Camden Council NSW Australia’s Post

Have a read of the blog I wrote on this extraordinary piece made exclusively at George Smith!

Innovative Threads: Contemporary Weaving July 6 - October 19, 2024 | Reception: September 21, 2 - 4pm Explore Alberta Craft's latest Feature exhibition, Innovative Threads: Contemporary Weaving, highlighting the work of twenty-one Craft artists across Canada. In this national exhibition, artists investigate a variety of approaches to weaving. Works range from traditional to conceptual, where material and methods are both revered and subverted. https://lnkd.in/gK5EjeAD

Self-Representation in the #Contemporary_Art Exhibition of ‘Eye to Eye’: Portray in Modern and Contemporary Art, Iran, 2024. #Eye_to_eye, perhaps initially, was a means to confront oneself from an individual perspective. Now, its other aspects range from social and cultural to spatial. The numerous reflections of this exhibition in the virtual space and various images and videos of the long queues to visit it are thought-provoking and noteworthy. It is a rich treasure trove featuring works from renowned artists around the world and Iran, including #Picasso, #VanGogh, #Dalí, #Andy_Warhol, #David_Hockney, as well as #Tanavoli and #Mohassess, and many other artists whose names cannot all be listed here. The theme of the expansion of civil struggles and the effort to re-recognize #identity is mentioned in parts of the exhibition statement. These emphasise attention to #diversity and #plurality in the #interdisciplinary studies of recent decades, where cultural, critical, and artistic studies, as well as existences in urban spaces, among others, all experience diversities influenced by these ideas. full text available on Medium #culture #museum #contemporary_art #city_art #other_space

A leaf from a journey's diary - Rethinking museums We understand museums as having a determinate form and recognise them as containers with contents inside. For the historic European museum this is even more so the case. Can’t it be different and, if we can change it, how might it look? The splendidly beautiful porcelain works of Chinese artist Lei Xue would be a good analogy to explain possible or likely futures for the historic European museum. Lei Xue has created a contemporary blend of tradition and modern consumption aesthetics by combining traditional Chinese porcellain techniques with soda-can forms. As tradition is grafted onto everyday consumption objects so can our understanding of the past be shaped by contemporary values. As traditional craftsmanship and materials are shaped into objects inspired by throw-aways from every day life so can the historic European museum reinvent intself in the contemporary. Let’s not forget that museums need artists not just to present them to their publics but to help them reinvent themselves. #innovatingthepast #historicmaterials #contemporarynarratives

Part of what makes a house museum so intriguing is not the expected, on-theme collections, but the oddities. The objects that stand out and make an impact just for being so very different from the rest of a collection. Delving into the stories of the quirkiest objects is insightful and sometimes silly, providing real context to the people who built and inhabited these homes. From objects to architectural details, explore 10 quirky items at different Historic Artists' Homes and Studios and National Trust Historic Sites across the country. https://ow.ly/Oqxk50Ts4kq

What a gorgeous painting Brian! In your Visual Art and our music together, your sense of the 'narrative' of life, the stories, social commentary and recognition of beauty in the apparently ordinary, fleeting moments of the everyday is always evident. As in this painting, you successfully imbue your work with empathy, poignancy, and atmosphere. https://lnkd.in/eSasgZiR

It's a special moment when the technology you've been building becomes a tool that artist can utilize to make a powerful statement. "“Art” is weighted heavily towards what art most appears in the data, which explains perhaps the prevalence of more contemporary fantasy illustration or concept art in generic text-to-image outputs. This attempt to determine objective ground truth makes sense in a journalistic or commercial context, however in realms like art, culture and identity risks tethering us to populist, gameable or impenetrably reductive representations of areas that are crucially fluid." Source: https://lnkd.in/gR4BVkKq

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The Venice Biennale isn't just an art exhibition - it's a cultural phenomenon! Founded in 1895, it's transformed from a national showcase to a global platform for artistic dialogue. Imagine a world where art transcends borders and ignites conversations. The Biennale has been at the forefront of this artistic evolution, pushing boundaries and showcasing groundbreaking movements. From its early days celebrating Italian art to its current status as a global platform, the Biennale has consistently challenged the status quo. Venice itself becomes a living exhibition during the Biennale. The Giardini gardens, with their permanent pavilions and the central exhibition, are the heart of the event. But thr Biennale's magic extends beyond the Giardini's! National pavilions scattered throughout the city transform historic buildings into vibrant embassies for each country's artistic spirit. Independent exhibitions, known as "collateral events," further enrich the experience, offering a diverse range of artistic expressions. Are you an art enthousiast or simply curious about this unique event? The Venice Biennale offers a transformative experience for everyone. #VeniceBiennale #ArtHistory #ContemporaryArt #CulturalExchange #Travel

JOSHUA SEARLE MUSEO DEL ORO ROBADO MUSEUM OF STOLEN GOLD THU 13 JUN - SAT 10 AUG DAWN TO MIDNIGHT EXHIBITION (VIEW FROM 37 DAVEY STREET FRONT) CUBE 37, GLASS CUBE GALLERY Image: Joshua Searle, (installation detail) Joshua Searle (Australian/Colombian) examines and unpacks Pre- Columbian artefacts held in museum collections encountered through texts, as a means to further understand his own diasporic history and identity as an Australian-Colombian. From an initial examination of collective cultural identity and societal impact to a more individual personal exploration, this exhibition includes paintings exploring practices of institutional collecting and impact of colonisation. Searle undertakes a process of reclamation of his own identity as part of the colonial diaspora, and of the works themselves. Museo del Oro Robado (Museum of Stolen Gold) is a critique of institutionalised practices of theft. For the artist ‘stolen gold’ refers to both the literal and metaphoric gold taken by colonisation.