Exhibition Catalogues

  • Blob
  • 'Blob’ brings together a group of artists whose work is bursting with pop colours, lumpy textures and surreal motifs. Combining the fanciful, abject and playful, the artworks ritualise pop culture, new age spirituality and the everyday.
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  • Burqas, Veils, and Hoodies
  • An engaging exhibition that looks at veils. Theatre, sanctuary, modesty and deception - all the contradictory meanings of the veil.
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  • Duets
  • Duets is a show of oil paintings exploring communication and cooperation, and what happens when these go wrong. O’Carrigan depicts figures in high-stress situations, with no means of clear communication. Removed of speech and context, all that is left is gesture: the viewer left to interpret the figure’s body language. Duets are taken from ridiculous interviews aptly portrayed with a hint of caricature. In contrast to the playfully nonsensical on-screen meltdowns are foreboding scenes of impending violent conflict. Musicians are suddenly recruiting for the war effort. Slapstick fugitives are in Dresden, or Hiroshima. O’Carrigan gives us altered histories versus Hollywood tropes. The combination of these threads exhibited together seems to suggest an escalation of conflict seeded in confusion. What is meant is not always what is heard, or other powers bend the meaning to their will. When words fail us, the pen is no longer mightier than the sword.
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  • I SEND MIXED MESSAGES
  • Michelle Hamer's exhibition 'I send mixed messages' (April 12 - May 5 2013) -Featuring selected artworks and accompanying essay by Isobel Crombie.
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  • I'll pop your eyes like busted eggs
  • Open Up Exhibitions runs a series of one night events focusing on young and emerging artists. This is the 3rd focusing on performance, sound and visual art. I'll pop your eyes like busted eggs is a group show of 13 emerging artist looking at and dealing violence. I'll pop your eyes like busted eggs is a one night only event on 22nd Feb 6-9pm
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  • Forgotten Places
  • Catalogue of 2010 show at Anita Traverso Gallery, Richmond, Victoria.
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  • Size of Life
  • Kylie Stillman Size of Life 20 November 2010 – 2 January 2011 Gippsland Art Gallery, Sale Curated by Simon Gregg
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  • TONY LLOYD - LOST HIGHWAYS
  • In September 2009 Gippsland Art Gallery in Sale presented Lost Highways, a ten year survey of the paintings of Tony Lloyd. This catalogue was written by the curator of the exhibition, Simon Gregg. Gregg is also the author of New Romantics, Darkness and Light in Australian Art, published by Australian Scholarly Publishing.
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  • Gary Willis - 1992 - 1995 - 'Quixotic'
  • This is the catalogue for the ‘Don Quixote’ exhibition at Courbally-Stourton Gallery – London 1995. The exhibition consisted of paintings, drawings, etchings, which appropriate the aesthetic traditions of Goya, Dore & Daumier, whose work is foundational in our understanding of ‘Don Quixote’. These works seek to become lost to the concept of contemporary in their interrogation of ‘Quixotic’.

    The text is by Larry Buttrose, the Australian poet and author. The project began in Spain, with an artist-in-residency from Delfina Studios in 1992 and completed in London under the patronage of Arthur Boyd. 

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  • Gary Willis - 1990 - 1992 - 'Identification Specific'
  • This was the catalog for the ‘Identification Specific’ paintings (1990 – 1992) exhibited at La Galeria Pacifico – Amsterdam 1992. The exhibition was opened by the Australian Ambassador to the Netherlands - Mr Warwick Weemas. Aspects of this work were later exhibited at The Actor’s Institute Gallery, London and at the Hackney Town Hall, London for the 1993 ‘Hackney Festival of the Arts’ – opened by the Mayor of Hackney. The Text ‘Voicing the Other’ is by David Langsam – an art’s journalist writing for ‘The New Society - Statesman’, London at the time. The subject of each picture engages a series of references, often encoded within a mythic reference, to pin-point the existential experience of the times. As a post-modern Australian painter working in Europe this series of paintings appropriates an expressionist mode of painting common to the Cobra Group, the German Expressionists as well as the Neo-Expressionists alike - Gary
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  • Gary Willis - 1999 - 2002 - 'The Myth of Voss'
  • This was the catalog for ‘The Myth of Voss’ exhibition presented at University of Melbourne – Baillieu library 2004. It is introduced by a foreword by Bernard Smith, the author of the Antipodean Manifesto -1959. The subject of this project is Patrick White’s mythic VOSS. These paintings were painted in the mytho-poetic mode of ‘The Antipodean School’ (Boyd, Nolan, Tucker etc.) between 1998 – 2002. The VOSS project entailed three stages; 1/. The plein air landscape paintings retracing the footsteps of Voss’ expedition into Aboriginal Australia. 2/. The plein air studies of contemporary Aboriginal life in the bush camps of Central Australia. 3/. The VOSS paintings all painted in the mytho-poetic mode of ‘The Antipodean School’. - Gary
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  • Natasha Bieniek-She Hangs Brightly
  • The extraordinarily intimate figure paintings of Natasha Bieniek are rapidly drawing this young Melbourne artist a national following. Twice shortlisted for the Archibald Prize, in July 2012 Bieniek was the recipient of the $50,000 Metro Art Prize - the richest prize for emerging artists in Australia. A week later she won a further $10,000 as runner-up in the celebrated Doug Moran Portrait Prize. Bieniek creates seductive and distinctive miniature portraits that strongly recall the stark colouring and tonality of seventeenth century Dutch painting. The hypnotic effect of Bieniek's sombre moods is accentuated by her remarkable technical prowess.
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  • Gary Willis - 1996 - 1998 - 'La Comemmedia del Arte'
  • This was the catalog for the 'La Commedia' exhibition - Saarbeuken , Germany 1998 - 'Like a Masked Traveler Drifting through Time' by Kate Challis. The subject is the artist as fool - clown for love - for art. These paintings were painted between London and Germany - in a pre-modernist mode of L'Ecole Des Artes - Paris circa 1898 - Gary
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  • NotFair 2012
  • DUBBED, all too aptly as “primal mutation” by curator melissa amore, there was indeed something in the air during the 18-month selection process, hints of decay alongside a resurgence of brutal creativity, an almost fecund rot alongside brilliant revelations of imaginings.
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