Your Custom Text Here
How’s your taste in classical music? Find out as we present your palette and your ears with sweetness, sourness, saltiness, bitterness and umami. Music will never sound more delicious.
Music: Handel / Edwards / Rachmaninoff
The poetry of 17th-century metaphysician John Donne and the late playwright Douglas Muecke form the twin doors to a world of remembrance and resurgence in a program framed by newly-commissioned music by three Australian composers: Ruth McCall, Ella Macens, and in his 75th year, Ross Edwards.
One century ago in Compiègne the world witnessed the end of the 'war to end all wars', hoping that humankind would not undergo again such an overwhelming catastrophe. Composers have long tried to imagine a world without war and suffering, and in luminous harmonies touch on that state beyond conflict and without end – Donne’s own vision of eternal life centres on perfection and freedom from the earthly imbalance and disorder so familiar to us in the here and now – “no noise, nor silence, but one equal music”.
Program includes
Settings of Douglas Muecke by Ruth McCall and Ella Macens (WP)
Ross Edwards new work (WP)
Settings of George Herbert and John Donne
Viktor Kalinnikov Nïñe Otpushcháyeshï
Every string, every sound, every voice, every word. Come and experience great literature combined with the music that inspired it. You’ll discover how incisive and seductive music and words can be together.
Music: Vivaldi / Mozart / JS Bach
Following the movement of our planet around the sun, the weather changes and nature responds in colour and shape to the wind and the rain, the shadows and the sunshine. The traditional four seasons of Spring, Summer, Autumn, and Winter have been depicted in European art and music for centuries, but the Aboriginal experience of the seasons is a much more varied and subtler story that tells of the patterns of animal and plant life and their direct impact on survival. In this sympathetic synthesis of two artforms The Song Company is joined by a duo of dancers from Thomas E.S. Kelly’s Karul Projects to trace the course of the Earth’s annual journey in movement and song, both old and new.
Program and choreography including
arrangements from Antonio Vivaldi’s The Four Seasons
and music ranging from Alice Chance Pallah-Pallah
to Francis Poulenc Un soir de neige
Every string, every sound, every voice, every word. Come and experience great literature combined with the music that inspired it. You’ll discover how incisive and seductive music and words can be together.
Music: Schubert / Caplet / Janáček
Initially developed during her time in London in 2007, while undertaking a Samstag scholarship, Chaseling’s Spatial Paintings combine biomorphic forms and vibrant abstraction. They aim to distort the exhibition space visually so it seems, in the artist’s words, 'to tear apart'. Included here are Chaseling’s distinctive oviform paintings, a format tested at her Art Omi residency in New York last year and incorporated into a Spatial Painting worked on the gallery walls and floor for the first time.
Chaseling frequently develops ideas by drawing and painting graphic novels, a form with many echoes in this exhibition. Two series of works on paper show something of her thought processes. The Drafts for Spatial Paintings reveal her working out the paintings’ three dimensional logic, while a series of over-painted postcards from places she has visited record the meditative, highly concentrated process of her visual thinking.
Munich-born, now Berlin-based, Chaseling divides her times between Germany and Australia where she studied from 2001–2003. Her influences range widely: post-war American abstraction, German Romanticism, Yirrkala painting from North East Arnhem Land, Byzantine icons, and most importantly, the Viennese Actionist Hermann Nitsch from whom she learned the necessity of 'being absolutely present' when painting. Confronting Chaseling’s paintings requires a similar attentiveness.
Opening Hours
Wednesday — Friday, 11am to 6pm
Saturday 10am to 4.30pm
Sunday CLOSED
Classical music fuses with psychological portraiture. Sink deep into rich and stormy music while McLean depicts it all in his darkly humorous style. Your own sketch kit is welcome to add to the drama.
Music: Mendelssohn / Schumann / Shostakovich
In 1359 the English attempted to lay siege to Rheims – a crucial prize in the Hundred Years’ War as France’s coronation city; two years later France’s greatest poet and composer, Guillaume de Machaut entertained the heir to the throne and in 1364 witnessed the coronation of Charles the Fifth.
