@nikuzo87
Daily posts of the work of the artist Guy Maestri on my artist page on Facebook. Like my page in the link below. Also follow me on Twitter and Instagram @nikuzo87
Guy Maestri, “Luke’s Lane No.9”, 2014, Oil on linen, 87 x 77 cm.
https://www.facebook.com/pages/Nik-Uzunovski-Artist/225201424159742
David Hockney (British, b.1937) is a painter, photographer, and set designer, first associated with the Pop Art movement, and later renowned for his intimate portraits and naturalistic scenes of both the everyday and the artificial of California life. Hockney was born in Bradford, England, and studied at the Bradford School of Art, exhibiting an extraordinary aptitude for draftsmanship. He later attended the London Royal College of Art, where he met fellow student R.B. Kitaj (1932–2007), who strongly influenced him and inspired Hockney to infuse the personally expressive into his works.
Hockney’s first works included common and commercial images, such as boxes of tea, which caused his early inclusion with the Pop Art movement. Hockney also favored a mix of literature and scandalous subject matter in his early work, including pieces on homosexuality inspired by Walt Whitman poems created in the Art Brut style of Jean Dubuffet. His mature work often draws on photographs, particularly after visiting California regularly in the 1960s, where he created naturalistic paintings with a flat, serene appearance, including his famous Swimming Pools series. He works in many mediums, including set design and photography. Hockney has held major retrospectives at the Royal College of Art in London, the Metropolitan Museum of Art in New York, and at the Los Angeles County Museum of Art. He currently lives and works in California.
Celia Observing (not in Scottish Arts Coucil or Tokyo), 1976, etching (ed. of 60), 90.2 x 74.9 cm.
Table Flowable, 1991, colour lithograph (ed.44/500), 111.8 x 144.8 cm.
Text and images: http://www.artnet.com/artists/david-hockney/
A.R. Penck (German, b.1939) is a painter and sculptor active in East Berlin during the partition of the city after WWII. Penck’s work is unique for its primitivist stick-figures and signs, and his paintings employ a schematic idiom to convey universal ideas that are not tied down to a particular ideology of national agenda. Born Ralf Winker, Penck started painting at the age of 10 and continued his artistic career even after repeatedly denied acceptance into the art academies in East Berlin and Dresden.
Facing constant repercussions from East Berlin officials, in the early 1970s he started to work under the pseudonym of A.R. Penck, after studying the works of the former geologist, Albrecht Penck. Although he was not allowed to display his work in West Berlin, Penck was able to smuggle his work across the wall for exhibitions, and worked closely with the West German artist Jörg Immendorff (German, 1945–2007), whose work also addressed social and political concerns of the time. Penck used discarded objects as the inspiration behind many of his sculptures in the 1960s, and additionally incorporated wood and bronze into his work in the 1980s. Penck was also a jazz musician, theorist, and innovative writer, constantly returning to the social themes addressed in his artistic works. Penck acquired an exit visa from East Germany in 1980, and since then has worked in Dublin, London, Düsseldorf, and Cologne.
Systembild—Last, 2007, acrylic on canvas, 160 x 180 cm.
Standart, 2011, acrylic on paper, 80 x 60 cm.
Images and text: http://www.artnet.com/artists/a.r.-penck/
The artist Mike Kelley (American, 1954-2012) was regarded as one of the most influential members of the Contemporary Conceptual Art movement. His multimedia work, ranging from performance and installation to painting and photography, features souvenirs of popular culture, such as stuffed animals or crocheted couch throws, evoking an atmosphere of the uncanny. In his Postmodern world, the high and low are combined in philosophical investigations of contemporary society, joined with a 1950s comic book style creating absurd, sometimes humorous portrayals of the American middle class and its conceptions of the normative. Kelley studied at the University of Michigan and at the California Institute of the Arts, and was influenced by 1960s Conceptual artists. In the early 1970s, he formed his own rock band, and staged performances including photographs, objects, and drawings. In the mid-1980s, Kelley continued using found objects in his installations and focused on psychological issues in his work, treating topics such as abuse and repression as the traumatic remains of a dysfunctional society. Themes of biography and autobiography became increasingly important in his work in the 1990s. Kelley participated in the Documenta 9 and 10 art fairs in Kassel, Germany, and has held solo shows at the Whitney Museum of American Art in New York, the Los Angeles County Museum of Art, the Tate Liverpool, and at the Louvre in Paris. Kelley has also received attention for his work as an art and music critic, and as a curator of numerous exhibitions.
