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.
Read more at The Guardian.
Listen to Ben Quilty and the Very Revd Dr Andreas Loewe on ABC Melbourne Conversation Hour (Friday 16 November edition, from 36:50 min)
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
Congratulations to Peter Atkins whose 44 metre work RAILway was installed this week at the former City Square site on Swanston Street in Melbourne and will be on view until October 2019.
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.
Part of the Metro Tunnel Creative Program, this piece is an extension of an earlier work Station to Station, exhibited in the 2013 National Gallery of Victoria exhibition, Melbourne Now.
Photograph by Peter Atkins.
Congratulations to Amos Gebhardt, a finalist in the 2018 Bowness prize, on view now at Monash Gallery of Art.
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.