Bøker utgitt av Art Gallery of New South Wales

From one of Australia's leading contemporary artists, The Rites of When pays tribute to ritual practices of seasonal renewal, both ancient and contemporary. It documents the artist's monumental, sevenchannel video installation created for the Tank at the Art Gallery of New South Wales. Angelica Mesiti is one of Australia's leading contemporary artists. Celebrated for her distinctive moving-image and sound-based works, the Sydney-born, Paris-based artist explores individual and communal forms of expression, ranging from sign language, choreographic gesture, Morse code and whistling to ancestral musical traditions, body percussion and communication between nonhuman species. The Rites of When, Mesiti's first solo exhibition at the Art Gallery of New South Wales, pays tribute to ritual practices of seasonal renewal, both ancient and contemporary. The monumental, seven-channel video installation - comprising two sweeping movements that conjure hibernal (winter) and aestival (summer) solstice celebrations - is an immersive reflection upon the age-old and continuing relationship between humankind, the natural world and the cosmos. With choreographed performance, new music compositions and soaring aerial views, The Rites of When offers a vision of an enmeshed world and the renewal of hope. Published in association with the eponymous exhibition, Angelica Mesiti: The Rites of When documents the second major commission for the postindustrial Tank space at the Art Gallery of New South Wales. Richly illustrated with video stills from Mesiti's cinematic video installation, it features a new essay by Isobel Parker Philip and interview by Beatrice Gralton, cocurators of the exhibition. An additional visual section illuminates the influences that shaped the work.

Published in association with the first Australian retrospective of the influential Beijing-based artist. Cao Fei is one of the most innovative artists to have emerged on the international stage, known for work that charts the breakneck urbanisation, environmental changes and social flux of China in the 21st century. Born in 1978 in Guangzhou, Cao is a world-builder who works across videos, photography, sculpture and immersive installations. Her acclaimed practice mixes social commentary, pop culture, references to surrealism, and documentary and she has appeared no less than six times in Art Review's 'Power 100' list of the world's most influential people in art. This book, published in conjunction with the first Australian retrospective of the Beijing-based artist, showcases key works from the past 20 years, as well as newly commissioned works that explore China's deep ties to Australia. Together, they encompass a range of compelling themes including urbanisation, digital transformations, 21st-century globalisation, family histories and diaspora. Designed by award-winning graphic designer Evi-O, the book offers new scholarship on the artist by the exhibition's curators, Ruby Arrowsmith-Todd and Yin Cao, together with essays by the renowned scholar of Chinese contemporary art Hou Hanru and emerging Asian-Australian writers. An expansive interview with Cao Fei and short entries on key projects features alongside a rich selection of artwork stills, reproduction images of props and paraphernalia, and a playful array of archival material spanning the artist's influences.

Publishing on the occasion of a major retrospective exhibition at the Art Gallery of New South Wales, this book showcases the evolution of one of Australia's most remarkable abstract artists.Lesley Dumbrell (b1941) is one of Australia's most remarkable abstract artists. A stalwart of the women's art movement in the 1970s, Dumbrell is known for her sophisticated and lyrical abstract paintings and works on paper. Highly ordered and exactly rendered, her immersive and compelling work transports the viewer into worlds of vibrant rhythm, colour and sensation. As a young woman, Dumbrell was inspired by the writings of Wassily Kandinsky and the work of Bridget Riley, whose paintings conveyed the power of abstract art to express memory and emotion, natural phenomena and human experience. Dumbrell's remarkable facility with colour and grasp of the organising power of the grid remain at the heart of her distinctive and exploratory abstraction, sustained over five decades of practice in Melbourne, the Strathbogie Ranges of northern Victoria, and Bangkok, Thailand. Publishing on the occasion of a major retrospective exhibition at the Art Gallery of New South Wales, this book showcases the evolution of Dumbrell's artistic language, tracing the various phases and themes that have defined her creative trajectory. Richly illustrated with over 120 works, and accompanied by insightful essays by exhibition curator Anne Ryan, art historians Terence Maloon and Juliette Peers, artist Consuelo Cavaniglia, and an interview with the artist herself.

