Ian Burn, Systematically altered photographs, (print), 1968 [Museum of Contemporary Art Australia (MCA), Sidney; gift of Terry Smith, 1997. © Ian Burn]

MARGOT ROBBIE at “Barbie" Celebration Party at Museum of Contemporary Art on June 30, 2023 in Sydney, Australia

Georgia Fowler attends the "Barbie" Celebration Party at Museum of Contemporary Art on June 30, 2023 in Sydney, Australia.

Today We Honor Emory Douglas

Born in 1943 in Grand Rapids, Michigan, Emory Douglas has been a resident of the Bay Area since 1951. He became the Minister of Culture for the Black Panther Party in 1967, a role he held until the party disbanded in the early 1980s. During the Party’s active years he served as the art director overseeing the design and layout of the Black Panther, the Party’s weekly newspaper. Douglas was trained as a commercial artist at City College of San Francisco and has been the subject of several solo exhibitions.

His work has also been in numerous exhibitions about the history of the Black Panther Party, including shows at the Arts & Culture Conference of the Black Panther Party in Atlanta, GA in 2008 and “The Black Panther Rank and File” at the Yerba Buena Center for the Arts, San Francisco in 2006. Most recently his work was the subject of a solo exhibition at Urbis, Manchester, UK in 2008-2009.

In 2007, artist Sam Durant curated a solo exhibition of Douglas’ work at the MOCA Pacific Design Center in Los Angeles, “Black Panther: The Revolutionary Art of Emory Douglas,” which is the inspiration for the presentation at the New Museum.

The same year, Rizzoli published a book with the same title that included essays and interviews about Douglas’s work and his relationship to the Black Panther Party. Douglas’s work has also been presented at the 2008 Biennale of Sydney, Australia; the African American Art & Cultural Complex, San Francisco; Richmond Art Center, CA; and the Station Museum of Contemporary Art, Houston. via gclass.org | CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #carter #cartermagazine #emorydouglas #blackpanther #blackpantherparty #blackhistorymonth #blackhistory #history #staywoke

Yukultji Napangati, born 1970, Wilkinkarra (Lake Mackay), Western Australia. Lives and works Kiwirrkura, Western Australia and Kintore, Northern Territory. Pintupi people.

Yukultji Napangati is a Pintupi woman, born near Wilkinkarra (Lake Mackay) in the Western Desert. She came to Kiwirrkura in 1984 when it was estimated she was 14 years old and this was claimed to be her first contact with white Australia, prior to which she had been living with 8 family members. Her paintings articulate her relationship to her country and the experience of her upbringing.

Designs associated with the Site of Yunala, a rockhole and soakage water site situated among sandhills just to the west of the Kiwirrkura community in Western Australia. During mythological times a group of ancestral women camped at this site after travelling from further west. While at Yunala the women were digging for the edible roots of the bush banana or silky pear vine Marsdenia Australis, also known as yunala. The lines in the work represent both the sandhills surrounding the site as well as the yunala tubers underground. The women later continued their travels towards the east, passing through Marrapinti, Ngaminya and Wirrulnga on their way to Wilkinkarra (Lake Mackay).

Museum of Contemporary Art, Australia.

Crown Princess Victoria and Prince Daniel holding hands as they arrive for a reception for Swedish people living in Australia at Sydney’s Contemporary Art Museum

Bouquet BY TAMARA JARE

Colorful bouquet in vase, contemporary still life in bright colors, vertical orientation.

-320 GSM fine art paper

-Archival inks

-Prints framed with a UV plexi-glass

Tamara Jare's prints on Artfully Walls are museum quality prints, that use 100% archival rag paper and archival inks, resulting in beautiful prints with rich and vivid colors. All of our prints include a minimum border of 1" for easy framing. We`re happy to announce that we now ship to USA,Canada, Australia and Ireland as well

