome, where she works as an artist and teacher in her studio, Atelier Canova.</p> Sat, 02 Mar 2013 23:30:33 +0000 Roberto Bolaño - Center of Contemporary Culture of Barcelona - March 5th, 2013 11:00 AM - 8:00 PM <div id="tab_sinopsi"> <p style="text-align: justify;">The project is built around three interconnecting themes, which express some of the more constant threads that weave throughout the creative universe of the author of <em>The Savage Detectives. </em>The first sets out a specific geography of three cities (Barcelona, Girona and Blanes), where the bulk of Roberto Bolaño’s work was written; the second offers his creative timeline, when the books were written, completing and redefining the publishing timeline; and the third recreates his life story, giving an idea of the writer’s existential landscape: his day to day experience, provisional jobs and lifestyle in a more intimate light.</p> <p style="text-align: justify;">The layout of the exhibition is based on these thematic centres, which are further developed through <em>a foreword</em>, a vital reference to the Mexican years, and three specific periods:</p> <p style="text-align: justify;"><em>1. <strong>The unknown university</strong></em><strong>. Barcelona 1977-1980</strong></p> <p style="text-align: justify;"><em>2. <strong>Inside the kaleidoscope</strong></em><strong>. Girona 1981-1985</strong></p> <p style="text-align: justify;"><em>3<strong>. The visitor from the future</strong></em><strong>. Blanes 1985-2003</strong></p> <p style="text-align: justify;">The exhibition ends with an <em>afterword</em> in which Bolaño’s influence on 21st century literature is analysed, through translations into 35 languages and the growing amount of academic research being done.</p> <p style="text-align: justify;">The visit to the exhibition explores the idea of detective work. The reader-visitor is the <em>detective</em> who is faced with a series of tests and clues, all in a spirit of humour and irony. The formalization of the layout revolves around the metaphor of the <em>kaleidoscope,</em> a reference used by the writer in various passages in his books: the same scene with different characters, the same characters in different scenes.</p> <p style="text-align: justify;">But what sets the exhibition apart, over and above its thematic approach, innovative museographic elements and dialogue with the visitor, is <strong>the presentation of unpublished material from the archives of the <em>Roberto Bolaño estate</em>.</strong> Novels, short stories, poems, miscellaneous texts and notebooks, correspondence, family photographs, magazines and fanzines, his personal library, a plethora of interviews, strategy board games and other valuable materials that provide greater insight into Bolaño’s creative universe and help produce a freer, more prolific interpretation of his work.</p> </div> Thu, 14 Feb 2013 01:46:51 +0000 Banksy, Muirhead Bone, Peter Howson, kennardphillips, Eric Kennington, Cornelia Parker, Matthew Picton, John Piper - Herbert Art Gallery & Museum - March 5th, 2013 7:30 PM - 9:00 PM <h2 style="text-align: justify;"><span style="font-size: small;">This story of sacrifice, unity and transcendence chronicles the remarkable story of the courageous Liberian women who came together to end a bloody civil war and bring peace to their shattered country.</span></h2> <p style="text-align: justify;"><span style="font-size: small;">Inspiring, uplifting, and most of all motivating, it is a compelling testimony of how grassroots activism can alter the history of nations.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Booking is advised, please call 024 7629 4774. </span></p> <p style="text-align: justify;" href=""><span style="font-size: small;">This event is linked to <i> <a href="">Caught in the Crossfire</a></i>.</span></p> Mon, 26 Aug 2013 08:33:42 +0000 Juan Antonio Baños, Claudia Bläsi, Marc Schmitz, Konstantin Beyer, Lin Yuan - Shanghai Duolun Museum of Modern Art (Doland Art Museum) - March 5th, 2013 6:00 PM - 8:00 PM Thu, 28 Feb 2013 05:21:50 +0000 Hayden Fowler - Artereal Gallery - March 6th, 2013 6:00 PM - 8:00 PM <p>Hayden Fowler’s work hones in on the suppressed yearnings of contemporary culture to explore feelings of loss and alienation from nature that pervade the human psyche. The artist reexamines the state of play more than two centuries on from the Enlightenment with its notions of awe and the sublime in nature, and the rationalist age of the Industrial Revolution, drawing parallels between early Romanticism and the uneasy relationship of humankind and nature in the contemporary world. His works evoke absence, displacement, mourning and the longing for a return, or