Detail: Joe Wilson and Chanelle Collier,  Still Life and Painting , 2018. Photo: Robin Hearfield   Still Life and Painting  reflects on historical traditions including still life and monochrome painting while also making use of a range of domestically orientated craftsmanship including floristry, carpet embroidery, metal pressing, and wood carving. This approach emphasizes that all objects are embedded with economic and historical meaning that require a perspicacious labour of viewing; that the insightful eye can glimpse humour from the mundane, hardship in beauty, and truths behind illusion.

Detail: Joe Wilson and Chanelle Collier, Still Life and Painting, 2018. Photo: Robin Hearfield

Still Life and Painting reflects on historical traditions including still life and monochrome painting while also making use of a range of domestically orientated craftsmanship including floristry, carpet embroidery, metal pressing, and wood carving. This approach emphasizes that all objects are embedded with economic and historical meaning that require a perspicacious labour of viewing; that the insightful eye can glimpse humour from the mundane, hardship in beauty, and truths behind illusion.

Konica Minolta Redlands Art Prize 2018

Extreme prejudice

Guest Curator, Nike Savvas

As curator for this year’s Redlands Konica Minolta Art Prize I have selected artists whose approach to practice evidences a discriminating, uncompromising and highly individualist approach to art making and models of practice. In a cultural climate beset by hype, hits, corporatization and swinging social agency, the next iteration of this exhibition titled Extreme Prejudice seeks to highlight the personal and critical imperatives that belie and drive such single-minded approaches to practice. For my own part, I deem the artists I have chosen as artists’ artists in that they are both strong artists and great exemplars. At their core lies a resolute philosophy of mindful intent, method and focus on studio outcomes over and above other concerns. These are artists whose creative processes and enduring models for practice have not been compromised over time.

 The role of curator for 2018 also gives me the opportunity to steer and distill these interests into a more specific point of focus. In 2018 the Redlands Konica Minolta Art Prize will reflect on a range of material, perceptual, conceptual, political, strategic and subjective developmental approaches with which to address painting. Painting - both as a classifying term and a discipline, continues to provoke serious and pertinent questions about the foundations on which past and current conventions are based. It has the potential to question beliefs and, as history has shown, to alter paradigms. With such a diverse body of work and studio methodologies I believe this exhibition will present an opportunity both timely and rare for challenge and reflection.”

 Installation view, floor 1, National Art School Gallery, Cnr Forbes & Burton St. Darlinghurst. Photo: Robin Hearfield

Installation view, floor 1, National Art School Gallery, Cnr Forbes & Burton St. Darlinghurst. Photo: Robin Hearfield

 
 

Richard Bell & Megan Cope
Vivienne Binns OAM & Jacob Potter
Vicente Butron & Gemma Avery
Richard Dunn & Adrian McDonald
Sarah Goffman & Connie Anthes
Agatha Gothe-Snape & Aodhan Madden
Gail Hastings & Dan McCabe
Tim Johnson & Hayley Megan French
Lindy Lee & Kath Fries
Stephen Little & Joe Wilson and Chanelle Collier
Jonny Niesche & Mason Kimber
John Nixon & Lucina Lane
Rose Nolan & Renee Cosgrave
Kerrie Poliness & Melissa Deerson
Elizabeth Pulie & Zoe Marni-Robertson
Huseyin Sami & Consuelo Cavaniglia
David Serisier & Oliver Wagner
Jenny Watson & Annie O’Rourke
Hilarie Mais & Conor O’Shea

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Redlands Konica Minolta Art Prize 2017, 27 March – 20 May, installation view, images courtesy NAS Gallery, photo: Robin Hearfield