Tolarno Galleries is now closed for the summer break. Wishing everyone a safe and happy festive season. 🎄
For enquiries while the gallery is closed, please email firstname.lastname@example.org. Your email will be received but it may take longer to receive a reply.
Reopening 16 February 2019 with Brook Andrew La Razza: Quiet Noise.
Pictured: Brook Andrew Orange, 2019. Paper, screenprint, acrylic, oil pastel, fluorescent pigment, PVA on wood, 140 x 140 x 5 cm.
Published by Knowledge Editions, Wonders Never Crease is a Brendan Huntley’s first artist book.
A limited edition of 100 numbered copies, Wonders Never Crease includes all 24 small works on paper from the most recent exhibition Sky Light Mind.
The Wonders Never Crease series was created by Huntley while on residency in San Francisco with artist Barry McGee in 2017.
The book was launched at Tolarno Galleries on Saturday 1 December 2018. Contact the publisher to enquire about the last remaining copies.
Love and intimacy is the focus of a landmark exhibition at TarraWarra Museum of Art that for the first time pairs the work of Patricia Piccinini with that of important Australian modernist Joy Hester.
Patricia Piccinini and Joy Hester: Through love… is curated by Victoria Lynn and presents more than 50 works, including Sanctuary, a major new sculpture by Piccinini, and rarely-seen works by Hester. The exhibition explores the incredible spectrum of human and non-human relationships, from romantic love and maternal devotion through to the connections formed between humans and animals, and animate and inanimate objects.
Patricia Piccinini and Joy Hester: Through love…
24 November 2018 – 11 March 2019
Tarrawarra Museum of Art
313 Healesville-Yarra Glen Road, Healesville VIC 3777.
Read more about this exhibition in the Australian Financial Review.
Pictured: Patricia Piccinini Sanctuary 2018 (detail), silicone, fibreglass, hair, 146 x 68 x 72 cm. Photograph by Andrew Curtis.
Tolarno Galleries is pleased to announce exclusive representation of A&A, the newly formed partnership of Australian industrial designer Adam Goodrum and French marquetry artisan Arthur Seigneur.
A&A is a creative collaboration. Adam and Arthur have joined forces specifically to design and produce one-off stand alone pieces of exceptional artistry.
A&A‘s first bold collaboration, Bloom, debuted at the Salone Internazionale del Mobile di Milano in April 2018 where the cabinet was considered a ‘stand-out display of colour and craftsmanship’ (Australian Design Review). Bloom is now in the collection of the National Gallery of Victoria.
Inspired by the lush form of a lotus in full flower, Bloom was hand-crafted in Sydney, Australia. The semi-circular doors are composed of 4,320 sections of premium-grade rye straw imported from speciality growers in Burgundy, France. The marquetry process took over 400 hours to accomplish.
A&A heralds a new era in collectible Antipodean design.
Tolarno Galleries will present A&A’s next new striking designs in a solo exhibition planned to coincide with Melbourne Design Week in March 2020.
Image: Bloom, by A&A, 2018. Hand-dyed straw marquetry in 12 unique pigments, hand-crafted, black-stained oak joinery, lined in white maple, 180 x 140 x 42 cm. Collection of the National Gallery of Victoria.
Until the end of February 2019, Ben Quilty and Mirra Whale’s sculpture Not a creature was stirring will be installed at St Paul’s Cathedral, Melbourne.
First exhibited by Tolarno Galleries at Sydney Contemporary art fair in September 2018, the sculpture is made from the salvaged life-jackets of Syrian refugees.
The Dean of Melbourne, the Very Revd Dr Andreas Loewe, said: “Ben Quilty’s sculpture, Not a creature was stirring, is a powerful reflection on the human cost of war and conflict. The hi-vis Christmas tree at the entrance of our Cathedral is a reminder that Jesus and his family became refugees almost immediately after his birth. It is an invitation to us to open our hearts to help people displaced by war and conflict.”
Quilty’s sculpture is displayed along with drawings by Syrian refugee children. These were collected by Quilty and recently published in the book, Home: Drawings by Syrian Children.
St Paul’s Cathedral is open to the public daily
Monday-Friday: 8.30am – 6pm
Saturday: 9am – 4pm
Sunday: 7:30am – 7:30pm
Image: Ben Quilty and Mirra Whale Not a creature was stirring 2018. Syrian Refugee crisis life vests, steel, perspex & electrical components, H: 370 cm x W: 400 cm x D: 400 cm. Photograph by Jacqui Shelton.
