shows she didn’t see in melbourne

Apart from that quick foray into the halls of the NGV, I got to see hardly any shows while i was in melbourne! So instead of having a private whinge about it, I thought i would celebrate it. In the spirit of anti-criticism (which i secretly think is what she sees red is really about), here’s my list of shows..

Howard Arkley at NGV

Howard Arkley is actually a really intriguing artist to me. I’m not into decorative arts much, but i dig his stuff. I’m not really into the glorification of suburbia, but his painting of the ‘burbs rock my socks. His early minimalism, i’ve been told, i will love.

So why didn’t I go? Cost too much, the NGV are being stubborn about giving discounts to NAVA members and i ran out of time.

ACCA

Both times I went to see shows in Melbourne, I’ve been to ACCA. They also have catalogues of those last two shows that i wanted to buy and a kick-arse installation by Mike Nelson I would have loved to see.

So why didn’t I go? South Melbourne wasn’t within walking distance and i ran out of time and money.

Eyes, Lies and Illusions at ACMI

I’ve already seen this, but wanted to dedicate some serious poring time so that i could totally lose myself in the wonderful displays and artworks.

So why didn’t I go? Time, money. Did i mention that i ran out of time and money? Hmm.. i’m seeing a theme here.

Tezuka: Marvel of Manga at NGV
Ho hum. I kinda like manga, but not enough to pay cash for.

ARIs or commercial gallery shows
Well, they’re all shut aren’t they!!

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Photography on both sides of Swanston St

So much for being the intrepid reporter this holiday season.. what started off as good intentions to write regularly, quickly decended into a severe case of icouldntbefucked within about an hour of hitting melbourne city (as opposed to the space, expanse and leisurely pace of my folks’ place in the country).

i did, however, dedicate about two whole hours to checking out both NGVs – International and Ian Potter Centre. Although, instead of the intensely thoughtful and mind-altering experience i had in Brisbane, i decided to just go the scenic route and scooted through the exhibitions at a fairly decent pace, even managing to not read wall text or go to the paying exhibitions.

NGV International
Sneakers: Classic to Custom and After Image: Social Documentary Photography in the 20th Century.

I’ve always believed that you can tell a lot about a person by their shoes, so both of these shows were an exercise in commentary for me!

sneakers, pimp
thanks to the NGV website

Sneakers was held in the fashion/textiles section of NGV International, like a museum display, with appropriate cataloguing and everything! Hundreds of sneakers were displayed on plinths and ranged from early canvas Chuck Taylors, probably made by well-paid American workers then to plastic-coated shiny silver Nike Airs, continuing to be made by underpaid Asian sweatshop workers. sadly, it wasn’t quite as good as it could have been. sneakerpimps have been doing shows about sneakers for years, and i think their take on the cultural impact of the humble runner is far more engaging and savvy, but for something like this to feature at the NGV, i guess it’s not too bad. if you’re way more into the sneaker way of life than i am, sneaker freaker is probably right up your alley – they recently transformed mag nation into a condensed ghetto for all the hanging sneakers!

Robert Capa, Death of a Soldier
thanks to the NGV website

After Image was a surprise gem for me. As a photo major, all the godfathers of photographic history were there and i was able to see the originals of some fucking amazing works, some important works and even some works that i based a really crappy appropriation project on! ha!
All the big guns were there: Robert Capa, Weegee, Dorothea Lange and Walker Evans – PhotoHistory101. I didn’t really feel like making love to the works, so didn’t stay long, but have still been recommending it to all and sundry since.

Ian Potter Center: NGV Australia
Light Sensitive: Contemporary Australian Photography from the Loti Smorgon Fund

So after the history lesson, i wandered across the road to Ian Potter to check out Light Sensitive. From the 20th Century to the 21st in one easy move!

Featuring a great range of current photographers from the NGV collection, this show was solid and satisfying – props to Isobel Crombie. The who’s who of current photographic practice was there and it actually restored my faith in Australian photography, given the boring crap i’ve been seeing lately. According to the wall text, media releases and the NGV website, “Light Sensitive comprises five themes and ranges from the ‘uncanny’ which includes evocative camera-less images called ‘photograms’ and surrealist-inspired images; ‘new portraiture’ which takes a time-honoured subject into fresh creative areas; a distinctive examination of physically (but not psychically) vacant spaces; documentary work that considers reality in provocative ways; and photographs that explore the complex nature of social groupings in our modern world.”