Day and night, love and hate, calm and chaos, conscious and unconscious. Explore Louise Bourgeois's world of tensions and extremes in this striking new book dedicated to one of the most influential artists of the past century. Bourgeois (France/USA 1911-2010) is renowned for her fearless exploration of human relationships across a relentlessly inventive seven-decade career. Featuring more than 200 images of Bourgeois's work, a selection of her writings and dream recordings, and new perspectives on her work by filmmaker Jane Campion and writer Chris Kraus, this book reveals the extraordinary reach and intensity of her art. From her haunting Personage sculptures of the 1940s to her iconic spiders and tough yet tender textile works of the 1990s and 2000s, Louise Bourgeois: Has the day invaded the night or has the night invaded the day? is an essential guide to this singular artist and an exploration of the polarities at the heart of her art. This publication accompanies a major exhibition of Bourgeois's art presented at the Art Gallery of New South Wales in Sydney, Australia, and documents its dramatic presentation in the renowned post-industrial gallery called the Tank. It features further texts by exhibition curator Justin Paton, Bourgeois expert Philip Larratt­ Smith and psychoanalyst Jamieson Webster, and a richly illustrated chronology of the artist's life.

This important new book celebrates the design of SANAA¿s new building for the Art Gallery of New South Wales in Sydney led by Pritzker Prize¿winning architects Kazuyo Sejima and Ryue Nishizawa. The building, which opened to the public in December 2022, is the culmination of a decade-long vision ¿ the Sydney Modern Project ¿ to transform a 152-year-old public institution into an art museum campus with a seamless connection between art, architecture and landscape. It is Australiäs newest and most significant cultural landmark of the 21st century. Richly illustrated, SANAA in Sydney takes readers behind the scenes of this ambitious project ¿ from the international architecture competition, through the design and construction process, to the building¿s opening ¿ and offers reflections on its built form and engagement with art, people and the environment. It includes a design statement by SANAA architects Kazuyo Sejima and Ryue Nishizawa along with texts by the Art Gallery¿s director, Michael Brand; director of Kanazawäs 21st Century Museum of Contemporary Art, Yuko Hasegawa; professor of architecture at the University of Technology Sydney, Anthony Burke; Harvard University architectural historian Eve Blau; and the Art Gallery¿s head of the Sydney Modern Project, Sally Webster. Design competition jurist, architect and academic, Juhani Pallasmaa, has authored the foreword. The book also reunites SANAA¿s founders with Iwan Baan, one of architecture¿s most sought-after photographers. SANAA in Sydney will be promoted as part of an architecture symposium and celebrations marking the one-year anniversary of the building¿s opening in 2023, and through the Art Gallery¿s media channels.

Hoda Afshar¿s work forces us to contend with violence and brutality not through blunt imagery but through evocation. Iranian-born Hoda Afshar is an innovative and unflinching photomedia artist. Her deeply researched yet emotionally sensitive bodies of work are a form of activism and artistic inquiry. Amassed together for the first time, Hoda Afshar¿s works offer a poignant reminder of the power of images and their coercive potential. This timely book examines the critical urgency and political imperative of Afshar¿s practice and amplifies the photographic image¿s ethical and emotive impact. Richly illustrated, the book features photography and film from 2004 to 2022. It also includes new writing on the artist by curator and editor, Isobel Parker Philip, and seven commissioned authors who bring both critical insights into Afshar¿s practice as well as creative and experimental responses to her work.

Published in association with the exhibition of the same name held 3 December 2022-27 August 2023 at the Art Gallery of New South Wales.

