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Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

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Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

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The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

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Related Press

Frank Stella's Saving Abstraction at the National Gallery of Australia is exceptionally impressive printmaking

Sasha Grishin The Sydney Morning Herald First published on 2 January 2017

Frank Stella, Star of Persia II. Image courtesy of The Sydney Morning Herald.

The artist Frank Stella (born 1936) and the master printer Ken Tyler (born 1931) have been making prints together since 1967, but after almost 40 years, there is no such thing as a 'typical' Stella print. There is an enormous diversity and experimental variety.

Early in the collaborative process, Stella's prints appeared as a small tributary that ran alongside the mighty river of his painting practice and closely reflected the formal and conceptual concerns in his paintings. Subsequently his printmaking broke free and went off on its own exploratory tangents.

READ MORE ON smh.com.au

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