Category Archives: Artists

Two Dead Cows

Sidney Nolan, 'Untitled (calf carcass in tree)’, 1952

Sidney Nolan, ‘Untitled (calf carcass in tree)’, 1952

Peter Peryer, 'Dead Steer', 1987

Peter Peryer, ‘Dead Steer’, 1987

Hot Photo Friday – Karlheinz Weinberger

Karlheinz Weinberger, from the series 'Rebel Youth' (1950s-1960s)

Karlheinz Weinberger, from the series ‘Rebel Youth’ (1950s-1960s)

Longo Vids


Robert Longo, best known for his iconic late 1970s series Men in the Cities is another visual artist who tried his hand at making music videos.  He’s the guy behind New Order’s 1986 video for Bizarre Love Triangle (above) and even worked with angry ginge Dave Mustaine from Megadeth on their single Peace Sells (below).

Early in his career, Longo had his own band too.  The artist was the lead singer of Menthol Wars, who performed in New York in the late 1970s.  Below is their very excellent single Even Lower Manhattan, released in 1982 on a Terminal Records compilation called Cleveland Confidential.

Shrigley vs. Armanious

David Shrigley, 'Nailed biscuit', acrylic composite, nail, 2001

David Shrigley, ‘Nailed biscuit’, acrylic composite, nail, 2001

Hany Armanious, 'Coin', cast pigmented polyester resin, cast bronze, 2013

Hany Armanious, ‘Coin’, cast pigmented polyester resin, cast pigmented polyurethan resin, cast bronze, 2013

 

Knobs


Here’s footage of a show by Sarah Lucas at Tramway in Glasgow that contains, among other things, 2.5 metre long sculptural erections, smashed up cars and an enormous wanking hand.  Lucas was interviewed about the exhibition – her first solo in Scotland – by Teddy Jamieson from the Herald Scotland.  Describing her more prurient interests she stated: “I’ve always found the penis a really useful sculptural thing. I’ve always said, ‘When in doubt … knob.’”

(Also worth noting is Tramway’s commitment to video documentation of its exhibitions – an excellent resource for those unable to attend a show in the flesh).

Four More Artists Withdraw from the 19th Biennale of Sydney

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After much consideration we: Agnieszka Polska, Sara van der Heide, Nicoline van Harskamp and Nathan Gray, have decided to withdraw our works from the 19th Biennale of Sydney, because of its relation to Transfield, a company involved in the Australian government policy of mandatory detention.

Our motivations reflect those outlined in the statement issued by artists Ögüt, Castro, Ólafsson, Sofo and de Vietri on February 26th, added as a reference with this letter. They close their statement by expressing their hope that others will join them in “solidarity with all those who are working towards a better future for asylum seekers.” Our withdrawal is such an act of solidarity.

We have requested the Biennale that our withdrawal be registered on their website and signposted at the physical site of exhibition, so that this action will not be unnoticed.

With Regards,

Agnieszka Polska, Sara van der Heide,  Nicoline van Harskamp and Nathan Gray

Posted here.

BoS artists’ statement of withdrawal

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STATEMENT OF WITHDRAWAL
26 February 2014

We are five of the 37 artists – Libia Castro, Ólafur Ólafsson, Charlie Sofo, Gabrielle de Vietri and Ahmet Öğüt – who signed a letter to the Board of the Biennale of Sydney in relation to their founding sponsor, Transfield.

We make this statement in light of Transfield’s expanding management of Manus Island and Nauru immigration detention centres. We act in the wake of the death of Reza Berati from inside Manus Island detention centre on February 17. We are in urgent political circumstances with a government that is stepping up their warfare on the world’s most vulnerable people daily.

We have received indications from the Board of the Biennale and Transfield that there will be no movement on their involvement in this issue. In our letter to the Board we asked for action and engagement, but we are told that the issue is too complex, and that the financial agreements are too important to re-negotiate.

And so we make this statement from a critical juncture of political urgency and artistic autonomy.

This is a statement of our withdrawal from the 19th Biennale of Sydney.

We have revoked our works, cancelled our public events and relinquished our artists’ fees. While we have sought ways to address our strong opposition to Australia’s mandatory detention policy as participants of the Biennale, we have decided that withdrawal is our most constructive choice. We do not accept the platform that Transfield provides via the Biennale for critique. We see our participation in the Biennale as an active link in a chain of associations that leads to the abuse of human rights. For us, this is undeniable and indefensible.

Our withdrawal is one action in a multiplicity of others, already enacted and soon to be carried out in and around the Biennale. We do not propose to know the exact ethical, strategic or effective action to end mandatory detention, but we act on conscience and we act with hope.

We have chosen to redirect our energies into multiple forms of action: discussions, workshops, publications, exhibitions and works that will continue to fuel this debate in the public sphere. In this, we stand with our local and international communities that are calling for the closure of Australia’s offshore detention facilities. We ask for their active support in keeping this issue at the forefront of our minds, in the warmest part of our hearts, in the most urgent of discussions and in the most bold of actions, until the detention centres on Manus Island and Nauru close.

We withdraw to send a message to the Biennale urging them, again, to act ethically and transparently. To send a message to Transfield that we will not add value to their brand and its inhumane enterprise. Finally, and most importantly, we withdraw to send a message to the Australian Government that we do not accept their unethical policy against asylum seekers.

We ask that the Biennale of Sydney acknowledge the absence of our work from the exhibition. As the Biennale has offered to provide a platform and support for our dissent, we request that our withdrawal be registered on the Biennale website and signposted at the physical site of our projects. In the pervasive silence that the Government enforces around this issue, we will not let this action be unnoticed.

We act in solidarity with all those who are working towards a better future for asylum seekers. We hope that others will join us.

Libia Castro
Ólafur Ólafsson
Charlie Sofo
Gabrielle de Vietri
Ahmet Öğüt

More here.

Balthus³

Balthus, 'The Room', c.1953

Balthus, ‘The Room’, c.1953

Hisaji Hara, from the series 'A Photographic Portrayal of the Paintings of Balthus', 2009

Hisaji Hara, from the series ‘A Photographic Portrayal of the Paintings of Balthus’, 2009

Promotional still from Lars von Trier's forthcoming film, 'Nymphomaniac'

Promotional still from Lars von Trier’s forthcoming film, ‘Nymphomaniac’, 2014

Hot Photo Friday – Elina Brotherus

Elina Brotherus, still from 'The Black Bay Sequence', 2010

Elina Brotherus, still from ‘The Black Bay Sequence’, 2010

Some recent work by Lynne Cohen

Lynne Cohen 2013
Cohen 2013
Lynne Cohen Untitled 2013
All works, ‘Untitled’ 2013, 132.0 x 155.0 cm