Tag: bright colours

Kaldor’s glory

A big gift ... part of the collection.

THE bright colours and intriguing forms start well before you enter the vast exhibition space that will show off one of Australia’s biggest gifts of art. The staircase leading down from ground level at the Art Gallery of NSW looks onto a giant white wall filled with windows that use glass in a rainbow of colours. Turn the corner at the bottom and you can see the work of such renowned contemporary artists as Richard Long, Christo, Gilbert & George and Sol LeWitt in the first of several vast spaces that will open to the public this weekend.

The art gallery’s expansion, unveiled last week, uses room that had been used for storage and gives the institution a fourfold increase in exhibition space for contemporary art. At 3300 square metres, it will be the biggest display of contemporary art in the country, the gallery says. First impressions of the new galleries devoted to the John Kaldor Family Collection are all good. This vast, clean, well-lighted space is an ideal environment for showing large works of contemporary art. It is unrecognisable from the rather shabby dungeon in which the bulk of the Art Gallery of NSW’s collection was previously stored. Not only are these rooms cleaner and brighter, they seem to have expanded.

Much has been written about the generosity of the gift, and a collection worth $35 million cannot be sneezed at. Neither should we undervalue the contribution of Morris Iemma’s state government, which spent more than $20 million building the gallery a new storage facility; or the Belgiorno-Nettis family, which gave $4 million towards the refurbishment of the space.

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Painting, in dangerous times

Joan Miro retrospective at Tate Modern (14 April - 11 September 2011) 

Joan Miro retrospective at Tate Modern (14 April to 11 September 2011)

As Spain made its transition from dictatorship to democracy after General Franco’s death in 1975, the Catalan artist Joan Miró was swiftly drafted into service for national PR. Although now well into his eighties, Miró’s works – all bright colours and playful shapes – were infused with an optimism and childlike spirit that well-suited a country reborn.

His was also a simplistic style ideal for billboards, and – among other less famous commissions – Miró was called on to design the poster for 1982’s football World Cup, showcasing the new Spain to the wider world. The image was vintage Miró: a biomorphic creature, just about recognisable as a footballer, whose misshapen body-parts appeared as blocks of dazzling colour. The artist would die a year later, and he’s come to be remembered as an abstract purveyor of innocence and fun. His career took off in the early Twenties after moving to Paris, where André Breton, the founder of Surrealism, identified his art as one “arrested in an infantile stage” – something that held true for the Catalan’s entire career.

His was a phantasmagorical world of free-floating insects and eyes, squiggles and blobs. He appeals to the inner child in us all. Yet he was also, let’s not forget, one of the masters of 20th century art. The quiet man, often lost in the shadow of his larger-than-life Catalan contemporaries, Picasso and Dalí, he was nevertheless the godfather of Abstract Expressionism. The upcoming retrospective at Tate Modern, his first major UK show in 50 years, is long overdue.

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Louise Paramor at Incinerator Arts Complex, 5 May to 23 May

Louise Paramor‘s sculptures are showing at the Incinerator Arts Complex. In the vain of Martin Kippenberger, Jessica Stockholder, Franz West and Jim Lambie. Paramor excites our senses with bright colours and exotic shapes. You peruse the space as if shopping, with all the shelves shouting dazzlingly bold brands and at you. As you pass through the isles you scrutinize the effortlessness in manufacture. What struck me about the sculptures was their content seemed to posit solely on the colour and shape arrangement. The fabrication, combined with the confident colouring, provided these little contemporary Totems with a relationship that was understated but absorbing.

She also placed a photograph of the installed piece in Court 3, evoking a sense of Kippenberger and also Starling however it seemed an extension of the sculptures. You became aware of another line of inquiry but they unlike Kippenberger’s arrangements in The Happy Ending of Franz Kafka’s Amerika, where you were ushered through a definitive path (not dissimilar to IKEA). Paramor gives us our own path to plan through the work, a shopping ‘free for all’ if you like. She does not I believe have the European eccentricity/ madness that undulates through the very personal Kippenberger piece. Also she deviates away from Lambie’s work because she doesn’t engross you in the volume of the space (I can’t think of a shopping metaphor), making you aware of every centimetre of the experience. It seems that Paramor simply wishes to evoke the content of the sculptural phenomenon.

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