EXPLOREMY LIBRARY
Art & Architecture
Artist Profile

Artist Profile Issue 39

Artist Profile is a leading quarterly journal taking its readers into the studios and minds of contemporary artists across Australasia and beyond. Industry professionals engage leading practitioners and emerging talent in conversations about their art, in their own words, while our exclusive photo shoots provide intimate access into artists’ personal and working lives. Readers gain knowledge of artists’ methods, preview works in progress and discover the life experiences that ignite artistic imaginations.

Country:
Australia
Language:
English
Publisher:
Artist Profile Pty Ltd
Frequency:
Quarterly
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4 Issues

in this issue

2 min.
editor's note

THIS ISSUE OF ARTIST PROFILE focuses on painters who make prints. We want to understand a painter’s relationship to the rather mystical powers of printmaking and the social and cultural engagement implicit in printmaking, which have left their mark on the work of many painters. Not all painters make prints, so these important, yet often unpredictable encounters are closely examined in this issue, especially in the essays by Jeremy Eccles, Michael Kempson and Lesley Conran. Most of the artists in this issue are best known as painters but, both in painting and printing, they speak for the handmade and for a contemporary art that is inclusive. In this way, for them, traditions, art histories and memory matter, and both painting and printmaking are enriched by working back and forward between the…

5 min.
cutting plates,cutting edge: a call foramuseum of workson paper

IN MARCH THIS YEAR MANHATTAN’S PIER 36 HOSTED the third iteration of the Art on Paper art fair. It has become one of New York’s most anticipated art events, attracting galleries and viewers from around the globe. At the same time the city’s New Museum hosted a massive survey of the works of Raymond Pettibon, whose oeuvre is dominated by a proliferation of drawings and lithographs. Lithographs, etchings and silkscreens have a remarkable history in the arts. It is believed that the first silkscreens hark back to China’s Song Dynasty (960-1279AD). Andy Warhol essentially built his empire on the back of a squeegee within the fortress of The Factory. All artists – even the most conceptually based – at one point or another, have executed works on paper, from Leonardo da…

5 min.
shannon mcculloch

USING HISTORICALLY TRADITIONAL TECHNIQUES TO look at our contemporary digital world, Shannon McCulloch has an eye on the relevance of his mediums. Working primarily in oil on board paintings, as well as etchings and drawings, McCulloch could be described as a contemporary portrait artist, though first and foremost he is an artist of his generation. The 21-year-old finds his practice a meditative sojourn from a world mediated to us through a surge of images on our screens. In a daylight-flooded studio at Fremantle Arts Centre, where he is in residence until June 2017, McCulloch’s new body of works exemplifies an amalgamation of the traditional and contemporary. Last year was a breakout year for the artist. His debut solo exhibition, Old Mates, New Phones explored “debaucheries prevalent in adolescent male social groups”…

9 min.
pedro wonaeamirri

THE MUSEUM OF CONTEMPORARY ART SHOW Being Tiwi, currently touring various regional centres, has already been to Moree in New South Wales, Tandanya in South Australia, and Mackay in Queensland. The national tour will be visiting other centres in the rest of 2017: Albury and Port Macquarie in New South Wales, and the Lawrence Wilson Art Gallery at the University of Western Australia. I wonder how it would be received on the islands themselves? Being Tiwi. A good question. And where does art or art production figure in that self-definition? There is little point asserting uniqueness unless the content of that uniqueness is specified. And not just what it is but what the implications are. In the case of the Tiwi one manifestation is that they have a degree of political…

9 min.
elisabeth cummings

With some paintings I feel good about them. Some. Some. Not all. Of course you are always wanting more. One’s greedy. LANDSCAPE. IT IS A WORD THAT SEEMS A LITTLE BIT like a solid container. A sturdy vessel for the spectacle, the scene, the entity of a view splayed before us. Still life. It sounds like something animate that has been jarred for the winter or a table where dust never falls. Yet the best examples of both disciplines serve to unravel rather than encase. Established genres need to be broken apart in order to come alive, knitting together and ripping open or patching in and then scraping away, exposing the problem of making art, touch by touch. Elisabeth Cummings’ work was born within scenes of the interior, has traversed the landscape…

5 min.
peter powditch

It feels like the right time; it’s good seeing the links, the crossovers, the clear sense of intent and the distinct themes. PETER POWDITCH’S DEALER, CAMPBELL ROBERTSONSwann at Defiance Gallery, replies with a vehement “No” when asked whether he could see rhyme or reason in describing the artist as falling into an “Australian Pop” context. “That was a tag put upon him at some point, as it was Martin Sharp and Brett Whiteley.” Standing in the midst of Powditch’s major survey at the S.H. Ervin Gallery, Coast: Peter Powditch – A Retrospective, which closed on May 21, he adds, “Peter was certainly loud and hard-edge and out there, but he wasn’t interested in Pop as such. They’re much more ‘now’ things. Standing here amongst the works you’d swear that he’s in his…