a reimmersion with the natural world; exposing the human experience of nostalgia in a current world order where the connection with nature is perceived to be slipping progressively away. While his works are located in a bleak and troubled space, they are also interwoven with hope, humor and beauty characteristic of his work. Fowler’s imagery shifts between utopian and dystopian, between past and future, hope and despair. The work also implies a sense of the subversive and resilient powers of ‘nature’ and its continued potential for mystery, revolution and unexplored possibilities. The exhibition incorporates three bodies of works utilizing photography, video and sculpture. All have been produced since 2010 and developed in Berlin, Sydney and New Zealand. These works reveal the persistence of a reflective Romantic discourse situated in beautiful but unsettled, indeterminate but futuristic imagery. The New Romantic photo series with reference to culture and ritual as it relates to nature is an ambiguous, quasi science fiction narrative shot during a residency in the Southern Alps of New Zealand. Set in the mountains, bogs and tussock lands of the dramatic post glacial landscape, it focuses on loss and nostalgia within the depleted ecosystem, on elements of Maori culture and Romantic tradition and the catastrophic New Zealand bird extinctions. The works are intentionally cryptic, moving between a sense of bleak optimism, wistful reminiscence and poetic melancholia. Direct reference is made to the local environment with the now extinct giant moa nest and egg symbolically returned to what is now an empty and treeless environment. Artifacts such as a strange feathered and gilded bag created by the artist, recall the body of a bird, and sticks stand in for trees that no longer exist. Nature itself sugg ested as seemingly redundant or a vestigial relic in the face of human cultural practice. All the works are thematically aligned. The poignant, pile of cast antlers herd, also prompts thoughts of extinction; the antler, a symbol of vitality and the magnificence and power of the stag, now reduced to a pile of calcified stone. NEW WORLD ORDER presents a microcosm of idealized unaffected nature, a hopeful, post apocalyptic environment, set in a strange petrified forest, outside of external influence with a pervading sense of autonomy, peace and tranquility–once again evoking nostalgia for undisturbed nature.Stylistically the hyper real videois part documentary format, part artifice. Birdlife, rare and exotic live chickens and colorful canaries, are choreographed within a fabulous diorama; a strange, grey scale, petrified forest setting that is an elaborate set created by the artist in his studio. The strutting, perching, scratching, flapping, and feeding of these outlandish and domesticated feathered creatures is intercut with close ups and panoramas of this fictive and idealised natural space. Hayden Fowler is a New Zealand born Artist, based in Sydney, Australia. He holds a Master of Fine Arts degree from the University of New South Wales, College of Fine Arts as well as an earlier degree in Biology. Fowler has exhibited nationally and internationally and his work is held in significant public and private collections. He is a previous recipient of the Samstag International Visual Arts Scholarship, with study undertaken in Berlin, Germany. The artist acknowledges the support of the Australia Council, Creative New Zealand and the New Zealand Department of Conservation for the New Romantic project.</p> Sat, 02 Mar 2013 08:18:30 +0000 Julia Yonetani, Ken Yonetani - Artereal Gallery - March 6th, 2013 6:00 PM - 8:00 PM Sat, 02 Mar 2013 08:23:12 +0000 Per Maning - EMMA - Espoo Museum of Modern Art - March 6th, 2013 11:00 AM - 8:00 PM <p>Per Maning (b. 1943) is one of the most appreciated modern artists in Norway. He is particularly known for his animal-themed photography and video works.</p> <div>The exhibition at EMMA presents a wide selection of Maning’s art from the 1980s until today. It features a total of 23 large photographic and video works from 1983–2012.</div> <div> </div> <div>The retrospective part of the exhibition includes Maning’s best-known photographs from the 1980s and 1990s. They are works from his animal-themed photographic series that were exhibited at the Biennale of Sydney in 1992 and the Venice Biennale in 1995, among other places.</div> <div> </div> <div>The retrospective part ends with <i>Self-portrait</i> (1997–98), a series of works created with Norwegian actor Nils Sletta, which expanded the focus of Maning’s art to cover the essential nature of human beings and nonverbal communication. The final part of the exhibition presents photographic works portraying people of different ages and their typical emotional states. These works are new and have not been exhibited previously.