Blogging?

Posted by Gemma on the 11th of September, 2012


Where have we been? Blogging seems to always be the first thing to go once things get hectic. Quick recap: Jacob Ogden Smith's Hovea Pottery Ale; Katie Lenanton's Here & Now 12 at Lawrence Wilson Art Gallery, which we are participating in; our first birthday; Andrew's solo exhibition at Fremantle Art Centre; an impending symposium; the looming Intellectual Property - our book and fruit division.

Here is an appropriate link-gift for the first post in many months, courtesy of Cory Arcangel:

I'm sorry. I promise we'll never go away again.

Sprezzatura in the West Australian

Posted by Gemma on the 22nd of June, 2012

Thanks to Lyn Diciero for a fantastic write up in today's West Australian, with judicious and inventive use of OK puns. The full article is available online here

ONLY THE LONELY

Posted by Gemma on the 12th of June, 2012

I'm Leaving for Hobart tomorrow to speak about our experiences setting up OK, managing geographical isolation and arts practice and the 'Third Way' gallery model at INFLIGHT's 'Only the Lonely' symposium on Thursday, June 14th. The more I talk to people about what I initially viewed as an experience unique to the regional capital of the West, the more I learn that capital cities around Australia seem to be encountering similar problems, and I'm curious to see how much of this symposium might be relevant to our own situation.

Also on the panel are emerging curatorial and artistic collective Sydney Guild (NSW), Jordan Marani, artist and former director of Melbourne's Hell Gallery and Sean Kelly, writer, curator and arts administrator at the Moonah Arts Centre, Tasmania.

details

Posted by Gemma on the 14th of May, 2012

I got overly excited about texture and detail photographing The Refrain yesterday: a show about meaningful repetiton might do that. Actual work photographs are coming soon.

1: Jessie Mitchell, Lincoln

2: Anneke de Rooij, Avian Portraits (Mantelpiece)

3: Jessie Mitchell, Porte Portese

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Opening Tonight

Posted by Andrew on the 11th of May, 2012

Nathan Barnett
An Excursion

at the Museum of Natural Mystery
at 6PM

"You rummage though a pile of old dead branches. It's the end of the day. A moist floral bush evokes the scent of sticky bud. You glimpse a feral rabbit as it braves dusk. Later, you see an exquisite dog, off its leash and of a formidable size. You reprimand yourself for finding green waste collections interesting. A car with a sports exhaust further disrupts your progress.

You mistake the gentle flapping of black sheet plastic draped over a diamond fence for the movement of a person and it frightens you momentarily. It is virtually dark now. A piece of material catches your eye. Over a short brick fence you lean, you pick it up and you walk to the boot of the corolla that you borrowed from your housemate and you put the material in. You stare in to the drain that runs in off the curb. As you walk around to the driver's side door you can hear water running beneath you.

Here, everything is laid out horizontal. Sandy, blighted grass smells like cat shit and eucalyptus rotting in the undergrowth. A hose winds along a paved driveway, and gets itself coiled at the base of the garden tap.

You hear the exhaust fan of a nearby bathroom.

The aberration of a bad paste-up you saw on a factory wall continues to cloud your afternoon. You enjoy the pared curvature of a well-maintained hedge. You notice the understated fern-frond ornamentation of a side gate that now appears auratic with the coming on of the street lamps.

You thought you might be able to find something to use out here but now you feel as if appropriating anything would be displacing it. You need to piss somewhere - anywhere, and you start driving though the smaller streets looking for some kind of reserve with sufficient cover. When are you at work and when are you not? It drifts from on to off, like one of those bulbous timer buttons that begins to un-push itself the minute it is pressed.

You can't find anything else to make something out of. So you go home and write about your sculpturally unsuccessful day as if it were of singular importance."

Courtesy Nathan Barnett and the Museum of Natural Mystery

Opening Tonight

Posted by Andrew on the 10th of May, 2012

Annabel Dixon
Return to Form

6PM at the Galleria

Opening Tonight!