Petrina Hicks, Lauren 2003
thanks to the NGV website

Trad processes like cyanotypes and photograms (“evocative camera-less images”) were represented by Sue Pedley and Anne Ferran as well as a really large panoramic photogram by an artist who i can’t remember but it would have been done on a drum enlarger – old school as!! “Documentary work and [those] that explore the complex nature of social groupings” included work by Brook Andrew, Darren Sylvester and Darren Siewes, although i felt like Darren Sylvester was under-represented and his artists’ statement sounded like it was written by the girls in the photo, rather than an articulate and sophisticated artist. But then again, i hate artists’ statements, so i may be biased.

Scott Redford‘s Urinals were a surprise inclusion, but i guess you could think of them as ‘vacant spaces’… Other notables to get a guernsey included Pat Brassington, Rebecca Ann Hobbs, Cherine Fahd, Selina Ou and although i loved Paul Knight‘s panoramic shot of the titty bar, i would have loved to see his most recent Samstag-winning work in there – the ol’ ducks would have loved it!

I took my mum to see the exhibition a second time and really enjoyed the chance to get to the back section (especially the dramatically lit empty domestic spaces) and soak in the Lauren work by Petrina Hicks, which is the image of the show and the cover of the catalogue. I love that image, which may or may not have anything to do with the fact that it’s from the Lauren series of work. Although the show was based on works from the Smorgon fund, I was surprised that there weren’t more works in the exhibition by Petrina Hicks, as I think she’s really taken contemporary portraiture and photography to a new level – extending it beyond the Thomas Ruff/Thomas Struth style photography and subverting the Bill Henson neo-gothic photography into its own creepy lightness.

And speaking of the catalogue, i didn’t get a chance to buy it (saving for trip to london still – tattslotto failed me again), but it’s a fucking gem. Exactly what you want from a catalogue. Or what I want from a catalogue: Big glossy pics, nice paper, all the images from the show, essay at the front that doesn’t take up half the book and an affordable price: $30!!

What more does a girl need from her catalogue?!

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surprise, surprise, surprise!! GoMA and the APT5

OK, so it may be a severe case of Emperor’s New Clothes, but honestly, i don’t care right now. I’ve just touched down in Melbourne town after 3 days in Brisvegas and i spent half that time at the new Gallery of Modern Art and checking out APT5 and i’m going to rave about it. and no, i can’t wait ’til after xmas ‘cos there are other shows to see and blogger have got me on time & a half over the holidays! lol!

However, I can’t be bothered spending time crafting a well-thought out introduction, conclusion and a body that flows, so i’m going to go point form. if it works for the art life, it can bloody well work for me 🙂

lauren’s top 5 for the new GoMA

Rachel Whiteread25 Spacesthanks to the QAG website

1. Rachel Fucking Whiteread!! Rachel Whiteread is one of my favourite artists and on my trip to London next year, it’s already my mission to check out as much of her work as i possibly can, so imagine my glee at seeing one in the flesh. there it was, Twenty-Five Spaces in all its resinous glory.

parochial reaction? you betcha!!

i saw it there, up on the top floor of the contemporary collections galleries, almost fainted as i’d already fried my brain from going through the other 3 floors of the gallery, did a little excited dance and then had to leave, so i wouldn’t actually faint.

i came back the next day and was able to hang out with the twenty-five spaces for a while. i drew one of the blocks, sketched an aerial perspective, crafted some of my own space-based ideas and left, begrudgingly. it was love at first and second sight.

2. Vernon Ah Kee. This man is.. This woman is..

Dear Mr Ah Kee,
You bastard! In the many years i have spent in front of artworks, in galleries around Australia and around the world, i have never cried. I fucking cried in front of your work This Man Is.. This Woman Is. Yes, cried. I bawled my eyes out and instead of watching Tracy Moffat’s work, i stood in the projection room sobbing. and instead of just glancing at your work, i read every single fucking piece. and i wrote as many as i could down. and i got cranky with anyone who couldn’t give a fuck enough to read the pieces. so thanks a bunch. i couldn’t just let the injustices of colonisation be swept under the carpet. i had to fucking feel something. you’ll be hearing more about this later.

regards,
lauren

Yayoi Kusama, Soul Under The Moon

3. Yayoi Kusama Soul Under the Moon.
Kusama’s silver balls in the watermall was the highlight of my last APT, but getting to experience the breadth and sheer vastness of the Soul Under Moon piece was fucking awesome! I do it any justice in describing it, but if you have the chance to step out in to the ether and gaze at infinity +1, do it. And make sure you’re wearing at least some white ‘cos it’s all under blacklight and you’ll look hot!

