Tag fine art

Firstdraft: Colony Collapse; Slide
; How to draw sex, violence and death the Luke Thurgate way; Twist

Emerging artists create a micro honey farm, reflect on the “collective hallucination of cinema”, teach visitors how to draw “the Luke Thurgate way” and test the potential of First-Person Shooter games in 4 new exhibitions at Firstdraft in July.
Exhibition opens: Wednesday 7 July 2010, 6-8pm
Exhibition continues: to 25 July 2010
Artist talks: Sunday 25 July 2010 at 4pm

gallery1_colonycollapse
Colony Collapse

Gallery 1
Tessa Zettel and Karl Khoe

Colony Collapse continues Zettel and Khoe’s ongoing collaborative project to micro-farm pockets of the city, setting up temporary site offices from which to launch sensible and/or absurd experiments in urban self-sufficiency. At Firstdraft the artists will be investigating the possibilities for small-scale mobile honey production, as they research and construct a hybrid beehive-food cart destined for Sydney’s Circular Quay. With food crisis, suburban sprawl and the colony’s precarious histories (and futures) on their minds, Zettel and Khoe invite audiences in to smell the flowers and talk to the bees.

As part of the Firstdraft Emerging Artists Studio Program supported by Australia Council for the Arts

gallery2_slide
Slide

Gallery 2
Bronwyn Carter

Carter began this work with a specific question; what can Painting say as distinct from other media? The artist posits that the whole process of making a painting cannot be separated from image generating technologies that began with the invention of photography and continues with digital media. The paintings reflect, as well as critique, something about the sea of images which surround us, and specifically the collective hallucination of cinema. The source imagery is film stills /photography. In the artist’s palette there is a colour heightening and saturation, a drama of light and dark, and the paint is kept present; it is sometimes visceral, sometimes controlled; which draws attention to its use.

gallery3_likethurgate
How to draw sex, violence and death the Luke Thurgate way

Gallery 3
Luke Thurgate

How to draw sex, violence and death the Luke Thurgate way is about public collaboration, interactivity, drawing and the nature of authenticity, reproduction and the graphic signature. The work invites the viewer to physically experience the production one of Thurgate’s drawings. Over the course of the exhibition it is hoped that viewers will collaboratively fill the blank surfaces over which the filmed drawings have been projected as a guide. The images themselves explore notions of masculinity, trauma and love. The drawings form part of an ongoing series of self-portraits in which exaggerated notions of masculine expression are played out. The participant becomes the means through which these notions find a permanent physical form.

gallery4_twist
Twist

Gallery 4
Baden Pailthorpe

Twist furthers Pailthorpe’s interest in video games as a subject matter. The video work explores the aesthetic anomalies in First-Person Shooter games (FPS) that are activated through glitches and by using cheats. Resisting the narrative drive of these games (where the player is the protagonist) through inaction, Pailthorpe found that the game falls into a state of perpetual regeneration. The graphics engines endlessly repeat their cinematic loops. Through this political act of stasis, resisting the game’s violent narrative pull reveals the subtle beauty of the game’s virtual architecture. Perpetual action is activated by inaction. Whereas the insatiable desire to continue killing leaves a true gamer in a carrot and stick scenario of always wanting more, the true path to satisfaction perhaps lies in resistance. In stopping to smell the proverbial, virtual roses, the performative potential of these virtual spaces emerges.

Firstdraft is a non-profit gallery run on a voluntary basis by a group of practicing artists. It is one of the longest running and most successful artist-run initiatives in Australia. Firstdraft asserts the importance of contemporary art production, dissemination and discussion in society, providing a stimulating exhibition space that is professional and accessible for a diverse range of artistic practices and projects.

Firstdraft
116-118 Chalmers St.
Surry Hills NSW 2010
t: +61 (0)2 9698 3665
mail@firstdraftgallery.com
www.firstdraftgallery.com
open: Wed to Sun, 12-6pm

Color Chart: Reinventing Color, 1950 to Today Gallery

Color Chart: Reinventing Color, 1950 to Today
An exhibition which explores the impact of Standardized, Mass-Produced Colour on Contemporary Art with works by 44 Contemporary Artists
March 2 – May 12, 2008
The Joan and Preston Robert Tisch Gallery
Museum of Modern Art, New York

View Article | Visit Website

Color Chart: Reinventing Color, 1950 to Today

Return to DG magazine 129 contents

Colour Chart 1

JIM LAMBIE (Scottish, born 1964)
ZOBOP
2006
Vinyl tape
Dimensions variable
Fund for the Twenty-First Century

View Gallery | Visit Website | Print & File [Members]

Anne Paterson

Russian-born artist, Vasily Kandinsky (1866-1944), used vibrant colour to stimulate emotions. He believed art had spiritual values. Paintings were compositions, alternative music for the senses. Henry Matisse (1869-1954), leader of The Fauves art movement (1904-1908), used non-representational colour and representational form to convey different sensations, for example: to express the sensual colors of surroundings.

