So, I often go along to these things, and am moved to tears – then forget the pieces that captivated me. This is mainly to serve as a visual recall for my own reference. Added is the bonus that there are a few of you reading who may not have gotten to see this at all, and this is but a glimpse.

These are the pieces I had a deep visceral reaction to. The story, the emotion, the light. The inspiration.

It was the last day today – and I’ve never ever seen the Gallery so crowded.

It was worth all the queues.


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LOVE LOCKED OUT

Anna Lea Merrit (1890)

Cupid, the god of love, is shown here trying to force open the door of amausoleum. Merrit made the picture in memory of her husband, who died  within three months of their marriage. Both Merrit and Cupid face the task of conquering death, which they are bound to fail. 
 
The depiction of the male nude by a female artist was a contentious issue in the late-nineteenth-century art world. Merrit escaped censure by choosing to paint a child, rather than an adult. Children, she believed, were less conscious of nudity and had ‘no sense of shame before artists’. 

Gallery label, July 2004


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LA HOLLANDAISE

Walter Stickert (c. 1906)

Stickert wanted to show the naked female form without idealisation. This is one of several paintings showing a naked woman in poor surroundings: on an iron bed in a dimly-lit room. The painting does not reveal the woman’s identity, but the title (‘The Dutch Girl’) may refer to the nickname of a prostitute in a novel by the 19th-century French author, Honoré de Balzac. The seedy feeling of the painting is reinforced by Sickert’s handling. The brush marks form a surface so rough that, if you look at it closely, the image seems to fragment.

But then, ranking higher on google is the link (or suggested) theory that this artist was one of the most notorious serial killers..

https://www.theguardian.com/artanddesign/2001/dec/08/art.artsfeatures


Nude Girl 1909-10 by Gwen John 1876-1939

NUDE GIRL 

Gwen John (1909/10)

The human body, a traditional theme in western art, was a tricky subject for women artists at the turn of the century because of questions of morality and decorum. By using a narrow colour range and minimal setting, and suppressing biographical details, John draws attention to the naked body. At the same time, the character of the model, Fenella Lovell, comes across powerfully. So the viewer experiences this painting, disconcertingly, as a portrait of a contemporary woman with no clothes on, who seems to be uncomfortable that we are looking at her.


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SEATED NUDE WITH NECKLACE

Amedeo Modigliani (1917)

Famous for his elongated portraits and lush nudes, Italian born, Parisian-based artist Amedeo Modigliani’s interest in African masks and sculpture is evident in the treatment of his models’ faces – flat and mask-like, with almond eyes and twisted features. His graceful figurative distortions and large flat areas of color were strongly influenced by Cezanne. Modigliani also developed decorative arabesques. He died at age 35 of tuberculosis accelerated by excessive drinking, drugs, and poverty.

*This was where I actually cried sobbed.


Scylla 1938 by Ithell Colquhoun 1906-1988

                                                                                         

SCYLLA

Ithell Colquhoun (1938)

Colquhoun wrote that the title of this work refers to the female monster who, according to the ancient legend in Homer’s Odyssey, inhabited narrow straits and devoured passing sailors. Yet there is also strong sexual and feminine symbolism at play in this work. As Colquhoun explained, ‘It was suggested by what I could see of myself in a bath…it is thus a pictorial pun, or double-image’. Produced during Colquhoun’s transition from magical realism to surrealism, this painting is one of her most introspective.


The Visit
THE VISIT
Willem De Kooning (1966/7)
De Kooning’s boldly expressive style, with its thick gestural brushstrokes, meant that he was often categorised as an Abstract Expressionist. However his paintings often include recognisable figures, even if they are barely discernable. The central figure in The Visit is a woman with her legs spread out. In the right-hand corner is a shape that could be either the woman’s outstretched hand, or a face in profile looking over her. The title was suggested by one of De Kooning’s assistants, who thought that the composition resembled a medieval painting of the Annunciation.

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Fiona Banner (2007)
*Speaks for itself.

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Sarah Lucas (1997)
Following the Surrealist tradition, Lucas places familiar objects in shocking or unexpected arrangements. Many of these exploit the sexual innuendo that is a key feature of popular British comedy, from Carry On films to Viz magazine. In this photograph, the humour has a troubling edge. Displaying a plucked chicken in place of a young woman”s genitals, Lucas hints at the violation and gender stereotyping that underlies such jokes.
*All the places my mind went. This was breathtaking!!!