A Survey 2003 – 2018
Maitland Regional Art Gallery
10 November 2018 – 27 January 2019
Featuring new digital prints, paintings and prints from the last fifteen years of Tim Maguire’s practice.
A large exhibition by Maguire’s long time collaborator, master printer Franck Bordas, entitled Épreuves d’imprimeur. Estampes de l’atelier Franck Bordas is on view at the Bibliothèque nationale de France in Paris until 25 November. Maguire’s 5 panel print Falling Snow III, 2007 is included.
Tim Maguire will exhibit new works at Tolarno Galleries in May 2019.
Image: Tim Maguire Dice Abstracts 2018. Numbers 1 – 10, archival pigment ink on Photorag paper. 100 x 100 cm image size, paper size 112 x 122 cm. Installation view via Instagram.
the edge of memory
Art Gallery of New South Wales
10 November 2018 – 17 March 2019
Paintings, prints and drawings from one of Australia’s most significant artists.
The whisperings of the past are central to the work of Aboriginal artist Judy Watson, who is interested in the indelible stain left on country by past events. Watson poignantly unveils hidden histories while tracing her matrilineal connection to country, the Waanyi lands of north-east Queensland.
Her works play a significant role in remembering and illuminating aspects of our past that we often fail or refuse to see. This display presents works from her diverse practice including many from the Gallery’s own collection.
Image: Judy Watson big blue world with three stupas 2004, Art Gallery of New South Wales
Patricia Piccinini‘s Skywhale flies again!
For one day only on November 22 the Skywhale will float over the Yarra Valley in Victoria for the opening of the TarraWarra Museum of Art exhibition Patricia Piccinini and Joy Hester: Through Love …
The exhibition runs 24 November 2018 to 11 March 2019.
Read more at the New York Times.
Photograph by Andrew Chapman.
Patricia Piccinini Skywhale 2013
nylon, polyester, nomex, hyperlast, cable
340 x 230 x 200 cm
Commissioned for The Centenary of Canberra
The final 2018 exhibition for Tolarno Galleries in is Brendan Huntley‘s Sky Light Mind, opening Saturday 10 November until Saturday 15 December.
Featuring ceramic sculptures, paintings and drawings, Huntley’s new series of work sees a shift in his vision. The artworks have the same warm, sensual and rambunctious physical sense of earlier works, now realised on a grander scale. They speak of chaos and balance, land and water, the playful and the disciplined, capturing the contrasts of the organic handmade and the assertively efficient machine-made. They beg for hands to touch them, and seem to invite you to climb them and feel their embrace.
The works are strongly influenced by, as Huntley puts it, “the natural light and crazy vibrant colours of the west coast of California”. In 2016 Huntley received an Australia Council research and mentorship residency with American artist Barry McGee in San Francisco.
Image: Brendan Huntley Untitled (primordial soup) 2018. Glaze, slip, enamel, bog, stoneware, raku, formply, steel and wheels 126 x 72 x 72 cm
This site will become Town Hall Station, one of five new underground train stations currently under construction in the Metro Tunnel, due to open in 2025. Atkins’ project explores our collective cultural, social and personal memories of the graphic, abstracted designs of suburban train tickets issued between 1920 and the late 1980s departing from or arriving into Melbourne.
Photograph by Peter Atkins.
Artist statement: The series Evanescence contemplates the nature of impermanence. We are here as miraculously as we are not. The human form is captured in a state of transience as it merges with the materials of the earth; dirt, water and salt. I seek to draw attention to the way the human body reflects the same elements of the Earth’s surface. There is no separation. The imagery resists normative notions of humanness by offering a diverse portrait of being within the natural world.
Made in collaboration with forty performers, and creatives Melanie Lane, Katie Milright and Tim Mummery.
Thank you to the Traditional Custodians the Boorong people for permission to film on country.
Image: Water #3 2018 from the series Evanescence
100 x 155 cm
The Patricia Hotel opens at the Vancouver Biennale
In what is expected to become one of North America’s most talked-about art events of the year, globally renowned Melbourne artist Patricia Piccinini’s Curious Imaginings immersive sculpture experience will exhibit this September as part of the 2018-2020 Vancouver Biennale.