Vulcano. Red Studio Jordi Diaz Alamà, Granollers 1986,

Jordi Díaz Alamà, nacido en Granollers en 1986, es licenciado en Bellas Artes por la Universidad de Barcelona. Se perfeccionó estudiando arte clásico en escuelas internacionales, como la Academia de Arte de Florencia, donde adquirió conocimientos sobre las técnicas empleadas por los grandes artistas del siglo XIX. También tuvo el privilegio de formarse con maestros contemporáneos del realismo, como Guillermo Muñoz Vera, Odd Nerdrum y Antonio López. Aparte de su actividad artística personal, Alamà es también un consumado profesor que ha impartido clases en la Universitat de Belles Arts de Barcelona y fundó la Barcelona Academy of Art en 2013. A través de su enseñanza, se esfuerza por promover los métodos clásicos del arte como una valiosa herramienta que ayuda en la interpretación y representación de temas de hoy en día. La obra personal de Alamà muestra un impresionante abanico de técnicas pictóricas que mezclan el realismo clásico con la estética contemporánea, libre de cualquier manierismo estilístico. Sus series #ClásicosDesollados y Red Studio, que combinan la pintura realista al óleo con toques abstractos, son exploraciones rompedoras de la intersección entre el arte clásico y el moderno. Su proyecto expositivo Si Volse a Retro, creado en colaboración con el escultor polaco Grzegorz Gwiazda, reinterpreta la Divina Comedia de Dante Alighieri y pone de relieve el compromiso del pintor con la figuración contemporánea.

Alamà también ha trabajado en numerosos encargos, como la monumental obra La Creu del Jubileu para la Església dels Dolors de Vic. También fue seleccionado para retratar a la ganadora del Premio Cervantes 2022, Cristina Peri Rossi, y recientemente ha ilustrado portadas para varias novelas y álbumes musicales. Las obras de Alamà figuran en las colecciones permanentes del MEAM y del Museo Can Framis de Barcelona, así como en colecciones privadas de Europa, Estados Unidos y Australia.

English:

Jordi Diaz Alamà, born in Granollers in 1986, is a graduate of Fine Arts from the University of Barcelona. He further improved his skills by studying classical art at international schools, including the Florence Academy of Art, where he gained insights into the techniques employed by the great artists of the 19th century. He also had the privilege of training under contemporary masters of realism, such as Guillermo Muñoz Vera, Odd Nerdrum, and Antonio López. Apart from his personal artistic pursuits, Alamà is also an accomplished teacher who has taught at the Universitat de Belles Arts de Barcelona and founded the Barcelona Academy of Art in 2013. Through his teaching, he endeavors to promote the classical methods of art as a valuable tool that aids in the interpretation and representation of modern-day themes.

Alamà’s personal artwork showcases an impressive array of pictorial techniques that blend classical realism with contemporary aesthetics, free from any stylistic mannerisms. His series #ClásicosDesollados and Red Studio, which combine realistic oil painting with abstract touches, are groundbreaking explorations of the intersection between classical and modern art. His exhibition project Si Volse a Retro, created in collaboration with the Polish sculptor Grzegorz Gwiazda, reinterprets Dante Alighieri’s Divine Comedy and highlights the painter’s commitment to contemporary figuration.

Alamà’s has also worked on numerous commissioned works, including the monumental piece La Creu del Jubileu for the Església dels Dolors de Vic. He was also selected to portray the 2022 Cervantes Prize winner, Cristina Peri Rossi, and has recently illustrated covers for several novels and musical albums.

Alamà’s works are featured in the permanent collections of the MEAM and Can Framis Museum in Barcelona, as well as private collections in Europe, the United States, and Australia.

Ian Burn, Systematically altered photographs, (print), 1968 [Museum of Contemporary Art Australia (MCA), Sidney; gift of Terry Smith, 1997. © Ian Burn]

Dita Von Teese’s Lipteese performance party as part of the Rosemount Australian Fashion Festival at the Museum of Contemporary Art in Sydney, Australia - April 30, 2007