Pansy Metal/Clovered Hoof, 1989, silkscreen on silk, 133.4 x 95.2 cm.
Yellow Banana 2, 1991, acrylic on paper, 100.3 cm x 81.3 cm.
Images and text: http://www.artnet.com/artists/mike-kelley/
Ellsworth Kelly (American, b.1923) is a painter and sculptor who established his own style amidst the pervasive influence of the Abstract Expressionist and Pop Art movements. Born in New York City, Kelly admired the works of Naturalist John James Audubon (American, 1785–1851) as a child and loved to draw, even though his parents only reluctantly permitted him to study at the Pratt Institute in Brooklyn, NY. After serving during World War II for two years as a camouflage artist, Kelly was able to study on the GI Bill at the School of the Museum of Fine Arts, in Boston, MA, and then at the École Nationale Supérieure des Beaux-Arts in Paris, France.
Separated from the American art world while in Europe, Kelly developed his distinctive method of painting, which features canvases painted in a single color, at times in isolation and other times grouped with differently colored canvases. These works echo Kelly’s desire to separate himself from the traditional roles of composition and the artist’s hand. Kelly only returned to the US when he believed that the enthusiasm for Abstract Expressionism had died down enough to allow his work to get some visibility. By the end of the 1950s, he was internationally recognized for his monochromatic canvases, which began to take the shape of non-rectangular forms such as ovals and curves. Kelly also began to create sculptures similar to his paintings, featuring simple two-dimensional forms. In 1970, the artist moved to upstate New York, where he shifted his focus to create large outdoor sculptures concerned more with color than form. Many of his public works are now on display around the world. Kelly now lives and works in Spencertown, NY.
Sunflower II, 2004, lithograph, 37 x 29 inches.
Black Curve, 1973, lithograph, 26 x w: 26 in.
Images and text: http://www.artnet.com/artists/ellsworth-kelly/
Candida Höfer (German, b.1944) is a photographer known for her large-format images of architectural interiors, which address the psychological environment of social and cultural institutions by acknowledging how public spaces are designed to accommodate and inform the public. After completing studies at the Cologne Werkschule, she enrolled in the Düsseldorf School of Art, where she was taught by Bernd and Hilla Becher (German, 1931–2007; b.1934), heavily influenced by the formal qualities of the austere documentary photography they endorsed.
Along with fellow German artists Thomas Struth (b.1954), Andreas Gursky (b.1955), and Thomas Ruff (b.1958), Höfer’s work became internationally recognized in the 1980s, and her subject matter expanded to include a myriad of places rooted in cultural formation and preservation, including museums, libraries, universities, theaters, civic centers, and historic sites. She has held numerous solo exhibitions throughout Europe and the United States, and her work has been included in several group shows at the Museum of Modern Art in New York, Documenta XI in Kassel, and the Museum Ludwig in Cologne. In 2003, Höfer represented Germany in the Venice Biennale with fellow compatriot, Martin Kippenberger (German, 1953–1997). She lives and works in Cologne, Germany
Trinity college, Dublin I, 2004, C-print, 180 x 215 cm.
Teatro Scientifico Bibiena Mantova I, 2010, LightJet print,180 x 225 cm.