For the first time in the Biennale’s fifteen years of creating transformative experiences through public art, and in keeping with the 2018 – 2020 theme of re-IMAGE-n, the exhibition will take over an interior space in the historic Patricia Hotel.
The hyperrealist “world of oddly captivating, somewhat grotesque, human-animal hybrid creatures” will be the artist’s first exhibition in a non-museum setting, transforming a wing of the 105-year-old Patricia Hotel.
Find out more at vancouverbiennale.com.
Image: via Patricia Piccinini on Instagram
On view from 18 September to 1 December 2018 at Ten Cubed is The Language of Skulls, showcasing works by Brook Andrew in the Ten Cubed collection.
Ten Cubed is a private art gallery, open to the public, where an evolving selection of contemporary artists represented by Australian and New Zealand galleries, are collected and exhibited in-depth over ten years.
Brook Andrew is a Melbourne-based interdisciplinary artist who examines dominant narratives, often relating to colonialism and modernist histories. He is the Artistic Director of the 2020 Biennale of Sydney.
Brook Andrew is represented by Tolarno Galleries, Melbourne; Roslyn Oxley9 Gallery, Sydney; and Galerie Nathalie Obadia, Paris and Brussels.
Ten Cubed is open Tuesday – Saturday 10am to 4pm.
Image: Brook Andrew Systems II (cropped) 2016. Mixed media 240 x 165 cm.
Quilty’s new series of paintings, The Bottom Feeders, shows a greedy society with a cargo cult mentality, whose cultural leaders dispense materialist trophies. A corrupt Santa stands in for the men who were initially revered as figures of implicit generosity and assumed benevolence. While the original St. Nicholas served the needy, Santa now is a symbol of self-gratification, conspicuous consumption and corporate greed, with Quilty adding uncontrolled lust for good measure. – Michael Desmond, 2018
Congratulations to Ben Quilty, whose work will be the subject of a major museum exhibition, touring to three capital cities in 2019-20.
Quilty was developed by the Art Gallery of South Australia and is curated by co-Acting Director Lisa Slade. The survey exhibition will be unveiled in Adelaide on 2 March 2019. It will then tour to the Queensland Art Gallery & Gallery of Modern Art and the Art Gallery of New South Wales until early 2020.
A fully illustrated book, published by Penguin Random House, will accompany the exhibition.
Read more in The Australian ($ paywall).
Quilty exhibition touring dates:
Art Gallery of South Australia | 2 March to 2 June 2019
Queensland Art Gallery & Gallery of Modern Art | 29 June to 13 October 2019
Art Gallery of New South Wales | 9 November 2019 to 2 February 2020
Congratulations to Nicholas Folland who has been selected for The National 2019: New Australian Art.
Folland will present a new solo show, Dawn Chorus, at Tolarno Galleries from 6 October – 3 November
Pictured: Nicholas Folland Untitled (Jump-up) 2012. Domestic crystal & glassware, nylon coated stainless steel wire. 500 x 230 x 460 cm. Installation at Art Gallery of South Australia. Photo: Saul Steed.
Opening on Saturday 25 August is Danie Mellor’s landmark new series The Landspace: [all the debils are here].
Click here to view images.
Pictured: A mythic vision 2018. Diasec mounted chromogenic print on metallic photographic paper. 126 cm diameter. Edition of 3 + 2AP
In 2019, the Australia Chamber Orchestra will revisit their original 2005 collaboration with artist Bill Henson, Luminous. A ground-breaking, cross-genre musical and visual feast, the updated performance will feature indie Israeli-Australian singer-songwriter Lior.
Henson’s haunting, dramatic photography remains the visual focus. His night-time urban landscapes and moody explorations of sensuality – twilight zones between day and night, male and female, youth and adulthood, urban and rural settings – form the background to a meditative soundscape.
This revival features new imagery and music spanning Britten and Janáček to R.E.M., and the centrepiece is Pēteris Vasks’ pensive violin concerto, Distant Light. Nostalgic, melancholic, at times manic and beautifully evocative, Luminous is an arresting, multi-sensory journey.
Luminous season runs 10 – 23 August 2019. ACO subscription packages are available now.
Read more at the Sydney Morning Herald.