</div> <div> </div> <div>The range of the six video works in the exhibition spans short animal-themed videos from the 1990s to longer works that are closer to performance art and deal with communication between people. The structure of Maning’s newest works reflects his major inspirations: literature, theatre and music.</div> <div> </div> <div>The key focuses of Maning’s art are human nature, identity and otherness. His works contribute to the topical discourse in modern art on the relationship between human beings and other species. According to Maning, our identity is not dependent solely on race, gender or nationality. It is also based on our ability to acknowledge ourselves as a species among other species.</div> <div> </div> Wed, 06 Mar 2013 04:54:04 +0000 - EMMA - Espoo Museum of Modern Art - March 6th, 2013 11:00 AM - 8:00 PM <div>That’s All Folks!</div> <div> </div> <div> </div> <div>Original artwork and films by Warner Bros. from 1930–1960</div> <div> </div> <div>The exhibition will celebrates the familiar cartoon characters Bugs Bunny, Daffy Duck, Tweety, Sylvester, Yosemite Sam, Elmer Fudd, Wile E. Coyote, Road Runner, and many others who have become part of our shared folklore and heritage spanning generations; our international celebrities. The classic Warner Bros. short animations were different from any other in that they were made with an adult audience in mind. The funny, exuberant stories with a breath-taking pace were peppered with mordant satire and references to topical matters and real-life phenomena as well as endless verbal fireworks. Six to seven minutes long, the cartoons were originally screened in film theatres before the feature film.</div> <div> </div> <div>Masterpieces of animation</div> <div> </div> <div>The exhibition explores the elaborate and demanding creative process behind these cartoon classics. The different phases of production – the character development, storyline, gags, pacing and timing, “cels”, background paintings, just for one movement – illustrate the incredible amount of work and talent that went into these animated shorts, only a few minutes long. Music, often operatic, had a great role in cartoons.</div> <div> </div> <div>The impact that these brash, reckless and humorous characters and the witty and surprisingly sophisticated content of the films had on various forms of popular culture, including cinema, television and literature, has been significant. The characters are an indelible part of the American culture that has spread throughout the world.</div> <div> </div> <div>The exhibition has been collated from the treasures of an American collector, Steve Schneider, that have previously been exhibited at the Museum of Modern Art in New York, among other places. In Europe, the exhibition has only been seen at the National Museum of Cinema in Turin, Italy before this.</div> <div>  </div> <div><b><span style="font-size: xx-large;" size="6"><span style="font-size: x-large;" size="5">Bugs Bunny </span></span></b></div> <div>”What’s up, Doc?”</div> <div> </div> <div>Like many comic and cartoon heroes, Bugs Bunny started off as a sidekick. Very soon, however, in the early 1940s, the streetwise bunny became one of the most popular cartoon characters of all time. Bugs Bunny usually appears alongside, that is to say competes with, Daffy Duck, Sylvester and Elmer Fudd, the persistent but hapless hunter. Constantly chewing on his carrots, Bugs is the one who, in the end, always carries the day. Whatever happens, this clever, self-assured bunny has the situation under control.</div> <div> </div> <div>Bugs Bunny has his own star on the Hollywood Walk of Fame and he has been crowned the greatest cartoon character on several occasions.</div> <div>   </div> <div><b><span style="font-size: xx-large;" size="6"><span style="font-size: x-large;" size="5">Daffy Duck</span></span></b></div> <div>Daffy Duck is one of the first ever screwball heroes in cartoons. He is reckless, feisty and with seemingly endless energy. These qualities were made use of in wartime shorts to drum up fighting spirit against the enemy. In the 1950s, Daffy Duck turned into an anti-hero, a rebellious outsider, loud and cocky, and always up for a new venture, no holds barred. Daffy Duck was Bugs Bunny’s best friend but also his eternal nemesis. One of Bugs Bunny’s creators, Chuck Jones, a legendary Warner Bros. director and animator, said he made Bugs Bunny represent his aspirations – what he would like to be, but he feared he was more like Daffy...