4. Liu Xiao Xian The Way We Eat.
Such a simple piece, but so clearly proving the superfluosity (well, it’s a word now) of western culture through the basic symbols of our cutlery as the system of our consumption. On one side of the red velvet-lined cabinetm, made from slipcast porcelain is a full ‘silver service’ spread of butter knives, table knives, salad forks, desert forks, soup spoons, servers, etc, etc, etc. The other, two chopsticks.

5. Yasumasa Morimura Blinded By the Light
I really like Peter Breughel‘s Parable of the Blind, so i was so pleased to see Morimura’s appropriation and comment on the power of western commercialisation on Asian culture

other works that rate a mention include Kentridge‘s Zeno Writing, Ah Xian‘s heads, Rosalie Gascoigne‘s street signs and Jon Cattapan‘s Passage Set 2004.

APT5 2006, the triennial on a leap year. to be honest, i was more blown away at the last APT, but this APT is solid. And what i liked about it was it was well-rounded. there seemed to be less artists, but more opportunity to explore some of the ideas of those artists, rather than a theme-based, biennale type thing where it’s all about the token and squeezing everyone in.

the ground floors of each gallery featured work from the APT, which had a whole bunch of great works. here’s the list:

lauren’s top 5 for APT5

1. Anish Kapoor. Oh my goodness, this UK/Indian artist is the king of contemporary sculpture in my book! the extremely fragile pigment works that are in the APT are divine and i could have spent way more time in the cordoned area, except i was wary of all the people lining up to get in waiting for me. His 1000 Names steps were so luscious to my she sees red eyes and the womb-like tunnel of red love was so, well, yummmy! The book was $135, so unfortunately i couldn’t take some Kapoor lovin’ home with me, but it will be mine one day 🙂

2. Tsuyoshi Ozawa
Ozawa had several works that were really successful in this year’s triennial. The first series, which was from the Vegetable Weapons series, initially reminded me of Simryn Gill’s work from the 2004 Sydney Biennale. However, i felt that this work was far more poignant and well-presented. The arrangement of food to become weapons was fantastic and also challenged stereotypes of the images of fear that we are often exposed to.
As well as the vegetables, Ozawa curated the Nasubi Gallery: a collection of milk boxes as small galleries. Based in the Ginzu district of Japan and a piss-take of the Nabisu Gallery there, he invited all the artists from the APT to create works in these “galleries”, my favourite of which was the Medicine Cabinet by Justine Cooper. The whole concept of Nasubi Gallery (translated as Eggplant Gallery) is right up my alley, appealing to my sense of cheekiness, and up there with Wrong Gallery in terms of turning gallery spaces on their heads.

Tsuyoshi Ozawa,Seafood Hot Pot

4. Yuken Teruya.
The Notice Forest by Teruya was such a simple display but filled with poignancy about commercialisation, globalisation and the disposable nature of western culture (yes, even the arts). The japanese artist creates these amazing tree paper sculptures in and with disposable paper bags from the likes of McDonalds, Hungry Jacks, Lush and even OzCo get a guernsey! Craft-wise, the works are exquisite and conceptually, they’re sharp and witty as well. I loved it!

Yuken TeruyaBlue Tree
Thanks to Saatchi Gallery

5. Zhou Xiaohu
Part of the Long March Project, looking at the Cultural Revolution in China and the rise to power of Mao Tse-Tung, Xiaohu created an amazing diorama in the round of power and dictatorship in clay. It looked like chocolate (which was a fantastic aspect of the work) and the enormity of the piece, combining ceramic works and DVDs of sound and basic clay-animation was really engaging.

Zhou XiaohuUtopian theatre (detail)
Thanks to www.asiapacifictriennial.com

so, if you’re umming and aahing about whether to make the trip to the APT, just do it. There is some great stuff there! I didn’t even get a chance to go into the new State Library, which has a really snazzy new building, even if the cafe is a fucking rip off. I also didn’t get to IMA or Rawspace, like i wanted to, so make sure you take your time there when you go!