But the early 1360s were exciting and fruitful for Machaut for other reasons: he began a lengthy correspondence with a young female admirer and documented their friendship in what he called the 'book of the true story', Le Livre du Voir Dit, containing over 9000 lines of poetry, and the letters, love-poems, and songs they sent to each other – the ultimate 14th-century multimedia presentation. The accuracy of the narrative Machaut sets down in his 'true poem' is sometimes questionable, but there is a ring of veracity in the haphazard and sometimes contradictory recollections of the course of what must be true love…
Semistaged program of music & words by Guillaume de Machaut:
Ballade 32 – Ploures dames
Rondeau 13 – Dame se vous n’avez aperceu
Ballade 33 – Nes que on porroit
Rondeau 4 – Sans cuer dolens
Lai 13 – ‘Le Lay de bonne esperance’
Rondeau 17 – Dix et sept, cinq
Rondeau 18 – Puis qu’en oubli
Ballade 34 – Quant Theseus / Ne quier veoir
Ballade 36 – Se pour ce muir
Ballade 31 – De toute flours
The Blue Room demonstrates this, firstly, by the deliberate limitation of means to just different shades of blue (white not being a colour as such), from deepest indigo, through an electric cerulean, to palest egg-shell. When deployed non-imitatively, purely as a material in abstract work, paint is shown to operate, to act, as if it had energy independent of any form it may depict. Adsett’s paint refuses to remain inert, straining against its framing edges, expanding in every direction into the supporting wall, even as it co-opts the white as an integral element in this 'interior'.
The reference to Picasso’s famous painting of the same title is not fortuitous but is an acknowledgement of the Spaniard’s gamesmanship, evident in 1901, as he explored singular moves made by his 'rival', Cezanne.
In Adsett’s series, each painting undertakes a different move in a particular game, that of challenging the historical paradox of transparency. Why blue? Is it because in the studios of the classical masters it was used for what was unpaintable: air? Every detail in the seven paintings challenges a viewer to ,tie me down if you can', as each blue works with, and against, its neighbour – blue, black or white – to assert opacity or translucence. No resolution can be reached, which is the source of endless gratification for a viewer, who becomes caught in a sustained gaze, as part of the game. — Mary Alice Lee
Presented by Yuill Crowley
Gallery Hours
Wednesday to Friday | 11am — 6pm
Saturday | 10am — 4.30pm
Contact
Phone +61 418 634 712
Email yuill_crowley@bigpond.com
Want to see how music makes you feel? Can you turn sound into brainwaves and light? This multi-sensory experience vividly demonstrates the powerful effects sound has on our mind. Come hear, feel and see.
Music: Haydn / Beethoven / Turtle Island
22 February — 04 March
Daily 11am — 7pm
Artist's Reception 22 February, 6 — 8pm
Uniformed, or in complete contrast, naked - MEN unite the artworks. Military, mounty, rugby or surfer – do the clothes make the man? Singer, Alfie Arcuri features in a striking new artwork. His recent single, 'If They Only knew', written from personal experience, explores covert same sex love and coming out.
Stephen Fry exclaimed “Watson has created another dazzlingly provocative, witty and enchanting take on a classic painting!” after viewing the artwork featuring Alexis, a gay UK rugby player who caught Watson’s attention posting on Instagram about important and inspiring queer themes and mental health issues.
With the artist in residence throughout the exhibition, this will be a rare chance to learn first-hand about his style, his intentions and the stories behind the artwork on display. A full multi-media experience awaits each visitor into the exhibition with video presentations on the artist’s work giving insight into the creative process and final sentiment.
Panics, mania, crashes and collapses are as common to financial history as thunderstorms to placid summer afternoons. They tend to show up suddenly, wreak more than their fair share of havoc, and recede into the history books only after endless discussion of their causes and cures. Whether brought on by popular delusion, unscrupulous market operators, misguided governments and/or central banks or some random, unforeseen shock, these events are part of the human experience and just as permanent a fixture in our collective history as wars and natural disasters.
Leczinska's photographic series of text and imagery depicts periodic outbreaks of mass irrational and delusional behaviour; the phenomena of mass belief and gullibility spanning 400 years from Tulip Mania to Bitcoin. It is as relevant today as it was in 1637, with echoes from the recent American debt crisis. Why do we seem to forget our collective memory of catastrophes past, still laying bare to our animal spirits of ‘fear and greed’?