</div> <div> </div> <div> </div> <div><b><span style="font-size: xx-large;" size="6"><span style="font-size: x-large;" size="5">Porky Pig</span></span></b></div> <div>“That’s all, folks” – Porky Pig’s final line at the end of each film</div> <div> </div> <div>Porky Pig premiered on the silver screen in 1935, which started the phenomenal rise of Warner Bros. animation production. The stuttering pudgy pig developed in a few years into an amiable and eager, if a little naive, everyman, who often ends up being taken for a ride by others. Porky Pig gained his reputation in the sometimes surrealistic worlds created by the writers and animators of Warner Bros. (<i>Porky Pig in Wackyland</i>,1937, new colour version, 1949). Porky’s antagonist was often Daffy Duck. Their joint appearances started in 1937 (<i>Porky’s Duck Hunt</i>).</div> <div> </div> <div> </div> <div><b><span style="font-size: xx-large;" size="6"><span style="font-size: x-large;" size="5">Tweety and Sylvester</span></span></b></div> <div>“You never know where you’re going till you get there.”</div> <div>– Sylvester</div> <div> </div> <div>Tweety and Sylvester had their separate careers independent of each other, but the very first joint appearance in 1947 (<i>Tweetie Pie</i>, in which Sylvester still goes under the name Thomas), won an Oscar for the best short animation. This marked the beginning of the success story of these two eternal enemies. The basic plot is clear cut: a large black-and-white cat chasing a tiny yellow canary. Tweety, baby-like with those large eyes and baby talk, always beats the large, slightly simple cat hands down with her savvy and often quite excessive physical violence.</div> Wed, 06 Mar 2013 04:58:32 +0000 Helmut Newton - Palazzo delle Esposizioni - March 6th, 2013 10:00 AM - 8:00 PM <p>The exhibition consists of two hundred photographs from the first three legendary volumes published by Helmut Newton. In the volume <em>White Women</em> (1976), the photographer thrusts nudity into the fashion aesthetic, achieving such astounding and provocative images as to revolutionise the very concept of fashion photography to the point where his work began to testify to the transformation in women’s role in Western society. <em>Sleepless Nights</em> (1979) also focuses on the theme of the woman, her body and the clothes she wears, though the images gradually shift from fashion photographs into fully-fledged portraits, and from portraits almost into news reporting. The second volume has more of a retrospective feel to it, gathering into a single publication the work that Newton produced for several different magazines (with<i> </i><i>Vogue </i>heading the list), and it was the volume that defined his style once and for all, turning him into an icon of fashion photography. But it was with the publication of<i> </i><em>Big Nudes</em> (1981) that Newton carved a role out for himself as a leading light in photography in the second half of the 20th century. His models are systematically portrayed outside the studio, in the street, often in sensual poses suggesting that he may well have been using fashion photography as a mere pretext for producing something totally different and far more personal.<br />Newton had an expert eye in fathoming a reality which, behind the supreme elegance of his pictures, allows us to perceive an underlying ambiguity in which eroticism and death are only two aspects of the same search for truth that transcends all convention, building a story in which the search for style and the capture of an elegant gesture hint at the existence of a deeper reality, at the existence of a story that it is left to the observer himself to interpret.<i> <br /></i>Many of these pictures are particularly significant in this connection, pictures like the portrait of Andy Warhol frozen in the same position as a statue of the Madonna that he photographed in a Tuscan church, Nastassja Kinski seen clutching a doll with the features of Marlene Dietrich, the photograph of a woman at the Père Lachaise cemetery in Paris, or the sequence of women imprisoned in prostheses which, in correcting a physical impairment, are actually not that different from the make-up that is designed to correct an aesthetic flaw.</p> Thu, 28 Feb 2013 02:16:11 +0000 Michelangelo Merisi da Caravaggio - Wadsworth Atheneum Museum of Art - March 6th, 2013 11:00 AM - 5:00 PM <p>Burst of Light: Caravaggio and His Legacy explores the enduring legacy of the renowned painter Michelangelo Merisi da Caravaggio and his tremendous influence on seventeenth-century art. In addition to five* works by Caravaggio, St. Francis of Assisi in Ecstasy, Martha and Mary Magdelen, Salome Receives the Head of St. John the Baptist, The Denial of St. Peter and Saint John the Baptist, the exhibition will show nearly thirty paintings by his followers, known as “Caravaggisti.” These works reveal Caravaggio’s impact in the use of dramatic lighting, emotionally compelling compositions, genre scenes, and religious themes in works by artists such as Gentileschi, Saraceni, Riminaldi, Ribera, Zurbarán and Sweerts.