Have a great holiday period everyone! For those who mourning the lack of blog action over the xmas break, don’t worry, i got plenty coming 🙂

thanks for subscribing to she sees red by lauren brown. xx

i know i said i wouldn’t, but…

.. i went to the opening at first draft on wednesday night.

it was fucking great though – bit of xmas theme happening with striped candy canes and other coloured lollies, the 1/2 dozen boys were selling their 2006 catalogue, which i can highly recommend, and there were some really great artists on show.

in the front room, michael moran was showing not here (to make sad songs sincere)ink works on paper that were damn cool – text based works with just enough angst to be spicy, but no so much that i wanted to vomit. my favourite was the one attached to the front window of the front space. not a traditionally easy place to install a framed work, it actuallly fit perfectly and conveyed a bit of a philosophy in a way – it is what it is, because it is.

emma van leest, whose work from a homage to a private place i had previously seen in her studio (as a sneak peak walking past with her fellow studio buddy), was skating out the doors. they were beautiful cut paper dioramas, with a really oldy-worldy type feel. something about them reminded me of rudyard kipling and the jungle book, for some reason. maybe i had a pop-up book version that looked like one, but anyway, they were so delicate and inviting and cheap!

and to go with the jungle book theme (well, my jungle book theme) in the back room was the riki tik tavi installation. with a pile of rubble in the middle of the floor – the result of a performance of the smashing of huge bits of rock, some paper works and small video works. the video works were the strongest and my favourites were cabin fever and woodstock wood, featuring kate and marley playing ‘games’ of sorts – the friendly rivalry type. the first one was within a brown wooden bird-house type-thing (which, according to the room sheet is a dog kennel, but i prefer bird-house) which you peered into, and featured them piercing a can of woodstock bourbon mixer and skulling it. you didn’t see them throwing up, but boy it was close. the one prior to that, (cabin fever) which i think was better viewed second (‘cos that’s how i viewed it, and it was hilarious) was them, in a sauna, with sailor hats on, saluting for as long as possible before one person faltered. thankfully i was able to talk to kate and got the low-down ‘cos i didn’t realise that they were in a sauna, or what the deal with the game was, but you still got the essence of competition and the fun of it all. it was all quite amusing.

it was a great way to end the year for sydney shows and a nice vibe, with lots of people, lots of chat, good art, good sales and nice weather. i left at exactly the right time, and as i was heading back to the country terminal, everything kind of felt right with the artworld. just like a rudyard kipling book.

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cause of death: overdose

i’d heard about this happening, but i think i’ve officially overdosed on exhibitions. for a while.

or more to the point, i’ve overdosed on openings. for a while. i’ve been to 4 of the fuckers in the last 2 days, have my own happening tomorrow night and quite frankly i’ve had it up to here with them.

this ridiculous gallery hopping began on wednesday night with the Peloton openings: Material Culture by Rowan Conroy at P19 and the group show Examples at P25 featuring a wide range of contemporary artists: Daniel Argyle, Hany Armanious, Lesley Dumbrell, Matthys Gerber, Alison McGregor, Anna Kristensen and Giles Ryder. The shows were OK – although they left me feeling a little flat, especially the group show. Not that it wasn’t absolutely packed with great work – it was. Most of it was extrememly professional and well-crafted/well-thought out, but i left just feeling a little bland. This may actually have more to do with the layout of the space, more than anything. Everything was laid out fairly evenly, 2D work on or attached from the walls, sculptures in the middle, enough space to walk around – i know, just how you want it when you go to a show. but for some reason, i wanted more. i wanted something that i could get sucked into. or spat out by. Rowan Conroy’s work was not the most intriguing photography i’ve ever seen, with work investigating industrial and urban architecture (which i quite enjoy most of the time) but because the whole gallery was taken up by all of his works and there was a sense of theme encompassing the show, i actually enjoyed this more than the who’s who show at number 25.

last night i squeezed 3 openings in on the one night and i think they pretty much encompassed the gamut of shows/spaces in sydney in one foul swoop.

firstly i headed to the quagmire of paddington for the last show for the year at Roslyn Oxley 9. If i thought the Peloton opening was a who’s who, then Stolen Ritual at rosox proved far more so. the list of artists included James Angus, Hany Armanious, Angela Brennan, Tony Clark, Destiny Deacon, John Firth-Smith, Fiona Hall, Christopher Hanrahan, Newell Harry (the guy with the last name first, and the first name last), Lindy Lee, David Noonan, Rohan Wealleans and John Wolseley. phew!

