This stunning work by Zorica Purlija will be showing in Home’s ‘The Portrait’ exhibition opening on Wednesday the 28th of August.
Currently working towards her Masters of Art in Photomedia at UNSW Art & Design, Zorica has been a finalist in the National Photographic Portrait Prize three years consecutively, twice in Sydney’s HeadOn Portrait Prize, a finalist in the William and Winifred Bowness Photography Prize Melbourne, Duo Magazine Percival Photographic Portrait Prize, The Kuala Lumpur Photographic Portrait Award, Mama Art Foundation Photography Prize in Albury, Josephine Urlick Award in Queensland and the Olive Cotton Award for Portraiture.
Pictured is Complicated, 2018, Baryta fine art photo rag.
Home is pleased to be exhibiting work by Brett Whiteley in our ‘The Portrait’ exhibition opening on Wednesday the 28th of August from 6-8pm.
Brett Whiteley (1939 – 1992) is one of Australia’s most celebrated artists. He won the Archibald, Wynne and Sulman prizes several times, and his artistic career was bolstered by his celebrity status in Australia and abroad.
Whiteley started working as a commercial artist in 1956, began life-drawing classes at the Julian Ashton Art School and joined John Santry’s sketch club where he became friends with Australian landscape painter Lloyd Rees, who was a strong influence. On weekends Whiteley painted around the towns of Bathurst, Hill End and Sofala, producing works such as Sofala 1958. In 1959 he was awarded the Italian Government Travelling Art Scholarship, which was judged by Australian artist Russell Drysdale at the Art Gallery of NSW. Whiteley remained in Europe for the next decade, exhibiting his work regularly in group exhibitions in London, Paris, Amsterdam and Berlin, establishing an international reputation. He also lived in the USA, staying at New York’s Chelsea Hotel where he socialized with celebrities such as musicians Janis Joplin and Bob Dylan.
Returning to Sydney in 1969, Whiteley moved to Lavender Bay and became involved in the Yellow House artists’ collective in Kings Cross. His work became highly collectable, in particular his Matisse influenced large-scale interiors and landscapes. In 1976 he won both the Archibald Prize for portraiture and the Sulman Prize for genre painting. The following year, he was awarded the Wynne Prize for landscape. He won all three prizes in 1978 (the first artist to do so) and the Wynne a third time in 1984. In 1991 he was awarded an Order of Australia.
Brett Whiteley died in Thirroul on the New South Wales south coast in 1992. His last studio and home in Sydney’s Surry Hills is now a museum managed by the Art Gallery of New South Wales. Located at 2 Raper Street in Surry Hills, the studio is open to the public Fridays, Saturdays and Sundays, 10am-4pm.
Pictured is Self Portrait, One of a Dozen Glimpses’, 1983, etching and aquatint.
“…White supremacists aren’t patriots, they are traitors – Americans must unite against hatred and bigotry…” Senator John McCain (12th August 2017)
The words of the late US Senator John McCain relate to the events, images and ramifications of the Charlottesville riots that took place two years ago.
Nationalism is often the last refuge to those who have, or believe they have, no other options available to them. This last resort whether real or imagined can sometimes have tragic consequences. The gruesome scenes of the Charlottesville riots on August 12th 2017 and President Trump’s response ‘condoning’ the actions of white supremacists have had a significant influence on the rise of the right globally.
Far-right groups had gathered in Charlottesville to protest the decision to bring down a monument of Confederate General Robert E Lee. Protests came in the form of extreme references to Nazi ideology. Disturbing scenes of torch carrying white supremacists chanting ‘Blood and Soil’ and the death of a peaceful protestor, Heather Heyer, run down by an enraged white supremacist, were amplified by President Trump’s response.
The US President did not denounce the actions of white supremacists, instead condemning hatred, bigotry, and violence ‘on many sides’. While he later went on to state he condemned neo-Nazis and white nationalists, his statement, in which he also referred to “very fine people on both sides”, was seen as implying a moral equivalence between white supremacists and those protesting against them. The President’s words were interpreted as a sign that he was sympathetic to white supremacist ideology. It has been argued that Trump’s failure to condemn the actions of white supremacists has led to a ‘validation’ of right-wing groups.
Trumps’ legitimization follows the pattern of an increase in racism in all parts of the world. Right-wing groups have been emboldened and are more openly demonstrating their hatred and bigotry. The preconditions for potential disaster are materializing. There are unnerving signs that present-day Europe is inching towards a repeat of past events. Rising support for far-right political parties, the slide towards authoritarianism in Poland and Hungary, and the multitude of displaced Muslim refugees moving throughout Europe adopts a familiar pattern to the catastrophe that took hold in Germany the late 1930’s.
Here in Australia there is a growing unease with the shift towards, and unthinking acceptance of right-wing ideology. Advocacy of the far-right by the US President has aided this dark movement – Nationalism is being cultivated and beginning to take root.
Home is thrilled to be exhibiting work by Nick Stathopoulos in our ‘The Portrait’ show opening on Wednesday the 28th of August.
Nick Stathopoulos is the son of Greek migrants, and grew up in Western Sydney. A self-taught artist, he has become known for his hyper-realistic style, particularly his paintings of his childhood toy collection.
A graduate of Macquarie University, he has worked as an artist for over 30 years in film, television, animation, and book publishing. His work now focuses on his solo shows and private commissions.