Images and text: http://www.artnet.com/artists/candida-h%C3%B6fer/
Born 1933, Brisbane, Australia
Lives and works in Sydney
Studies/Residencies
1956 Studied under Jon Molvig, Brisbane
1957‒62 Studied at the East Sydney Technical College, Sydney
1978 Artist in Residence, Cité Internationale des Arts, Paris
Studied etching with Paul Frank and Henri Goetz
Subsequent residencies, Cité Internationale des Arts, Paris:
1980, 1995, 1999, 2000, 2003, 2006
1985 Residency, Arthur Boyd Studio ‘Parataio’, Tuscany
2007 Residency, Perdreauville, France
2010 Residency, Paris
Solo exhibitions
1965 Watters Gallery
1973 Gallery One Eleven, Brisbane
1974 Gallery A, Sydney
1977 Survey, Institute of Modern Art, Brisbane
1977 Gallery A, Sydney
1979 Gallery A, Sydney
1980 Survey, Monash University, Melbourne
Stéphane Jacob, Paris
1982 Gallery A, Sydney
Michael Milburn Gallery, Brisbane
1983 Coventry Gallery, Sydney
1984 Christine Abrahams Gallery, Melbourne
1984 Coventry Gallery, Sydney
1984 Stadia Graphics Gallery, Sydney
1985 Michael Milburn Gallery, Brisbane
1986 Coventry Gallery, Sydney
1986 Michael Milburn Gallery, Brisbane
1988 Australian Galleries, Melbourne
1988 Coventry Gallery, Sydney
1989 Australian Galleries, Melbourne
1989 BMG Fine Art, Adelaide
1990 Coventry Gallery, Sydney
1992 Australian Galleries, Sydney
1992 Sculptures, Mary Place, Sydney
1992 Australia Felix, Australian Pavilion, World Expo, Seville
1993 Australia Felix, Art Gallery of New South Wales
1994 Australia Felix, Maritime Museum, Sydney
1993 Australian Galleries in conjunction with Meridian Sculpture Gallery, Melbourne
1994 Australia Felix, Maritime Museum, Sydney
1994 Connection, Australian Galleries, Sydney
1995 Australian Galleries, Sydney
1996 Australian Galleries, Sydney
1997 Peter Gant Gallery, Melbourne
2001 Charles Nodrum Gallery, Melbourne, in conjunction with Ralph Renard
2001 The Studio, Opera House, Sydney (exhibition commissioned by Roger Woodward)
2001 Annandale Gallery, Sydney
2003 Art d’Australie, Stéphane Jacob, Paris
2003 Galerie Walter Bischoff, Berlin
2004 Charles Nodrum Gallery, Melbourne
2004 Australian Galleries, Sydney
2005 Other, Australian Galleries, Sydney
2006 Heiser Gallery, Brisbane
2007 Leaving for Paris, Australian Galleries, Sydney
Art d’Australie, Stéphane Jacob, Paris
2008 Heiser Gallery, Brisbane
2008 Oceans Apart, Australian Galleries, Sydney
2009 Chance, Australian Galleries, Sydney
2010 Art d’Australie, Stéphane Jacob, Paris
2012 Inscapes, Tim Olsen Gallery, Sydney
Selected group exhibitions
1962 Clune Galleries, Sydney
1962 Seven Figurative Painters, Barry Stern Gallery, Sydney
1962 Blaxland Gallery, Sydney
1962 Von Bertouch Galleries, Newcastle
1962 Bonython Galleries, Adelaide
1974 Gallery A, Sydney
1974 Ten Years, Watters Gallery, Sydney
1975 Ten Australians, Gallery A, Sydney
1975 Opening Exhibition, Warehouse Gallery, Melbourne
1977 Gallery A, Sydney
1978 Landscape & Image, Contemporary Australian Art to Indonesia
1978 Australian Women Artists, Contemporary Arts Society, Sydney
1978 Exposition, Cité Internationale des Arts, Paris
1980 Summer Exhibition, Gallery A, Sydney
1981 Canberra Times National Art Award, Canberra
1982 Anzacs 82, Macquarie University, Sydney
1983 Christine Abrahams Gallery, Melbourne
1984 Musée de l’Art Wallon, Liege, Belgium
1984 University of New South Wales Purchase Prize Exhibition, Sydney
1985 Salute to Lloyd Rees, Macquarie Galleries, Sydney
1985 Contemporary Australian Art, The Warwick Arts Trust, London
1985 Galleria Lillo, Venice, Italy
