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Prue Gibson explores the artists swelling and elastic forms which appear to change shape before the viewers eye.
Sydney gallerist Tim Olsen claims a Victorian link by recalling his childhood at the Dunmoochin artist's
colony, when the likes of Fred Williams, John Brack and Albert Tucker would come to dine with his father, the artist John Olsen.
Surreal films, fine antiquities, 3D video installations and melancholy photography will broaden your mind over the coming months
The act of putting paint on canvas creates fascinating tensions between the cerebral, the sensual and the suggestive.
Paul Davies: Tim Olsen pop-up gallery. A Sydney artist and quintessentially Sydney gallerist in Melbourne?
Monday, October 10, 2011
By the time Felicity Smith and Paul Lowe decided to get married, they owned a house in Darlinghurst and had enough kitchenware and manchester to last them decades. Rather than risk an avalanche of salad bowls and steak knives on their wedding day next month, the couple have asked guests to contribute towards at $12,000 abstract painting.
It’s enormous, two metres by seven metres, and by far the most expensive piece in the show at $70,000, even without the purpose-built $20,000- plus gilt frame. In fact, the only mystery about James McGrath’s monumental Ex-Libris, the central work in his new show opening at the Tim Olsen Gallery in Sydney today, is who has a wall big enough to hang it.
Although Peter Vandermark was born in Melbourne in 1960, he is essentially a Canberra artist, who trained at the Australian National University School of Art, worked for almost a decade as a studio assistant to one of Canberra’s most famous artists, Rosalie Gascoigne, and has practised his art from Canberra and worked in Canberra art institutions.
Is landscape painter Luke Sciberras the next John Olsen?
Steve Lopes + Leo Robba
In his eighth decade, artist John Olsen’s legendary lust for life is as obvious as ever and so is his devotion to drawing, a practice that has underpinned his long and distinguished career. What is also evident when talking with Olsen is that his diverse life experiences have informed his approach to art. Memories of tough times during the Depression in the late 1920’s, creative battles of a life spent dedicated to art, and the many wonderful people who have shared his world and great places he has visited are all deeply intertwined through his work. He is still looking outward, projecting what he sees and more importantly celebrating life- just as he did as a young boy growing up in Newcastle, discovering a passion for drawing.
Tribute – Vale David Band
The late David Band left a distinct stamp on graphic design in Australian restaurants, writes Michael Harden.
William Delafield Cook. A Survey is the first survey exhibition of this significant Australian artist in over two decades.
Since the late 1970s Delafield Cook has worked almost exclusively with the Australian landscape - remarkably, from his studio in London. His paintings are characterised by a deadpan photo realism, yet they transcend the real altogether to speak of phenomena beyond our perception. Taken as a whole, his paintings elevate our understanding and appreciation of the Australian landscape to a new level.
This timely survey unites works from over a thirty year period, to provide a compelling document on the work of one of Australia's most acclaimed and accomplished artists.
June 11 - 12 2011
Swirling white lines float above the golden yellow plains and vast skies in Philip Hunter's latest series of semi-abstract landscapes. A recurring motiff in the artists work, they shimmer with energy and almost pulse with light, like the afterburn of a sparkler.
June 9 2011
At a table laden with paint-crusted crockery, John Olsen slides his brush into a dish if curdling watercolour. The paint is as thick and creamy as the salt deposits on the surface of Lake Eyre. It bleeds at the edges when Olsen strokes his brush across a freshly painted indigo background. “Look there,” he says. “It’s alive. And there’s sort of a running figure, you see? Ill just give it some arms.”
Top dealers flocking to the influential Hong Kong art fair see it all, from young talent to genuine show- stoppers to the tasteless and over-priced, writes John McDonald.
May 28-29 2011
Earlier this month Sydney lost one of its great arts patrons, Ann Lewis, to cancer. Over the years Lewis enriched the culture, donating remarkable and extraordinarily valuable paintings, photography and sculpture to the Museum of Contemporary Art, the National Gallery of Australia and others
When Michael Johnson isn’t painting, he likes to go fishing at night, says Joyce Morgan in The Sydney Morning Herald. At night, “you have to feel what’s going on – it’s all communication by touch,” he says. Asking his students to paint blindfold gave them that same sense. Despite the shimmering bands of jewel like colour: “After a while you get a grasp on it, like the body movements of a dancer.”
Despite contrasting views of the world, two artists find common ground by putting emotion before technique, writes John McDonald.
The conundrum of how to express one’s thoughts and feelings in a way that doesn’t become illustrative or didactic lies at the heart of abstract art. Many artists consider abstraction to be a logical progression, believing that once they have crossed the lines that separates them from strictly representational art there is no turning back. This made it doubly startling last week to see Michael Johnson’s extraordinary drawing of a snow leopard completes as part of last year’s artist’s project at Taronga Park Zoo.
For several years, and with hypnotic effect, Paul Davies has painted the same house over and over again. The house is always modernist – clean lines, hard angles – but the landscape around it changes constantly: in one piece, the house sits in a swamp; in another, a primeval forest, the skies above cloudy and foreboding. It’s a jarring juxtaposition, a nightmare version of an architecture magazine.