Infrastructures of the tragicomic

Published on Running Dog online arts platform 12 April, 2019 http://rundog.art/falling-from-a-broken-ladder-chris-dolman/ Review of Chris Dolman’s Exhibition Falling from a Broken Ladder                                       20 March – 14 April, Galerie pompom ‘Judge me, please don’t judge me’

Robert Rauschenberg’s ‘Erased de Kooning Drawing’: Iconoclastic Gestures and the resignification of Artworks

Notes for the National Art School Drawing Symposium (download pdf with images) Robert Rauschenberg’s ‘Erased de Kooning Drawing’: Iconoclastic Gestures and the resignification of Artworks For this symposium we were asked to talk about a favourite drawing. And since drawing can be a subject, an object, an action, and a

Bad Mannerism

Words about the theme and artists in Bad Mannerism, Galerie pompom, 2-27 May, 2018

Painting and the Australian Gothic

Image: Peta Dzubiel, Lost Daguerreotype (2017) oil on aluminium, 23 x 20.5cm Remote Peta Dzubiel | Jane Guthleben   Exhibition 19 July-6 August Opening Saturday 22 July 2-4pm Incinerator Art Space 2 Small St, Willoughby NSW   Painting and the Australian Gothic The Australian Gothic has been described as an

FEMME

Catalogue essay for the exhibition, Mes Prédatrices by Marie Peter-Toltz  Slag Contemporary, Brooklyn, New York, 28 April – 28 May 2017   Marie Peter-Toltz, Melody Nocturne (2017) oil on canvas, 80 x 30 inches Marie Peter-Toltz’s new paintings are unashamedly fervent in their pursuit of the ambiguities inherent in female archetypes. I

Quiet Violence

Image: Stella Chen, Mossko (2017), Sphagnum moss, glue, gold leaf, 190cm x 170cm   Image: Stacks Projects,Installation view of exhibition by Stella Chen ‘Living with the Past’,  including artwork (at back)  Mossko (2017), Sphagnum moss, glue, gold leaf, 190cm x 170cm On the work of Stella Chen, in response to her exhibition:

The body in pieces/ presence (Part 1)

Nicola Samorì, Shrine, 2012, oil on linen, 200 x 300 cm Linda Nochlin’s book, The Body in Pieces: The Fragment as a metaphor for Modernity (1994) traced developments as they have been expressed in representations of the human figure fragmented, mutilated and fetishised, by looking at work produced by artists

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