1985 Australian Perspecta 85, Artspace, Sydney
1986 Colour I, Coventry Gallery, Sydney
1987 Surface for Reflexion, Art Gallery of NSW, Sydney
1987 Australia on Paper, Queensland Arts Council
1987 The Jack Manton Prize, Queensland Art Gallery, Sydney
1987 Colour II, Coventry Gallery, Sydney
1987 Australian Works on Paper, Dion Fine Art, Dallas, USA
1988 Solo Images, Blaxland Gallery, Sydney
1988 Tenth British International Print Biennale, Bradford, UK
1988 Contemporary Views of New England, New England Regional Art Museum, Armidale, NSW
1988 Drawing in Australia, Australian National Gallery, Canberra
1989 Intimate Drawing, Coventry Gallery, Sydney
1990 A Young Collectors’ Exhibition, Coventry Gallery, Sydney
1990 Campus Collection, Ivan Dougherty Gallery, Sydney
1990 Portfolio of Women Artists, Macquarie Galleries, Sydney
1992 Interpretations, Goulburn Regional Art Gallery, NSW
1992 Australia Felix, World Expo, Seville
1993 Chandler Coventry Collection, Campbelltown Art Gallery, NSW
1994 Drawing on Inspiration, Ivan Dougherty Gallery, Sydney
1995 New England Regional Art Museum, Armidale, NSW
1997 L’art des Aborigѐnes d’Australie (section Clin d’oeil l’art occidental), Galerie Arts d’Australie, Stéphane Jacob/Espace Paul Riquet, Béziers
1998 Wynne Prize Exhibition, Art Gallery of NSW
1998 Primary Colours – Blue, Annandale Galleries, Sydney
1998 Skin Culture, The George Gallery, Melbourne
1998 Art & Music, Axia Modern Art, Melbourne
1998 Australian Contemporary Paintings, Lui Hai-su National Art Museum, Shanghai
1998 Toys by Artists, University of Newcastle, Faculty of Art & Design, NSW
1998 Le Temps du Rêve, Galerie Arts d’Australie, Stéphane Jacob/Bibliothѐque municipale, Le Perreux-sur-Marne
1998 Propositions Australiennes, Galerie Arts d’Australie, Stéphane Jacob/Luc Queyrel, Paris
1999 Silver, Ivan Dougherty Gallery, Sydney
1999 Prize Pictures, King Street Gallery on Burton, Sydney
1999 Wynne Prize Exhibition, Art Gallery of NSW
1999 Icarus, Goulburn Regional Gallery, NSW
1999 Toys by Artist, New England Regional Art Museum, NSW
1999 Visy Board Art Prize Exhibition, Hill Smith Fine Art, Adelaide
1999 Primary Colours – Red, Annandale Galleries, Sydney
1999 Skin Culture, Tin Sheds, Sydney
2000 Arts d’Australie, Stéphane Jacob, Paris
2000 Archibald Portrait Prize, Art Gallery of NSW & Touring
2000 Sulman Prize, Art Gallery of NSW, Sydney
2000 Fleurieu Art Prize, South Australia
2000 Art on Paper, Art Fair, London
2000 Kunstral, Art Fair, Amsterdam
2000 Accents Australiens, Adamski Designs, Paris
2000 A Studio in Paris: Australian artists at the Cité, S.H. Ervin Gallery, Sydney
2001 5 Artistes Australiens, Galerie Odile Boicos, Paris
2001 Salon Art Paris, Carrousel du Louvre, Galeries Arts d’Australie, Stéphane Jacob, Paris
2001 Voyage dans la matiѐre, Galerie Arts d’Australie, Stéphane Jacob/Atelier Claude Cerf, Paris
2001 Australie: Visages d’un continent, Galerie Arts d’Australie, Stéphane Jacob/Galerie Visages de l’art, Marly-le-Roi, France
2002 Salon Art Paris, Carrousel du Louvre, Galerie Arts d’Australie, Stéphane Jacob, Paris
2002 La Loire-Atlantique donne rendez-vous à l’Australie, Art et Culture des Antipodes, Galerie Arts d’Australie, Stephane Jacob/Conseil Général de Loire-Atlantique, Nantes
2004 Salon Art Event, Galerie Arts d’Australie, Stéphane Jacob, Lille
2004 Salon Art Event, Galerie Arts d’Australie, Stéphane Jacob, Paris
2005 Kedumba Drawing Award, Blackheath Gallery, NSW
2005 End of Year Group Exhibition, Australian Galleries Painting and Sculpture, Sydney