Exhibition Opening
Thursday 15 February 6 — 8 pm
Friday 16 February 2018, 10 am — 7 pm
Saturday 17 February 2018, 10 am - 3pm Closing
All We Can't See – Discussion Panel
Saturday 10 February
2.30 — 3.30pm
Moderator: Ben Doherty (journalist, Guardian Australia)
Guests: Janet Laurence (artist) and Khanh Hoang (PhD Candidate and Nettheim Doctoral Teaching Fellow at the Andrew & Renata Kaldor Centre for International Refugee Law at UNSW, and co-chair of the Refugee Rights Subcommittee of the Australian Lawyers for Human Rights)
Founded by James Beck (cello & artistic director), The Sydney Art Quartet has played to capacity audiences at the historic Yellow House in Potts Point since 2016. Discover the sumptuous spectrum of performances in the 2018 concert program.
Imagine a dinner party where your host passes round antique leatherbound music manuscripts and says “You’re singing tenor!”. Then around the table one voice after another begins to sing from the ancient Dow Partbooks, bringing to life the most beautiful music from late 16th-century Oxford and London. Each part has to count and listen out for the others, and together they own the communal but invisible pulse – the 'tactus', a Latin word meaning something touched or felt.
Whether singing or listening, the experience is one of an unfolding narrative – a communal navigation through a gorgeous harmonic landscape – enabling us to explore the innermost feelings hidden in the music of William Byrd and his friends, who shared this sumptuous polyphony over 400 years ago, no doubt with candles, wine, much laughter and bonhomie!
Program of table music and motets by Byrd & co.:
Anonymous Hey down, down, sing ye now after me
William Byrd O Lord make Thy servant Elizabeth
William Byrd Triumph with pleasant melody
Robert White Lamentations (a5)
Robert Parsons Ave Maria
“Mr Tayler” Christus resurgens
and a selection from:
Richard Farrant Ah alas you salt sea gods
Nicholas Strogers A doleful deadly pang
Clement Woodcock In Nomine
William Byrd(?) My little sweet darling
William Byrd La verginella
William Byrd Ne irascaris
William Byrd Christe qui lux es
All We Can't See – Discussion Panel
Saturday 3 February
2.30 — 3.30pm
Moderator: Elaine Pearson (Director, Human Rights Watch Australia)
Guests: Mohammad Ali Baqiri (refugee and advocate formerly detained on Nauru), Paul Farrell (journalist, BuzzFeed) and Angus McDonald (artist)
In August 2016 The Guardian published The Nauru Files, leaked incident reports written by staff in Australia’s detention centre on Nauru between 2013 and 2015. These files detail 2,116 individual cases of assault, sexual abuse, self-harm, child abuse and abhorrent living conditions endured by asylum seekers in the care of the Australian Government.
Despite the harrowing nature of the files, the centre continues to operate as before – the conditions remain and the abuse is ongoing. In the absence of media access to the island, our objective is to illustrate these stories through creative expression, using art to shed light on all we can’t see. Each file will be illustrated by a different artist.
Featuring artworks by 30 leading Australian artists, including: Abdul Abdullah / Abbas Alaboudi / Angela Brennan / Paul Davies / Belinda Fox / Adrienne Gaha / Peter Gardiner / Sam Harrison / Pia Johnson / Laura Jones / Locust Jones / Janet Laurence / Tim Maguire / Angus McDonald / Tomislav Nikolic / George Palmer / Louis Pratt / Jamie Priesz / Marisa Purcell / Ben Quilty / Mark Rodda / Abdullah M I Sayed / Luke Scibberas / Megan Seres / Alex Seton / Luke Storrier / Aida Tomescu / Mark Whalen / Judith Wright / Joshua Yeldham
The collection presents work from iconic Australian artists like Peter Kingston in a testament to the Australian aesthetic of years past, alongside pieces of hazy modernity and enlivenment by burgeoning artists such as Anita Simunovic and Lucy Zaroyko; creating a pastiche of a transcendental contemporary moment. Stepping into Tomorrow prides itself on finding the pleasure and the value in contemplation, believing there is “No better way to celebrate our past, than by Stepping Into Tomorrow”.
Sweetness of the New boasts the multifarious company of Liam Ambrose, Comfie, Cressida Campbell, Claudia Carroll, Noni Cragg, Elisabeth Cummings, Lewis Doherty, Rachel Dorn, James Drinkwater, Dick Frizzell, Ian Grant, Holly Greenwood, Peter Kingston, Matilda Kubani-Dean, Bronte Leighton-Dore, Caroline Oakley, Lucy O'Doherty, Eytan Messiah, Mikaela Mitchell-Bishop, Reg Mombassa, Nick Santoro, Garry Shead, Bridget Stehli-Curnow, Anita Simunovic, Matthew Usmar Walkswithdogs, Thomas John Whelan, Siena White, Lucy Zaroyko.
