NEWS

SUZANNE ARCHER IN ‘THE WEEKEND AUSTRALIAN’ PUBLIC WORKS BY BRONWYN WATSON

May 14, 2022

In 1965, British-born Suzanne Archer, aged 19 and just out of art school, migrated to Australia. Four years later she had her first solo show at Sydney’s Clune Gallery accompanied by a media blitz from newspapers, radio and television. “(The show) was a hit and I think partially some of the interest might have been because I was a woman ironically,” Archer has said. As part of the media’s coverage, she recalls being told by a female photographer to sit on a chair, pull her skirt up, and cross her legs. “Certainly, the photographs and the advertising for the show…

ELEANOR LOUISE BUTT ON PABLO PICASSO’S ‘THE STUDIO AT LA CALIFORNIE’ 1956 IN MAY/JUNE 2022 ISSUE OF ART GUIDE AUSTRALIA

May 5, 2022

CELESTE CHANDLER STUDIO PROFILE BY SOPHIA HALLOWAY IN ‘ART ALMANAC’, APRIL 2022

April 8, 2022

In the Studio: Celeste Chandler “I’ve had to find a way to work amongst the chaos of life.” When I speak to Melbourne-based artist Celeste Chandler about her upcoming show at Nicholas Thompson Gallery, 6 to 30 April, it’s from her kitchen-cum-studio. Prior to a couple of years ago, Chandler had a large studio and painted on a large scale. The studio was something she thought she could never give up – but due to a combination of circumstances, including the pandemic and her cancer diagnosis, Chandler has had to recalibrate. During the pandemic, many of us share this feeling…

TONEE MESSIAH COLLABORATING ARTIST FOR GORMAN FEBRUARY 2022 COLLECTION

February 24, 2022

Gorman has previously worked with Australian artists including Rhys Lee and Miranda Skoczek. In 2019, ‘Gorman: Ten years of collaborating’ was exhibited at Heide Museum of Modern Art featuring work by collaborative artists and Gorman textiles.

MIRANDA SKOCZEK ON COVER OF ‘VAULT’, ARTICLE BY LOUISE MARTIN-CHEW

February 23, 2022

There is more to Miranda Skoczek’s paintings than immediately meets the eye. They are built intuitively and in layers, from colours, patterns and objects that she absorbs in her immediate home environment – and all over the world. They are often abstract, sometimes with figurative elements; they focus on paint and colour, process and time, to create a space that takes us somewhere other, outside the material world. Inspiration comes from art and antiquities, folk art and contemporary design – and through obsessive consumption of images. Skoczek describes herself as “a sponge,” confessing to VAULT: “I have 95,000 photographs on…

KYLIE BANYARD AND JESSIE BOYLAN’S LA TROBE ART INSTITUTE BIANNUAL FACADE COMMISSION FEATURED ON ABC CENTRAL VICTORIA

February 11, 2022

Bendigo Creek doesn’t get a lot of love or appreciation, as to most people it just looks like a big concrete and bluestone drain directing any surplus rainwater away from homes, businesses and roads in the regional Victorian city’s CBD. But parts of the creek still look like a natural waterway, just 13 kilometres north of the city at Huntly Streamside Reserve, not far from Bendigo’s livestock saleyards. It meanders along, dotted with trees and vegetation, alive with insects and birdlife beside a clearing of long grass. Bendigo Creek at the bottom of View Street is a heavily engineered drain.(ABC Central Victoria:…

ARRYN SNOWBALL ‘SLACK WATER’ AT USC ART GALLERY 18 FEBRUARY TO 7 MAY 2022

February 10, 2022

Slack Water is a collaboration between artist, Arryn Snowball and poet, Nathan Shepherdson about the Pacific Ocean. At the end of 2017, Shepherdson made 77 poems in response to Grant’s Guideto Fishes known as the ‘fisherman’s bible’. The exhibition brings together new and recent paintings, gouache studies, and experimental performance-based drawings by Snowball inspired by the poems as well as a growing understanding of what scientists have dubbed the Anthropocene.  Presented in partnership with Pinnacles Gallery.

KYLIE BANYARD AND JESSIE BOYLAN’S LA TROBE ART INSTITUTE BIANNUAL FACADE COMMISSION ON VIEW UNTIL 8 MARCH 2022

February 9, 2022

“Artists Kylie Banyard and Jessie Boylan spent time visiting Bendigo Creek during winter and early spring 2021. Rising gently about here is the result of their collaborative experiments with historical and contemporary photographs, maps, topographical drawings, oil paint and watercolour. . For thousands of years prior to European colonisation, Bendigo Creek flourished under Djaara custodianship. The oral traditions and knowledge of the Dja Dja Wurrung People describe a healthy series of interconnected waterholes surrounded by wooded areas and treeless flats. . An 1851 map created by miner, William Sandbach describes the rhythms of the landscape as ‘sloping gently to the…

WENDY STAVRIANOS ‘CONNECTING THREADS’ EXHIBITED IN QUEENSLAND ART GALLERY | GALLERY OF MODERN ART’S AUSTRALIAN ART COLLECTION

February 5, 2022

‘SIGHT UNSEEN: WORK FROM THE LOCKDOWN EXHIBITIONS – MILES HALL / PHILJAMES & POLLY BORLAND / JOHN BOKOR’ IN BELLE MAGAZINE’S FRIDAY FABULOUS FIVE

February 4, 2022

‘Sight Unseen’ at Nicholas Thompson Gallery presents selected works from three 2021 exhibitions that were rendered inaccessible to the public for their duration due to Melbourne’s lockdown. These highly distinct bodies of work – ‘Stardust’ by Montpellier-based artist Miles Hall, John Bokor’s ‘Still Lifes & Interiors’, and a joint series by Philjames and Polly Borland titled ‘From Chrysanthemum, to Chrysanthemum’ – were aligned by the peculiarities of our time and now coalesce in a vibrant group show that can be viewed in situ until February 19. Pictured is Two Mandarins by John Bokor.

ELEANOR LOUISE BUTT’S 10 METRE COMMISSIONED WORK ‘MUSIC & TREES’ ON VIEW AT HER BAR, MELBOURNE CBD

February 3, 2022

Eleanor Louise Butt’s ten metre commissioned work ‘Music and Trees’ can now be viewed installed at the newly opened HER BAR in Lonsdale Street, Melbourne . “During the spring of 2021 I travelled through a forest daily to get to the studio where I made this painting. The light shone through the new leaves and shimmered in such a beautiful way that I wanted to re-create the same sense of shifting light within the work. I see this painting as an energetic outburst in which forms and colours intertwine and bounce off one another, pursuing a sense of movement and…

JAMES DRINKWATER FEATURED IN THE FEBRUARY 2022 ISSUE OF ‘AUSTRALIAN HOUSE AND GARDEN’

February 2, 2022