Lucas Grogan (NSW)
2008
LOVE
Prints, Tape
Wednesday, October 22, 2008
Luke Thurgate and Dean Cotter
Luke Thurgate and Dean Cotter (NSW)
2008
Create and Destroy (heart)
Charcoal
Monday, June 30, 2008
Scott Cotterell
Scott Cotterell (TAS)
Acrylic, enamel, masking tape
This catalogue accompanies Takashi Murakami's LA MOCA show (see p45). surprisingly for such a high-profile artist, it's his first major book, edited by MOCA's chief curator. Given that this show will have a (controversial) booth selling expensive Murakami logoed Louis Vuitton bags, and that the artist's wares often fetch up an eBay, many will find this desirable.
Whether it's art is another matter….
1+1=?
HALF THEORY
Acrylic, enamel, masking tape
This catalogue accompanies Takashi Murakami's LA MOCA show (see p45). surprisingly for such a high-profile artist, it's his first major book, edited by MOCA's chief curator. Given that this show will have a (controversial) booth selling expensive Murakami logoed Louis Vuitton bags, and that the artist's wares often fetch up an eBay, many will find this desirable.
Whether it's art is another matter….
1+1=?
Selena de Carvalho
Selena de Carvalho (TAS)
Wallpaper, acrylic, watercolour, collage
Exploring the seamless fusion of the imaginary and mysterious that is a childs sense of the world. I was inspired by photos taken in the desert of my daughter Ruby Peppa and her great friend Bassi Brown. It is immense to be the guiding force upon another life in a world that is so rapidly changing, growing and disappearing.
SORRY TO RAIN ON YOUR PARTY…
Wallpaper, acrylic, watercolour, collage
Exploring the seamless fusion of the imaginary and mysterious that is a childs sense of the world. I was inspired by photos taken in the desert of my daughter Ruby Peppa and her great friend Bassi Brown. It is immense to be the guiding force upon another life in a world that is so rapidly changing, growing and disappearing.
Amanda Shone
Amanda Shone (TAS)
Cardboard, paper, glue, acrylic paint, pencil
The frigate was then at 31°15' north latitude and 136°42' east longitude…Night was approaching.
They had just struck eight bells; large clouds veiled the face of the moon, then in its first quarter. The sea undulated peacefully under the stern of the vessel.
"Precisely Ned: So that at 32 feet beneath the surface of the sea you would undergo a pressure of 97 500 lbs.; at 320 feet, ten times that pressure you would be at 97 500 000 lbs.-that is to say, that you would be flattened as if you would have been drawn through the plates of a hydraulic machine!"
"Thus mat this inexplicable be explained, unless there be something over and above all that, one has ever conjectured, seen perceived or experienced; which is just in the bounds of possibility."
The frigate was then at 31°15' north latitude and 136°42' east longitude…Night was approaching.
They had just struck eight bells; large clouds veiled the face of the moon, then in its first quarter. The sea undulated peacefully under the stern of the vessel.
"Precisely Ned: So that at 32 feet beneath the surface of the sea you would undergo a pressure of 97 500 lbs.; at 320 feet, ten times that pressure you would be at 97 500 000 lbs.-that is to say, that you would be flattened as if you would have been drawn through the plates of a hydraulic machine!"
"Thus mat this inexplicable be explained, unless there be something over and above all that, one has ever conjectured, seen perceived or experienced; which is just in the bounds of possibility."
Mat Ward
Mat Ward (TAS)
Psssst… . It's just friggin' paint
LITTLE BUNNY RABBITS HOP JOYOUSLY AMONGST RAVAGED INDUSTRIAL DECADENCE INSPIRED DELINEATED SPACE
Psssst… . It's just friggin' paint
Catherine Morse
Catherine Morse (TAS)
2008
WHAT IS SOFT? WHAT IS NOT?
Wallpaper, wool, cotton, paper, paper bags, Deborah's scarf
home is safe and soft. as I watch the bodies of others fill up with stories and sounds. mine is too. but mostly it's quiet.
This work is about home, about safety, about memories, and about the night, the street and how it often offers up safety for the mind with its soft blackness floating dreams and bitumen blue carpets.
Carolyn Wigston
Carolyn Wigston (TAS)
2008
VITRUVIAN APOCALYPSE
Acrylic on cardboard
The greater the decrease in the social signifigance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion.
- Walter Benjamin
The greater the decrease in the social signifigance of an art form, the sharper the distinction between criticism and enjoyment by the public. The conventional is uncritically enjoyed, and the truly new is criticized with aversion.
- Walter Benjamin
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