Mar 2, 2022
Dan Moynihan Bricks and Mortar 3, 2016 Mirror finish 316 stainless steel, aerosol spray enamel, aluminium Image courtesy of Tolarno Galleries.
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Dan Moynihan Bricks and Mortar 3, 2016 Mirror finish 316 stainless steel, aerosol spray enamel, aluminium Image courtesy of Tolarno Galleries.
Ben Quilty Freefall, 2021 Bronze Courtesy Tolarno Galleries.
Danie Mellor, Against the dying of the light (2020). Acrylic on linen with gesso and iridescent wash. Courtesy Tolarno Galleries.
Brendan Huntley, Untitled (feel free to move around) (2016–2018). Glaze, slip, enamel, bog, terracotta, stoneware and raku, formply, steel and wheels. 91 x 46 x 46 cm. Courtesy Tolarno Galleries.
Rosemary Laing, effort and rush #1, 2015, C-Type photograph, framed 113 x 203 cm © Rosemary Laing, Courtesy of Tolarno Galleries, Melbourne
ROSEMARY LAING, EFFORT AND RUSH
Exhibition May 05, 2016 — Jun 04, 2016 at TOLARNO GALLERY, Paris Fair Exhibitor
Level 4, 104 Exhibition Street, 3000 Melbourne [email protected] T +61 3 965 46000 tolarnogalleries.com Fax +61 3 965 47000
Tolarno Galleries, Melbourne is pleased to present effort and rush, a solo show by photo-based artist Rosemary Laing.
Laing's projects are most often created in relation to cultural and/or historically resonant locations throughout Australia. With interventions undertaken in situ or through the use of choreographed performance work, she engages with the politics of place and contemporary culture.
Bill Henson will be signing his latest monograph at @ParisPhotoFair on Friday at 5pm. @TolarnoGalleries
LS 14 | Portraits
Bill Henson | Tolarno Galleries
www.landscapestories.net
"Bill Henson is a visionary explorer of twilight zones, between nature and civilization, youth and adulthood, male and female. His photographs are painterly tableaux that continue the traditions of romantic literature and painting.
Hensons elegant, formal photographs – of battered landscapes and fragile, wispy youths – resemble nothing so much as Flemish still-lifes; rarely has colour photography captured so profoundly the furry texture of night time."
The New Yorker 2004
Bill Henson