Ongoing since 2012, the Real DMZ Project interrogates the demilitarised zone (DMZ) between North and South Korea through annual, research-based exhibitions that bring together the works of Korean and international artists. Sunjung Kim, the independent curator behind the project, conceived the idea of exploring the DMZ while curating Japanese artist...
London's galleries and museums are gearing up for a lively October, with Frieze London and Frieze Masters running between 3 and 6 October 2019 at Regent's Park, along with 1-54 Contemporary African Art Fair, taking place across the same dates at Somerset House; and the tenth anniversary of the Sunday Art Fair, showcasing new and emerging artists...
Mark Bradford walks through Mark Bradford: Los Angeles Mark Bradford: Los Angeles at the Long Museum West Bund in Shanghai (27 July–13 October 2019) is the artist's largest solo exhibition to date in China. In this video for Ocula, Bradford and Diana Nawi, curator of the show, walk through selected works that convey the artist's concerns with...
Andrew Browne with The Awakening (2017). Courtesy Tolarno Galleries.
In a ceremony at Geelong Art Gallery on Friday 8 June, Andrew Browne was named the winner of the 2018 Geelong contemporary art prize for his work, The awakening. A biennial acquisitive award for contemporary painting with a cash prize of $30,000, the judging panel comprised Justin Paton (Head Curator of International Art, Art Gallery of New South Wales), Rebecca Coates (Director, Shepparton Art Museum) and Lisa Sullivan (Senior Curator, Geelong Gallery).
The judges commented: "This was a work that drew us in immediately and kept drawing us back. The key to its power is the board at the centre with its staring black 'eyes', backlit by a haunting nocturnal glow. With its flicks, smudges and overruns of colour, the plywood board suggests a painted surface hidden to the viewer, sharpening our curiosity about what has been made - or is being made - on the other side. The object could be read in multiple ways: as a redundant protest placard tied against a tree, or an abstracted crucifix-like form with looming attendants on each side. Gothic and film-noir-esque, the painting's moodiness and ambiguity are absolutely of our times. This may be an image of the fate of painting, or a broader evocation of a world where troubling events transpire on the edge of our awareness."
Andrew Browne will present a floor talk at Geelong Art Gallery on Saturday 23 June at 11.30am.
Tolarno Galleries has been at the cutting edge of contemporary Australian art for many years. Four artists have represented Australia at the Venice Biennale and the exhibition program attracts the attention of collectors, curators and critics from around the globe.
‘Currency is the common denominator for all artists represented by Tolarno Galleries,’ Max McLean wrote in 2002. ‘Not currency in the fiscal sense – although Tolarno is a commercial gallery, and a highly successful one at that – but currency understood more in the sense of an electric charge, of contemporaneity, and of cultural and intellectual exchange.’
With a reputation for showing fresh (often young) artists, it may come as some surprise to recent visitors to know that Tolarno Galleries was established in 1967. It has shown some of Australia’s – and the world’s – best known artists, from Bonnard to Sol Le Wit and Jeff Koons.
...there is only one Andrew Browne – an artist who consistently keeps evolving and re-evolving both the possibilities of paint on canvas and the way in which it relates to the physical world... He draws from a wide field
of references, including photography, cinema and art history, to devise a new approach to image making, which
is governed by the joint dictates of sensation, innovation and revelation. – Simon Gregg, Curator, Gippsland Art
Andrew Browne’s long affair with the medium of paint is at the heart of his solo exhibition, Spill. Extending his interest in landscape and natural phenomena, here his curious eye falls upon the suggestive ambiguities of water and the effects of light.
Spill is a meditation on the very substance of paint and the existential drive to deepen the game of painting itself.* Browne’s practice draws from his own photography, his eye trained to happen upon the anthropomorphic lurking within nature. But through his painting process nature becomes stylised and reductive. There are echoes here of the uncanny gothic character of his earlier series of apparition-haunted paintings and photogravures.
Spill impels us to pause and consider the power of water and its tendency towards spilling and falling... often over precipices. In Threshold we find an androgynous figure – perhaps an avatar or metaphor for the artist – poised in a charged cinematic moment of uncertainty, balancing on a makeshift bridge of fallen boughs or rocks, as white waters cascade violently behind. You can almost hear the roar of the waterfall, and sense the silently screaming vertigo of the figure. Head bowed, we might wonder – is this figure engrossed in a mobile phone screen in an effort to obliterate the world around; humbled in the presence of nature’s might; or merging into bridled chaos?
The monochromatic palette heightens the drama of the works. Fall #1 appears as a vertically flowing wall of water, and yet the limbs and body of an eerie figure loom in and out of view, recalling a Japanese horror film where a creature crawls out of the unreal into the real. Fall #2 has an ominous sense of the levee about to break. Rather like the clamouring media on the edge of a political #spill, its tension is palpable.
The exhibition behaves as a fluid ecosystem. Large charcoal drawings, and paintings dramatically different in scale, widen the lens to take in vistas and narrow again on details. We float in a sea of free association and surreal juxtaposition.
Andrew Browne has had survey exhibitions at Bendigo Art Gallery (1999), McClelland Gallery and Sculpture Park (2010), accompanied by a hard-cover monograph, and Gippsland Art Gallery (2012), accompanied by a thirty- two page fully-illustrated catalogue. In 2013 Andrew received the Australian Print Workshop – Collie Print Trust Fellowship, resulting in the Six Intaglios exhibition in May 2013. Andrew Browne won the Adelaide Perry Prize for Drawing in 2016.
His work was recently featured in such public institutions as National Gallery of Victoria: Every Brilliant Eye: Australian Art of the 1990s (2017) and Negotiating this world: Contemporary Australian Art (2012). As well, his work was included in: Luminous World – Contemporary Art from the Wesfarmers Collection at the Art Gallery of Western Australia (touring throughout 2012-16 to National Library Canberra, Samstag Museum of Art in Adelaide and Ian Potter Museum of Art, Melbourne); Photographic Abstractions at Monash Gallery of Art (2012); and Panorama at TarraWarra Museum of Art (2016).
*“the artist... must really deepen the game to be any good at all,” from Interviews with Francis Bacon by David Sylvester.
BUSAN ― Danish artist group Superflex interprets the symbolism of power and capital at the heart of the 2008 global financial crisis in "In our dreams we have a plan" at Kukje Gallery Busan.The title of the exhibit is borrowed from the lyrics of ABBA's hit song Money Money Money, but changed "my" to "our," suggesting...
A white hand, black with soot, clamps open and shut. It lets pieces of lead fall through its gnawing fingers. Sometimes it catches the pieces, sometimes not. It always allows the lead to leave below the frame. The body is framed as a fragment, the hand floats. It would seem there is no end result to all this hand-grasping: as soon as a lead is...
Susan Laxton's book Surrealism at Play passionately traces how a particular art movement envisioned and articulated its own transformative potential. As Laxton illustrates, the Surrealists agitated for exploding art into life, which meant engaging with their day-to-day reality, and taking a critical stance toward it. A professor of art history at...
While every bathroom is a crime scene, on occasion, this week the art world sighs and chuckles over the latest audacious act of art theft: the removal of America (2016), the solid gold, functioning lavatory by Italian artist Maurizio Cattelan, which until the early morning of Saturday, September 14, was installed in a wood-paneled bathroom at...
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