Opening Night
25 January
6—9pm, with intimate live music performances and signposts the beginning of Stepping Into Tomorrow
Exhibition open
26—28 January
Friday, Saturday from 11am—6pm
Sunday from 11am—3pm
For more information
www.steppingintotomorrow.com
Milsom began his ‘bird as prophet’ series in 2007 with a video of peregrine falcons projected onto the ABC building in Ultimo. A year or so later his bird paintings appeared and it was clear that these works were the product of a long engagement with their subject matter. Milsom recalls being profoundly influenced as a child by Ken Loach’s 1969 film, Kes, which tells the story of a young working class boy and the kestrel he trains in a Yorkshire coal mining town. All of Milsom's Bird Painting suggested motion, but motion that had been analysed and broken down photographically even as the images themselves became increasingly abstracted.
Here he does something new, rendering a crackle of cockatoos in ink, fixing the movement of both. Feathers are graphic outlines rather than textured paint and we feel the weight of air displaced by downstroke. Silhouetted sometimes, alive always, Milsom shows the birds as black shapes against a featureless expanse that is less sky than the page on which he works for as much as these images are the results of prolonged and knowledgeable looking, they are also the product of ink on paper, its liquidity and flow. Milsom knows how ink’s qualities of bleed and absorption can trick us into believing we are seeing something else---this might be the “lesson” of the abstract works interspersed here –and in this raucous display JUDO HOUSE PART 7 (The White Light) 2017 Milsom realises the grace of flight itself.
— Ingrid Perez, New York, November 2017
Private view
Wednesday 06 December 6—8pm
Exhibition hours
Tuesday to Saturday 11am—6pm
Bring your own art materials and join in, or simply immerse yourself in the exquisite ambience. It is assured you will be dining out on this experience for years.
Alan Jones – painting the walls of the Yellow House
Sydney Art Quartet - performing Schubert, Sculthorpe & Finzi
Musings from Tim Olsen
BYO art materials & photo ID.
Restricted entry to 18+ due to nudity.
Franz Schubert Quartet No. 13 in A minor - Rosamunde
Peter Sculthorpe String Quartet No. 11 - Jabiru Dreaming
Gerald Finzi Romance Opus 11
Each iconic piece of art has been painted over the past year at Daimon's Bondi Beach studio, with a theme of ones search for balance in form and colour. Unlike his past incarnations as pop artist for Sneaky Sound System and bar owner of Sydney’s elite night spot – Pelicano – Daimon’s studio is a reclusive space where all decisions are ultimately made alone – however with a mood exclusively reserved for happiness, excitement and positivity.
Each painting and piece of art has been internalised, with the shapes and colours forged into compositions that have balance whilst incorporating a playfulness that is both engaging, and mysterious. Daimon says that each works title is an elusive game that bears no exact connection to the work yet should have the viewer finding their unique relevance to each. Says Damon: "I want you to feel free of fear and shock with my art. The world is becoming a strange, confusing and almost shocking place. I hope to give you comfort and enable one to lose themselves in a safe place. We all like to escape from life. For me this is found in the process of painting without boundary or pure subject matter. Each of my works are tended to be lived with, worlds that will supply their owners a window for safety, pleasure and escape".
The collection is priced from $500—$3500 pc. For more information, high res imagery or interview opportunities, please contact
Sara Huegill
Row A. PR
sarahuegill@me.com
M: 0473 756 949
www.rowapr.com
She has not been idle in recent years, exhibiting her works and winning prizes across the world for her unique painting of clouds, winning the prestigious 'Prix d’excellence artist emergent' award at the Mediterranean’s most popular art festival in 2015, Art Monaco.
Michelle also won the 2016 'Recognition Prize' at Art Domain Group, Germany; the 'International Prize Tiepolo', presented by Jose Van Roy Dali in Milan; Certificate of Excellence’ as a finalist in The Artavita Competition, 2017, USA; and is a finalist in the Global Art Awards 2017, in association with the Wall Street Journal, to be judged 17 November 2017 in Dubai.
In 2013, Michelle moved overseas to paint and exhibit at a range of art shows, including Art Monaco, Art Zurich, Sterner Gallery in Vienna, Miami’s Red Dot Art Fair and the Shanghai Expo.
“I am delighted to showcase my work, which has taken on a new dimension of expressing drama, romance and beauty", says Michelle.