So here it is, ready to invigorate the cityscape: the Sydney Modern Project. The new building and the city are well placed to harmonise because they share fundamental qualities. Energetic, speculative and attuned to ever­ adjusting contexts, the city and the new museum both project outward, creatively curious about everything that is coming over the horizon.- Ross Gibson The Art Gallery of New South Wales in Sydney sits on Gadigal Country overlooking one of the world's most beautiful harbours. With the completion of its Sydney Modern Project - encompassing a beautiful new building designed by award-winning Japanese architects SANAA and a unique art garden along with transformed displays of art across its campus - the Art Gallery stands at the forefront of an international movement to create museums for our times. Like many other art museums, the Art Gallery was founded in an era when collecting ambitions were inseparable from a Eurocentric, colonialist worldview. Today, this 150-year-old institution is forging a cosmopolitan future inspired by its historical context, its location in Sydney and the diversity of its audiences, following the guiding principle of 'From here. For all.' In this important new book, director Michael Brand and colleagues from across the Art Gallery consider what is unique about presenting art from the perspective of Sydney and Australia, bringing to their work a consciousness of the past as a continuing presence and the future as an open possibility. The fourteen chapters are preceded by a foreword by acclaimed academic, essayist and multi-media artist Ross Gibson who sets the scene, and an introduction by Michael Brand. Designed by Dominic Hofstede of Mucha, The Sydney Modern Project will be promoted as part of an international media campaign around the Art Gallery of New South Wales' Sydney Modern Project, through international PR teams based in London, New York and Hong Kong.

Daniel Boyd (b 1982) is one of Australia's most acclaimed young artists. His practice is internationally recognised for its manifold engagement with the colonial history of the Australia-Great Ocean (Pacific) region. Drawing upon intermingled discourses of science, religion and aesthetics, Boyd's work reveals the complexities through which political, cultural and personal memory is composed. With both Aboriginal and ni-Vanuatu heritage, Boyd's work traces this cultural and visual ancestry in relation to the broader history of Western art. Working with an idiosyncratic painting technique that partially obscures the composition, Boyd refigures archival imagery, art historical references and his family photographs, forcing us to contend with histories that have been hidden from view. His recent work draws on Gestalt theory, the allegory of Plato's cave, dark matter and the Necker cube. The book includes an insert of Boyd's signature 'lens' device which works as an intervention into the act of seeing both literally and culturally. Daniel Boyd: Treasure Island unpacks the ways Boyd holds a lens to colonial history, explores multiplicity within narratives, and interrogates blackness as a form of First Nations' resistance. It provides a thoughtful and thought-provoking response to the current moment where critical dialogues on ideas of community, connectivity and cultural repatriation carry particular urgency. With new writing by the exhibition curators and commissioned First Nations authors, the book offers both critical insight into Daniel Boyd's practice as well as creative and experimental responses to his work. Boyd has exhibited widely in Australia and recognised internationally with his Up in smoke tour exhibition at the Natural History Museum, London in 2011 (following his artist-in-residence there); inclusion in the 56th Venice Biennale All The World's Futures exhibition in 2015; and solo exhibition Treasure Island at the Kukje Gallery, Seoul, Korea in 2021. Daniel Boyd: Treasure Island is published in conjunction with the artist's first major exhibition to be held in an Australian public institution. The book will feature over 100 works from across his nearly two-decade career and includes new work and commissioned spatial interventions.

Denise Mimmocchi is senior curator of Australian art at the Art Gallery of New South Wales. Her most recent exhibitions and publications include O¿Keeffe, Cossington Smith, Preston: Making Modernism (co-curator, 2016); Sydney Moderns: Art for a New World (with Deborah Edwards,2013); and Australian Symbolism: The Art of Dreams (2012).

Described as one of Australia's most inventive artists, Mikala Dwyer creates objects and installations that are both playful and provocative, re-imagining familiar materials and what they say to us about the world in which we live. Mikala Dwyer: A Shape of Thought looks at Dwyer's work over the past three decades documenting the evolution of her practice and her influences. Her work is characterized by a playful and excessive accumulation of elements - she has created installations out of fabric, play dough, stockings, felt, vinyl, plastic, organza and nail varnish. Her choice of materials has been identified as feminine and by extension as a subtle feminist critique of recent art history. However her teasing references to modernist abstraction, the more organic forms of minimalism and to pop art (such as the saggy Kenneth Noland-like target forms and Oldenburg-esque baggy vinyl shapes in 'Hanging eyes') are an acknowledgment of antecedents rather than necessarily having a critical agenda. Dwyer's highly engaging sculptures explore ideas about shelter, childhood play, modernist design and the relationship between people and objects. Often beguiling in their colour and profusion, her works incorporate raw materials and found objects in inventive and unexpected ways that transform their architectural settings.