2005 10th Annual 6″ x 6″ x 6″ Miniature Sculpture Show, Defiance Gallery, Sydney
2005 Salon Start, Galerie Arts d’Australie, Stéphane Jacob, Strasbourg
2005 Personage: the figure on paper, Australian Galleries Works on Paper, Sydney
2006 50th Anniversary Exhibition, Australian Galleries, Melbourne
2006 Summery, Australian Galleries, Sydney
2006 Dobell Prize for Drawing, Art Gallery of New South Wales
2006 The Big Picture, Delmar Gallery, Sydney
2006 Same Place, Many Views: painting the Australian landscape, Defiance Gallery, Sydney
2006 Who Cares?, Boutwell Draper Gallery, Sydney
2006 Salon des Refusés, S.H. Ervin Gallery, Sydney
2006 Wynne Prize Exhibition, Art Gallery of New South Wales, Sydney
2007 Small Pleasures: painting and sculpture, Australian Galleries, Melbourne
2007 Stock Show, Australian Galleries, Melbourne
2008 Group Exhibition, Australian Galleries, Roylston Street, Sydney
2008 Wish You Were Here, Tweed River Art Gallery, Murwillumbah, NSW
2008 Stock Exhibition, Australian Galleries Painting and Sculpture, Sydney
2008 Rubik, Charles Nodrum Gallery, Melbourne
2009 Windows on Pain, Carriageworks, Sydney
2009 Australia Day Paintings: Water, King on William Gallery, Sydney
2010 On This Island, Hazelhurst Regional Gallery and Arts Centre
2010 Three Sydney Artists: let loose in the landscape, Bega Regional Gallery, NSW
2010 Miscellanea, Tim Olsen Gallery, Sydney
2010 A Summer Survey, Tim Olsen Gallery, Sydney
2011 Fleurieu Art Prize, South Australia
Prizes and Awards
1976 David Jones Art Prize, Brisbane
1978 Visual Arts Board Grant to Cité Internationale des Arts, Paris
1980 Visual Arts Board Grant
1981 Canberra Times National Arts Award, Canberra
1984 Purchase Prize, University of New South Wales, Sydney
1985 The Sydney Morning Herald Art Prize
Residency, Arthur Boyd Studio, ‘Parataio’, Tuscany
1986 John McCaughey Award, Art Gallery of New South Wales, Sydney
1998 Wynne Prize, Art Gallery of New South Wales, Sydney
2002 Geelong Contemporary Art Prize
2005 Kedumba Drawing Award, Blackheath
Collections
Artbank
Art Gallery of New South Wales, Sydney
Australian National University, Canberra
Alcoa Foundation, USA
Australian Consolidated Press
Coventry Collection, New England Regional Art Museum, Armidale, NSW
Griffith University, Queensland
James Cook University, Townsville
Macquarie Bank, Sydney
Macquarie University, Sydney
Medibank Collection, Canberra
Myer Collection, Melbourne
Newcastle Regional Art Gallery
New England Regional Art Museum, Armidale
National Library of Australia, Canberra
National Gallery of Australia, Canberra
Parliament House, Canberra
Perc Tucker Regional Art Gallery, Townsville
Queensland Art Gallery, Brisbane
Queensland University of Technology Art Collection, Brisbane
Sydney College of Advanced Education
The Darling Harbour Authority, Sydney
Thyssen-Bornemisza Collection, Spain
University Art Museum, University of Queensland
University of Western Australia, Perth
University of New South Wales, Sydney
Visual Arts Board
Villa Haiss Museum, Zell, Germany
Western Mining Company, Western Australia
Wollongong University College, NSW
Commissions
1977 The Malley Refectory Mural, University of Queensland
1987 Convention Centre, The Darling Harbour Authority, Sydney
1990 The Australian Legal Group Contemporary Print Collection
1990 A Portfolio of Australian Women Artists, NSW Cancer Council
1992 Centrepiece, The Australian Pavilion,
Continuum, 2010, mixed media on paper, 25 x 25 cm.
Phare, 2012, oil on linen, 76.5 x 76.5cm.
