For those visiting during Art Basel in Hong Kong (29–31 March 2019), the smell of fresh paint may still be in the air at the latest heritage conservation project, The Mills, which opened on 16 March to encompass the Centre for Heritage, Arts and Textiles (CHAT), joining the ranks with ex-prison complex Tai Kwun, along with Eaton HK—a retro...
Firenze Lai says that she knows her studio of a few hundred square feet intimately; from the textures of its surfaces to the way the breeze blows into the room. The spaces depicted in her paintings are equally intimate. When curators seem to be at a loss for words to discuss troubled times, fear of containment, and the feeling of being completely...
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...
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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