</p> Fri, 01 Feb 2013 08:46:41 +0000 Jeff Grant - ANDREAS GRIMM - MÜNCHEN - March 7th, 2013 7:00 PM - 9:00 PM <p><b>ANDREAS GRIMM MUNCHEN </b>freut sich Ihnen die dritte Einzelausstellung des in New York lebenden Künstlers Jeff Grant (*1975, Potsdam, New York, USA) zu präsentieren. Die Ausstellung <i>Sun on field</i> zeigt neue Zeichnungen und Skulpturen sowie eine Videoinstallation. Der Künstler ist anwesend.</p> <div>Der Titel <i>Sun on field</i> nennt ein Stereotyp der Landschaftsmalerei. Doch im Gegensatz zu seiner hellen Konnotation ist der vordere Bereich der Galerie abgedunkelt und die Wände sind schwarz gestrichen. Im Dunkel sind zwei Hyänenrudel in der Videoinstallation <i>Hyena shift</i> (2013) über Eck projiziert, die gespiegelt aufeinanderzulaufen. Sie tauchen aus hellem Weiß auf und laufen mit reduzierter Geschwindigkeit und zeitlich leicht versetzt aufeinander zu, um wieder im Weiß zu verschwinden.</div> <div> </div> <div>Der nächste Raum ist lichtdurchflutet. An der gegenüberliegenden Wand sind zwei Landschaften, <i>Sun on field</i> und <i>Yellow light on sun and field</i> installiert. Gelbe durchscheinende Acetatfolie liegt in der erstgenannten Arbeit auf einem floralen Untergrund und suggeriert den Titel der Arbeit. <i>Yellow light on sun and field</i> erscheint als Verdrehung: Die gelbe Folie liegt direkt auf der Wand und lässt diese durchscheinen. Unterlegt ist die Folie mit einem kreisrunden und einem rechteckigen Blatt, die aus einem Buch ausgeschnittene Rapsfelder zeigen. Scheinbar sieht man, was man liest: Sun on field, ein gelber Kreis und ein Feld. Oder hat man es mit einer abstrakten Collage diverser Materialien zu tun?</div> <div> </div> <div>Die rechte Wand zeigt zwei, mit bunten Pinnadeln installierte Bilder eines rituellen Aztekenschädels, den der Künstler in Mexikostadt als Tourist fotografierte. Das klassische <i>memento mori</i> Motiv schaut den Betrachter mit einem kugelrunden Auge und zackig geschliffenen Zähnen an. Bunte Nadeln durchstechen das Bild genau an der Stelle, wo Löcher in den Schädel gebohrt worden sind. Man kann zweifeln was verstörender ist: Der einäugige Schädel, <i>memento mori</i>, mit seinem treuseligen Blick oder die hellen, gelben aber einsamen Landschaften.</div> <div> </div> <div>Der hintere Bereich der Galerie präsentiert Zeichnungen, die an das frühere Werk Jeff Grants anschließen: Gesichter und Kopfumrisse, die nicht detailliert gezeichnet sind, sondern durch bunte Punkte irritieren, die eine kreisende Bewegung nahelegen. Zusammen werden sie mit Landschaften gezeigt, deren Wolken je nach Winkel anwesend oder abwesend sind. Diese stehen nicht nur durch ihren ephemeren Charakter und die Nadeln im Schädel (wie Punkte) in Zusammenhang mit den anderen Arbeiten, sondern auch durch ihre Verbindung disparater Bildelemente. Jeff Grants Arbeiten spielen mit Täuschung und Enttäuschung, Erwartungen und deren Brechung.</div> <p> </p> <p><b>ANDREAS GRIMM MUNCHEN </b>is pleased to announce the third solo exhibition by New York and Berlin based artist Jeff Grant (born 1975 in Potsdam, New York). <i>Sun on field </i>showcases new drawings, sculptures as well as a video installation. The artist is present.</p> <div>The title <i>Sun on field</i> refers to a stereotype in landscape painting, but unlike its bright connotation the first gallery space is darkened, its walls painted black. The darkness is interrupted by a two-channel video projection in the corner of the room, depicting a pack of hyenas moving around (<i>Hyena shift</i>, 2013). They emerge from a bright white glow, running around each other in slow-motion only to disappear again into a stark brightness.</div> <div> </div> <div>The next room on the other hand is light-flooded. On the right wall, two landscapes, <i>Sun on field</i> and <i>Yellow light on sun and field</i>, are installed.