A well known resident of Woollahra in Sydney, Michelle spent her early childhood in a remote village in Zimbabwe, a country where she became fascinated with colour, being surrounded by landscapes under the surreal light of the African sun. A self-educated artist, Michelle has developed her own style of painting that is popular with private collectors and galleries, while she is also a well-known, passionate patron of the arts.
Opening Night: 25 October 6pm — 9pm
Exhibition: 26—29 October 11am — 7pm
The highly acclaimed KAGE joins the SAQ in a dreamlike exploration of gender. Flesh & Bone is a lullaby, a parable and a song about what it means not to be man or woman, but to be human. Darlings of international arts festivals, this is an incredible chance to experience KAGE at point blank range.
“Beautiful, innovative, moving, funny and highly decorated works.” — Paul Summers
Music from Stravinsky, Prokofiev & Shostakovich
Photo: Lachlan Woods
Simultaneously interdependent and solitary, these works act as elegant counterpoints to one another. Playlist is a personal compendium of contemporary visual artists assembled by Gemma Avery. If the artists were songs then she’d be playing them to you. Probably on a turntable. Definitely reading the lyrics.
In music parlance, counterpoint is the relationship between voices that are harmonically interdependent, yet independent in rhythm and contour. Playlist, an exhibition that works across collage, photography, painting and installation, achieves a unique collective expression while maintaining the singular sensibilities of the artists.
Exhibition hours
Tue to Fri 10am—6pm
Sat & Sun 10am—4pm
Charles Cooper courtesy of Annandale Galleries
Julian Hooper courtesy of Gallery 9
Since those formative years at the Yellow House with fellow artists, Martin Sharp, Mick Glasheen, Peter Kingston, Jon Lewis, Tim Lewis, Albie Thoms, Greg Weight, Dick Weigth, Brett Whiteley and Peter Wright (to name but a few) Bruce has become world renown for his fabrics, limited-edition prints, furniture designs, logos, paintings, and sculptures. He has been commissioned by the Lord Mayor of Sydney, the Utzon family, Bryan Brown, Martin Sharp, Jeremy Thomas, Mambo, Dick Smith, Post Office Stamps, Sydney Morning Herald, Random House Books, grand Hotel renovations on Lord How Island and the 40th anniversary of the Sydney Opera House.
Under the Lino tracks down some of the finest pieces of his art and archival footage spread around the world, leading to some wonderful conversations that help weave a path through the highlights of his illustrious and tumultuous career.
The night will finish off with the live music of Lime Cordiale whose musical score of drives the hour long Under the Lino film.
Celebrate at the opening party—a wild blast back to swinging 1971 in Potts Point where Sydney Bohemia meets the ethereal world of Gittoes' exotic Afghanistan. The exhibition launches to the voice of Hellen Rose accompanied by an Afghan and Australian musicians and Go Go dancers – surrounded by work from the pen and brush of George Gittoes. The best party since the original Yellow House opening on 1 September 1971... if you missed that, here's your second chance!
DON'T MISS George together with Bruce Goold on 21 September.
Exhibition hours, not including events:
10AM — 6PM Tuesday to Friday
10AM — 4PM Saturday to Sunday
otherwise by appointment gittoesfilms@gmail.com
Potts Point Bookshop presents
Join Tony Jones as he discusses his fast-paced debut political thriller. The Twentieth Man is set in 1972, and begins on the morning after the worst terrorist attack in Australia’s history. ABC journalist Anna Rosen has no doubt who is responsible for the carnage. And when Marin Katich, one of twenty would-be revolutionaries, slips into Yugoslavia on a mission planned and funded in Australia, there will be devastating consequences for all involved.
Chris Hanley is the Founder and former Chair of the Byron Bay Writer’s Festival.
$15 ticket includes a glass of wine
$45 ticket + book
Call 9331 6642 or book via Eventbrite
Arts Initiative Australia was established by a group of Gen Ys to build capacity for the arts. We launch in Sydney with a very eclectic event featuring the following artists and presenters;
Kim Walker (Presenter)
Melanie Eden (Participatory interactive art)
Natalie Zwar (Presenter)
Ben Hinchley / Andrew Batt-Rawden (Performance art / Interactive art)
Bruno Panucci / Guy James Whitworth (Performance art / Visual art)
Emily Granger (Harp)
Natalie Ayton/ Dan Graham (Mad Hatter tea party / Performance art)
Natalie Wadwell (Presenter)
RSVPs are essential!!!
