Art Almanac
June 2017 $6
Versus Rodin Jess Johnson Leonard Brown
Art Almanac June 2017
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Deadline for July 2017 issue: Thursday 1 June, 2017.
Psychic space is created and inhabited by the artists in this issue. Jess Johnson brings us a step closer to the ‘engine room’ of the mind, whilst Leonard Brown offers transcendence through icons and abstraction. ‘Dormitorium’ explores the landscape and science of dreams, and Bruno Leti’s compositions stretch across continents, recollections and art forms. Both ‘A Screen of Flesh’ and ‘Versus Rodin’ consider the body in space where as John Young and ‘The Dust Never Settles’ take on the capricious terrain of memory.
Contact Editor – Chloe Mandryk cmandryk@art-almanac.com.au Deputy Editor – Kirsty Mulholland info@art-almanac.com.au Art Director – Paul Saint National Advertising – Laraine Deer ldeer@art-almanac.com.au Digital Editor – Melissa Pesa mpesa@art-almanac.com.au Editorial Assistant – Penny McCulloch listing@art-almanac.com.au Editorial Intern – Zachary Klein Accounts – Penny McCulloch accounts@art-almanac.com.au T 02 9901 6398 F 02 9901 6116 Locked Bag 5555, St Leonards NSW 1590 art-almanac.com.au
Cover Jess Johnson, Worldweb Allthing, 2016, acrylic paint pen, fiber-tipped markers and gouache on paper, 101 x 74cm Courtesy the artist. Jess Johnson is represented by Jack Hanley Gallery, New York; Darren Knight Gallery, Australia; and Ivan Anthony Gallery, New Zealand
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Tapestry of Light RMIT researcher Dr Irene Barberis is travelling through Europe presenting Tapestry of Light: Intersections of Illumination, a 36-metre interpretation of the 14th century Anger Apocalypse Tapestry (1377-1382) by Jean Bondol and Nicholas Bataille currently on display at the Château d’Angers castle in France. Compelled by the complexity and poetry of her experience with the original piece, Barberis embarked on a largescale project to re-imagine the tapestry using nanoparticle technology. Glowing fibres and threads of natural, ultraviolet and phosphorous light comprise the enthralling radiant work now on view at St Michael and St Gudula Cathedral, Brussels until 15 June. Also touring to museums and cathedrals in Europe, the United Kingdom and the United States, and at Canterbury Cathedral, United Kingdom in October. tapestryoflightproject.com Irene Barberis, Tapestry of Light Project, Brussels Cathedral, April 27, 2017, UV Light © Irene Barberis Tapestry of Light Project Courtesy the artist
NGV Festival of Photography William Eggleston, Patrick Pound, Bill Henson, Zoë Croggon and Ross Coulter are the focus artists for the ‘NGV Festival of Photography’ exhibitions on at NGV International and NGV Australia until 30 July. The festival is a chance to experience new works in photography, digitallyproduced prints and film-based projects, and new creations made from existing and found photographic materials. Programs include ‘A Search For Meaning: Learning to Look at Photography’ on 4 June, 2–4pm with Dr Kiron Robinson, artist and lecturer, Photography, Victorian College of the Arts. Coulter discusses his influences and ideas on 9 July, 11am, and 11.30am Croggon gives insight into her practice, inspiration and technical approach. Ross Coulter, Audience, installation view at the National Gallery of Victoria, presented as part of the NGV Festival of Photography Photograph: Sean Fennessy Courtesy the artist and National Gallery of Victoria, Melbourne
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Rayner Hoff: The life of a sculptor Deborah Beck
NewSouth Publishing
Rayner Hoff (1894-1937) dominated sculptural production in Australia throughout the 1920s and 30s, creating works that were arranged socially, politically and culturally around the development of modernity. This biography reveals the ‘untold story’ of Hoff’s life and work, from the unique perspective of Deborah Beck; historian, writer and artist. Hoff’s achievements include running the National Art School to completing the Anzac Memorial sculptures in Sydney’s Hyde Park – testament to his incredible talent and lasting legacy. Hoff also designed the original Holden lion badge, won the Wynne Prize in 1927, and made firm friends with luminaries like Norman Lindsay, Hugh McCrae and Mary Gilmore. These connections are articulated through photography and a chronological narrative.
