Podcasts about imants tillers

Popism, National Gallery of Victoria, Melbourne, 1982 Lecture by Judy Annear The exhibition POPISM was held at the National Gallery of Victoria in 1982. At 24 years old, recent honours graduate and founder and editor of Art & Text magazine, Paul Taylor was invited to curate an exhibition of contemporary Australian art. The NGV was usually described as ‘the bunker’ with apparently little connection to the local art scene or experimental practice. POPISM came like a bolt from the blue, hard on the heels of the first five issues of Art &Text. This lecture will discuss the exhibition and the artists (Howard Arkley, David Chesworth, Ian Cox, Juan Davila, Richard Dunn, Paul Fletcher, Maria Kozic, Robert Rooney, Jane Stevenson, The Society for Other Photography, Imants Tillers, Peter Tyndall, Jenny Watson, and Tsk Tsk Tsk), provide some background and context to the ideas and practices, and the evolution of Taylor’s thinking and working. I will trace this through Taylor’s published writings, the various reactions to his activities, and the recollections and interpretations of his peers – then and now. Further information: acca.melbourne/series/defining-moments- popism/ Copyright ACCA and Judy Annear Produced by Gatherer Media Thank you to our partners: Presenting Partner Abercrombie & Kent; Research Partner Centre for Visual Art (CoVA); Event Partners Melbourne Gin Company, Capi and City of Melbourne; Media Partners Art Guide Australia, The Saturday Paper, 3RRR FM Image: POPISM 1982, exhibition catalogue, National Gallery of Victoria, Melbourne

In this final edition of summer highlights, we hear from West Australian artist Helen Seiver who has come to terms with her parents' deaths through art, Imants Tillers on his Latvian roots, the Art Gang in Brisbane's West End for creatives who have fallen through the cracks, and Ben Quilty on the problem with Santa Claus and "straight, white men."

In this final edition of summer highlights, we hear from West Australian artist Helen Seiver who has come to terms with her parents' deaths through art, Imants Tillers on his Latvian roots, the Art Gang in Brisbane's West End for creatives who have fallen through the cracks, and Ben Quilty on the problem with Santa Claus and "straight, white men."

Internationally renowned Cooma-based artist Imants Tillers honours his Latvian roots in an exhibition in Riga, Claire Nichols with news from the arts world, we meet two young gun Young Archie winners, Neil Haddon on his Hadley's Prize-winning painting, and is the Melbourne Art Fair making a strong comeback?

Internationally renowned Cooma-based artist Imants Tillers honours his Latvian roots in an exhibition in Riga, Claire Nichols with news from the arts world, we meet two young gun Young Archie winners, Neil Haddon on his Hadley's Prize-winning painting, and is the Melbourne Art Fair making a strong comeback?

This painting is from 'The book of power' series of multi-canvas appropriation works which Imants Tillers began in 1981 and still continues. Tillers cites the work of other artists to question authorial originality, how images circulate and to investigate ideas about location and place. The numerals 1, 2, 3 are taken from 'Koru, 1, 2, 3' 1965 by New Zealand modernist painter Colin McCahon. Tillers has overlaid the McCahon work onto a landscape of Lake Wakitipu in New Zealand by colonial artist Eugene von Guérard. He has added a third appropriation, the signature of Italian artist Giorgio de Chirico. De Chirico's reuse of his own early 20th-century imagery, in works he painted much later, is an example of the cultural recycling that fascinates Tillers.

Imants Tillers (1950), Terra incognita 2005. Painting, synthetic polymer paint, gouache 288 canvasboards, nos 72142 - 72429, 304.8 h x 853.4 w cm. Purchased 2006. Courtesy of the artist.

James Gleeson interviews Imants Tillers, 26 September 1979 [unknown location]

Imants TILLERS, A life of blank VI 1984, oilstick and synthetic polymer paint, 6 canvasboards, nos. 3777 - 3782, 76.2 (h) x 76.2 (w) cm, Private Collection

Introduction

Imants TILLERS, Landing sites: A,B,C 1998-2000, synthetic polymer paint, gouache and oilstick, 184 canvas boards, nos. 65962 - 66145, 279.0 (h) x 569.0 (w) cm, Collection of the National Gallery of Australia

Imants TILLERS, Terra incognita 2005, synthetic polymer paint and gouache, 288 canvas boards, nos. 72142 - 72429 (overall) 304.8 (h) x 853.4 (w) cm, Collection of the artist

Imants TILLERS, Heart of the Wood 1985, oilstick, oil, synthetic polymer paint, 338 canvas boards, nos. 5002 - 5339, 280.0 (h) x 648.0 (w) cm, Museum of Contemporary Art, J W Power Bequest, purchased 1985

Into the new millennium when nature prevails

Imants TILLERS, Farewell to reason 1996, 292 canvas boards, oil and oil stick, synthetic polymer paint on prepared canvas boards, 304.8 (h) x 914.4 (w) cm, Collection of the National Gallery of Australia

The Diaspora series

Imants TILLERS, Telepathic Music 1994, Installation, Gouache, synthetic polymer paint on nine double sided canvas boards on nine "K" brand music stands, Collection of the artist

Imants TILLERS, Inherited Absolute 1992, 115 canvas boards, oilstick, gouache, synthetic polymer paint, 115 canvas boards, nos. 33885 - 33999, 231.0 (h) x 228.6 (w) cm, Gift of the Friends of the Orange Regional Gallery

Imants TILLERS, Hiatus 1987, oilstick,gouache,synthetic polymer paint, 190 canvas boards, nos. 14278 - 14466, 254.0 (h) x 723.9 (w) cm, Auckland Art Gallery Toi o Tamaki, purchased 1988, Auckland

Imants TILLERS, Monaro 1998, synthetic polymer paint, gouache, 288 canvas boards, nos. 52594 - 52881, installation 305.0 (h) x 853.0 (w) cm, Collection: Art Gallery of New South Wales - Patricia Lucille Bernard Bequest Fund and the Don Mitchell Bequest Fund 2005