Items from leading Australian law firm Minter Ellison will be a major highlight of Sotheby’s Australia’s Fine Asian, Australian & European Arts & Design auction from 6pm Tuesday July 21 at the InterContinental Hotel, 117 Macquarie Street, Sydney.
The collection comprises an impressive selection of Australian photography and contemporary art with works by artists such as Adam Cullen, Max Dupain, Bill Henson, Akio Makigawa, Rosemary Laing, Robert MacPherson, Tracey Moffatt, Patricia Piccinini and Imants Tiller.
The firm is selling its collection because it is moving from its old Aurora Place, Sydney offices to new premises, which are largely open plan with fewer walls.
The Kaleidoscopic Turn brings together works by artists working with colour, light, sound, movement and space. Drawn from the NGV’s collection and featuring a number of recent acquisitions, The Kaleidoscopic Turn resonates with references to various artistic legacies of the 20th century from Op art to colourfield painting, offering a range of multi-sensory experiences including immersive installations, kinetic sculptures, video art, works on paper and painting in its diverse and expanded forms.
Tracing connections between a range of artists experimenting with pattern, repetition, light, colour, movement, space and various optical and kinetic effects from the 1960s to now, The Kaleidoscopic Turn aims to provoke active engagement with its audience in intense and lively ways. Whilst focusing largely on contemporary Australian art, The Kaleidoscopic Turn will include a selection of works by international figures, such as Bridget Riley’s dynamic experiments in Op Art, Martha Boto’s kinetic sculptures and Zilvinas Kempinas’s dazzling air and video tape installation.
Artists in the exhibition include Martha Boto, Angela Bulloch, Eugene Carchesio, Olafur Eliasson, Marco Fusinato, Briony Galligan and Rafaella McDonald, Diena Georgetti, David Harley, Melinda Harper, Matt Hinkley, Robert Hunter, Zilvinas Kempinas,Ross Manning, Anne-Marie May, Elizabeth Newman, Johnny Niesche, John Nixon, Tomislav Nikolic, Bridget Riley, Sandra Selig, Jesus Soto, David Thomas, Jan Van der Ploeg and Victor Vasarely among others.
Until 23 August 2015.
The Michael Buxton Collection is partnering with the Bendigo Art Gallery to celebrate the 20th anniversary of this major private collection with an exhibition of works by some of Australia’s leading contemporary artists.
Hiding in Plain Sight: A selection of works from the Michael Buxton Collection will present a range of works from 2002 – 2015.
This major exhibition of 16 leading Australian artists will be a highlight of Bendigo Art Gallery's 2015 program. Artists: Hany Armanious, Pat Brassington, Stephen Bush, Mikala Dwyer, Marco Fusinato, Tony Garifalakis, Mira Gojak, Ronnie Van Hout, Jess Johnson, Nicholas Mangan, Callum Morton, David Noonan, Ricky Swallow, Daniel von Sturmer, Louise Weaver and Justene Williams.
Bendigo Art Gallery: 18 July to 27 September 2015
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Let's think about how our travels abroad can influence and impact on our visual and aesthetic values, and consider a practising artist’s experience.
Kate Briscoe, a now well-established Australian artist, whose current subject matter comprises a specific area of the Australian landscape, notably the Kimberley of the Northern Territory, was born in England and grew up on the South Coast of England. Her first landscapes were the coastal cliffs and rock formations along this coastline. Even as a child she appears to have always been drawn to the ‘ancient’ or ‘fossilised’ aspect of landscape; collecting pebbles and sand specimens from the beaches in and around Lyme Regis and the Isle of Wight.
What I find so interesting about Kate is how much her initial introduction to the Australian landscape (in the early 1970s) has shaped her art practice over the past 40 years. In Australia Kate found “extraordinary and exciting places where the Earth’s structure is weathered, worn and exposed…The massive river gorges and the coastal cliffs of the3 Kimberley demonstrate a long and amazing geological history, and given an abundance of visual information in terms of colour, structure and texture…[my] paintings are my tribute to the sublime, harsh beauty of this place.” (Kate Briscoe, 2013)
In an interview from 2011, Kate sheds some light on her subject:
Nick Vickers (NV): I would like to ask you about the evolution of your work. When you originally came from the UK to Australia, did you have any idea that the Australian landscape would have such an impact upon your work?
Kate Briscoe (KB): No, my first trips in Australia in 1969/70 took me across the Simpson Desert, then through the Glasshouse Mountains and Frazer Island. Originally, I came from around Lyme Regis in the south of England where I used to love the grey/white rocks embedded with fossils, and the limestone cliffs of the Wessex coast.
Remember when I made series of rubbings from the rocks in Depot Beach? They were my first deliberate search for rock formations. That was the amazing thing about that rock form, it was that line that was just so extraordinary and that’s why I called that body of work “Earth Lines”.