THE LAST THING I SAID TO YOU WAS DON’T LEAVE ME HERE IIthe-last-thing-i-said-to-you-was-dont-leave-me-here-tracey-emin

Tracey Emin (2000)

This photograph, which was published in an edition of six, is a self-portrait of the artist sitting naked on the floor in the corner of a beach hut. Her back is to the camera and she leans slightly forward. A small tattoo of a scorpion is visible on her left shoulder blade. Thick gold necklaces glint at the nape of her neck. Her pose recalls the vulnerable, dejected figure of a punished child. Paint is peeling from the walls of the empty hut, giving it a ramshackle appearance which heightens the mood of pathos.
Emin bought the beach hut in Whitstable, Kent with her friend, the artist Sarah Lucas (born 1962), in 1992. Emin used the hut as a weekend retreat, going there with her boyfriend. She has talked about the importance of owning property for the first time, saying, ‘I was completely broke and it was really brilliant, having your own property by the sea’ (quoted in Lobel). In 1999, she transported the hut from the beachfront to the gallery, titling it The Last Thing I Said to You is Don’t Leave Me Here (The Hut), 1999 (Saatchi Gallery, London).


the-birth-louise-bourgiousBIRTH

Louise Bourgeois (1994)

Much of Bourgeois’ work is autobiographical, and relates to her traumatic childhood. She idolised her mother, and loathed her overbearing, adulterous father. Bourgeois made her first prints in the 1940s and, after a gap of about forty years, returned to printmaking in 1990. Frequently child-like in style, these works portray the events and fantasies of her childhood and adolescence. The scenes include the trauma of birth, the pubescent discovery of the body, the moulding of a daughter by her mother, and the stifling of a daughter by her father.


WILD MAN

Wild Man 2005 by Ron Mueck born 1958
Ron Mueck (2005)

Wild Man is a sculpture by Australian artist Ron Mueck of a large naked man sitting on a stool. The man has a light skin tone and is represented with a high degree of realism apart from his scale, which is larger than life-size. Measuring nearly three metres in height in his seated position, the man sits on the edge of a wooden stool with his back and arms straight and his hands gripping the sides of the stool. His shoulders are raised up to his ears while his toes press into the floor with his heels elevated. The man has long brown unkempt shoulder-length hair and a dark bushy beard. His body is brushed with hair, including his chest, arms, legs and genitals. The man looks slightly downward to the right with his face contorted in a tense expression.

Wild Man is made from polyester resin, fibreglass, silicone, aluminium, wood and synthetic hair. It was made in 2005 according to the same method Mueck consistently employs to create his sculptures. The artist begins with drawings before creating small clay or plaster maquettes to refine his ideas. The maquettes are gradually scaled up to create a full-sized, detailed clay model of the work. From this clay model Mueck creates a series of mould sections in order to cast the sculpture in fibreglass. The fibreglass sculpture is then painted and hair is applied. Although the artist tends to use real hair for his smaller figures, for Wild Manacrylic fibre hair was used. The last detail added to the sculptures are the eyes. Like all Mueck’s sculptures, Wild Man is rendered with hyper-realistic detail, noticeable from the texture of the skin to the careful placement of individual hairs. Before working as an artist Mueck was a puppet and prop maker for television and film, where he developed his precise techniques.

Mueck initially planned to make a figure who appeared confined, as if backed into a corner, but decided to make Wild Man after seeing an illustration of the colossal stone sculpture Appennino 1579–80 (Villa di Pratolino, Vaglia, Italy) by the late Renaissance artist Giambologna. Appenninodepicts a crouching hirsute river god, which inspired the oversized hairy ‘wild man’ of Mueck’s sculpture. The critic Anne Cranny-Francis notes that a wild man tends to be a reclusive individual afraid of human society and that this ‘might explain why [Mueck’s] large male figure – in one sense, the very image of the powerful white male – grips his chair, body rigid with tension, and stares over the heads of viewers in a paroxysm of fear’ (Cranny-Francis 2013, p.6). The man’s nakedness adds to this sense of vulnerability, making him both physically and emotionally exposed.

Mueck’s sculptures frequently experiment with scale. Some works are smaller than actual size, such as Spooning Couple 2005 (Tate AR00033), while others, including Wild Man, are much larger than life-size. The artist has noted that he never makes life-size figures because ‘it never seemed to be interesting. We meet life-size people every day … It [the size of the sculptures] makes you take notice in a way that you wouldn’t do with something that’s just normal.’ (Quoted in Tanguy 2003, accessed 10 December 2014.)


Nude :: Art from the Tate collection :: Art Gallery NSW

Red Olive
Unlike the underground ARTspace, which focuses on long term studio spaces, and Exhibitions of a week or more, we have been working on a ‘day space’ premises. Great for pop up launches, photo shoots, small classes and launches. Come check it out peeps! It’s launching in collaboration with LoobyLou, the other business is shares space with! See you there. x

LoobyLou

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But wait, there’s more…NEW creative space!

