Tuesday, July 30, 2013

Space: Around the galleries

Emily Floyd?Study for?Abstract Labour?2013.

Emily Floyd, Study for Abstract Labour, 2013.

Art net untangled

Everything you wanted to know about internet art but were too bewildered to ask: New York curator Lauren Cornell is here to help. Tonight, Cornell presents the fourth Gertrude Contemporary Discipline lecture at the Fitzroy gallery, which deals with her work with the organisation Rhizome and the 2015 New Museum Triennial she is curating with digital-art megastar Ryan Trecartin. On Sunday, Discipline magazine launches its third issue, with live bands, at Shebeen bar, city. Co-editor Helen Hughes says highlights of the new issue include the controversial characterisation of artist John Nixon as a communist; and the legacy of the late Blair Trethowan, a contributor to Melbourne's independent gallery scene, as read through the paintings of his friend, Geoff Newton (Untitled (After Gonz) above).

New Heide sculpture a labour of love Geoff Newton,?Untiled (After Gonz),?2012, acrylic on polycotton.

Geoff Newton, Untiled (After Gonz),2012, acrylic on polycotton.

Heidi's giving Heide its first new outdoor sculpture in seven years. Minister for the Arts Heidi Victoria announced the Victorian Public Sculpture Fund will bestow a $100,000 grant to realise a 20-metre-long sculpture, Abstract Labour by Emily Floyd. The artist said the work, a study for which is pictured below, would be a chance to engage with the modernist legacy of the Bulleen museum site. ''The work also takes inspiration from the unexpected relationship to be found between sculptural abstraction and urban adventure playgrounds.'' The sculpture will be more than two metres high, allowing visitors to play within its geometric forms. The Heide announcement follows a $75,000 grant made last week for a permanent work at the Lorne Sculpture Biennale.


Serious side of the real estate game

The object of the board game Monopoly is, of course, to buy up strips of the best property and penalise with exorbitant rent anyone who tries to settle their counter there. Perhaps two of the artists in Counihan Gallery's new exhibition Play Money are feeling bruised by the Australian real estate market – both Peter Atkins and Elvis Richardson draw on Monopoly iconography as part of a show that curator Jane O'Neill says ''explores anxiety surrounding the acquisition of real estate and the legacy of land ownership in Australia''. As well as artworks by Atkins and Richardson, the exhibition, which opens on Friday, includes work by established artists Sadie Chandler, Andrew Hurle, Patrick Pound and Ronnie van Hout.

Dylan Rainforth

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