My first trip to Arnhem Land was in 2001 but these recent images are from the Kimberly – you can see this extraordinary red hot and black contrast of the rock and formations in Bells Gorge and now when I visit the Kimberley or Arnhem Land, I love that hot red earth and the geological formations. But the really exciting moment was when I discovered the Kimberly Coast and then Geikie Gorge, through which the Fitzroy River flows. This is where I make endless studies of the white rock stained by the sedimentary ochre and iron ore stains that seep from above. This staining gets flooded and washed by an immense body of water where the flood line comes up to about 20 metres each year in the rainy season. The washing process changes the colours on the rockface and when I return to this same place the colours and surfaces change, so it becomes a constantly evolving inspiration.
NV: So do you see your paintings as abstracts or landscapes?
KB: They are really abstract paintings but they are sourced from my visual experiences. The drama of geological formations is informing the structures and the shapes so that the paintings transmit these ideas, I guess to give the ‘essence of a place’. If you are using simple forms, your drawing has to be very precise. It doesn’t look as though I do a lot of precise drawing but the way that the forms are arranged and the way that the lines and the stresses come through is absolutely crucial to the final compositions. Otherwise, you would not get that tension, nor would you get that sensation that there is going to be an imminent split in the rocks. So, the works are really referencing geology in all sorts of ways.
NV: Where do you draw the line with your own influences to avoid a pastiche of the works of artists that have been there before you? Do you reference the works of indigenous artists in your own work?
KB: Well, in a word, I don’t. I’m a painter trained in the European tradition who has been influenced by artists like Ben Nicholson, William Scott, and of course Sean Scully, all European. I started using these colours and forms before the imprint of the indigenous artists hit the art market. You have to remember that way before the market caught onto the Aboriginal bubble, it was the artists who were collecting those works because of their aesthetic rather than their commercial value. My interest in the works of Aboriginal artists, or for that matter, works of indigenous artists from Papua New Guinean never crept on to my canvases but they were wonderful objects to own and contemplate.
When I go to Arnhem Land or the Kimberly, I don’t see it as my country in that sense. It’s my country in the sense that I get incredibly excited by what I see around me; it’s a visual thing and not a culturally religious experience. If anything, I sense spirituality in the landforms and how they have been made as well as the changes that are apparent form nature.
Nick Vickers is Co-ordinator of Alumni Relations at College of Fine Arts UNSW and for 25 years has maintained a career in gallery direction and collection management.
Kate Briscoe’s most recent exhibition, “Geologica IV” was held at the Janet Clayton Gallery (Paddington, Sydney) until 12th July 2015.
Opening in May this year, the Singapore Pinacothèque de Paris marks the first expansion outside Europe of the renowned Pinacothèque de Paris, heralding a pioneering international private museum in a thriving arts and lifestyle hub. Located in the rejuvenated Fort Canning Arts Centre, a heritage building set atop Singapore’s historic and cultural landmark, Fort Canning Park, Singapore Pinacothèque takes centre stage with its distinctive expertise in international fine art, and offers a unique voice on history and culture in the region’s visual arts landscape.
Marc Restellini, Founder, Pinacothèque de Paris says his rationale for opening a Singapore offshoot as something he has always been interested in achieving:
It has always been my mission to share exceptional art with the public and I first realised my dream with the Pinacothèque de Paris in France in 2007. The opening of Singapore Pinacothèque de Paris, the first expansion globally outside of Europe, is a natural development of my hope to bring universal art, history and cultural awareness to people of all walks of life globally. As a central hub in Asia, Singapore is an ideal choice, with its vibrant cultural landscape and burgeoning marketplace for the arts, including major art events, fairs and auctions. It is also the right time, with the art landscape in Singapore maturing rapidly, especially in recent years where the country is host to a plethora of galleries, museums, art fairs from the renowned auction houses to the affordable art events, as well as grassroots level art events and arts festivals.
‘Pinacothèque’ translates as ‘box of paintings’ and refers to a place where paintings (or any image) are kept in which private collector pieces were displayed for public appreciation.
Geelong Gallery has announced today that that 42 works by 44 leading and emerging Australian artists have been shortlisted for the 2015 Geelong Acquisitive Print Awards.
Showcasing the best of contemporary Australian printmaking practice, the acquisitive awards and biennial exhibition will feature works by Rosalind Atkins, Susan Baran, Alexis Beckett, Deidre Brollo, Peter Burgess, Jon Campbell, Sophie Cape, Julie Davies & Alex Rizkalla, Mark Dustin, Lesley Duxbury, David Frazer, Mini Graff, Rona Green, Andrew Gunnell, Gracia Haby & Louise Jennison, Robert Hague, Katherine Hattam, Peter Hill, Anita Iacovella, Locust Jones, William Kelly, Martin King, Timothy Maguire, Marion Manifold, Nonggirrnga Marawili, Daniel Moynihan, Graeme Peebles, Stieg Persson, Ben Rak, Martin Rek, Geoffrey Ricardo, Brian Robinson, John Ryrie, Olga Sankey, Ken Smith, Colin Vickery, Wayne Viney, Judy Watson, Peter Ward, Darren Wardle, Stephen Wickham and Joel Wolter.