Be Still. . . is a tea set—the pear half and quarters are actually elaborate stands for the teapot, creamer, and sugar bowl. Like many of Kathleen Royster Lamb's pieces, leaves and thorns play a prominent role in the interpretation of the design. To Lamb, the leaves signify a protective layer while the thorns symbolize pain. Lamb considers the pear shape to be a feminine form where the leaves protect the fruit's fleshy, delicate core from the thorns of the creamer and sugar bowl. By exposing the core of the fruit, she wants to create a feeling of vulnerability and drama. Lamb intentionally emphasized the length of each pear's stem in an attempt to represent the balance, or lack thereof, that we find within ourselves. (Susan Peterson, Contemporary Ceramics, 2000)

#bornonthisday Kathleen Royster Lamb enrolled in Portland State University in 1978, but withdrew after her third year because she "wanted an adventure." She relocated to Alaska, where she worked as a commercial fisherman during the summer and traveled all over the world in the winter, visiting New Zealand, Australia, India, and Nepal. Around her thirtieth birthday, Lamb decided to return to college, and this time entered the University of Utah, Salt Lake City, where she received a BFA and MFA in ceramics. She initially majored in graphic design, but soon found herself drawn to clay due to its tactile nature and the technical challenges the material presents. She began teaching ceramics at the college level after graduation, which she continues to do to this day. Lamb has exhibited her works internationally, and her pieces are found in several collections, including the Los Angeles County Museum of Art and the Arizona State Art Museum. ("Do you know: Kathleen Royster, assistant professor of art," This Week @Metro (June 15, 2005)

Kathleen Royster Lamb, Be Still. . ., 1998, stoneware, part A (half pear): 4 1⁄4 x 12 1⁄4 x 6 1⁄4 in. (10.7 x 31.1 x 15.8 cm) part B (quarter pear): 4 x 9 3⁄4 x 6 1⁄8 in. (10.1 x 24.8 x 15.5 cm) part C (quarter pear): 3 1⁄4 x 12 x 5 3⁄4 in. (8.3 x 30.5 x 14.5 cm) part D (sugar bowl): 3 3⁄4 x 6 3⁄4 x 4 in. (9.6 x 17.2 x 10.1 cm) part E (creamer): 3 3⁄4 x 6 7⁄8 x 4 5⁄8 in. (9.5 x 17.6 x 11.9 cm) part F (teapot): 7 1⁄2 x 7 3⁄8 x 4 5⁄8 in. (19.2 x 18.8 x 11.8 cm) part G (lid): 2 1⁄8 x 2 1⁄8 x 1 3⁄8 in. (5.3 x 5.3 x 3.5 cm), Smithsonian American Art Museum, Museum purchase through the Howard Kottler Endowment for Ceramic Art, 2000.3A-G

#KathleenRoysterLamb #tea #craft #teaset

'You don't have to see the whole staircase, just take the first step' 🏠 // Checked out the Do Ho Suh exhibition yesterday @mca_australia and it was really awesome! 😀 The sculptures and architectural installations are about the complex relationships between the body, memory and space. Swipe through and let me know which artwork and which photo you like best! 👈🏻 Images 1, 8, 9: Staircase-III (A 1:1 replica of the staircase that connects Do Ho Suh's apartment to his landlord's upstairs made out of fabric mesh and wires) Images 2, 3, 4: Floor (Thousands of tiny figures collectively supporting transparent glass plates which we can walk on top of) 5: Who Am We? (Custom wallpaper printed with tiny portraits of people) 6: Hub Series (Interconnecting fabric structures that replicate transitional spaces such as corridors, entry ways and foyers) 7: Rubbing/Loving Project: Seoul Home (A 1:1 replica of Do Ho Suh's parents' home in Seoul, made entirely of paper that's been traced over the actual house) @dohosuhstudio #DoHoSuh #MCA #ilovesydney (at Museum of Contemporary Art Australia) https://www.instagram.com/p/CoUTHksv6Zs/?igshid=NGJjMDIxMWI=

EXHIBITION

DRAWING / PAINTING / CERAMICS / PRINTMAKING

Museum of Contemporary Art

Sydney, Australia.