Color Chart: Reinventing Color, 1950 to Today at MOMA New York
Throughout art history, colour has often been used as a strong symbolic element by artists, driven by an inner necessity to express emotions. However, in the early twentieth century, art underwent momentous change – a move away from the perceived elitist avant-garde tradition. Color Chart: Reinventing Color, 1950 to Today is a fascinating exploration and manifestation of this change. Ann Temkin, Curator of the Department of Painting and Sculpture at the Museum of Modern Art, New York (MOMA), presents works by 44 contemporary artists (including six installations specifically created for the exhibition) who have helped to re-shape our perceptions about the traditional use of colour and form.

Colour Chart 2

ELLSWORTH KELLY (American, born 1923)
Colors for a Large Wall
1951
Oil on canvas, sixty-four panels
7′ 10 1/2″ x 7′ 10 1/2″ (240 x 240 cm)
Gift of the artist

The Marcel Duchamp influence
This radical break with tradition can be said to have been initiated by Marcel Duchamp (1887-1968) whose painting, ‘Tu ‘m’ (1918) is the first work on the exhibition’s timeline. Duchamp was associated with the art movements of Cubism, Dadaism and Surrealism. His revolutionary and confronting philosophy about creating art, his ‘ready-mades’, shocked the art world at the time. He demonstrated that art could be ‘ready-made’: found objects, custom-made or ‘off-the-shelf’, and that it could be merely arbitrary or random – created by chance, and not necessarily by design . The object ‘became’ art, because the artist ‘chose’ it. For example, Duchamp’s work ‘The Fountain’ (1917), was a manufactured urinal which he believed that when placed in an art exhibition space, would change the observer’s perception of it, and encourage interaction and thought. In MOMA’s Color Chart exhibition, Marcel Duchamp’s challenging painting ‘Tu ‘m’ (1981), demands our attention, and then our interaction – in French it translates as ‘You ……. me’. Duchamp purposefully left the verb out so that it could be supplied by the observer, who then becomes a participator.<

Colour Chart 3

ANDY WARHOL (American, 1928-1987)
Green Marilyn
1962
Silkscreen on synthetic polymer paint on canvas
20 x 16″ (50.8 x 40.6 cm)
National Gallery of Art, Washington, D.C. Gift of William C. Seitz and Irma S.
Seitz, in Honor of the 50th Anniversary of the National Gallery of Art

Pop Art
This celebration of the ‘everyday’, of popular culture as art, was later to break new ground again as the Pop Art movement took off in America and around the world in the 1950s, and over the next two decades. After World War 2, the commercial colour (paint) chart was developed and the status of paint changed. Colour became ‘ready-made’. Color Chart explores the impact of standardized, mass-produced color on contemporary art . It showcases work from 44 artists highlighting their unique responses to popular culture, random selection and colour . It includes work from key figures of Pop Art such as Andy Warhol (1928-1987) ,Robert Rauschenberg (1925-), Ellsworth Kelly (1923-) and Gerhard Richter (1932-) alongside the work of younger artists such as Sherrie Levine (1947-), Jim Lambie (1964-) and Damien Hirst (1965-).If you can’t make it to New York, there is an online version of the Color Chart exhibition. In the style of the art works themselves, it is wonderfully colourful, it requests our interaction, and it invites our response.

Colour Chart 4

FRANK STELLA (American, born 1936)
Gran Cairo
1962
Alkyd on canvas
85 1/4 x 85 1/4″ (216.5 x 216.5 cm)
Whitney Museum of American Art, New York. Purchase, with funds from the
friends of the Whitney Museum of American Art

Color Chart: Reinventing Color, 1950 to Today
An exhibition which explores the impact of Standardized, Mass-Produced Colour on Contemporary Art with works by 44 Contemporary Artists
March 2 – May 12, 2008
The Joan and Preston Robert Tisch Gallery
Museum of Modern Art, New York
View Gallery | Visit Website | Print & File [Members]