Cosmic connectivity…

You know when you have one of those moments when you go…omigod, how cool would that be!!!?  We had precisely that little frisson of excitement when we came across a work by Lucas Samaras at the National Gallery of Australia (while researching something entirely unconnected…)

 

                             

                             Lucas Samaras, Reconstruction no. 74, 1979

 

…because how fabulously it’d bounce off Klausie’s latest magnum opus…

 

                            

                            Klaus Moje, The Portland Panels: Choreographed Geometry, 2007

 

We’re adding it to Megsie’s (long and growing) list of curatorial wanna-dooz. There’s a ripper two man show in there, that’s for sure – pure curatorial gold, we tells ya… 

 

Ode to Lake George…

Before the Sketching-DAC:CAC program set in we managed to catch the tail end of Baseline: Remnant Grasslands of Weereewa/Lake George (featuring the work of Beth Hatton and Christine James) and weaving in and out of time (Caroline Huf).

Omigod, what a gorgeous exhibition!!

 

Christine Jame’s work above, and Beth Hatton’s below

  

                   

 

Beth Hatton’s woven pieces, in particular, were just incredible – and so evocative of the post-colonial ecology of the topographically mysterious Lake George. Apparently the field trip (which headlined the public program component of the exhibition) was really something – one of those ‘stand-out heppenings’ you forever kick yourself for not attending. Bummer.

And Caroline Huff’s work in Gallery 2 was wunderbar too – though, of course, on an entirely different tack altogether…

    

 

Treat yourself to more visuals here.

Thumb twiddling…

 

Ah, the faffing around one gets up to while putting off all those sensible things that are far more useful/important…bugger it we thought, and gladly followed Zoe down the Manga trail.

 

                               

Mind you, we think that the South Park equivalent was closer to the mark…

 

                           

Cold war stereotyping takes a dive…

 

We loved this little tidbit from artdaily.org. We’ve all been so duped by the culturally bovine/cold-war stereotyping of the Ruskies that it’s almost rather shameful. We particularly liked this little gem…

The structures represent a significant addition to the history of 20th century design. The Soviet government commissioned these bold and dramatic buildings, which include offices, schools and apartment buildings. U.S. agents monitoring the USSR once mistook a hotel for a missile silo.

The Gang indulges in some Hensonist popularism of its own…

 

WARNING!!  Ethical parental permissions were neither sought nor given for the following ‘artistic’ activity…

 

    

pre-party-bathroom-action.jpg

 

These snaps of Ginger, the Gang’s most significant Work-In-Progress (Sammy Jo now being pretty much resolved), and her mate Kobi getting frocked up for a kinky-themed party out at sleepy Murrumbatemen, were taken earlier in the year – prior to the Henson/Roslyn Oxley9 frazzle. Which has no aesthetic connection whatsoever apart from the obvious lack of shadowy, insinuating undertone…

Meanwhile, on a more serious note, the Henson controversy refuses to subside – the outré media attention, of course, has thrown the market a bone and speculation has subsequently taken on a life of its own. ArtWranglers (always on the pulse) has been keeping us abreast of ongoing, pertinent developments

…and having looked at the image currently in question (Menzies Art Brands lot#214) we have to concur that this is starting to get a little harder to defend.

Wow – precious stones within the glass – now this’ll be interesting…

 

 

                     

 

Thanks to La Gropp for alerting us to this intriguing little feature in yesterday’s ABC rural news.

Can’t wait to see the result – it’d have to be the ultimate lay down misere for the Bombay Sapphire Martini Glass comp/extravaganza (in which Crisp was first featured for a big promo in New York, back in 2000.)

Procter Fellowship exhibition at Sabbia…

 

The Gang thought long and hard about whether or not we’d get the skates back on to belt up to Sydney yet again – this time for the launch of the Procter Fellowship exhibition, In Essence: The Legacy of Stephen Procter, at Sabbia this coming Friday night – but in the end decided ag’in it.

It all looks a tad visually frenetic (less might have been more perhaps) and a couple of the artists selected triggered a veritable mexican wave of incredulous eyebrow raising (their specious claims that Stephen was an influence on their work and/or philosophic practice are tenuous AT BEST.) Anyhoo, enough said about that…[Megsie started to climb on to her soap-box for a rant, but we talked her down. n(Ed)]

 

 

On the positive side the exhibition promotes the continuing awareness of the all-important Procter Fellowship, set up after Stephen’s demise to provide an annual travelling/mentoring scholarship, and includes a number of the recipients (…further down the track it’d be great to see this developed into a regular happening, featuring perhaps just the work of Stephen and the ongoing progression of Fellows.)

The added inclusion of work by his old friends and early comrades-in-glass-arms (Ray Flavell and Joel Philip Myers), themselves so instrumental in Stephen’s own development, is a really nice touch – and a practical reminder of the efficasy of encouragement, support and engagement during the critical stages of an emerging artist’s evolving career.  And, of course, there’d be no show without Punch – Jane Bruce, who worked with Stephen during most of the period of his tenure as Head of the ANU School of Art Glass Workshop (and was instrumental in assisting Christine Procter in the foundation of the Fellowship) not only has work in the exhibition but is rumoured to be making the pilgrimage DownUnder in person.

So it promises to be a big, glossy affair with plenty of flesh pressing and, one hopes, lots of lovely lucre raised for the Fellowship coffers. For additional info go to the Sabbia website (though at this juncture we notice they’ve not yet uploaded the blurb – keep watch on that space…)

When the cross-over thing gets murky…

 

Look, lordy knows we’re all for trans-medium shake ups in the arts (we stoutly encourage them in fact), but standards are standards folks and if you want to use glass then at least respect it sufficiently to do it well.

 

 

Nell’s latest offering, A white bird flies in the mist, a black bird flies in the night, a woman walks, wild and free, she is not afraid to die, 2008 [installation Gertrude Contemporary Art Spaces, Melbourne] courtesy of Roslyn Oxley9 Gallery, is the perfect example of the problem. No glassie of any standing would be allowed to get away with publicly exhibiting such badly crafted/finished work, so why the hell should anybody else? 

As she gives no accreditation – mind you, no professional gaffer would put their hand up for this lot – are we to presume that Nell herself made them? (…this might, at least, explain the obvious lack of mastery…)

 

           

 

And yes, we get that it’s a pop/Pacman-esque critter (see a previous article in Artlink) but that doesn’t excuse the drack workmanship.

Our advice to Nell, with all due respect, is (if you want to be so literal) to at least go out and hire yourself a competent blower and/or team… 

 

                         

 

    …just give ’em your (very cute) drawing and bob’ll-be-your-uncle, no sweat.