paintings : Alberto Magnelli
La Magnanerie de la Ferrage (Black), 1971
Size: 25.5 in. x 20 in. (64.77 cm x 50.8 cm)
photography : Julia Hetta
painting : Peter Doig
artist : Lamb, Joanna
High Rise 7, 2009
acrylic on canvas, 170 x 120cm
There’s something quite ominoius and unsettling about Joanna Lamb’s latest collection of paintings. Moving away from her usual works of suburban and urban exteriors, the artist opens the door to focus on interiors. The scenes are taken from the pages of real estate brochures, recreated in blocks of colour, somehow creating an all-too-familiar, yet eerily 2-dimensional interior landscape. Each scene is captured in 2 mirrored works, with changes in colour evoking different emotional responses.
“These paintings acknowledge the power of mechanical reproduction which is reinterred in everything from Lamb’s systematic mediated process to her carefully constructed compositions.”
The mirrored pairs can be interpreted by the eye as completely different scenes, but each seems devoid of life; a sad, cold, inanimate space, too perfect to be inhabited.
artist : Penny Byrne
Keep young and beautiful, if you want to be loved 2011
Vintage porcelain Three Graces figure group, Barbie doll sunglasses, blue permanent marker, epoxy putty, epoxy resin, cotton tape, PVA
50 x 30 x 20cm
Byrne meticulously constructs manipulated figurines from damaged and antiquidated ceramic objects into artworks that fiercely wield a political message. The use of fragile ceramics contradicts the political issues evident in her work. Byrne’s satirical viewpoint confronts a number of contemporary political issues that presents an ongoing inquiry into popular culture and international politics.
painting : Sean Scully
Desert Night, Wall of Light, 1999
oil on canvas, 108 x 132 inches
artist : Lindeman, Michael
Contemporary art 2011
acrylic on canvas, 59 x 168 cm
Lindeman’s paintings, sculptures and readymades respond to global consumerism, planned obsolescence and a fabricated popular culture of indulgence. Residencies at the Los Angeles Studio (2001) and the School of Visual Arts, New York (2002) focused Lindeman’s attention on the ubiquity of discarded objects and a moral order dominated by plasticised cartoon characters that promote childish notions of good and evil. His approach combines serious intent with ironic playfulness.
Hole in Your Fuckin Head