Comprising sepia-tone paintings overlaid with iridescent wash, as well as large-format photomontages, the series signals a new approach by Danie Mellor.
The exhibition will take place in the gallery and be open to the public. Details to follow soon.
Image: Danie Mellor Everything exists to end 2020, chromogenic print on metallic photographic paper, 126 x 186cm. Edition of 3 + 2 AP
A new series of 8 linocuts.
Image: Benjamin Armstrong Shear l (2020), linocut, pigments & binder on polyester, 134 x 150 x 3.5 cm
Click to read the accompanying essay Contact Images by Quentin Sprague.
Three new Bill Henson works, just released from the studio
“We should remind ourselves, from time to time, that despite what goes on in the world, the best in art always recommends the truth and its sometimes complex and ambiguous nature. As Plato said ‘beauty is the splendor of truth.’ ” – Bill Henson, 1 May 2020
Image: BILL HENSON ‘Untitled 2010-20’ RC SH47 N32C (2010–20) archival inkjet pigment print 127 x 180 cm (paper size)
An online feature dedicated to the Amos Gebhardt video Evanescence (2018), and the related photography series.
Scheduled to coincide with the Art Collector magazine issue #92 cover story, April – June 2020.
An online-only exhibition premiering Justine Varga’s new body of work.
Pictured: Justine Varga with her winning 2019 Dobell Drawing Prize work Photogenic Drawing (2018), chromogenic photograph 151.5 x 120 cm, 154.5 x 124 cm (framed). Photo by Peter Morgan, courtesy National Art School
Click to read the catalogue essay by Andrés Mario Zervigón.
Available Brent Harris works from the 2020 Adelaide Biennial of Australian Art: Monster Theatres.
New paintings and prints are on display at the Art Gallery of South Australia 29 February to 8 June 2020.
Image: Brent Harris more 2019, oil on linen , 244 x 175 cm
The debut exhibition from industrial designer Adam Goodrum and French marquetry artisan Arthur Seigneur.
An exhibition of new works from Ben Quilty.
Through Quilty’s ominous and heterogeneous approach in 150 years each work invites us to participate in a critical discussion. The same Quilty who explored the spiritual hollowness of contemporary masculinity in paintings of passed-out mates is present here, yet these themes are refracted through the decades since, through experience, a global and pervasive uncertainty, and a tangible level of disillusionment. In an age of authoritarian revival, Quilty’s decades-long interrogation of masculinity is gaining momentum.
Recently dubbed a ‘critical citizen’ by curator Lisa Slade, Quilty’s new work at Tolarno more explicitly depicts a self- critical citizen. In this case Self may not necessarily connote oneself, but one’s milieu, an individual splattered, dispersed throughout their socio-cultural plane. The artist – as well as a few family members and friends – are present in the landscape of the Rorschach, in the abstract works, and of course in Santa himself.
Image: Ben Quilty After the Pink Dress (Self Portrait) 2019, oil on linen, 265 x 202 cm