Some of the art featured was kinda predictable. Not the art itself, but the presentation of it – glaringly aimed at hefty wallets looking for a wonderful christmas gift for dear aunt lady so-an-so. As a balance to the big hitters like Firth-Smith and Wolseley, there were some great works which were by some of the coolest kids on the block at the moment. I really enjoyed both James Angus’ works: Soccer Ball Dropped from 35,000 Feet and Pi to One Million Decimal Places; David Noonan’s screen print on birch plywood was beatiful and it looked like a portrait of Brandon Lee all made up like The Crow, but i could be disasterously wrong there. I had a good chuckle at Newell Harry’s Mum and Dad/Dum and Mad drawings as well as the usual giggle at Christopher Hanrahan’s work – this time he was cracking out the Jewish proverbs: As is the Gardener, Such is the Garden – (soul man) being more concise and generally amusing then the (table lamp).

And despite all that great work, i had the worst time! If someone ever sees me at a Roslyn Oxley opening ever again, could they tell me to go home and come back another day, when there are only the gallery staff around!! The ubiquitous mafia of the über cool are always at the openings and i invariably leave feeling like the biggest dickhead on the planet. I stutter my words, have no idea what to say, feel like a bit of a lost lamb and in trying to make up for being completely intimidated, make stupid remarks filled with bravado that have me looking like the biggest ignorant wanker on the face of this planet. well, maybe ol’ johnny ‘oward would give me a run for my money, but anyway. the weird and the worst thing is, it’s not the rich-looking patrons, or the stylish artists that have been around forever that i lose it around – it’s the around-my-age-but-more-successful-than-i-am-but hope-to-be types: usually male, usually drunk, and usually brats that i end up in a mess around. and that’s what i fucking hate about openings – i swore that i would never go to an opening caring about who i was or wasn’t and would just dig the art. yeah, well, in theory.

Petrina Hicks, Shenae & Jade thanks to www.acp.au.com

so, back to punching my weight, i popped into the ACP opening of the Pet Project, which was yet another feel of opening. A lot more women and quite a nice easy-going atmosphere. Not so much preening and more actual conversation going on. I didn’t get a chance to see all the photos, thanks to there being so many people, but the new space was ace, there were some great photos of pets. To be honest, my favourite one was the front cover of the new Photophile – an image by Petrina Hicks, but I also really liked the cibachrome lightboxes featuring ‘missing pets’ – ornaments from shops in chinatown and the work by Beverley Veasey. I caught up with Izabela, which was great and after a juice, i left just as Sandy Edwards from Stills Gallery walked in with the largest, most beautiful dogs you’ve ever seen. Obviously to get her pic taken at the Pet Photo Booth by Justin Spiers and Yvonne Doherty. Obviously.

Justin Spiers and Yvonne Doherty, Andrea, Tristan, Valentino and Tatiana thanks to www.acp.au.com

And then to the other end of the spectrum: an ARI opening. medium rare‘s last show for the year, 21st Century Dreamtime. Jo Cuzzi and Rachael Lafferty are showing paintings with a slightly carnivalesque theme. I’m not sure whether it was intentional, but the crowd kind of reflected it too – lots of obvious art students (now on holidays), crazy costumes, hair styles and lounging around the odd-shaped space. Although the space felt a tonne more comfortable than either Rosox or ACP, unfortunately the work wasn’t all that fab. I liked 2 paintings which were on quilted material, looking like they had been painted on children’s changing tables, or matress protectors. Other than that, the works were quite all over the place, like Juan Davila minus the craft. Pity really.

And if you’re not exhausted by this account already, then you should be, ‘cos i was stuffed after all that traipsing. I was also incredibly intrigued at the pattern i discovered: the better the work, the more uncomfortable the gallery space is. which doesn’t do much for making work accessible. but i guess you don’t want art work to be too accessible. people might actually enjoy it, talk about it, want to have it, but not actually buy it. PR101: the more out of reach something appears to be, the more people actually want it and the more people will pay for it.

and finishing on that incredibly jaded note, now i’m going into hibernation. i’m not going to go to another art show to see others’ work until i get to brisbane. i’ve had enough. i’m about ready to just stare at a blank wall for a while and sip some kind of cool drink and overdose on food instead of visual ephemera.