Image: Bill Henson Untitled #137, 2000/2001, KMC SH41 N28, Archival inkjet pigment print, 127 × 180 cm
Congratulations to Judy Watson who will create a six-metre new work, bara, as part of the City of Sydney’s seven-part ‘Eora Journey’ public art program.
bara will comprise two towering, crescent-shaped pieces modelled on shapes of the bone fish hooks manufactured for thousands of years by Gadigal women. Made of stone, the sculpture will have a pearlescent finish so as to resemble the hooks that can still be found around the harbour. Work is expected to be completed by mid-2020.
Image: courtesy Judy Watson and UAP Media
From 2 – 5 August 2018, visit Tolarno Galleries’ stand D7 Vault Hall at Melbourne Art Fair for Strawberry Thief, the solo installation from Elizabeth Willing.
Celebrate the festive and ceremonial fruit cake with the Dark series of collages. See wallpaper from a different perspective with the Strawberry Thief (after William Morris) design on the walls, and look up close at the hand carved sculptures Umber (no. 1) and Umber (no. 2). Taste a soothing cocktail made from a vodka and valerian tincture with Anxiolytic, comprising a bottled and branded spirit and set of Pacify glasses as part of a cocktail performance in collaboration with Melbourne mixologist, Cennon Hanson.
Listen to an interview
ABC RN The Drawing Room
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.
Tolarno Galleries is pleased to announce representation for emerging artist Amos Gebhardt.
Gebhardt’s works have a cinematic scale and incorporate collage and dance to create multi-screen video installations and photographs.
A recipient of the Sidney Myer Creative Fellowship in 2014, Gebhardt has created moving image works for exhibition, cinema and broadcast at AGSA, Samstag Museum, ACMI, MONA, Gertrude Contemporary, SBS and ABC.
Tolarno Galleries will present Amos Gebhardt’s first solo exhibition in 2019, a continuation of the horses project, Lovers, recently included in Divided Worlds, Adelaide Biennial of Australian Art 2018.
Comprising 11 new linocut prints, along with their metal-framed set of blocks, Invisible Stories: Meditations on Port Essington is Benjamin Armstrong‘s most recent solo exhibition at Tolarno since Conjurers in 2012.
The linocut series relates to the Australian historian and multi-award winning author Mark McKenna’s book From the Edge: Australia’s Lost Histories (2016). McKenna’s book explores the central drama of Australian history: the encounter between Aboriginal and non-Aboriginal Australians. The exhibition is part of the Melbourne Art Fair’s Melbourne Art Week program from Tuesday 31 July – Sunday 5 August.
Benjamin Armstrong is on view until 18 August.
Image: Courtesy Andrew Stephens and Imprint Magazine
Congratulations to Brook Andrew who has been appointed Artistic Director of the 22nd Biennale of Sydney to be held in 2020.
A participant in the 2018 and 2010 biennales of Sydney, Brook Andrew will draw on curatorial experiences including his groundbreaking TABOO exhibition at Museum of Contemporary Art in 2012.
His distinguished 25-year career was recognised with a large-scale exhibition The Right to Offend is Sacred at the National Gallery of Victoria in 2017 and he is currently concluding a three-year-long Australian Research Council grant, Representation, Remembrance and the Memorial. This project responds to calls for a national memorial to Aboriginal loss during the Frontier Wars, a series of conflicts between Indigenous Australians and European settlers from 1788 to the 1930s.
Speaking to The Australian, Brook Andrew said he “doesn’t plan to include his own art at the 2020 biennale, saying he would be making a statement of sorts as artistic director instead. He will seek out artists and collections both locally and abroad, looking to present an exhibition that offers a snapshot of the world from an Australian perspective. He’s particularly interested in peripheral perspectives, or ‘ideas on the edge’. ‘I’m going to move the edge to the centre,’ he said.”
Brook Andrew has been represented by Tolarno Galleries since 2007. Read more at the Biennale of Sydney.
Image: Brook Andrew. Photograph: Zan Wimberley. Courtesy Biennale of Sydney.
Congratulations to Andrew Browne on winning the Geelong Contemporary Art Prize for 2018 for his work, The awakening. A biennial acquisitive award for contemporary painting with a cash prize of $30,000, the judging panel comprised Justin Paton (Head Curator of International Art, Art Gallery of New South Wales), Rebecca Coates (Director, Shepparton Art Museum) and Lisa Sullivan (Senior Curator, Geelong Gallery).