Girlzone The Clubhouse at Fitzroy Learning Network and Bus Projects
The Clubhouse is an initiative run by the Fitzroy Learning Network that focuses on Melbourne youth aged 10-18. In collaboration with artists Nina Mulhall, Minna Gilligan, Atong Atem, Daisy Catterall and Sheena Colquhoun, the group turns back the dial of electronic publishing to create a zine that explores a feminist and contemporary representation of identity and relationships through both visual and verbal language. The result is a bright celebration of youth and early adulthood, with magazine cut-out cameos from stars like Beyoncé and Rihanna, collaged with the girls’ personal love letters, an ode to celebrity, friendships and self.
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Leonard Brown
Experience untaught me the world Sasha Grishin
While there are many artists who dabble with traditional icon painting and a host of others who follow the path of minimalist abstraction, there are very few who combine both traditions of artmaking in their practice and do this at a very high professional level. For Leonard Brown, these are two parallel streams in his art – he is a trained icon-painter, who employs traditional materials, prayer and meditation techniques to create icons adhering to the conventions of the Holy Russian Orthodox Church, whilst working in a contemporary idiom of abstraction. Although he has painted icons and exhibited his abstractions for decades – this is his 45th solo exhibition – only in recent years has he started to exhibit icons and his abstract paintings in the same exhibition emphasising the fact that these are two sides of the same artistic quest. In Byzantine and Russian Orthodox theology, the icon is a visual parable, or a pathway, which leads from the terrestrial to the celestial sphere and that a beholder who contemplates or prays through an icon, spiritually transcends from the earthly to the heavenly realm in which dwell the spiritual beings depicted on the icon. The Russian revolutionary avant-garde early in the 20th century, particularly Kazimir Malevich and the Suprematists, sought to create new icons for the new age and many of them, having initially practiced in the iconic tradition, attempted to translate the spiritual values of icon-painting into a new non-figurative iconography.
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Versus Rodin: Bodies across space and time Liv Spiers The paradox of Auguste Rodin (1840-1917) remains unresolved even a century after his death. He resurrected the passion of antiquity, yet pioneered modernist methods. His career was long and lauded by the artistic establishment, but retrospectively cast among the vanguard of cultural disobedience. His name, to this day, is synonymous with monumental sculpture, despite a love of literature and intuitive illustrations. This confluence at the Art Gallery of South Australia (AGSA) is central to the premise of ‘Versus Rodin: Bodies across space and time’. Curator Leigh Robb presents the largest Rodin collection in the southern hemisphere in dialogue and debate with modern and contemporary art. Thematic rooms assemble works in a range of media amongst Rodin sculptures. Notable conversations occur between the artist’s monumental nudes and Antony Gormley’s pixelated figures, such as Clutch (2007) precariously balanced on its haunches. The black lustre and despair of Pierre de Wissant, Monumental Nude (c.1886-87) finds companions in the luminous repose of Kehinde Wiley’s After Jean Bernard Restout’s ‘Sleep’ (2009) and Paul Pfeiffer’s soaring athlete in Four Horsemen of the Apocalypse, No. 18 (2004).