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Landa, Landa, Landa… and other frat stories

The frat house that the nerds from Revenge of the Nerds ended up belonging to was Lambda Lambda Lambda and i have this vague memory of someone saying it in that movie, wearing a pink chearleaders outfit and kind of making it sound like Marcia, Marcia, Marcia! And when i went to the opening of the Anne Landa Award, it was all i could think of!

But that’s not meant to reflect on the exhibition at all.

The opening was also the trustees’ Christmas do and the last hurrah for chair David Gonsky, who is an all-time, super-top, mega-fantastic, supporter of the arts, and moving onto Chancellory duties for a large University in New South Wales (why i bother with subtlety sometimes, i don’t know). David’s speech was amusing and not too long and although others ‘poo-poo’-ed his description of new media as ‘new and fresh’ in relation to it being lauded at Agnes, it was actually a pretty good speech. God knows i wish Edmund had just left us with it, rather than getting a word in.

Philip Brophy The Body Malleable 2002-04 – All so sexual!
thanks to www.artgallery.nsw.gov.au

Anyway, the show, the show! In a nutshell, here are my pics: Daniel Crooks, Daniel Von Sturmer (swoon!), Philip Brophy and Monika Tickachek. The others were, well, meh. Tony Schwensen‘s work possibly suffered from being put in a veritable thoroughfare, but i just didn’t dig it. And although James Lynch‘s backyard party-looking work, could possibly better from a different kind of venue, didn’t really float my boat either. Grant Steven‘s text/sunset work just blatantly bored me. But sometimes i’m hard to please and i did actually giggle at the slow unveiling of the text across the screen, like a scene from Jumping Jack Flash when there’s some serious secret online ‘chatting’ going on, although perhaps that wasn’t the intention of the piece.

Basically, the work that i like, especially in this exhibition, but i think more broadly as well, is work with strength of character. And while naive, bitsy, and disparate work seems to be getting a lot of starring roles lately, i’m just not that into it. This possibly reveals my own naivete, ignorance or dagginess, but hey – i am the one that made the Revenge of the Nerds crack earlier!

And if there was any doubt about diversity between art schools, you just have to head to the grad shows this week. Being a NAS alumni, I have always felt a little out of my depth hanging out at COFA and heading to their grad show Annual 06 on Wednesday night, it was really obviously that that’s where the cool kids are. I felt like a nerd walking into the Alpha Beta frat house. But at the same time, it was just like being at an ARI opening – cheap cans of beer and classy plastic cups of wine and loads of denim. General fashion for the crowd was skinny jeans, off the shoulder shirts and ballet slipper shoes for the girls, popped collars, fringes and more skinny jeans for the boys. And i don’t usually notice fashion at these kinds of things, but it was scarily obvious!

images: Jirat James Patradoon, 2006, thanks to www.cofa.unsw.edu.au

Thankfully, some of the work i did manage to see amongst the throng of people seemed pretty sincere, or i might have vomited with boredom. There were a lot of good sculptural/installation gestures – some great kinetic work and a whole bunch of video work. The basement section was so industrial and gritty, it was great! I especially liked the fallen-down staircase underneath all those overpass walkways and the swinging door room in said basement. [Sorry, slack with taking down names…]

And if the COFA opening was an ARI opening, the NAS opening was like going to a commercial gallery opening. Lots of slightly older kids hanging around, a lot of flowy skirts, black natural fibres, the beer was imported and there was even food (although we all acted like seagulls when it arrived!). And the spaces for the show have been renovated and become very professional. Thankfully some of the work coming out of there has become playful and almost edgy, otherwise i think i might have suffocated with boredom. Louise Spent’s photographs of her posing with cut-out bits from blow-up dolls was fantastic and getting to jump on Asha Zappa’s fried egg ceramic works was easily the highlight of my night. [This may or may not have been for self-centered reasons as ‘she’ has also done works with broken eggs/walking on eggshells]

And so, with the SCA show happening this week, that’s it for me for grad shows for another year. Thank god for that! great as they are, it’s all a little, well, grad show.

Unfortunately it also heralds the death of the art scene for the year. Looking throught the Art Almanac the other day, i realised that there is going to be sweet fuck all on over the christmas break in Sydney or in Melbourne! (I’ll go into the serious lack of the visual arts program for the Sydney Festival another day)..Lucky I’m heading up to Brisbane for the APT!!

thanks for subscribing to she sees red by lauren brown. xx