Posted by Andrew on the 9th of May, 2012

Anneke De Rooij, Lucas Grogan, Jessie Mitchell.
THE REFRAIN
6PM at OK Gallery


In music, the refrain is a repeated line or a series of notes, present most conspicuously in folk songs and national anthems, in songs meant to remind us of home. It provides a sense of stability and constancy; at each point of return it is subtly changed but remain at its core, the same. In visual terms, the equivalent of the refrain might be the motif or pattern - the sense of structure and familiarity that provides a point of both departure and return.

The Refrain presents the work of three artists who utilise these structures. They each seek something uniquely local and personal in their use of the serial, meditating on and questioning what feels like home.

Lucas Grogan, 'Cave Painting #9', 2012, acrylic, ink and watercolour on matt board

For those of you in Sydney...

Posted by Andrew on the 3rd of May, 2012

Mitch Cairns
Bass Principles

at Breenspace
Dates: 10 May - 2 June 2012

Bass Principles, Cairns' third solo show with BREENSPACE, is the result of an extended life sculpting course - Figure Study 1 - at the Tom Bass Studio Sculpture School. Cairns has translated the core principles of observation and technique from the course for the purposes of entertaining the picture plane. Cairns employs modernist tropes of simplification, repetition, interior structure and the exposure of the support or armature to produce a refined series of paintings that both revere and critique the principles Bass espouses. Cairns also looks sideways to other second tier Australian modernists, Eric Thake and George Molnar, whose comical take on both class and culture in Australia has also been an ongoing concern in Cairns' work. As an addendum to the major paintings in the show, Cairns presents a series of drawings and works on paper that extend his vocabulary of picture making into cartooning as a telling, occasionally tragic, but succinct expression of meaning.


BREENSPACE
Level 3, 17-19 Alberta Street
Sydney NSW 2000 Australia
61 2 9283 1113
breenspace.com

Wednesday - Friday 11:00 a.m. - 6:00 p.m. Saturday 11:00 - 5:00 p.m

Mitch Cairns, 'One half of a woman's waistline repeated (study II)', 2011, oil on linen

This Thursday!

Posted by Andrew on the 2nd of May, 2012

Patrick Doherty
Tales of Heirarchy
at Venn Gallery

Western Australian artist Patrick Doherty presents Tales of Hierarchy, a solo exhibition featuring a new series of paintings and drawings. Doherty is known for his free-style figurative illustrations that portray fantastic sequences and contain rich colourful imagery. These epic, imaginative landscapes echo with ancient mythologies, often referencing spiritual, bodily and religious iconography to captivate and confront viewers.

In Tales of Hierarchy, Doherty further explores these methods and focuses on both current and historical power structures as well as the relevant forces at play within these, including the distribution and creation of wealth, capitalism and politics. Doherty illuminates these concepts by exposing a mythical world where an array of characters partake in a sphere of constant struggle, where some players are left wielding power and others defeated. These new works exist as contemporary morality tales that search for understanding and provoke viewers to consider how these stories encourage reflection about Australian society today.

Patrick Doherty, 'Terra Australis', 2012

This Friday!

Posted by Andrew on the 10th of April, 2012

Elisha Quintal
In Memory of Process

at the Galleria
(Wittenoom street, East Perth)
Opens at 6:30PM


"Galleria is pleased to present In Memory of Process, an exhibition of new works by Elisha Quintal.

Making reference to the Arts and Crafts movement of the mid 1800s to early 1900s, and the continuing Slow movement of the late 1980s, Quintal aims to examine the relationship between production and consumption on both small and large scales through the recontextualisation of everyday materials and rituals.

Using silk and concrete to create a dichotomy between materials, the artist establishes a cause-and-effect relationship within her work by means of a meditated use of cutting, sewing, casting, dyeing, eroding and draping. Through this method of engagement, Quintal draws an analogy to processes of both living within and engaging with an environment or system.

Especially relevant to Quintal's practice is her use of natural stains to reference human interactions in urban and domestic spaces. For example, the path of a bore water sprinkler traced onto a building, or the food stains left on a tablecloth after dining. Here, such mark-making becomes a visual representation of temporality, as well as a truth to the materials and their deterioration.

In Memory of Process will be accompanied by an exhibition catalogue (featuring an essay by Liang Luscombe) and an artist talk (TBA)."


Image courtesy of Elisha Quintal and the Galleria