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Charlotte Klonk’s Spaces of Experience examines the evolution of the art gallery interior from the dense hang of the 17th century salon through to today’s bespoke architect-designed gallery spaces such as the Guggenheim Bilbao and Tate Britain. She spoke to Andrew Frost about the current state of museology, the presence of new media in spaces designed for paintings and the inescapable presence of the wall text…
Matt Logue is a Los Angeles based artist, photographer and animator. After working for the Tippett Studio – and spending three years in New Zealand on the Lord of The Rings trilogy – he returned to the US to pursue
Some months back we posted an image by Ross Racine. After the artist got in touch to ask us to let readers know that he has new work available on his web site, we asked if he’d agree to a
Sydney-based artist Sam Leach has curated Extropians, a new show at Sullivan & Strumpf Fine Art. The exhibitions brings together a group of artists whose work suggests ambiguous science fictional narratives. Leach spoke to the Art Life about the ideas
The Art Life: You must be very pleased to have won the inaugural B.E.S.T. Contemporary Art Prize For Painting? Were you nervous on the night? Tom Polo: It was a complete shock! I was not expecting it at all –
Nina Power:?One of the most important media for the Autonomia was radio. The obvious contemporary comparison is the Internet; it offers the possibility of putting out material quickly, and of constructing para- or non-academic discussions, as you did with Semiotext(e)
Nina Power: One of the most important media for the Autonomia was radio. The obvious contemporary comparison is the Internet; it offers the possibility of putting out material quickly, and of constructing para- or non-academic discussions, as you did with
“Adrian Dannatt: Pharmacy, which was shown at the Cohen Gallery in New York in 1992, feels kind of religious. As a viewer, it’s like being inside one of the vitrine pieces. Damien Hirst: I’ve always seen medicine cabinets as bodies,
CHRISTOPH GRUNENBERG In 1951 you did a number of paintings with random arrangements of bright colours. These works, in particular Colors for a Large Wall (1951), were a radical departure from your previous, mostly figurative paintings and from the collages
From Carrie Miller… Pinning down the meaning of Stuart Bailey’s recent video performance is like trying to feed an oyster into a parking meter. That’s probably to be expected in a work like Desert Mouth which depicts the artist wandering