Nick is a five-time Archibald finalist. His 2016 entry of Sudanese refugee lawyer Deng Adut was voted ‘People’s Choice’ to great critical acclaim and media attention. He has also been a two-time finalist in the Doug Moran National Portrait Prize. His portrait ‘Ugly – portrait of Robert Hoge’ won the People’s Choice Award in the 2014 Salon des Refusés, and that painting was a finalist in the 2015 BP Portrait Prize at the National Portrait Gallery in London. He was also a finalist in the 2016 Shirley Hannan Portrait Prize in Bega, NSW.
Robert Hoge is an Australian writer and friend of the artist. Hoge was born with a facial tumour and limited mobility; his autobiographical memoir Ugly traces the challenges he overcame while growing up and the many surgical procedures he endured. Stathopoulos says of the portrait: ‘I wanted to capture his intelligence, his defiance, his quiet dignity, and his suffering.’
Home is thrilled to be exhibiting work by Katrin Koenning in our ‘The Portrait’ exhibition opening on Wednesday the 28th of August.
Katrin Koenning is an artist and photographic educator from the former German rustbelt of the Ruhrgebiet, now based in Melbourne, Australia. In 2016 her first book, Astres Noirs (Chose Commune), co-authored with her friend and fellow artist Sarker Protick, received the Australian Photobook of the Year Award and was shortlisted for both Prix Nadar and the Paris Photo/Aperture First Book Award. Her work is regularly exhibited in Australian and international solo and group exhibitions, and has been featured in festivals, biennials and fairs such as Paris Photo (solo), Daegu Photo Biennial, Peckham24, Noorderlicht, Format Festival, Chobi Mela Festival, Athens Photo Festival and many others.
Koenning is the recipient of numerous accolades such as the Daylight Photo Award, the Conscientious Photo Award and the Emerging Documentary Photographer of the year. She is a former editor of the Australian PhotoJournalist Magazine, and her images have been published in The New Yorker, ASX, The New York Times, The Guardian, Der Spiegel, California Sunday Magazine and many others. Katrin regularly teaches intensive conceptual and documentary-based workshops in photographic practice and thinking, working closely with institutions and festivals such as Angkor Photo Festival (Siem Reap, Cambodia), The Lighthouse (Calcutta, India), Myanmar Deitta (Yangong, Myanmar), Photo Kathmandu (Kathmandu, Nepal), Photobook NZ, The Centre for Contemporary Photography (Melbourne, Australia), Perth Centre for Photography and the Australian Centre for Photography. She has been a photographic educator since 2008, teaching documentary storytelling at the University of Queensland and Photography Studies College Melbourne. Katrin is represented by Reading Room Melbourne and East Wing Gallery.
Home is pleased to be exhibiting work by Heath Franco in our ‘The Portrait’ exhibition opening on Wednesday the 28th of August.
Franco’s practice is primarily concerned with video, although the process of production and exhibition also incorporates photography, performance, costume, sound, digital media, sculpture and installation. He creates screen-based installation works that are structured with respect to flow and rhythm rather than plot narrative and that in turn attract and repulse through a mix of hyper aesthetic, catchy jingles and absurd, at times grotesque, performances. Repetition is a consistent feature of works produced in recent years, along with a psychotropic sensibility and the artist’s presence as sole performer within the works.
Conceptually, Franco’s practice is informed by explorations into Western popular culture, domesticity and notions of ‘home’, the chaos of existence, and contemplation on the nature, the artificial and possibilities of alternate, hidden realities.
Pictured is a video still from PORTRAIT, 2010-15, HD video. Image courtesy of the artist.
Gallery crawl today – mostly along W24th St. Impressive exhibitions including heavyweights Gagosian and Zwirner. The show that really knocked me out was staged at Yossi Milo Gallery – 245 Tenth Avenue (between 24th & 25th St).
The show titled ‘African Spirits’ – a group exhibition featuring stunning portrait photography by Pieter Hugo – including (pictured) Mimi Afrika, Wheatland Farm, Graaff Reinet, 2013, From the series Kin, Digital C-Print
Home is pleased to be exhibiting work by Sydney based artist Chris Dolman in our ‘The Portrait’ exhibition opening in late August.
“…Chris Dolman makes paintings and objects imbued with incongruent and self-deprecating humour. Drawing from personal experience, art history and popular culture, his work often hovers between existentially driven narrative and slapstick one-liner. Dolman’s areas of interest include failure doubt and anxiety, pathos,loneliness and loss, all of which he explores through his practice with an equal mix of sincerity and irony…”
Dolman was the recipient of the Wallara Travelling Scholarship (2009), awarded the 2017 Art Gallery of NSW Dyason Bequest, ArtStart and New Work from the Australia Council for the Arts and Artist Support from Arts NSW. Dolman has undertaken international residencies at the Cité Internationale des Arts, Villa Belleville Paris, and Frans Masereel Centrum, Belgium. National residencies include: Hill End, Bundanon Trust, BigCi NSW, Ceramic Design Studio, Parramatta Artists Studios, and Artspace Sydney.
Pictured is an installation shot of Chris Dolman’s 2019 ‘Falling from a Broken Ladder’ exhibition at Galerie pompom.
Chris Dolman is represented by Galerie pompom, Sydney.