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The Dust Never Settles Chloe Mandryk Seventy-three pieces from the University of Queensland Art Collection, some on public display for the first time, are on view now in Brisbane. Together they communicate that while our powers of perception give new life to memories, this fresh understanding doesn’t always offer closure. ‘The Dust Never Settles’ has been curated by Michele Helmrich and finds strength in addressing what remains unfinished. Artists who restage our history and contemporary experience present work which, as Helmrich explained, “may be forthright or nuanced, perhaps even ambiguous in its message. And we, as viewers, come to these works with our own set of ethical and personal values, which may or may not align with those held by others in our community.” In conversation with the curator we asked about how a collective and also deeply personal connection to culture, psychology and our relationship to the environment is addressed by the artists. Environmental issues are a key part of the exhibition. Pitjantjatjara artist Mumu Mike Williams, from Mimili in the APY Lands of South Australia, takes an unflinching look at the poisoning of traditional lands, illness and deaths, caused by the British nuclear tests at Maralinga and Emu Field between 1953 and 1963. His protest is handwritten in language on large drawings of Australia. Mining and its past, present and future environmental impact features in works by Taloi Havini and Stuart Miller, Kathy Inkamala and Gloria Pannka, Nicholas Mangan, and
Kirstie Rea
Stephen Benwell
the land: A 20 year survey
Red Sails: recent ceramics, paintings and bronzes
Canberra Museum and Gallery Until 20 August, 2017 Australian Capital Territory
Niagara Galleries Until 24 June, 2017 Melbourne
Inspired by the traditions of rural life, the Canberra region and agricultural tools and equipment used for food production and harvesting, contemporary glass artist and teacher Kirstie Rea takes the viewer on a 20-year journey of her artistic practice. Reflecting on her heritage, connection to the land and the influence of the natural world she gives form to her ideas in a furnace, producing sculptures using translucent coloured glass, aluminium, wood, steel and found, worked materials.
Now working in bronze, in addition to the earthenware sculpture and oil painting that Stephen Benwell has established a reputation for, the artist presents a new body of work sharing his perspective on traditions of beauty with deft art historical references. His painterly style and sensuous lines, while visually appealing, also reference and challenge classical forms. In the mixed exhibition followers and new audiences may observe how Benwell’s practice transforms in this bronze era.
Untitled, 1998, hot-cast glass, cold worked, 16 x 17 x 19cm Ann Cleary and Peter King collection, Canberra Photograph: David Paterson, Dorian Photographics Courtesy the artist and Canberra Museum and Gallery, Australian Capital Territory
Tall vase, 2016, earthenware, 56 x 38 x 36cm Courtesy the artist and Niagara Galleries, Melbourne
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Victoria Reichelt
Michael Muir
Precipice
Disappearing Act
Brisbane-based artist Victoria Reichelt investigates the shifts from analogue to digital and physical to virtual, a result of the modern notion of the codex book’s redundancy and its rendering of institutions such as libraries and archives as moot. For this exhibition Reichelt takes ordinary objects and office stationary, strips them of their context and presents each in a fresh tableaux. Reichelt’s medium highlights her message and affirms the value of painting in a world of online saturation.
Michael Muir’s new paintings invite the viewer to dwell in a holiday vibe that oscillates between nostalgia and reality. He reflects the surrounding landscape of Queensland from the coastal curves to the rolling hills of the Sunshine coast, an amalgamation of travels through Montville, Maleny and Noosa Heads. Using a palette knife to lay down a flat perspective, Muir lets fly with his use of candy colours that hint at the personal tone of these works which feel dreamy, perhaps from a touch of sun.
Thicket, 2017, oil on linen, 42 x 42cm Courtesy the artist and THIS IS NO FANTASY + dianne tanzer gallery, Melbourne
Noontime Embers, 2017, oil on linen, 137 x 122cm Courtesy the artist and Jan Murphy Gallery, Queensland
THIS IS NO FANTASY + dianne tanzer gallery Until 24 June, 2017 Melbourne
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Jan Murphy Gallery 20 June to 15 July, 2017 Queensland
Artist Opportunities We have selected a few galleries and funding bodies calling for submissions for Art Awards, Artist Engagements, Grants, Public Art, Residency Programs, Exhibition Proposals and more. Enjoy and good luck!
