A shifting of the senses

From The Age, 5 October
by Andrew Stephens

When Mike Parr was buried in a steel box underneath a busy Hobart street for three days in June, he had already been on another, related journey into earthy darkness. An inveterate explorer, he’s accustomed to feeling his way forward, darkly – and the results can seriously, wonderfully niggle at viewers. Parr’s long history as […]

Common thread: Chiharu Shiota’s installation art examines life’s big questions. As such, she’s not expecting any answers soon.

From The Australian
by Miriam Cosic

Calling artists “international” in our globalised art world has become a marketing cliche, but Chiharu Shiota has earned the adjective. Born in Osaka, she had the “aha!” moment of her artistic development in Canberra (of all ­places), and lives in Berlin with her Korean ­husband and their child. Shiota is in the middle of a […]

Buried alive: Performance artist Mike Parr begins 72-hour entombment

From The Age, 15 June 2018
by Melanie Kembrey

For a man about to be buried alive, Mike Parr made little fuss. To the cheers and camera flashes of a large crowd, the 72-year-old swiftly climbed down the ladder into the steel container where he will be interred for three days, without food, beneath one of Tasmania’s busiest roads. Mike Parr will spend 72 […]

Australia Artist Is Buried Alive to Symbolize Historic Cover-Up

From The New York Times, 15 June 2018
by Clarissa Sebag-Montefiore

HOBART, Australia — The Australian performance artist Mike Parr walked through a cheering crowd on Thursday, climbed down a ladder and disappeared into a hole cut into the street. As he settled into a 25-square-foot steel box, workers sealed it with three inches of steaming-hot asphalt. Within hours the road was reopened to traffic. Mr. […]

Buried alive, under a road

From The Australian, 26 May 2018
by Tim Douglas

When artist Kazimir Malevich died in 1935, his cremated remains­ were placed in a box and buried beneath the ­symbol for which he was best known: a black square. The Russian painter’s radical eponymous work — made in 1915 to ­represent the so-called zero point of art and heralding the dawn of modernism — had […]

Jan Nelson: Black River Running

From Delicious Line, 25 May 2018
by Ranger Thomas

Jan Nelson’s ten paintings of life-size figures hang sparsely in the gallery. Stripes of primary color underline them, recalling a paint job at a kindergarten but with the geometry of a Noland. The images have flat backgrounds of lollipop rainbows. The little girls depicted in each are garishly overdressed, too many headphones and gadgets, hats […]

High Street (After Ruscha) ruminates on memory, community and culture

From The Conversation, 23 May 2018
by David Nichols

  Daniel Crooks’ High Street (After Ruscha) is easily described yet by no means simple. A 17-minute video, it pans along the preposterously unimaginatively named – and in many respects generic to type – High Street, Preston in Melbourne’s northern suburbs. The plane of the street is, however, broken frequently by interposed, faster, vehicle traffic […]

‘Hard Feelings’ at the Honeymoon Suite

From The Memo Review
by Anna Parlane

When The Honeymoon Suite opened in 2016, it was with Rose Coloured Glass, an exhibition of work by four artist couples that flirtatiously invited viewers to guess who was dating whom. Rose Coloured Glass wondered: can romance blossom from a shared passion for abstraction? Or vice versa? The Honeymoon Suite was established as a platform to bring emerging and […]

Candice Breitz: The Medium is the Message

From Vault Magazine, May/June 2018
by Anna Dunnill

  For the acclaimed South African artist Candice Breitz, truth lives in the places where politics and pop culture intersect. – Feature   Candice Breitz is sending ripples of discomfort through the art world. Partly, this is the subject matter of her artwork in the National Gallery of Victoria’s inaugural NGV Triennial, a major commission […]

Stieg with It

From Art Guide Australia, 11 May 2018
by Andrew Stephens

  As he worked with curators to set the parameters for his new survey exhibition Polyphonic, Stieg Persson was not interested in mounting a straightforward linear chronology. Taking out almost all of the space at the University of Melbourne’s sizeable Ian Potter Museum of Art, Persson’s show covers much territory and is broken into distinct […]