Art Gallery of New South Wales Poradie kníh

Day and night, love and hate, calm and chaos, conscious and unconscious. Explore Louise Bourgeois's world of tensions and extremes in this striking new book dedicated to one of the most influential artists of the past century. Bourgeois (France/USA 1911-2010) is renowned for her fearless exploration of human relationships across a relentlessly inventive seven-decade career. Featuring more than 200 images of Bourgeois's work, a selection of her writings and dream recordings, and new perspectives on her work by filmmaker Jane Campion and writer Chris Kraus, this book reveals the extraordinary reach and intensity of her art. From her haunting Personage sculptures of the 1940s to her iconic spiders and tough yet tender textile works of the 1990s and 2000s, Louise Bourgeois: Has the day invaded the night or has the night invaded the day? is an essential guide to this singular artist and an exploration of the polarities at the heart of her art. This publication accompanies a major exhibition of Bourgeois's art presented at the Art Gallery of New South Wales in Sydney, Australia, and documents its dramatic presentation in the renowned post-industrial gallery called the Tank. It features further texts by exhibition curator Justin Paton, Bourgeois expert Philip LarrattSmith and psychoanalyst Jamieson Webster, and a richly illustrated chronology of the artist's life.

In the lead-up to the opening of the Art Gallery of New South Wales' new building designed by the Japanese architectural firm SANAA, director Michael Brand and colleagues consider what is unique about presenting art from the perspective of Sydney and Australia, bringing to their work a consciousness of the past as a continuing presence and the future as an open possibility

aniel Boyd (b. 1982) is one of Australia's most acclaimed artists. His practice is internationally recognized for its engagement with the colonial history of the Australia–Great Ocean (Pacific) region. Drawing upon intermingled discourses of science, religion, and aesthetics, Boyd's work reveals the complexities through which political, cultural, and personal memory is composed. Boyd's work traces his cultural and visual heritage―both Aboriginal and ni-Vanuatu―in relation to broader histories of colonial settlement and the Western art canon.Working with an idiosyncratic painting technique that partially obscures the composition, Boyd refigures archival imagery, art historical references, and his family photographs, forcing us to contend with histories that have been overlooked and hidden from view.Daniel Boyd: Treasure Island unpacks the ways in which Boyd holds a lens to colonial history, explores multiplicity within narratives, and interrogates blackness as a form of First Nations resistance. It provides a thoughtful and thought-provoking response to the current moment, when critical dialogues on ideas of community, connectivity, and cultural repatriation carry special urgency.With new writing by the exhibition curators and commissioned First Nations authors, the book offers critical insight into Boyd's practice as well as creative and experimental responses to his work by poets Jazz Money and Ellen van Neerven.