News

Joseph Kosuth bathes gallery in signature neon for first Australian survey

From The Art Newspaper, 16 October 2017
by Tim Stone

Exhibition brings high priest of conceptualism to Melbourne International Festival   The first survey in Australia of work by the US artist Joseph Kosuth opened this month at the Anna Schwartz Gallery in Melbourne. The show includes 19 works selected from across Kosuth’s career. Joseph Kosuth was a mere 24 years old when he penned […]

Joseph Kosuth: ‘The artists at the top of the billionaires’ lists are quite derivative’

From The Guardian, 14 October 2017
by Stephanie Convery

Joseph Kosuth was 24 in 1969 when he wrote his seminal essay, Art After Philosophy. It’s a staple of art theory classes everywhere these days, but when I ask him about it, he immediately reminds me how young he was back then. “I threw a lot of things in and maybe not quite as thoughtfully as I […]

Warwick Thornton’s Sweet Country: a tragic investigation of race on Australia’s frontier

From The Conversation, 10 October 2017
by Lucio Crispino

The opening of Warwick Thornton’s Sweet Country (2017) is as prosaic as it is poetic. A battle-scarred billy on a roaring campfire has come to the boil. Into its churning depths an unidentified hand drops a palmful of tea, followed by two more of sugar. Just enough to sweeten its otherwise pungent bitterness. Off-screen, from what feels […]

Joseph Kosuth’s Conceptual Art Exhibition A Short History of My Thought

From ABC Books and Arts, 10 October 2017
by Fiona Gruber

American artist Joseph Kosuth is one of the pioneers of conceptual art, bursting on to the New York art scene in the mid 1960s at the age of 20, with intellectually challenging works that spawned a generation of acolytes and imitators. He works with language, mainly in neon, and mines the worlds of philosophy, literature, […]

Joseph Kosuth: A Short History of My Thought

From Art Guide Australia, 6 October 2017
by Tiarney Miekus

American artist Joseph Kosuth once said of his work, “All I make are models. The actual works of art are ideas.” As a leading figure in conceptual art since the 1960s, Kosuth’s bold neon statements, self-referential signs and minimalist installations are fuelled by his thoughts and philosophical underpinnings. Anna Schwartz is presenting a range of Kosuth’s text […]

JOSEPH KOSUTH: Quest for Meaning

From The Australian, 30 September 2017
by Miriam Cosic

Despite all indications to the contrary, Joseph Kosuth doesn’t believe anti-intellectualism is on the rise. By way of example, he recalls his childhood in small-town postwar Ohio, when his sports-mad parents were repeatedly dragged up to the school because he showed no interest in maths or science. They were the path to an industrial, technology-­fuelled […]

MARCO FUSINATO: Mass Black Implosion

From Art Almanac September 2017
by Julian Day

Looking at a ‘Mass Black Implosion’ drawing is like watching the Millennium Falcon leap into hyperspace – your sense of time and space condenses from the macro into the micro. Artist and musician Marco Fusinato has been drawing the series for ten years and is exhibiting the latest instalment at Anna Schwartz Gallery in Melbourne. […]

Angelica Mesiti

From National Gallery of Australia

9 September 2017 – March 2018 Contemporary art galleries | Lower Ground Free entry Angelica Mesiti has long been fascinated by performance: as a mode of storytelling and a means to express social ideas in physical form. In recent years she has been making refined videos that reveal how culture is manifested through non-linguistic forms […]

Susan Cohn: Artists own up to being boring in a brave show of self-deprecation

From The Saturday Age, 18 August 2017
by Ray Edgar. Photography: Joe Armao.

Jeweller Susan Cohn decided to have some fun with her critics. Susan Cohn leans in close, imitating the conspiratorial chatter among critics of her work. “That Susan Cohn makes donuts,” she says in an emphatic stage whisper. “It’s a bit boring.” The successful jewellery designer hears the epithet all the time. Not just directed at […]

Jenny Watson’s ‘The Fabric of Fantasy’

From The Saturday Paper, Edition No. 167, July 29 – August 4, 2017
by Patrick Hartigan

At her best, Jenny Watson is less a painter of things than a generator of energy. Her works aren’t about their content so much as the field of time through which that content briefly rides. This is particularly the case when her compositions lose their centrality, when the shapes, smears and drawn reveries drift to […]