The judges commented: “This was a work that drew us in immediately and kept drawing us back. The key to its power is the board at the centre with its staring black ‘eyes’, backlit by a haunting nocturnal glow. With its flicks, smudges and overruns of colour, the plywood board suggests a painted surface hidden to the viewer, sharpening our curiosity about what has been made – or is being made – on the other side. The object could be read in multiple ways: as a redundant protest placard tied against a tree, or an abstracted crucifix-like form with looming attendants on each side. Gothic and film-noir-esque, the painting’s moodiness and ambiguity are absolutely of our times. This may be an image of the fate of painting, or a broader evocation of a world where troubling events transpire on the edge of our awareness.” Read more at Art Guide.
Andrew Browne will present a floor talk at Geelong Art Gallery on Saturday 23 June at 11.30am.
Image: Photographer Hails & Shine. Courtesy Geelong Art Gallery.
Spill is on view now until 7 July.
“The Melbourne artist builds on his enduring interest in natural phenomena by examining the suggestive ambiguities of water and the metamorphic effects of light. Developed from his large and ongoing archive of observational photography, Browne’s oil paintings are an ‘accumulation of glimpses’ knitting together fragments of landscape, light and form. He captures anthropomorphic lurkings and nuanced details in nature to conjure new realities.” – Artist Profile
Installation shot by Andrew Curtis.
Pleasure and Vexation – the strata and spectacle of history
27 May – 19 August 2018
Curated by Pātaka Art + Museum, this will be the first major exhibition of works by this award-winning contemporary Australian artist to be shown in New Zealand. Over 20 outstanding works, many large in scale, including some loaned from Australian museum and gallery collections.
A monumental mixed-media work on paper from 2010 entitled Fruits of labour provides the starting point for this selection of technically-astonishing drawings, paintings and digitally-manipulated photography, through which Mellor explores indigenous and Australian histories.
Mellor, with both indigenous and non-indigenous heritage, stresses the significance of both Indigenous Australians and colonial histories, the need to talk about their interaction, and the issues that arise from those two things being parallel.
Saturday 19 May, 2pm-3pm
Tolarno Galleries, Level 4, 104 Exhibition Street, Melbourne 3000
Bill Henson will make a rare public appearance for a book signing at Tolarno Galleries. He will sign your personal copies of books, and Tolarno will also have available for purchase on the day limited copies of otherwise sold out editions of Henson monographs, including:
Bill Henson’s exhibition of new works is on view now at Tolarno Galleries until 2 June.
Watch: Bill Henson on ABC TV The Mix
Listen: Bill Henson on ABC RN The Drawing Room
Image: Kindertotenlieder Image #17 1976 – 2016
Archival inkjet pigment print, framed
Image size: 44.8 x 37 cm Framed size: 69 x 60 cm
Edition of 10
Cairns Art Gallery
Proximity and Perception
4 May – 1 July 2018
Proximity and Perception focuses on a major new work by Danie Mellor commissioned by the Cairns Art Gallery Foundation, and places it within the context of his recent art practice and ongoing engagement with his matrilineal Country of the North Queensland rainforest region, south of Cairns.
Proximity and Perception spans the last decade of Mellor’s artistic practice and brings together highly detailed drawings rendered in Mellor’s signature blue pastel, alongside recent photographic works.
Artist talk Friday 4 May, 6.00PM
Image: Danie Mellor, Bala dulga yubanday 2014, each panel 100 x 120 cm total size: 300.0 x 360.0 cm, on paper consisting of nine panels mounted onto aluminium and mdf.
2018 Adelaide Biennial of Australian Art
3 March – 3 June 2018
Extending across Adelaide’s cultural precinct, North Terrace, the 2018 Adelaide Biennial will be presented at the Art Gallery of South Australia, Anne & Gordon Samstag Museum of Art at the University of South Australia, JamFactory and Adelaide Botanic Garden including the Santos Museum of Economic Botany. Artists include Patricia Piccinini and Louise Hearman.
Image: Louise Hearman, ‘Untitled #1405’ 2015, oil and ink on canvas, 71 x 71 cm
24 March – 5 August 2018
Queensland Art Gallery | Gallery of Modern Art
Stanley Place, Cultural Precinct, South Bank, Brisbane, Queensland
Brisbane welcomes the artworks of Patricia Piccinini to GOMA for ‘Curious Affection’, an exhibition of over 50 new and commissioned works.
This will be the most ambitious and expansive solo exhibition ever staged at QAGOMA for an Australian artist.
Image: Patricia Piccinini, ‘The Bond’ 2016