Another glorious issue of Trouble for October 2014 featuring Comics Face … from HELL by Ive Sorocuk, hilarious Madness of Art – Jim’s negotiation with Tom Slaughter is something else – the amazing Wade Clarke (Aeriae) does some Social Work, Inga Walton examines the British Museum touring exhibition ‘The Body Beautiful in Ancient Greece’ in Of Gods & Mortals, Naima Morelli discovers Gertrude Street’s take on Modernism with Alasdair McLuckie, Klare Lanson peers into ‘the essence of what you see’ with Catherine Pilgrim, and Ben sends more greetings from Alice Springs, where he finally meets a real, live blackfella. Plus there’s a Special Salon feature from ‘We can make another future: Japanese art after 1989’ at GOMA. Get into it!
COVER: Yasumasa MORIMURA (Japan b.1951), ‘Doublonnage (Marcel)’ 1988 Type C photograph on paper bonded to aluminium Purchased 1989. Collection: Queensland Art Gallery. ‘We can make another future: Japanese art after 1989’, Gallery of Modern Art (GOMA), Brisbane (QLD), 6 September 2014 – 20 September 2015 -qagoma.qld.gov.au/
IT’S ALL HAPPENING IN DOOKIE at the moment in preparation for Dookie Earthed (http://www.dookiearts.com/) (4 October). This event will take over and transform the small, rural Victorian town of Dookie for the weekend, including as a venue the stunning natural amphitheatre of it’s local quarry, which will feature a variety of beautiful shadow, projection and sound performances using the rock walls as their canvas. In We Are Dookie (http://www.troublemag.com/we-are-dookie/) Klare Lanson speaks with Artistic Director Helen Kelly to confirm that this will be an exceptional event and is not to be missed. …
A MASSIVE SEPTEMBER MAGAZINE that looks to the Future Now as much as the past. The Substation’s annual award team-up with Victorian College of the Arts Honours graduates is in it’s third year and currently touring regional Victoria. We Meet the Artists as the show moves to Punctum in Castlemaine. We also meet New Zealander Jake Walker, who is pictured sitting in the tower window of architect Ian Athfield’s home in Wellington, where the artist lived for a time as a child in the late 70s. The impressive home’s surfaces and forms are frequently referenced in Jake’s work. He tells all and more in an interview with Naima Morelli. Plus printmaker David Frazer tells Klare Lanson about his Little Aches & Painswith songwriter Paul Kelly, we hear the big voice of a little country town in We Are Dookie, and Inga Walton brings a HUGE wedding glamour extravaganza to the feasting table as we kiss both Melburnin’ and ACTease goodbye for a while. On top of all that there’sComics Face, more madness in The Madness of Art … oh, and Ben’s still lost in the outback in Greetings from Beyond the Pale. It’s big and it’s cheesy. Share it around. COVER: Christina-Hayes, ‘Curses like Chickens come home to roost’ (detail) 2013, oil-on-linen. Featured in ‘Future Now’, Meet the Artists - http://www.troublemag.com/future-now-meet-the-artists/ Future Now - cargocollective.com/futurenow
Trouble magazine August 2014 FEATURES: Comics Face by Ive Sorocuk, The Madness of Art by Jim Kempner, Doble & Strong: synchronous by Inga Walton, As Stars Fall: novel extract by Christie Nieman, William Blake: The Immortal Man that Cannot Die by Inga Walton, August Salon, ACTease by Courtney Symes, Melburnin’ by Inga Walton, Greetings from Beyond the Pale by Ben Laycock. COVER: Doble & Strong, Dermochrome (detail) 2014, gloss enamel on chromogenic print, mounted on aluminium composite board, (3 panels) 178 x 125 cm (each). Courtesy of Art Equity, Sydney & NKN Gallery, Melbourne. Melbourne Art Fair, Royal Exhibition Building, Carlton (VIC) 13 – 17 August. | Art Equity, Level 1, 66 King Street, Sydney (NSW).
Madness of Art special episode: Charlie Hewitt on Painting
“There’s something about a paintbrush that scratches an itch,” says artist and MoA co-producer Charlie Hewitt in this revealing and intimate interview. Charlie opens his studio to explain his process as he works on number of canvases. “It’s feral, done mostly by myself,” he says. “It’s so full of promise. It’s constantly telling me that I’m close … taking me to a point where there can be some kind of relief from all the experiencing, to something called completion.”