Just in on the international tom-toms…
Dread & Delight: Fairytales in an Anxious World, a group exhibition curated by Emily Stanley at the Weatherspoon Art Museum. Included in the show is ‘Mother-Lode’, a 9 ft long x 6.5 ft high baroque carriage encrusted in crystallized rock sugar, alongside works by 21 artists including David Hockney, Cindy Sherman, Kiki Smith And John Baldessari. Weatherspoon Art Museum, cnr Spring Garden and Tate Streets, Greensboro, NC. Reception: 5-7pm Saturday, August 25. Exhibition runs till December 9, 2018.
Timothy Horn, Mother-Lode, 2008 Crystallized rock sugar, plywood, steel.
Install of Mother-Lode at the Weatherspoon Art Museum here.
Great company Tim – how marvellous.
STOP PRESS (as in BUT WAIT, THERE”S MORE!!):
Timothy has just posted…
“Extremely grateful to the Powerhouse Museum (MAAS) in Sydney for the recent acquisition of Gorgonia 15. A special thank you to curator Eva Czeris-Ryl for making this happen. This work is part of the exhibition Fantastical Worlds curated by Eva Czernis-Ryl at the Powerhouse, alongside works by Alexander McQueen, Kate Rohde and Timorous Beasties. Exhibition runs till January 2020″
Looks like a road trip to Sydney is in order….
Michael Scarrone from the National Art Glass Gallery at Wagga Wagga has sent the following news….
The 2018 National Emerging Art Glass Prize winner Rose-Mary Faulkner is currently on her art residency in Scotland. Rose-Mary has received an all-expenses-paid trip, two masterclasses and a conference at North Lands Creative Glass facility in Scotland with her work acquired into the National Art Glass Collection, as well as $4000 prize money. North Lands is internationally recognized as the best institute for the study of glass art in Europe.
Lucky Rose-Mary, eh! So, for the interminably curious, Rose-Marys’ journey can be followed via the NEAGP blog link and – for a broader squizz at her practice – go to her website.
Meanwhile for those of you not in the loop, here’s a little background on the winning work…
Rose-Mary Faulkner, Continuum 2017, kiln formed glass and decals
My current work presents a study of my own body from the restricted, subjective line of sight we have of ourselves, aiming to map the female figure through abstracted and layered photographic imagery in order to analyse form and surface. I investigate ways to observe and experience the body, expressed visually through soft dappled imagery, evocative of feeling and sensation. Exploring decals techniques, I transfer photography to glass with water and heat, combining several related images before further manipulating the surface. Continuum presents a mapping of my form – its shape, folds and colours – and its delicacy is enhanced with a skin like surface and sensation.
[Thanks for the headz-up, Mikey. We enjoy following these residency blog feeds. n(Ed)]
Just installed at Dior, Dubai: Timothy Horn’s Gorgonian coral…
The winner of the prestigious National Emerging Art Glass Prize 2018 was announced at the exhibition launch at the National Art Glass Gallery last Friday evening….
Rose-Mary Faulkner Continuum, kiln formed glass with decals (19x290x.3cm)
Rose picks up an all-expenses masterclass study trip to North Lands Creative Glass in Scotland (plus some spending money!) and the work itself goes into the National Glass Collection.
Other stand-outs were…
Namdoo Kim, Expendable Being, glass/core-casting
Clare Peters, Hope Upheld, multiple layered fused glass, 22ct gold text, Mallee root base
Looks like a cracker show, most definitely worth the road trip – you’ve got until the 29th of July to catch it.
For those unfamiliar with the prize, for backchat go here.
Well, of course, it’s Archibald season again and, ergo, time to have a flutter on the premier arts race of the year.
Plenty of worthy/likely contenders − as per usual – but this year we fancy a couple of entries that sit at opposite ends of the field. Couldn’t be more different, and yet both exude that genuine sense of connection…
Vincent Namatjira: Studio self-portrait, arcylic on canvas
Robert Hannaford self-portrait, oil on canvas
Pick your own winner(s) here.
Hot on the heels of Timothy Horn’s gorgeous show at the Adelaide Biennial comes news that one of the Gorgonias (Tree of Heaven) has been added to the Dior Collection (for Dubai)…
What good taste they have!
Tom Moore has swum away with this year’s Tom Malone Prize with his latest line in oddball critters, The Pyrotechnic Puffer Fish…
Classic Tom; serious technique disguised as ornate luxe punk fun. Fabulous as ever.
Backstory from abc.net.au here and from the Art Gallery of Western Australia here.
For those of you not familiar with Tom’s work (is this possible!!), take a plunge into his website www.mooreismore.com
Timothy Horn has it in spades.
His exquisite works (from the Gorgonia series) opened last night at the Art Gallery of South Australia/Adelaide Biennial: Divided Worlds – and is, as ever, breathtakingly beautiful.
From installation to the opening…
(photo credits: Saul Steed)
We can hear the delighted gasps from here! Brilliant, in every sense of the word.
[Loving the dark backdrop. n(Ed)]
Up until June 3rd.
A cut above yer average glass brick…
Pae White, Qwalala (snaps: Enrico Fiorese)
Installed in 2017 for the BiennaleArte, American artist Pae White has certainly upped the ante on the humble glass brick. Referencing the meandering flow of the Gualala River in California, it’s pretty damn luxe [though must be a bugger to clean! n(Ed)]
Still in situ at the Stanze del Vetro until Nov 2018.
…an ensemble of Timothy Horn’s glorious work is en route, as we speak…
…destined for the Art Gallery of South Australia for the 2018 Adelaide Biennial: Divided Worlds.
It all kicks off on March 3rd. Tim’s show runs from March 3rd to June 3rd.
Meanwhile, for a nice little background muse (in the glossy New England Home mag), go here.
And for a browse through his website, go here.