Things I connect with…

A visit to the MCA today. Various exhibitions. I connected most to the works featured in the photos above, including the work by Nicholas Smith, Decorators Touch, 2023. The disparate parts, the play of interior / exterior, dirty / clean, heavy / light, hard / soft, big / small. It had real moments to latch on to, like the little postcard sized collage works masking taped to the artwork in various places, breaking up large areas of colour, that were hand painted or sewn. The work must be about domesticity, and possibly the intimacy, and comfort experienced in this setting. The two organic ceramic works could represent figures, possibly people put on self-made pedestals, like a D.I.Y. Bunnings weekend project, and the other even an interior scene of a moment of intimacy on a mattress, this feeling heightened by the makeshift lovingly quilted walls hanging from the ceiling. To me, the work could be a metaphor for falling in love too quick, rushing into a domestic relationship without first setting up a solid foundation to build upon, rushing to build something quickly with someone without getting to know them properly, but based entirely on how great you think they are. The artist should be commended for making an inviting space filled with curious objects that only get more interesting upon closer inspection. For me, it was one of the only works across the many works viewed today, that didn’t fall apart the closer I physically got. I couldn’t get close enough. I wanted to touch it.

FROM THE MCA WEBSITE:

MCA Collection: Eight Artists.

Responding to notions of seriality, repetition and return. Featuring singular pieces by Sally Gabori, Raelene Kerinauia Lampuwatu, Emily Kame Kngwarreye, Naminapu Maymuru-White, Esme Timbery Judith Wright and Gulumbu Yunupiŋu, and Sandra Selig. They include dynamic depictions of significant cultural stories and practices, deeply personal kinship relations, matrilineal lineages as well as compelling relationships to the body.

MCA Curator, Manya Sellers

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The National 4: Australian Art Now

Featuring new commissions and recent works by an intergenerational and culturally diverse group of artists and collectives, The National 4: Australian Art Now reflects how artists are responding to some of the most urgent and critical ideas of our times, imagining new ways of seeing and being in the world at a time of unprecedented change. Reflecting the latest evolutions in contemporary art, the exhibition includes works in diverse media including painting, photography, film, video, sculpture, installation, drawing, sound and performance, encompassing a range of experimental, process-based and socially engaged practices.

Hoda Afshar (VIC) Daniel Boyd (NSW) Eugene Carchesio (QLD) Allison Chhorn (SA) Léuli Eshrāghi (NT/QLD/Canada) Ivi (QLD/Aotearoa/Tonga) Diena Georgetti (VIC) Simryn Gill (NSW/Malaysia) Jilamara Arts and Crafts Association (NT) Mia Salsjö (VIC) Kieren Seymour (VIC) Nicholas Smith (VIC/USA) Isabelle Sully (The Netherlands/VIC) Amanda Williams (NSW) Rudi Williams (VIC)

MCA Curator Jane Devery.

Bark paintings by John Mawurndjul.

John Mawurndjul (born 1951) is an Australian contemporary Indigenous artist. He uses traditional motifs to express spiritual and cultural values, and is especially known for his traditional cross-hatching style of bark painting techniques.

Mawurndjul was born in 1951 in Mumeka, a traditional camping ground for members of the Kurulk clan, on the Mann River, about 50 kilometres (31 mi) south of Maningrida. He is a member of the Kuninjku people of West Arnhem Land, Northern Territory, and grew up with only occasional contact with non-indigenous people.

He was tutored in rarrk, a traditional painting technique using fine cross-hatching and infill by his uncle Peter Marralwanga and elder brother Jimmy Njiminjuma and began producing small paintings on bark. During the 1980s he began producing larger and more complex works, and in 1988 won a Rothmans Foundation Award.

During the 1990s his work was included in major exhibitions dealing with Aboriginal Australian art, such as Dreamings in New York (1988), Crossroads in Japan (1992), Aratjara: Art of the first Australians in Germany and the UK (1993–1994), and In the heart of Arnhem Land in France (2001).

In 2000, Mawurndjul's work was amongst that of eight individual and collaborative groups of Indigenous Australian artists shown in the prestigious Nicholas Hall at the Hermitage Museum in Russia. The exhibition received a positive reception from Russian critics, one of whom wrote: "This is an exhibition of contemporary art, not in the sense that it was done recently, but in that it is cased in the mentality, technology and philosophy of radical art of the most recent times. No one, other than the Aborigines of Australia, has succeeded in exhibiting such art at the Hermitage. (retold from wiki)

Images are via newguineatribalart.

