12VA Theory - John Wolseley
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John Wolseley is a contemporary Australian landscape artist born in 1938. He settled in Australia in 1976 and extensively traveled the outback and desert regions between 1979 to 2006, producing artwork documenting the landscapes. His work combines detailed scientific illustrations with snippets of poetry and musings. Wolseley sees himself documenting what remains rather than discovering new things. He uses techniques like frottage to incorporate texture and topographic details in his collage-like paintings depicting the places he observes through quiet contemplation.
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Guan Wei is a Chinese painter and installation artist born in Beijing. He graduated from Beijing Capitol University and has been an artist-in-residence at several prestigious Australian art schools and universities between 1989-1992 and 1993-1998. In his work, Guan Wei aims to emphasize wisdom, knowledge, and humor through paintings and installations that tell stories and raise questions about life using common objects to convey its fragility and importance of protection.
12VA Theory - Sam Leach
Same Leach is an Australian contemporary artist born in 1973 in Adelaide. He currently lives and works in Melbourne. Leach draws inspiration from 17th century Dutch art in works that explore themes of science, technology, and their relationship to commerce and life. His 2009 exhibition "The Next Billion Years" featured oil and resin paintings on wood depicting scientific and technological subjects with visual metaphors. Leach's work considers how corporations and governments use science to manipulate while endangering non-human life, but also humanity's stake in technological advancement for possibilities like extending life beyond Earth.
12VA - Brett Whiteley
Brett Whiteley was an internationally renowned Australian artist born in 1939 who died of a heroin overdose in 1992. He was married to Wendy Whiteley with whom he had one son. Whiteley was educated at the National Art School and The Scots College. His art was influenced by pop art, surrealism, landscapes, and the 1960s-1970s drug culture. Two of his notable works are Remembering Lao Tse from 1967 which references drug use, and To Yirrawalla from 1992 which takes artistic liberties with landscape perspectives.
12VA Julie Rrap, 2016
Julie Rrap is an Australian artist born in 1950 in Lismore, NSW. She established herself as an artist by reversing her surname "Parr" to avoid associations with her brother, the controversial artist Mike Parr. Rrap is known for her body-centric artwork incorporating photography, painting, sculpture, video, and performance art. Between 1986-1994 she lived in France and Belgium where she exhibited widely and gained international recognition. Major retrospectives of her work have been held at the Australian Centre for Contemporary Art in 1995 and the Museum of Contemporary Art, Sydney in 2007.
12VA Jenny Holzer, 2016
Jenny Holzer is an American conceptual artist known for her text-based works that explore political and social issues. She began her career as a painter but was inspired by conceptual art and changed her medium to words. Over several decades, she has projected provocative phrases onto buildings and in public spaces to stimulate discussion on topics like violence, injustice, and human rights. Her work draws from a variety of sources and she aims to confront viewers with challenging ideas in order to promote social change.
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Pablo Picasso was a Spanish painter and sculptor who lived in France and helped pioneer modern art. He challenged traditional perspectives in his work and drew personal feelings and the outside world. Vincent van Gogh, Paul Cézanne, and Francisco Goya influenced Picasso's experimentation with abstraction and cubism. Albrecht Durer was a Northern Renaissance artist obsessed with self-portraiture who pioneered putting signatures on works. He was influenced by meeting Jacopo de Barbari, who exposed him to new techniques in perspective, anatomy, and proportion.
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A one of a kind collector, American artist and filmmaker Joseph Cornell gathered more than just found objects. Cornell surrounded himself with physical and conceptual collections which were an integral part of his existence as a person and as a creator. While the personal diaries contained an accumulation of his thoughts, hopes, memories, experiences, and feelings, the artist's house treasured a versatile selection of objects that he obtained from New York's book stores, thrift shops, flea-markets, antique fairs, and the outdoors. Rare prints, books, photographs, toys, magazine pages, found objects, and anything else imaginable constituted his growing collection. Cornell gathered ideas and things that spoke to him and then transformed them into small interactive microcosms. By viewing his artwork we can gain a better understanding of his persona.
Comprehending Cornell's lifestyle and emotional being is crucial in viewing and appreciating his work. Spending his entire life in New York caring for his brother, who had special needs, Cornell had difficulty communicating with the outside world. Despite the multitude of his artistic connections, he lacked the ability to form relationships. Cornell's heart ached for celebrity women, for whom he expressed his affections for through art.
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In addition to the box assemblages, Cornell also experimented with film, layering scenes, sounds, and frames similar to his sculptural collages. Layers of time and mem.
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12VA Louise Bourgeois, 2016
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- 1. { John Wolseley Contemporary Landscape Artist
- 2. Don’t say a word. Simply take out your VAPD and pen. Write down all that you observe…
- 9. What have we been looking at? What frame/s does this fit under? What aspect/s of the Conceptual Framework does this fit into? What have you observed? What did you discover about John Wolseley?
- 10. Born: 1938 Settled in AUS: 1976 1979 – 2006 Travelled extensively around Australia, and some foreign countries, but mostly around desert regions and the outback. Biography
- 12. Wild Cries Wild Wings of Wetland and Swamp: Propositions of an Uncertain Future by John Wolseley (2011). Oil painting with waterproof varnish on ply wood.
- 13. John Wolseley could pass for a 19th Century gentleman explorer. He is an artist, a naturalist and a geographer, rolled into one. His work is strikingly contemporary, often with inclusions of details mappings and botanical, scientific illustrations of birds, lizards etc.
- 14. Wolseley documents what is left rather than documenting what he discovers. The old gentleman naturalists were looking forward and discovering new things, whereas I am looking back, I am deconstructing that. I’m often the last to see something, rather than the first. ~ John Wolseley The last journey of the Regent Honeyeater by John Wolseley (2004).
- 15. His work also is known to include snippets of poetry, scientific diagrams and musings. His maps are not readable in the conventional sense: they whirl about through time and space… He is a Renaissance man without the commitment to ‘perspective’. His perspective lives in his historical application of different aspects of thought and feeling.
- 16. The Memory Of Fire by John Wolseley (2003). Why do you think the artist chose to use the technique of frottage in the creation of this artwork? Frottage: rubbing charcoal, pencil etc. over a textured surface to impress it’s design upon the markings on the paper.
- 17. Most people have a very goal-orientated job, but what I tend to do is go to a place and just sit there and day dream, really, and slowly, because you are so quiet and still, you get to learn a lot about a place. I start with a lot of exploratory drawings which end up in the paintings as sort of collages, then I build up a picture of the place. ~ John Wolseley