Top image: A few images from On the Origin of Art, Museum of Old and New Art (MONA)
5 November 2016 to 17 April 2017, Hobart. Photo: Ian Were


On the Origin of Art, Museum of Old and New Art (MONA)
5 November 2016 to 17 April 2017, Hobart
Guest curators: Steven Pinker, Geoffrey Miller, Brian Boyd and Mark Changizi, four bio-cultural scientist-philosophers ‘working at the forefront, the cutting edge – or whatever other spatial metaphor you choose that implies they are asking the biggest and most exciting questions about the origin of art . . .’       [Images]    [More]


[30 secs of] American sculptor and performance artist Nick Cave‘s (USA, b.1959) ‘Heard’, at Brisbane’s Gallery of Modern Art, Sunday 22 January 2017. A group of vibrant sculptural horses brought to life by dancers; brilliant. Part of the GOMA Turns 10 exhibition, ‘Sugar Spin: You, Me, Art and Everything’, 3 December 2016 to 17 April 2017.


20161007-exhi-header-7Viktor&Rolf: Fashion Artists (National Gallery of Victoria, 21 Oct 16-26 Feb 17) explores Viktor&Rolf’s radical conception of ‘wearable art’. Since forming their creative partnership in 1992, Dutch team Viktor Horsting and Rolf Snoeren have gained critical acclaim for their cerebral and witty approach to haute couture. The exhibition, which coincides with the fashion label’s twenty-fifth anniversary in 2017, explores the elements that make Viktor&Rolf designs unique in the contemporary fashion world.


Viktor&Rolf, ‘Russian Doll’, 1999-2000. Photo: Ian Were


Viktor&Rolf. Photo: Ian Were

Vicktor&Rolf, ‘Performance of Sculptures’, spring–summer 2016.

Vicktor&Rolf. Photo: Ian Were

Vicktor&Rolf. Photo: Ian Were

Vicktor&Rolf, ‘Cutting Edge Couture’, spring–summer 2010.

Vicktor&Rolf, ‘Wearable Art’, autumn–winter 2015–16.

Vicktor&Rolf, ‘The Fashion Show’, autumn–winter 2007–08.



Batu Ferringhi, 12 September 2014, 4.45pm

‘Only the fathomlessly rich suffer from Perfection Anxiety. There is no relativity to wealth. It’s all absolutes. It’s either impeccable, the best, the rarest, or it might as well be Walmart. . . It’s also the anxiety of maintaining perfection once it’s achieved, and, as a result, constant discontent. A crooked Picasso, an unplumped scatter cushion, a faint mark on the handwoven silk wallpaper can drive them to a frothing distraction.

And when you’ve got the best of everything, when you have your tea flown in from a micro-garden in Darjeeling and it still tastes rather like tea, when you’ve designed your own scent made from the squeezed glands of civets and the petals of rare orchids and that fails to give you the high—“When Alexander saw the breadth of his domain, he wept, for there were no more worlds to conquer”—then you’re reduced to collecting art. Art is good for those with Perfection Anxiety because you never get to the end of it. . . No picture bought for more than $50 million has ever made a profit, a contemporary auction expert tells me authoritatively, but it doesn’t stop people from buying them.’
A A Gill, in Vanity Fair, May 2014  [Posted 30 September 2014]


Queensland Centre of Photography opening, 4 May 2013, images by David Broker (Canberra Contemporary Art Space) who opened the exhibition. [More here]

DEBRA PORCH and IAN WERE exhibitions opened at Queensland Centre of photography, Sat 4 May, 5 to 8pm, 2013. Info for Debra here . . . And for Ian here



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