Scott Redford Tinman 2006

Bricks Are Heavy surveys Queensland artist Scott Redford’s Queer Project, with works from 1993 until now. Redford rereads and rewrites familiar modernist art forms, excavating or imputing Queerness. The show includes the iconic Not The Formula For Population Standard Deviation; a minimalist wall painting of white paint laced with HIV and other medications; an installation of life-size photos of sublimely glistening metal urinals recalling Rothko and Newman; various devotions to Kurt, River and Keanu; plus recent videos Clown Fuck Punk and Inhaling Kurt. The exhibition title implies the weightiness of identity politics.

Bricks Are Heavy - Scott Redford
2 December 2006—3 February 2007
Institute of Modern Art, Brisbane

Opening Saturday 2 December 2006 to 3 February 2007 – 4 to 7pm
Scott Redford will be talking at IMA Saturday 2 December at 3pm

Scott Redford  Smoking Youth 2006 (video still)

Three Guys, Main Beach, Gold Coast 1997/2005 by Scott Redford

Scott Redford, with five other major Australian contemporary artists, form the new exhibition, Epic, at Lismore Regional Art Gallery, opening this week.

The exhibition curated by Jason Smith, Curator of Contemporary Art at the National Gallery of Victoria, brings together those artists who “examine the enduring attraction of the ocean in Australian culture, and the lifestyles and creative visions to which it gives rise”.

Smith has included several photographic works of Redford’s as well as his sculptures from the Proposal for a Gold Coast Public Sculpture series.

Epic includes works by Scott Redford, Tracey Moffat, Patricia Piccinini, Tim Hixson, Roger Scott and Fiona Lowry.

Epic
Lismore Regional Gallery
24 November 2006 — 13 January 2007

Upload is Sara Hughes current exhibition at Criterion Gallery. Continuing her successive sell out exhibitions in New Zealand, Upload is proving to be well received by an Australian audience.

The main work of the exhibition, Double Happy (pictured above) being purchased by a Hobart collector and most others finding homes around the country.

The inspiration for this body of work comes from William Gibson’s novel Pattern Recognition, in which reality seems to have caught up with science fiction. The heroine of the book Cayce Pollard lives in a world dominated by data transmission, her life connected to the world via technology and digital information. Hughes new paintings appear to pause or capture a split second of the endless data stream that occurs in cyberspace, resembling explosions or implosions of matter.

“Sara Hughes is an artist compelled to inhabit the capricious edges of what painting might be. Her obsessions, spanning seven years and counting, splinter out from hybrid ideas around arcane information technologies, nasty computer viruses, codings, weaving patterns, networks, assorted digital communication systems and the chimerical tricks of optical perception. Remnants and traces from recent technological, communication and filmic histories are gathered up by Hughes in an effort to infiltrate the present.” Rhana Devenport, The Big Stick Up of Sara Hughes, Artlink, Vol26, no 3, 2006.

Upload continues until 16 December 2006.

University of Tasmania PhD candidate, Pippa Dickson’s elegant benches made their way into the gallery for a quick photo session and viewing recently.

Each bench is made of 7 layer structural ply. They are 245 x 43 x 70 cm in size and are suitable for indoors. They work beautifully as single items or as multiples and can be arranged in many configurations (shown above in parallel formation).

Priced to sell at AU$2,900 each, these stunning bench seats will look great in any environment.

For sales enquiries, contact Criterion on +61 3 6231 3151 or email Kevin on kevin[at]criteriongallery[dot]com[dot]au

As with all our artworks, we can arrange items to be sent safely anywhere in the world.

One Horse Town Drunk 2006

Anthony Lister has made an impressive debut in the UK with a sell out show at Spectrum London. The Brisbane born artist, represented by Criterion in Australia, has looked forward to taking his work to the UK and being part of the dynamic contemporary art scene.

Here’s a short article of Lister’s UK exhibition artdaily.com

However, Lister is not stopping there. With plans to spend 12 months in New York, he’s back to the studio working on his next exhibition for the super-charged art scene in Chelsea. This will be his second show at Lyons Wier Ortt Contemporary Art who have a commitment to developing the careers of younger artists. As Lister effortlessly manoeuvres into the New York market it and this exhibition promises to be a solid launch pad for a New York market. The exhibition opens in January 2007.

Exploiting the trite nature of the everyday while exposing its place in the hairy underbelly of society, Lister’s work often illustrates the marginal aspects of life we’d rather not linger on — people down on their luck, convicted criminals, the drudgery of the daily grind. References to cartoons and comics filter through Lister’s imagery to inject a quirky twist of humour and toy with our sense of certainty. In these loosely constructed narratives, Lister lifts the rusty lid on life to expose its fantastical grit.