Category: Australian Art

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Australian Style


1st edition of “Australian Style” – published in hardcover in 1970 this heavily-illustrated volume aims to survey what the “new” (of 1970) Australian style of modern architecture and interior design looked like, through profiles on prominent Australian decorators, designers, Innovators and architects of the time, including Harry Seidler, Robin Boyd, Gordon Andrews, Babette Hayes, Ken Woolley, and Neville Gruzman, amongst many others, alongside wonderful photographic reproductions of their interiors, buildings, furniture, textiles, and more.

“Australia is developing a style of living which is as unique as the country itself. With growing affluence and the aggressive assault of mass media on our sensibilities, we have emerged from the era of composite nothingness drawn from remembered lands across the sea, and are presently finding our own standards and our own likes and dislikes in everything from pepper grinders to fifty-storey buildings. This book opens communication with the people who are making the new Australia liveable. It shows in 236 pages of magnificent colour and black and white illustration just what is happening on the frontiers of our sophistication.  It voices the opinions of the experts who create our shelters. Architects like Robin Boyd, Harry Seidler and Neville Gruzman; designers like Gordon Andrews and Florence Broadhurst; interior designers like Marion Hall Best, Leslie Walford and Barry Little and the dozens of other innovators and creators who are daily adding to our knowledge and our comfort.  In compiling the text, April Hersey has drawn our domestic development briefly to this time and place and then pin-pointed the rooms of a house and the work of the various designers and architects. Babette Hayes and Rodney Weidland have found the perfect illustrations for everything, from the smallest device to the most extravagant decor, to show Australian homes as they look today.”

* Condition: Good (light general wear/age) – All care is taken to provide accurate condition details of used books, photos available on request.

 

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Dissect 3

The cultural framework and biopolitics of capitalist globalisation has resulted in an increased concentration on the body as a site of production—in contemporary art as in life. Just as the historical avant-gardes sought to overcome art’s autonomous and isolated relationship to society by way of inviting in the ‘praxis of life’; so do contemporary artists whose focus is bodies and subjectivities. In an ever-emergent bio-economy, it is not just the body, but subjects and their lives that are crucial to value creation.

Contributors
Philip Auslander, Dodie Bellamy, Eva Birch, Cristine Brache, Ramsay Burt, Travis Chamberlain, Amy Charlesworth, James Ferraro, Karen Finley, Andrea Fraser, Tim Gentles, Isabelle Graw, Amelia Groom, Aurelia Guo, K8 Hardy, Chris Kraus, Ruth O’Leary, Tanja Ostojic, Carol Que, Ander Rennick, Audrey Schmidt, Phebe Schmidt, Eleanor Ivory Weber, Katie West, Amelia Winata, Jarrod Zlatic

Designed by Clare Wohlnick
Edited by Audrey Schmidt, Chloe Sugden and Zoe Theodore

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Ricky Swallow
New Work


Catalogue of works published to accompany the solo exhibition “New Work”, by artist Ricky Swallow at Maccarone, New York, March 3 – April 22, 2017.

Swallow’s sculptural output transmutes utilitarian materials into permanent amalgamated forms via methodology of display and alchemical transformation. Leather, rope, cardboard, and wood rendered into bronze-casted sculpture capture Swallow’s initial studio gestures (splitting, attaching, hanging, torquing, twisting, bracing, soaking) and dictate how his materials are set in form.

Swallow’s objects are born of two locations. In the foundry his original materials, burned out during the casting process, leave one-off frozen genesis movements in bronze. The works are later patinated in silver or black both calling attention to the antecedent material while beguiling its lineage. These resultant sculptural forms eschew Modernist aesthetics as well as typographic form, but suggest a default abstraction inherent to the kinetic processes that began in Swallow’s studio.

Dimpled leather, looped rope, and precarious assemblages become formal studies of levity, grace and precision. Several works stand and coil up from plinths seemingly driven by their own inert tension and humble intimacy. Larger industrial corner works, integrating spheres, suggest a structural punctuation to the architecture. With choreographic prowess, several works conform to and dictate the corners and passages of the exhibition itself, producing an operational agency all their own, appearing as if needed for support but more possessing of a confrontational spatial relationship. “New Work” expands Swallow’s translation of an object, form, and material into an alternative preserved kinetic state, continuing an inquiry with both humor and criticality on the arbitrary hierarchies that exist within the stories of objects.

Ricky Swallow (b. 1974, Australia) has been the subject of solo and two-person exhibitions at venues worldwide, including The Huntington Art Gallery, San Marino, California, with Lesley Vance, (2011); Douglas Hyde Gallery, Dublin (2007); Kunsthalle Vienna (2007); Yokohama Museum of Art (2007); MoMA PS1, Long Island City, New York (2006); Australian Pavilion, 2005 Venice Biennale; University of California Berkeley Art Museum and Pacific Film Archive (2001); and the Museum of Contemporary Art, Sydney (2001). Group exhibitions include Made in L.A. 2014, Hammer Museum, Los Angeles; 2014 Whitney Biennial, Whitney Museum of American Art, New York; Quiz: Sur une idee de Robert Stadler, Ensemble Poirel–Nancy, Paris (2014); David Roberts Collection, 10 Ways To Look At The Past, National Gallery of Victoria, Melbourne (2013); Sculptors Drawing, Aspen Art Museum, Colorado (2010); Red Eye: Los Angeles Artists from the Rubell Family Collection, Miami (2007). Swallow lives and works in Los Angeles.

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Sydney Underground Movies
Ubu Films 1965-1970


This book is a chronicle of the Ubu Films group. Formed by Albie Thoms, David Perry, Aggy Read and John Clark in Sydney 1965, it was Australia’s first group devoted to making, exhibiting and distributing experimental films. Throughout the 1965-1970 period, Ubu produced Australia’s first lightshows, published this country’s first underground newspaper (Ubunews), and persistently advocated for the reform of censorship laws and the need for government support for the arts.
Flamboyant, controversial and resolutely independent, Ubu Films instigated an extensive network of Australia’s underground activity at aa time when Australia’s cultural and political landscape was in transition. For only a brief period, Ubu established a viable proposition that film, performance, painting and political action could coalesce into a vibrant interactive community. What follows is the story of its rise and fall.

Reproducing Ubu ephemera (posters, programmes, handbills, Ubunews articles and newspaper pages), countless newspaper and magazine articles, reviews and cartoons advocating and denouncing the many activities (film, performance, music, publishing, etc.) of Ubu, legal documents, behind the scenes photography, film-stills, biographies, film lists and intimate reflections – this amazing, visually-dense and informative chronological volume that is essential reading for anyone interested in Australia’s history of underground film, but also for independent film-making in general.

Edited by Peter Mudie.
Peter Mudie is a Canadian born filmmaker, artist and academic. Previously a member of filmmaker cooperatives in London, Toronto and Vienna, he has exhibited his work in galleries and film festivals around the world since 1980. He has written a number of monographs on avant-garde and experimental film (including Dusting the Other; Albie Thoms and David Perry: Films/Dialogues; Below the Centre/ Unterhalb des Mittelpunkts; and Michael Snow: Filmworks). He has presented a number of international touring film exhibitions, in Australia and overseas ―― currently he lives in Perth and lectures in Fine Arts at the University of Western Australia.

* Condition: Very Good (tight, clean copy) – All care is taken to provide accurate condition details of used books, photos available on reques

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