</div> <div>The first work is a floral motive that is partially covered with a circle of yellow translucent acetate, suggesting the title of the work. <i>Yellow light on sun and field</i> appears as a twisted version of the former work: The same yellow sheet is installed directly onto the wall, letting a circular and a rectangular sheet, clippings of a book showing rape fields, shine through. Apparently one sees what one reads: Sun on field, a yellow circle and rectangle. Or is it supposed to be an abstract collage of various materials? On the left wall there are two images of a ceremonial Aztec skull installed with colorful pins, which the artist photographed in Mexico City as a tourist. The classic <i>memento mori</i> motive seems to look at the viewer with bullet-shaped eyes as well as jagged and sharpened teeth. The pins pierce the images at the exact same spot where holes have been drilled into the skulls. It is doubtful what is more disturbing: The one-eyed skull with its sad, loyal look or the bight yellow but lonely landscapes.</div> <div>The rear section of the gallery display drawings that refer to Jeff Grants earlier work: faces and head shapes that are not drawn in detail, but irritate with colored dots, suggesting a circular motion. These drawings are exhibited together with some other landscapes that play with the presence and absence of clouds depending on the photographic angle. These works are not only connected to the others through their ephemeral nature as well as the obvious link between the colorful needles in the skulls and the bold points in the drawings but also by the disparate use of pictorial elements.</div> <div>Jeff Grant’s work plays with deception and disappointment, expectations and their refraction.</div> Thu, 28 Feb 2013 00:38:04 +0000 Rosalind Atkins - AUSTRALIAN GALLERIES 50 Smith Street - March 7th, 2013 6:00 PM - 8:00 PM <p>Printmaker Rosalind Atkins completed a Bachelor of Fine Arts at RMIT. Her intricate woodblocks have been included in group exhibitions of printmaking at the Australian Print Workshop in Melbourne and Asialink touring Australia and Asia in 2000. Atkins published an artist book with Lyre Bird Press through the James Cook University in Townsville. Her work is represented in the collections of the Art Gallery of New South Wales, Sydney; the National Gallery of Victoria, Melbourne; the State Library of Victoria, Melbourne and several university and regional galleries including Geelong.</p> Sat, 02 Mar 2013 23:20:54 +0000 Amanda Wojick - Elizabeth Leach Gallery - March 7th, 2013 6:00 PM - 8:00 PM <p><span style="color: black; font-size: small;" color="black" size="2">Known for her sculpture made from everyday materials, <b>Amanda Wojick</b>’s recent body of work, <i>The Hawthornes</i>, finds her working in steel. The exhibition consists of a series of 12 welded steel sculptures, each painted in a different color. The sculptures are made of hundreds of hand-cut steel blossom silhouettes, welded to prickly angular structures that are human scaled. The sculptures are delicate, light, and open yet also angular, fixed, and structurally sound. Wojick’s materials and processes engage a long history of sculpture’s dynamic relationship to ornament, decoration, and modernist ideals. The sculptures, due to their presence in the room, encourage the viewers’ awareness of the space and substance around them. Wojick uses abstraction as a way to describe states of mind that are otherwise indescribable and rooted in nonverbal or kinesthetic aspects of human experience. </span></p> Sat, 02 Mar 2013 05:48:39 +0000 Joseph Park - Elizabeth Leach Gallery - March 7th, 2013 6:00 PM - 8:00 PM <p><span style="color: black; font-size: small;" color="black" size="2">Culling photographs as references for his paintings <b>Joseph Park</b> has developed a narrative by sequencing them to tell the story of a cosmic journey towards enlightenment. Photographers such as Eugene Atget, Paul Outerbridge and Stephen Shore provide an air of familiarity to the backdrop and lend a sense of nostalgia and longing to the largely unpopulated scenes. The first painting has the main character in a hotel room, and the following paintings quickly immerse the character into an unfamiliar alternate reality where he begins to navigate a dream-like city. Mimicking the artist's own journey over the past seven years to investigate and develop a new painting methodology for himself, the paintings in <i>Morphic Fields</i> progress from a flatter more graphic aesthetic approach towards a translucent palette replete with his signature prismatic refractions of light and color.<br /><br /> Park received his MFA from California Institute of the Arts (Valencia, CA) and his BFA from Cornish College of the Arts (Seattle, WA). He has exhibited at the Gwanju Biennale (Gwanju, South Korea), Henry Art Gallery at the University of Washington (Seattle, WA), Seattle Art Museum (Seattle, WA), Portland Art Museum (Portland, OR), and Tacoma Art Museum (Tacoma, WA). His work is included in the collections of the Seattle Art Museum and the Tacoma Art Museum. </span></p> Sat, 02 Mar 2013 05:49:12 +0000