IRIS Award
Entries close 14 June, 2017 The IRIS Awards, presented by Perth Centre for Photography (PCP) are now open. Local and international artists are invited to enter photographic portraits that are original and engaging whilst maintaining excellence in the medium. Finalists will be presented in a group exhibition opening on 31 August at PCP and will have the opportunity to share in three cash prizes. pcp.org.au
Fremantle Arts Centre and Art Ichol India Exchange
Holly O’Meehan and Anjani Khanna are the selected recipients for the Fremantle Arts Centre and Art Ichol international Artist in Residence Exchange Program for 2017. West-Australian, O’Meehan is an emerging artist trained in printmaking, textiles, ceramics and other craft-based disciplines. She will travel to the city of Maihar, Madhya Pradesh, India in September for a residency exploring the traditional craft techniques of the region. Then in November, Khanna, an established ceramics artist from Mumbai who produces figurative sculptures that explore the constant ‘confrontation with contradiction’ a part of everyday life in India, will be joining Fremantle Arts Centre to fulfill her residency placement. This onemonth exchange program provides the artists with the use of extensive studio spaces and workshops to develop their individual art practice, and the opportunity to make new connections and build on relationships across contemporary art and traditional craft industry.
Chris Bowes, First Impression, winner 2016 IRIS Award Courtesy © the artist
Ravenswood Australian Women’s Art Prize
Applications close 29 June, 2017 The annual Ravenswood Australian Women’s Art Prize aims to advance art and opportunity for emerging and established female artists in Australia. The 2017 theme is ‘flourish’, with entries open in any medium in two categories: Professional Artist Prize $35,000 and Emerging Artist Prize $5,000. This is an acquisitive prize where both winners will exhibit together for one week in February 2018 at Ravenswood School for Girls, Sydney. ravenswoodartprize.com.au
2017 Archibald Prize
Artist Holly O’Meehan with her work Courtesy Fremantle Arts Centre, Western Australia
Entries close 7 July, 2017 Artists from across the country are invited to submit their entries online for the prize. This $100,000 prize is awarded annually to the best portrait, preferentially of some man or woman distinguished in art, letters, science or politics, painted by any artist resident in Australasia. artgallery.nsw.gov.au
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Federation Square CBD Art at St Francis
326 Lonsdale Street, Melbourne 3000. T (03) 9663-2495. E bwremmen@bigpond.net.au Contact: Brigitte Remmen. H Mon-Fri 9.00 to 5.00, Sun 9.00 to 3.00. June 6 to July 4 Optical Vibrations paintings by Will Dickerson.
The Art of Dr. Seuss presented by Harvey Galleries, Block Arcade
The Block Arcade, 19-18/282 Collins Street, Melbourne 3000. E drseussmelbourne@harveygalleries.com.au W www.harveygalleries.com.au H Mon-Thurs 10.00 to 6.00, Fri 10.00 to 7.00, Sat 10.00 to 6.00, Sun 10.00 to 5.00. Authorised editions from the Seuss Estate.
Australian by Design
Upstairs, Shop 20, The Block Arcade, 282 Collins Street, Melbourne 3000. T (03) 9663-9883, 0404-699-033. E sales@australianbydesign.com.au W www.australianbydesign.com.au H Open daily. Terrence John Hadler Gallery. See ad page 107.
Australian Centre for the Moving Image (ACMI)
Federation Square, Flinders Street, Melbourne 3000. T (03) 8663-2200. W www.acmi.net.au H Daily 10.00 to 5.00. To July 2 Bombay Talkies: Indian cinema from the 1920s-1940s.
Deakin University ‘Pop Up’ Gallery, Deakin Downtown
Level 12, Tower 2, Collins Square, 727 Collins Street, Melbourne Docklands 3008. T (03) 9244-5344. E artgallery@deakin.edu.au W www.deakin.edu.au/ about-deakin/administrative-divisions/advancement/ art-gallery Free admission. H Mon-Fri 9.00 to 5.00. May 29 to July 14, 2017 Artworks from The Torch. The Torch supports current and former Indigenous offenders in Victoria through its Indigenous Arts in Prisons and Community program. The program provides art, cultural strengthening and arts vocational support to Indigenous inmates and parolees who are greatly over represented in the criminal justice system. Opportunities to create new pathways through art and culture and reduce recidivism are central to the program.