The exhibition of selected prints will be held at the Geelong Gallery from 22 August to 22 November 2015, from which acquisitions totalling $9,500 will be made including:
— the Geelong acquisitive print award of $5,000
— the Ursula Hoff Institute award of $1,500
— additional acquisitions up to $3,000.
The prize-winning prints and additional acquisitions will be announced at the official opening of the exhibition on Friday 21 August (by invitation).
Selected from hundreds of entries from around Australia, the 42 shortlisted works for the 2015 Geelong Acquisitive Print Awards reveal the technical and thematic diversity of contemporary printmaking practice. This year’s exhibition will include works by some of the nation’s most talented established and younger generation artists along with a number of artists from the Geelong region.
For advice on starting your art collection, please contact Catherine Asquith Art Advisory.
Collecting works on paper - limited edition prints, etchings, lithographs, monoprints, giclee prints, drawings, watercolours, collage – has often been viewed as a smart entry into collecting fine art, especially so, in the past decade. One of the most attractive aspects of collecting works on paper, is of course, the low price points, which is not to suggest however, such artworks have any less ‘value’ than paintings, sculpture or photography. Indeed, the ‘value’ of works on paper and its place in the Australian art market, is significant; with a plethora of well-regarded works on paper art prizes, public collections and biennales.
The Mornington Peninsula Regional Gallery’s National Works on Paper (Victoria) is one of Australia’s most prestigious awards and acquisitive exhibitions. A biennial exhibition, its role is to support and promote contemporary Australian artists working on or with paper.
The Hutchins Art Prize (Tasmania) is a nationally recognised biennial award for works on paper. The award is open to artists working in Australasia and the Pacific Rim and offers a first prize of $20,000.
The 2015 Banyule Award Works on Paper has its roots in its Collection: The Banyule Art Collection is a contemporary collection of art works by leading and emerging Australian artists. While it includes a range of media it is distinguished by its collection of works on paper, The Banyule Award for Works on Paper capitalises upon this strength by developing this aspect of the collection further.
The art market for works on paper has now broadened and indeed, in a recent development, the international art fair, Sydney Contemporary, has included a new exhibition sector, for its second edition, this forthcoming September.
Presented in association with The Print Council of Australia Inc, Paper Contemporary will showcase a curated selection of limited edition prints, presented by 16 ‘print’ galleries. Works by such artists as Emily Floyd, eX de Medici, Chris O’Doherty a.k.a. Reg Mombassa, John Olsen and Mike Parr will be on display.
As Sydney Contemporary’s ‘by-line’ notes: “Paper Contemporary is the perfect way to start or significantly add to your collection!”
For advice on starting your art collection, please contact Catherine Asquith Art Advisory.
On display now @ The Whitworth Museum in Manchester, "The M+ Sigg Collection: Chinese Art from the 1970s to Now", an exhibition comprising 80 significant works by leading contemporary Chinese artists.
The works come from the collection of Uli Sigg, a Swiss businessman and later diplomat who began visiting China in 1979 and became involved in the nascent contemporary art scene. Having amassed what is now widely considered to be the world’s most comprehensive collection of Chinese contemporary art, in 2012 Mr Sigg gave the greater part of it—donating almost 1,500 works and selling 47 more—to the M+ museum of visual culture, which is due to open in Hong Kong in 2019.
M+ is displaying its art around the world until its own premises are ready. This particular show brings to life the art-making of early radicals through film footage of the landmark 1979 exhibition by the Stars Group of Chinese artists. Zhang Xiaogang’s “Bloodline Series” (1998) is a poignant reminder that family photo albums were destroyed during the Cultural Revolution, and Wang Xingwei’s “New Beijing” (2001) lampoons China’s successful Olympic bid with a reworking of Liu Heung-Shing’s famous Tiananmen Square photo of wounded students.
Other artists in this exhibition include: Chi Xiaoning, Feng Guodong, Geng Jianyi, Hai Bo, Huang Rui, Huang Yong Ping, Kan Xuan, Liang Yuanwei, Lin Yilin, Liu Heung-Shing Liu Wei, Song Dong, Wang Guangyi, Wang Jin, Wang Keping, Wang Peng, Weng Fen, Xing Danwen, Yang Fudong, Yangjiang Group, Yin Xiuzhen, Zhang Peili, Zhan Wang, Zhang Wei, Zhang Xiaogang and Zheng Guogu.
“The M+ Sigg Collection: Chinese Art from the 1970s to Now” is at the Whitworth until September 20th, 2015.
"Go East" presents a rare opportunity to view significant contemporary Asian artworks from the private collection of former gallerists and now, Australian philanthropists, Gene and Brian Sherman, who have built their extraordinary art collection over a 25 year period.
The collection comprises a carefully curated selection of provocative and compelling works, which reflect the Shermans’ long-standing interest with art built around text and textiles, and their commitment to works that address issues of social justice.
Featuring artists from China, India, Indonesia, Japan, the Philippines, Taiwan, Thailand, Tibet and Vietnam, "Go East" represents a new undertaking for Gene and Brian Sherman, who are providing broad access to their contemporary Asian art collection for the first time.
On display now at the Art Gallery of New South Wales, the exhibition continues until 26th July 2015.