Full itinerary for the Crown Princess couple’s visit to Australia and New Zealand

Earlier this month it was announced that Victoria and Daniel would travel to Australia and New Zealand for their first joint overseas visit of 2023. The court have now confirmed the itinerary:

13th February (Canberra)

Visit to the Swedish Embassy in Canberra where they will meet with the Ambassador and Embassy staff

Welcome ceremony at the National Museum of Australia with local indigenous people and a tour of the museum

Visit to Namadgi National Park to learn about the impact of the 2020 wildfires

Dinner at the Governor General’s residence

14th February (Canberra and Sydney)

Visit to the National Arboretum to plant a tree

Climate meeting at the Australian National University followed by a seminar on energy security, with a speech from Victoria

Bilateral meetings with Australian ministers

Travel to Sydney for a reception at Government House

15th February (Sydney)

Attendance at the Sweden-Australia Sustainable Mining Summit

A guided tour of the Sydney Opera House

Visit to the botanic garden, including a viewing of a garden designed to mark World Pride

Visit to Saint Vincent’s Hospital which specialises in cancer care

Meeting with the Australian women’s national football team ahead of the 2023 World Cup

Evening reception for Swedish people in Australia at the Contemporary Art Museum

16th February (Wellington)

Visit to the National Museum Te Papa and view exhibition on nature, sustainability and traditional knowledge

Visit to Parliament for a meeting with the New Zealand-European Friendship Association

Bilateral meeting in the evening with representatives of the New Zealand government

17th February (Wellington)

Traditional Maori welcome ceremony at Wawhetu Maraeu

Meeting with young people ahead of the World Cup

Lunch at the Governor General's residence

Meeting on the electrification of the aviation industry

A guided tour of Zealandia Ecosanctuary, a protected natural area

Dinner at the residence of the Mayor of Wellington

18th February (Hamilton)

Visit to recycling plant Saveboard which recycles packaging and plastic waste to produce sustainable building materials

A guided tour of the Maori section of the Hamilton Gardens

Visit to a dairy producer to learn about sustainability efforts in the dairy sector in New Zealand and potential collaborations with Sweden

Today We Honor Emory Douglas Born in 1943 in Grand Rapids, Michigan, Emory Douglas has been a resident of the Bay Area since 1951. He became the Minister of Culture for the Black Panther Party in 1967, a role he held until the party disbanded in the early 1980s. During the Party’s active years he served as the art director overseeing the design and layout of the Black Panther, the Party’s weekly newspaper. Douglas was trained as a commercial artist at City College of San Francisco and has been the subject of several solo exhibitions. His work has also been in numerous exhibitions about the history of the Black Panther Party, including shows at the Arts & Culture Conference of the Black Panther Party in Atlanta, GA in 2008 and “The Black Panther Rank and File” at the Yerba Buena Center for the Arts, San Francisco in 2006. Most recently his work was the subject of a solo exhibition at Urbis, Manchester, UK in 2008-2009. In 2007, artist Sam Durant curated a solo exhibition of Douglas’ work at the MOCA Pacific Design Center in Los Angeles, “Black Panther: The Revolutionary Art of Emory Douglas,” which is the inspiration for the presentation at the New Museum. The same year, Rizzoli published a book with the same title that included essays and interviews about Douglas’s work and his relationship to the Black Panther Party. Douglas’s work has also been presented at the 2008 Biennale of Sydney, Australia; the African American Art & Cultural Complex, San Francisco; Richmond Art Center, CA; and the Station Museum of Contemporary Art, Houston. via gclass.org | CARTER™️ Magazine carter-mag.com #wherehistoryandhiphopmeet #historyandhiphop365 #carter #cartermagazine #emorydouglas #blackpanther #blackpantherparty #blackhistorymonth #blackhistory #history #staywoke https://www.instagram.com/p/ChZNS6sOedk/?igshid=NGJjMDIxMWI=