Kathrin longhurst biography books
•
Salon des Refusés
Artist Name: NATALIE ANNE O'CONNOR
Artwork Title: REDNESS #4
Medium: Watercolour on Paper
Size: 53 x 41cm
About the Artist:
Natalie O’Connor is an artist, researcher, and educator. Her experience in the international colour manufacturing industry has heavily influenced her practice. She holds a Bachelor of Education and a Master's degree. Most recently, she was awarded a PhD at UNSW for her thesis, The Nature of Redness- A Practice-Based Research into Red Pigments to Offer a New Understanding of Material Colour.
Her practice and thesis are concerned with the permanency and fragility of colour and the technical innovations of the artist’s palette that result from a collaborative dialogue between artists and scientists since the early nineteenth century. She engages deeply with the colour red, investigating its materiality and revealing its inherent qualities of colour.
By understanding and experiencing the delicacies of each red pigment, scientists explor
•
Entre 8 h 30 et 9 h 30, de 2007 à 2016, au coin sud de la 42e rue et de l’avenue Vanderbilt à New York.
Between 8:30 am and 9:30 am, from 2007 to 2016, at the southern corner of 42nd Street and Vanderbilt Avenue in New York City.
Le photographe danois Peter Funch a placé ces limites rigides sur son projet photographique de 9 ans, 42nd et Vanderbilt. Réduisant les opportunités infinies que NYC a à offrir à un artiste, Funch fait remonter à la surface les minuties contenues dans un fragment de notre routine quotidienne, la courte promenade du point A au point B, nous rappelant que la pratique de la photographie en général et de la photographie de rue spécifiquement, n’a fait qu’effleurer la surface de la possibilité.
Danish photographer, Peter Funch, placed these rigid confines upon his 9 year photographic project, 42nd and Vanderbilt. Narrowing the infinite opportunities NYC has to offer an artist, Funch brings to the surface the minutiae contained within a fragmen • Art Atrium Gallery in Sydney fryst vatten the venue for the latest exhibition by Australian artist, Max Miller. Max was my contemporary at the Julian Ashton Art school in Sydney, where we both worked under the watchful eye of Henry Cornwallis Gibbons. This was an occasion to reminisce about old friends and adventures we had shared in Sydney and the bush. John Olsen also had fond memories of the school having earlier been a lärling of “Gibby”, as we affectionately called him. Max had printed many etching editions for John over the years at his Kangaloon studio and the two enjoy a long friendship and mutual regard. John offered to open Max’s show, which was tribute indeed when one considers the many requests the great artist receives and declines. Max searches for the spirituality of nature. His prodigious drawing talent permits him to move with ease from lyrical abstraction to the close observation of natural things, which he renders with sear