June 1, 2014 - Harriet McAtee
Coincidences and relationships connect like a web in Gary Carsley’s new exhibition 'Sciencefictive’ (2014) at the Institute of Modern Art in Brisbane. Here, East meets West, exterior meets interior, art meets science, global meets local, and natural meets constructed.
Carsley’s immersive work spreads out across two galleries, the walls punctuated by ‘Moongates’. Rendered in a combination of textures and colours, including wood panelling, linoleum and marble, these ‘moongate’ apertures open onto natural vistas for an effect that is simultaneously familiar and alien.Download Article (PDF)
May 26, 2014 - Gina Fairley
Gary Carsley’s new installation at IMA places Brisbane at the centre of landscape traditions.
Sciencefictive is a new installation by artist Gary Carsley, opening at Brisbane’s Institute of Modern Art (IMA) this weekend, Saturday 31 May.
Brisbane-born Carsley has become known for his modular furniture installations that create spatial gardens, illusions inserted into the gallery, museum and art fair to contest and question our perception and relationship to the natural environment.Download Article (PDF)
May 23, 2014 - Christopher Hart Chambers
An interview with cover artist Bill Thompson in the June issue of Sculpture Magazine, by Christopher Hart Chambers.Download Article (PDF)
May 20, 2014 - Jade Wittmann
Blacktown Arts Centre will host a discussion about the legacy of Gough Whitlam, who chose the suburb to launch the ''It's Time'' federal election campaign in 1972.
A panel of writers and artists will share their thoughts on the former Labor prime minister, who introduced free university education, Medibank (Medicare's predecessor), FM radio and the Australia Council for the Arts, at the free Sydney Writers' Festival event on May 23.
They include authors Jane Caro and Fiona McGregor, film producer Gary Paramanthan and artist Gary Carsley, who curated the current related It's Timely exhibition.
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May 13, 2014 - Sharon Butler
...Eye-catching paintings included Clayton Colvin’s probing multilayered works shown by Beta Pictoris (Birmingham, AL), Diana Copperwhite’s colorful but lugubrious canvases at 532 Gallery Thomas Jaeckel, the acid-distressed oils of Sara Hoppe from Dresden’s M2A gallery, Ethiopian painter Tegene Kunbi’s strangely doleful striations of color at Margaret Thatcher Gallery’s booth, Chris Trueman’s hypnotically undulating grids from Adah Rose Gallery (Kensington, MD), and a brace of small paintings by Jill Baroff, Astrid Bowlby, and Allyson Strafella at Philadelphia’s Gallery Joe.Download Article (PDF)
May 11, 2014 - Daniel A. Rabuzzi
...PULSE and NADA feature smaller, younger galleries who in turn discover new talent. I encountered several artists for the first time whose work I look forward to following for years to come, but the "whoa! stop-me-in-my-tracks" moment was seeing from a distance the luminous color-field paintings by Tegene Kunbi in the Margaret Thatcher Projects booth at PULSE. Call it the instantaneous seduction of artwork, the hunger to throw oneself into the art-- I cast fair decorum aside and nearly jogged into the Thatcher booth to see Kunbi's paintings.
The images here do not convey the richness of Kunbi's color schemes, how the colors jump into the eye, how he sets one block in conversation with another and with the viewer. Kunbi layers and articulates, and unabashedly shows us the artist's hand with his brushwork. He evokes worlds--he is an alchemist like Klee, Rothko, Mitchell, Diebenkorn, Frankenthaler. Kunbi had me thinking of Kandinsky on the spirituality of art. Kunbi reminds us how powerful painting can be in the hands of a confident practitioner. And, in an age wedded to irony and pusillanimous when it comes to any talk of artistic verities, Kunbi unironically presents us with Beauty-- surely still one of the main points of Art.Download Article (PDF)
May 8, 2014 - Tilted Arc
A charcoal line, crumbly and raw, is easy to see without illusion.
When I was an undergrad, I would try to find demo tapes of bands, usually sold by street table vendors, or maybe a live album (usually referred to as a “European Release”). Some of the demo tapes were shit quality, but they usually had some edge that I craved. The best one was a demo of the Pixies first album. It was even more Pixies than the produced release. The form was wonderfully awkward and plastic. I prefer the raw and untethered to the artificially perfect.
I don’t think there is a necessary distinction between drawing and painting. Neither is isolated. Both, always, are in flux with the world. I work between drawing and painting on purpose. I am interested in feelings, flawed and visceral. I am fragile. I am amazed. I am thankful. It is dirty stuff...Download Article (PDF)
April 20, 2014 - Paul Behnke
April 19, 2014 - Rowan Ricardo Phillips
The nine paintings that comprise Birmingham, Alabama–based Clayton Colvin’s “Put Down Your Stars” operate within that inchoate space between stoic, Apollonian formalism and exuberant figural expression. Shapes—particularly squares, rhombi, strokes, and arabesques—vibrate and twist on the canvas in response to Colvin’s manipulations of color, depth, and repetition. At times, painting seems to give way to drawing, and at other times, drawing seems to give way to painting. Erasures and additions reveal and conceal other layers, complicating ideas of before and after, original and addition, right-side up and upside down. The paintings thrive in paradox: They can seem crowded and full of movement, a sense of unsettled energy populating their spaces; after sustained viewing, however, a calm and measured contemplativeness saturates the canvases.Download Article (PDF)
April 8, 2014 - Hash Halper