New – Landscape Painting class – En Plein Air with Rachel Carroll

Four week Term starts – Monday 2 March 6.30-8.30pm
Explore painting & Drawing in a friendly relaxed atmosphere.
Working En Plein Air – while the nights are still long.
Each class will cover the basics: tone, colour, composition & perspective.
For the more adventurous you can also try mixed media and abstraction

All levels welcome!!!
Contact Rachel for a materials list: 0423982349
Book fast Class nearly FULL

Made with Love

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RED. OLIVE. STUDIOS.

Here’s something you might not know about me… I LOVE Christmas. Like big time, crazy, start planning gifts around about now. It’s not what you spend, but the thoughtfulness, and the personal touch of a gift that warms the cockles of my heartstrings. I literally have a notes section on my phone, and record stuff that people like, suggest or ideas I have for gifts. You are never safe from my Christmas planning… And because I’m the thrifty snake, I still make use of lay-by, which means I can drip feed the more extravagant of my gifting. I’m not sure why I’m like this, but I’d hazard a guess it’s from too much TV in my dysfunctional childhood. I craved order, tradition and just generally joy – and Christmas is the time of most joy, most giving, thoughtful gestures to others. Time to think about what, and who is important.

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Memes my way

RED. OLIVE. STUDIOS.

I’m often inspired by the words and images floating around the inter webs, and one of the most special parts about http://www.loobylou.com.au is the quotes we put on each candle.

I’ve decided to create a few of my own. Often you read the same message in different words, and it resonates at a different frequency. It may be the image that connects the words, or vice versa. Either way, this is a little project I’m trying, ‘Memes my way’ to encourage and inspire me in my own creative journey, and remind me why and what is important. Sometimes, it’s just to accept that it just is…

Hope you enjoy…

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Beginning with a bang! Classes and courses 2015

EXPRESS YOURSELF – YOUTH ART CLASSES 2015 

(with Dawn Whitten)

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Our aim for these classes is to foster creative thinking and build self-confidence, and allow children a safe space to learn, experiment and create. Your child will learn all aspects of fine art including theory, history and techniques while having lots of fun finding their own unique style.

LANDSCAPE TERM:
The first Term of 2015 will focus on landscapes. We will look at the impressionists, the romantics and contemporary artists, realistic and abstract landscapes.T he art space has a beautiful back garden and we will make full use of it. We will learn to see the beauty that is in the natural world around us. They will learn the techniques and the theory and then they will come up with their own unique  creation at the end of the term, my using the tools and concepts they have learned, but interpreting that in a way that is unique and personal to them.

THIS YEAR WE WILL WORK TOWARDS ENTERING SHOWS AND HOSTING A SPECIAL END OF YEAR EXHIBITION AT THE ART SPACE.

8 weeks for $200

(includes all materials)

TERM 1 DATES

Saturdays 7/2/15

8 week course

AGES 6 –10 YRS

10 am – 12pm

AGES 11+

 3pm – 5pm

Contact Dawn directly for queries and bookings on: 0413 619 420  or e: dawnart1970@hotmail.com

Please see attached brochure. 

     *** Dawn is also now regularly coordinating a
Life drawing club at the ARTspace. 
Contact for more information about these fun evenings. 

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ARTISTS WAY (with Lisa Beresford)

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Artists Way course commences February 3rd, 2015 and runs every Tuesday evening from 7.30 to 9.00 PM for nine consecutive weeks at Underground art space with Lisa Beresford.

All Art materials are included in the price of initial payment of $150, prior to commencement, plus weekly payments of $25 in advance, for a total cost of $ 350.00.

Participants are also required to purchase a copy of “Artists Way” book by Julia Cameron prior to commencement. Books are available through Amazon.com.

Please contact Lisa with any queries / bookings on: 0405 089 643 or e: lisaberesford@bigpond.com.au

Please see attached brochure.

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From Realism to Abstraction 

Learn to Draw & paint

with Rachel Carroll

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We will return to the Still-life one last time to master a major piece using two techniques either combined or separately. We will then move onto Landscape and work En Plein Air in the lovely outdoor garden while summer is still here. From realism to abstraction we will explore it all. 

Plus as always there is the chance for you to bring in your own ideas and I will help you complete and develop your idea into a completed artwork.

Thursday nights 6-8pm at the underground ARTspace.

Contact Rachel directly for bookings: 

0423982349 or e: rc_artist@hotmail.com

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As always, we hope this email finds you wonderful, well, and enjoying the possibility the New Year will bring. 

We have so many exciting things happening at the ARTspace this year – INCLUDING turning 5!!! The ARTspace was such a huge leap of faith, I’ve told you before that I was manifesting the old adage, “Leap and the net shall appear..” and by goodness we let alright! It’s been an incredible journey, and seen many of us through some of the darkest and brightest days. It’s as much of an honour now as it was then. The space, had really gone from strength to strength, and the friendships and memories are a’plenty! 

Do you think it’s cause for a party? I’m thinking so…more soon xxx

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artist way promo 2015

artist way promo jep2 2015

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