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Sharjah Biennial 14: Leaving the Echo Chamber Ocula Report Sharjah Biennial 14: Leaving the Echo Chamber 15 Mar 2019 : Stephanie Bailey for Ocula

In Meiro Koizumi's three-channel video installation, The Angels of Testimony (2019), the central frame features an interview with Hajime Kondo about his time as a solider of the Imperial Japanese Army during the Second Sino-Japanese War. The conversation centres on war crimes perpetrated in China, including the beheading of Chinese prisoners for...

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Diana Campbell Betancourt Ocula Conversation Diana Campbell Betancourt

Diana Campbell Betancourt is a curator working predominantly across South and Southeast Asia. Since 2013 she has been the founding artistic director of the Samdani Art Foundation and chief curator of the Dhaka Art Summit in Dhaka, Bangladesh, a transnational art event that has grown in size and scale ever since its first edition in 2012. Backed by...

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Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art Ocula Report Chinternet Ugly at Manchester’s Centre for Chinese Contemporary Art 7 Mar 2019 : Mike Pinnington for Ocula

China, home to 802 million internet users, is subject to sophisticated online censorship. This shrouded state of affairs, unsurprisingly perhaps, serves to reinforce stereotypes around conformity elsewhere. Any realm, digital or otherwise, subject to such strict scrutiny must necessarily be bland and uncritical, right? I was mulling over such...

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Imants Tillers

b. 1950, Australia

Imants Tillers has been described as Australia’s most important Post-Modern artist with his large-scale paintings addressing the country’s anxieties about its cultural and geographical distance from Europe. 

Tillers studied architecture at Sydney University (1969-1972) and has exhibited extensively since 1973, considering all his work from 1981 as part of a lifetime series, the Book of Power with the artist assembling small canvases into large gridded artworks of images from Western culture.

Tillers’ art subverts the premise that Australia’s heritage has been built upon a ‘tyranny of distance.’ His work gives pre-eminence to a meaningful experience of culture through its reproduction, appropriating well-known paintings and establishing associations between disparate ideologies and cultures, providing new readings and ownership of this iconography as critical to Australia’s hybrid identity. 

In Conversation with the Bride (1974-1975) Tillers referenced Duchamp’s Bride Stripped Bare and Australian watercolourist Hans Heysen’s eucalyptus trees painted around the same time as Duchamp’s conceptual work, considering these as equally artificial and representative of cultural values. 

Tillers has exhibited extensively in international exhibitions and represented Australia at the Venice Biennale in 1986. His work is held in the collections of many significant public art galleries and institutions in Australia and internationally.

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Featured Artworks

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In Praise of A Decorative Background by Imants Tillers contemporary artwork Imants TillersIn Praise of A Decorative Background, 2012 Acrylic, gouache on 54 canvas boards
226.5 x 212 cm
Roslyn Oxley9 Gallery
Metaphysical Detail XIV by Imants Tillers contemporary artwork Imants TillersMetaphysical Detail XIV, 2018 Synthetic polymer paint, gouache on 6 canvasboards nos. 102917-102922
71.2 x 76.2 cm
ARC ONE Gallery
Metaphysical Detail XIII by Imants Tillers contemporary artwork Imants TillersMetaphysical Detail XIII, 2018 Synthetic polymer paint, gouache on 6 canvasboards nos. 108095-108100
71.2 x 76.2 cm
ARC ONE Gallery
Metaphysical Detail IV by Imants Tillers contemporary artwork Imants TillersMetaphysical Detail IV, 2017 Synthetic polymer paint, gouache on 6 canvasboards nos. 93599-93604
71.2 x 76.2 cm
ARC ONE Gallery
Metaphysical Detail I by Imants Tillers contemporary artwork Imants TillersMetaphysical Detail I, 2016 Synthetic polymer paint, gouache on 6 canvasboards nos. 96561-96566
71.2 x 76.2 cm
ARC ONE Gallery
I, Small Transient Being by Imants Tillers contemporary artwork Imants TillersI, Small Transient Being, 2018 Synthetic polymer paint, gouache on 64 canvasboards nos. 102818-102873
244 x 244 cm
ARC ONE Gallery
Lamentation by Imants Tillers contemporary artwork Imants TillersLamentation, 2018 Synthetic polymer paint, gouache on 24 canvas boards no. 108071 - 108094
152.4 x 142.24 cm
ARC ONE Gallery
The Philosopher’s Conquest by Imants Tillers contemporary artwork Imants TillersThe Philosopher’s Conquest, 2017 Synthetic polymer paint, gouache on 24 canvas boards no. 102786 - 102809
152.4 x 142.24 cm
ARC ONE Gallery

Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, The Like Button at Roslyn Oxley9 Gallery, Sydney
Closed
13 December 2018–19 January 2019 Group Exhibition The Like Button Roslyn Oxley9 Gallery, Sydney
Contemporary art exhibition, Imants Tillers, Joy Knows No Mercy at ARC ONE Gallery, Melbourne
Closed
4 September–6 October 2018 Imants Tillers Joy Knows No Mercy ARC ONE Gallery, Melbourne
Contemporary art exhibition, Imants Tillers, In Normal Times at Roslyn Oxley9 Gallery, Sydney
Closed
4 November–2 December 2017 Imants Tillers In Normal Times Roslyn Oxley9 Gallery, Sydney

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