Namib Mata Mata, Yorta Yorta/Muthi Muthi, Magpie Goose Hunting, 2016, acrylic on canvas, 131 x 100cm
Koorie Heritage Trust
Yarra Building, Federation Square, Melbourne 3000. T (03) 8622-2600. E info@koorieheritagetrust.com W www.koorieheritagetrust.com CEO Tom Mosby. H Daily 10.00 to 5.00. To July 30 The Blak Matriarchy – Real Blak Tingz (Gabi Briggs & Arika Waulu) respond to the 50th anniversary of the 1967 referendum by activating the galleries of the Koorie Heritage Trust through an elixir of portraiture, projection and sculpture. Curated by the Real Blak Tingz (Gabi Briggs x Arika Waulu). See ad page 16.
National Gallery of Victoria The Ian Potter Centre: NGV Australia
Federation Square, cnr Russell and Flinders streets, Melbourne 3000. T (03) 8620-2222. W www.ngv.vic.gov.au H Daily 10.00 to 5.00. To June 4 Brook Andrew: The Right to Offend is Sacred. To July 16 Top Arts 2017. To July 30 Patrick Pound: The Great Exhibition. June 2 to Oct 1 Every Brilliant Eye: Australian Art of the 1990s.
Annette Bezor, No, 1991, oil and synthetic polymer paint on galvanized iron, 126.6 x 302 x 10.2cm National Gallery of Victoria, Margaret Stewart Endowment, 1991
Melbourne 91
Nth Sydney Northern Beaches Grace Cossington Smith Gallery
Gate 7, 1666 Pacific Highway, Wahroonga 2076. T (02) 9473-7878. W www.gcsgallery.com.au facebook.com/gcsgallery Free entry. H Mon-Fri 10.00 to 5.00, Sat 9.00 to 4.00. June 2 to 28 Moment of Light – Lucy Barker, Davis Collins, Viola Dominello, Virginia Hilyard, Andrew Leslie, Ana Pollak and Sherna Teperson – exploring the notion of light, aiming to capture that moment when the light is exactly right. Free Event: GLOW Wed June 14, 5.307.30pm.
Pj Twomey, Currarong Wash #1, oil on canvas, 100 x 120cm Courtesy the artist
Harvey Galleries Mosman
Manly Art Gallery & Museum
842 Military Road, Mosman 2088. T (02) 99682153. E mosman@harveygalleries.com.au W www.harveygalleries.com.au H Tues-Sat 11.00 to 6.00, Sun 12.00 to 5.00. Select key works from important artists. To June 11 Reef by Peter Hudson. June 23 to July 2 Christopher Lees (see ad page 59).
Harvey Galleries Seaforth
515 Sydney Road, Seaforth 2092. T (02) 9907-0595, 0408-359-199. F 9907-0657. E service@harveygalleries.com.au W www.harveygalleries.com.au H Wed-Sat 11.00 to 6.00, Sun 12.00 to 5.00. Curated monthly exhibitions, see website.
Incinerator Art Space
2 Small Street, Willoughby 2068. T (02) 9777-7814. W www.willoughby.nsw.gov.au
West Esplanade Reserve, Manly 2095. T (02) 9976-1421. E artgallery@northernbeaches.nsw.gov.au W www.magam.com.au Director: Michael Hedger. Free entry. H Tues-Sun 10.00 to 5.00, closed public hols. May 26 to July 9 SharingStories Foundation & Liz Thompson. SharingStories Foundation supports communities in holding and sharing cultural knowledge and stories through dynamic Digital Storytelling Programs. This exhibition offers deep insight into relationship with Country and culture through vibrant, multi-media forms produced by the Wägilak Community of North-East Arnhem Land and links to local stories. Liz Thompson’s photographs from her ‘A Song for Country’ series, also produced with the Wägilak community, are part of the 2017 Head On Photo and Guringai Festivals.
