Donna Malone is having a studio sale at 3 Alderson Street, Newmarket. Here are two small pieces I now have of hers. Beautiful works.
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I was very fortunate to have met Andrew Arnaoutopoulos who gave me some fantastic feedback on my work and development. I am so grateful, from such an accomplished artist and a genuinely nice guy. His work is beautiful, thought provoking and honest, being a mix of his Greek heritage and his graphic commercial art background applied in his uniquely industrial style. I hope that he does not mind my summary of his work! There are some books of his work in the QCA library and click on his name to see a few examples of his work, represented by Milani Art Gallery at Wooloongabba.
Jude Roberts does beautiful work see the below link to see part of her process
http://www.abc.net.au/news/2014-10-02/drawing-the-drought-qld-artist-documents-dry-creek-beds/5784700 Thanks John Doyle for passing on this link of William Kentridge. A Natural History of the Studio.
Kentridge outlines the importance of physical movement around the studio and the importance of the physical making and handling of the medium in an artwork that generates ideas and thought processes. Actions that may seem ridiculous in the process is what brings about the basis of many works - a result of human being in environment.
Photography artist I met at the ICA. Have a look at his work, quite beautiful. P.T. Sullivan.
This was brilliant and then some. Conversation between Kentridge, Peter Galison and Sebastian Smee. Galison is a Pellegrino university professor in history of science and physics at Harvard University, who collaborated with Kentridge, Philip Miller and Catherine Meyburgh (and many others....including Anne Dudley, composer) in producing the installation The Refusal of Time. Galison's book Empires of time, would shed more light on the artwork and the process of how aspects of the piece came about. Kentridge described working this piece and working in general as 'starting with the literal and then see what it (the work) suggests' and a 'balance between knowing what you are doing and stupidity'.
The conversation was hosted by Sebastian Smee (Australian), himself a Pulitzer Prize winning art critic, who has worked for numerous Australian papers and international papers including the Boston Globe. Also has a few book titles I am certain to look up to read. Hope I got most this information right and I could not have expected more, I feel lucky! One day workshop at the MFA, Boston with Julie Miller, Drawing from observation to abstraction. Workshop consisted of two sessions beginning with looking at some of American early works of modernism for inspiration. We then went to American folk art wing of the gallery and began making marks across two pages, knowing that after lunch we were filling in the spaces from gallery holding art from Americans with traditional cultural backgrounds. Some of the inspiration from the third floor. I worked from these animals initially thought to be made by Italian born Salvatore Cernigliaro about 1880 for the Gustav A. Dentzel Carousel Company of Philadelphia. My work, graphite and coloured pencil on pastel paper.
WILLIAM KENTRIDGE NICK CAVE Sound suits, 2012-13. Mixed media. These intersect fine art, craft and performance - can be worn as a "second skin". AMBREEN BUTT, born in Pakistan and lives in Boston
Went to the Museum of Fine Arts in Boston today and it cannot be all taken in on one day. There was so much there. So many artists I like and then more I had not heard of before. These are some of my favourite.
This is such a small amount on offer here at the gallery.
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