An Opera for Animals was first staged at Para Site in Hong Kong between 23 March and 2 June 2019, with works by over 48 artists and collectives that use opera as a metaphor for modes of contemporary, cross-disciplinary art-making. The exhibition's second iteration takes up a large portion of the Rockbund Art Museum (RAM) in Shanghai (22 June–25...
Zoe Butt is the artistic director of The Factory Contemporary Arts Centre in Ho Chi Minh City, the first purpose-built space for contemporary art in Vietnam. Founded in March 2016, the Centre was designed by HTAP Architects in an old steel warehouse, with cargo shipping containers added to its structure. Initiated as a social enterprise...
即将于2019年7月13开幕的第二届 Condo Shanghai，联合上海7座画廊/艺术机构与14 家来自全球11个不同的城市，如东京、首尔、雅加达、巴尔的摩、洛杉矶、伦敦、纽约、危地马拉城、利马和墨西哥城，为实验性展览营造了一个更切实可行的国际环境。以下是Ocula的展览看点。周奥，《景观/对象WA》（2016）。橡木上固化油墨打印，左: 55.88 × 147.32 cm，中: 121.92 × 152.4 cm，右: 55.88 × 147.32 cm，图片提供：马凌画廊，上海。马凌画廊 × 80m2 Livia Benavides × LABOR × Proyectos Ultravioleta马凌画廊 |...
Annette Bezor has been painting since the 1980s and during this time she has produced large-scale works that showcase the faces of many women. Some of her subjects are recognisably famous and they can be seen depicted in moments of heightened beauty and momentary elevation. The transfixing pose of each subject finds its way through the overlays of erosion, rainbow colour blocks and circular gold leaf impressions. The techniques applied allow the viewer to peer through the slightly obscuring markings to see the subjects at face value.
Annette Bezor’s images of women from the history of Western art and popular culture consider the politics of gender and painting as an act of manipulation and representation. Bezor attended the South Australian School of Art, Adelaide (1974-1977), exhibiting in the Young Artists Exhibition in Adelaide (1977) and solo exhibitions at the Luba Bilu Gallery in Melbourne from the late 1980s.
Her works appropriate images from popular photographs of famous and anonymous women and from paintings by artists such as Raphael and the Pre-Raphaelites. Bezor’s painting considers the objectification of the female form and perceptions of beauty in high and low culture in Western society with her more recent portraits depicting digitally manipulated facial features (eyes, lips and cheeks), alluding to humanity’s preoccupation with the pursuit of ideal form and appearance.
Precious Luck by Adelaide artist Annette Bezor will be the first solo exhibition by the artist to be held at Hill Smith Gallery. While Annette Bezor’s work has fundamentally focused on an exploration of the ‘female condition’, her practice also addresses female sexuality, the politics of gender and the symbolic power of the image.
Precious Luck depicts well known, idealized female celebrities such as Kate Moss, Amy Winehouse and Lyndsay Lohan as a commentary on the condition of contemporary painting. Each image has evolved from the original photographic portrait of the subject; the colours and backgrounds are altered and their faces manipulated. Other compositions of exquisite Asian women amidst flowers and fabric epitomize the objectification of women, to be seen as pure form and idea – as abstractions.
As the artist says “My work contemplates the vagaries and intangible nature of beauty, its psychological effects and its defining impact on women. Our society is obses ho becomes the bearer of societal values against which we judge ourselves. My work also addresses sed with the image and idealised persona of the celebrity, especially the beautiful woman, w how beauty is represented in art and in the media.”
Graduating from the South Australia School of Art, Adelaide in 1977, artist Annette Bezor has established herself firmly as one of Australia’s foremost female contemporary artists. With over 30 solo exhibitions spanning three decades, Annette has exhibited nationwide as well as internationally in Europe, Hong Kong and the USA. Her work has been presented at a number of international art fairs, including Korea International Art Fair (KIAF, 2011), ARCO (2004, 1996) and Art Taipei (2004). Annette has also been a finalist in a number of prestigious national art prizes including the Sir John Sulman Prize (1992, 2002, 2008, 2009), the Archibald Prize (2005), the Doug Moran National Portrait Prize (2010) and the Portia Geach Memorial Award (1993, 1999). In 2013 Annette’s practice was the subject of a survey show, Annette Bezor: Iconic Works 1997-2013, which toured regional art galleries within New South Wales.
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