Headland Park Artist Precinct
Read Place, Georges Heights 2nd entrance off Middle Head Road (opposite Cobittee Street), Mosman 2088. T 0409-653-222. E info@headlandparkartistprecinct.com W www.headlandparkartistprecinct.com In beautiful Headland Park: 20+ artists working and selling from their studios, three art schools, art restoration and Frenchy’s Café. Studios open to the public weekdays and some weekends. Building 4, Studio 4: Pj Twomey. My work has always been inspired by the ever changing moods of nature and what senses it evokes in us. Nature can create a foreboding emotive response that illuminates memories and feelings that are familiar, or arouse a sense of knowing. I have a fascination with the sea, its dangers and ever changing qualities of its nature. “The sea is the favourite symbol of the unconscious” – Carl Jung. Studio visits by appointment. Mobile: 0409-653-222.
Liz Thompson, Jeremy Cameron painting his brother Miko with the Gandjalala (Sugarbag Hunter) design at Weemol, NT Courtesy the artist and Manly Art Gallery & Museum
Also, Instrumental: Chuck Bradley – features photographic studies of the instruments of some of Australia’s most influential and celebrated rock musicians, along with stories that illuminate the deep connection between the players and their ‘tools of Sydney 151
Hobart Sullivans Cove Battery Point Art Mob
29 Hunter Street, Hobart 7000. T (03) 6236-9200, 0419-393-122. E euan@artmob.com.au W www.artmob.com.au Director: Euan Hills. H Daily 10.00 to 6.00. Aboriginal fine art, including Tasmanian Aboriginal artists.
CAOs Contemporary Arts Organisations
E info@caos.org.au W www.caos.org.au Contemporary Art Organisations Australia (CAOs) is a national network of 12 independent art spaces triennially funded by state and federal governments. CAOs organisations produce, present and interpret artwork created by living artists.
Colville Gallery
91a Salamanca Place, Hobart 7004. T (03) 62244088, 0419-292-626. E info@colvillegallery.com.au W www.colvillegallery.com.au H Daily 10.00 to 5.00. May 28 to June 11 Gallery 2 New Works by Julia Castiglioni-Bradshaw. June 3 to 21 June Colville Contemporary at Westend Art Space, Melbourne. June 16 to July 2 Steve Lopes. June 18 to July 2 Milan Milojevic.
Detached
Old Mercury Building (enter via Argyle Street Tunnel), 91-93 Macquarie Street, Hobart 7000. E info@detached.com.au W www.detached.com.au Hosting Australian and international contemporary art exhibitions and artist-in-residence programs.
Handmark Gallery
Unique Tasmanian Art & Design, 77 Salamanca Place, Hobart 7000. Also, 2 Russell Street, Evandale, 7212. T Hobart: (03) 6223-7895, Evandale: (03) 6391-8193. E Hobart: hobart@handmark.com.au, Evandale: evandale@handmark.com.au W www.handmark.com.au Hobart: June 2 to 26 Corinne Costello and Diane Allison paintings and jewellery. June 30 to July 17 Annual Works on Paper Exhibition. Evandale: To June 7 John Lendis paintings. June 11 to 28 William Rhodes paintings.
The Henry Jones Art Hotel
25 Hunter Street, Hobart 7000. T (03) 6210-7700. E art@thehenryjones.com W www.thehenryjones.com Showcasing leading and emerging Tasmanian artists with a changing display of original contemporary artworks.
MONA Museum of Old and New Art 655 Main Road, Berriedale, Hobart 7011. T (03) 6277-9900. E info@mona.net.au W www.mona.net.au Visit website for details. June 8 to 21 Dark Mofo.
