This 91-page, full colour exhibition catalogue was produced to accompany the 2015 exhibition Colour Sensation: The Works of Melinda Harper at Heide Museum of Modern Art in 2015.Colour and optical vibrancy animate Melbourne artist Melinda Harper's remarkable oeuvre of abstract works developed over three decades. While Harper is best known as a painter, this survey reveals a surprising diversity of practice in its inclusion of drawings, collages, screenprints, experimental photographs, painted objects and exquisite handmade embroideries.Typically in Harper's works, forms similar in type - blocks, stripes, circles, triangles or variants of these - are amassed together in striking compositions of seemingly endless variety, from the harmonious to the cacophonous. Harper builds upon early twentieth century abstraction and later generations of modernists - her intimate embroideries and screenprinted fabrics (produced with fellow artist Kerrie Poliness) paying particular homage to modernist women artists. Her investigations of colour and form are also intensely felt, visual responses to lived experience, embodying in her words `the act of looking, the obvious, the precise and the precious.
This exhibition catalogue was published to accompany an exhibition of the same title at Heide Museum of Modern Art, Melbourne in 2012.Characterised visually by abstract, geometric forms without apparent narrative or symbolic content, Minimal Art emerged in America but influenced art globally. Focussing on the Australian context from the 1960s till now, this exhibition examines Minimalism and its critical counter-point Post-Minimalism highlighting their continuing relevance for contemporary art.Including works by over 30 Australian artists such as Robert Jacks, Mikala Dwyer, Gail Hastings and Nigel Lendon alongside key American Minimal works by Donald Judd, Dan Flavin and others.
Cubism was a movement that changed fundamentally the course of twentieth-century art. It had far-reaching effects, both conceptual and stylistic, which are still being felt today. Described in 1912 by French poet and commentator Guillaume Apollinaire as 'not an art of imitation, but an art of conception', Cubism irreversibly altered art's relationship to visual reality. 'I paint things as I think them, not as I see them', Picasso said. Cubism and Australian Art examines for the first time the impact of this transformative art movement on the work of Australian artists, from the early 1920s to the present day. The authors argue that by its very nature, Cubism was characterised by variation and change, that the idea of a pure or original Cubism was short lived, and that its appearance in Australian art parallels its uptake and re-interpretation by artists internationally. In the words of French artist Andr Lhote, mentor to several Australians who studied at his Academy in Paris: 'There are a thousand defi nitions of Cubism, because there are a thousand painters practising it'. More than eighty international and Australian artists are showcased with over 300 works, featuring Sam Atyeo, Ralph Balson, Grace Crowley, Frank Hinder, Roger Kemp, Godfrey Miller, Stephen Bram and Daniel Crooks, as well as Pablo Picasso, Georges Braque and Fernand L ger.
For more than one hundred years, artists have drawn inspiration from the early twentieth-century avant-garde movement Constructivism. Its abstract forms, utopian ideals and vision of art's vital role in constructing a new society have continued to act as a beacon for artists of successive generations in many countries. This extensive survey of over seventy artists explores how Australian artists have responded to this ground breaking modernist movement and its enduring call upon their imaginations from the 1930s to the present day.Essay contributions by Sue Cramer, Lesley Harding plus additional focus texts by 24 acclaimed Australian writers and curators. Published in 2017 by Heide Museum of Modern Art
California private investigator Kinsey Millhone is hired to solve a decades-old cold case in this “undeniably entertaining” (Los Angeles Times) #1 New York Times bestseller from Sue Grafton. Cases don't get much colder than that of Violet Sullivan, who disappeared from her rural California town in 1953, leaving behind an abusive husband and a seven-year-old named Daisy. But PI Kinsey Millhone has promised the now adult Daisy she'll try her best to locate Violet, dead or alive. All signs point to a runaway wife—the clothes that disappeared; the secret stash of money Violet bragged about; the brazen flirtations she indulged in with local men, including some married ones. Kinsey tries to pick up a trail by speaking to those who remember Violet—and perhaps were more involved in her life than they let on. But the trail could lead her somewhere very dangerous. Because the case may have gone cold, but some people's feelings about Violet Sullivan still run as hot as ever...
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