Images and text: http://www.olsenirwin.com.au/
Jun Chen was born in China in 1960 and migrated to Australia in 1990. He trained in painting at the Guangzhou Academy of Fine Arts and later the Queensland University of Technology, Brisbane. In China, Chen was a brush and ink painter; in Australia he reinvented himself as an oil painter using paint thickly applied with a pallete knife to capture landscapes, nudes and still lifes. The artist is a regular finalist in the Archibald, Wynne and Sulman Prizes and his work can be found in the collection of Parliament House, Canberra, and in private collections in Australia and Asia.
Bondi Park, 2012, oil on canvas, 101 x 106 cm.
City in Haze, 2012, oil on canvas, 101 x 106 cm.
Images and text: http://www.rayhughesgallery.com/contemporary-australian/jun-chen
Peter Beard (American, b.1938) is a photographer and writer known for his collage-work and extensive diaries. While moving around between Long Island, New York City, and Alabama during his childhood, Beard began the habit of keeping diaries that later became source material for many of his collage works. Beard documented his travels and photographs within his diaries from the age of 12, shortly before his first trip to Africa in 1955. In 1957, Beard applied as a pre-med student to Yale before switching to art history, studying under the influential art historian and theoretician, Joseph Albers (1888–1976). After graduating, Beard returned to Kenya where he made his home in East Africa, acquiring “Hog Ranch,” the property adjacent to Karen Blixen’s, near the Ngong Hills.
In the early 1960s he worked at Tsavo National Park where he photographed and documented the demise of elephants and Black Rhinos, and published multiple books on the subject. During this period he began to create photographic collages that explored the interconnectedness of humans and animals. In addition to his own work, Beard has befriended and collaborated with many artists, including Andy Warhol (1928–1987), Andrew Wyeth (1917–2009), Richard Lindner, Terry Southern, Truman Capote, and Francis Bacon (1909–1992). In addition to his collaborations with well-known artists, he photographed prominent politicians, supermodels, rock stars, and New York City celebrities during the 1970s and 1980s. After his art exhibition in 1975 at the Blum Helman Gallery, Beard continued to show his work throughout galleries in Paris, Los Angeles, New York, Tokyo, and cities throughout Africa.
Lion pride, southern Serengeti, for the end of the game/Last word from paradise, 1976-2000, Platinum Print on Arches Paper, 40 x 59.7 cm.
MRI, Self-Portrait for Centre National de la Photographie, 1997, mixed media,186.7 x 118.9 cm.
Images and text: http://www.artnet.com/artists/peter-beard/
After spending a few of his teenage years in a technical school, Joan Miró (Spanish, April 20, 1893–December 25, 1983) began in earnest his artistic career. He trained at Francesc Galí’s Escola d’Art in Barcelona from 1912 to 1915, after which he had his first solo show in Barcelona at the gallery of José Dalmau in 1918. Starting in 1920, Miró divided his time between Montroig, Spain, and Paris, where he commingled with poets such as Max Jacob, and took part in Dada activities. Dalmau organized a solo show for Miró in Paris at the Galerie la Licorne in 1921, and in 1924, Miró joined the Surrealist group. The consistently Abstract nature of his works, such as The Birth of the World (1925) lended well to the dream-like ambiance of Surrealism.
After a trip to the Netherlands in 1928, Miró created the series Dutch Interiors, in which amorphous forms entered into his work. On October 12th, 1929, he married Pilar Juncosa in Palma de Mallorca, and then moved to Paris. During this period, he rebelled against painting, and produced wood reliefs, assemblages, and collages. Although he was living in France, the influence of the Spanish Civil War can be observed in the intense color and strong imagery of Still-life with an Old Shoe (1937). Experimentation continued in Miró”s work until his death in 1983. His wide body of work included ceramics, various prints, drawing, and sculpture. Major projects include the 1958 ceramic murals The Sun and The Moon for the UNESCO building in Paris. He collaborated with Josep Llorens Artigas (Spanish, 1892–1980), and was awarded the Guggenheim Foundation’s Grand Prize. This collaboration can been seen in the artwork called Miró Artigas. Numerous retrospectives of his works have taken place during his lifetime and after.
Personnage, oiseaux, 1976, oil and pencil on wood, 37.1 x 31.5 cm.
Libre Del Sis Sentits II, 1981, Aquatint, (ed. 40/50), 72.4 x 54.6 cm.
Images and text: http://www.artnet.com/artists/joan-mir%C3%B3/