Plimsoll Gallery Tasmanian College of the Arts University of Tasmania
Hunter Street, Hobart 7000. T (03) 6226-4300. E jane.barlow@utas.edu.au W www.utas.edu.au/plimsoll H Wed-Mon 12.00 to 5.00 during exhibitions, closed Tues and public hols. June 9 to 11 and June 15 to 18, 5-10pm panopticon – Tasmanian College of the Arts students will present a series of over 35 individual and group live installations at the Plimsoll Gallery and Centre for the Arts, Hunter Street, Hobart. Presented by Dark Mofo and Tasmanian College of the Arts.
Julia Castiglioni-Bradshaw, Bluegrey and sepia, oil on linen, 130 x 150cm Courtesy the artist and Colville Gallery
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Adelaide ACE Open
Lion Arts Centre, North Terrace (West End), Kauna Yarta 5000. T (08) 8211-7505. E admin@aceopen.art W aceopen.art Free admission. H Tues-Sat 11.00 to 4.00. South Australia’s leading organisation for contemporary visual art and artists.
Adelaide Central Gallery
7 Mulberry Road, Glenside 5065. T (08) 8299-7300. E info@acsa.sa.edu.au W www.acsa.sa.edu.au H Mon, Tues Thurs-Fri 9.00 to 5.00, Wed 9.00 to 7.00, First Sat of exhibition period 1.00 to 4.00. June 13 to July 14 Four Points – Bernadette Klavins, Michael Schaefer, Timmi Tsapaliaris and Luke Wilcox – new works by recent graduates of the School.
Anne & Gordon Samstag Museum of Art University of South Australia
55 North Terrace, Adelaide 5000. T (08) 8302-0870. E samstagmuseum@unisa.edu.au W www.unisa.edu.au/samstagmuseum Free admission, all welcome. H Tues-Fri 10.00 to 5.00, Sat 2.00 to 5.00. Late on selected Thurs for ART AFTER DARK events. Closed public hols and during exhibition changeovers. To June 9 The Ocean After Nature, and Troubled Waters. June 30 to Sept 1 The Summation of Force by Trent Parke and Narelle Autio. In association with Closer Productions, presented for the SALA Festival. Also, Michelle Nikou: a e i o u for the SALA Festival and FRAN Festival.
Art Gallery of South Australia
North Terrace, Adelaide 5000. T (08) 8207-7000. W www.artgallery.sa.gov.au Free entry. H Daily 10.00 to 5.00. Guided tours daily at 11.00 and 2.00. To July 2 Versus Rodin: bodies across space and time. Auguste Rodin was an artist who redefined the idea of the body in sculpture. Marking 100 years since his death in 1917, Rodin’s legacy is the wellspring of this major exhibition exclusive to the Art Gallery of South Australia. Through a series of duets and duels, Rodin’s work is brought into conversation with over 200 modern and contemporary works of art by Louise Bourgeois, Antony Gormley, William Kentridge, Bharti Kher, Rosemary Laing, Ugo Rondinone and Kara Walker among others. Book online, or in person at artgallery.sa.gov.au. May 27 to Aug 27, 2017 Ramsay Art Prize – this prize changes the way we view artists under 40 and value their work in the canon of contemporary art. Supported by the James & Diana Ramsay Foundation in perpetuity, the $100,000 acquisitive prize will be awarded to one of 21 finalists. Working across diverse mediums including sculpture, painting, drawing, photography, installation, sound, digital and performance art, the Prize appeals to artists and audiences alike, inviting them to think beyond constraints of theme or medium.
Michael Schaefer, Process S Zeitgebers (video still), 2017 Courtesy the artist and Adelaide Central Gallery
Installation view ‘Versus Rodin: bodies across space and time’, Art Gallery of South Australia, featuring Ugo Rondinone, nude (xxxxxxx), 2010, Antony Gormley, Small prop III, 2013, and Ben Leslie, Untitled (The House of Vulture), 2016 Photograph: Saul Steed
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