A collection of blatant and honest paintings, Moss describes his work as colourful, meaningful, philosophical, funny, serious, pretty, ugly and BIG. Growing up with split parents, one whom was very religious and the other who had found their livelihood managing a brothel, Moss brings a kaleidoscope of opinions and influences to his eye catching and controversial images.

Experience this widely creative and colourful artist and meet him in person during Wonderland Festival.

Jake Moss: With Feelings Exhibition
15 November – 15 December, 2019
Brisbane Powerhouse
www.brisbanepowerhouse.org

Jugglers Art Space will be taken over by a range of colourful and emotive artworks that explore a number of muses from the inside out. The collection aims to unite people from across the globe, from different backgrounds and beliefs and to offer you the opportunity to empathize, understand and connect.

Included are a number of collaborative works with Ladies on Wall – street artists from Jakarta, Indonesia.

I carry your heart Exhibition
17 March – 27 March 2018
Jugglers Art Space Inc – Fortitude Valley Brisbane
www.jugglers.org.au

“The Namatjira Project … might just be as significant a bridge between blackfella and whitefella as the now fading memory of the march across the coathanger, or even the apology.”
– Crikey

From the trackless Australian desert to the gates of Buckingham Palace, the Namatjira family have struggled for decades to see justice done. Albert Namatjira was a man caught between two worlds. He was paraded as a great Australian, but treated with contempt.

He was the first Indigenous person to be made a citizen by the Government, in a time when his people were still considered flora and fauna. And he was a pioneer, founding the Indigenous art movement and bringing vivid visions of the outback to many coast-bound Australians for the first time. His haunting works were shown across the world, and he was feted, even being introduced to the Queen.

But in 1957, the dream fell apart. Namatjira was locked up for something he didn’t do; he died two years later, a broken man, and in 1983 the Government sold the copyright to his works to an art dealer. His family didn’t get a cent. Namatjira taught his children to paint, and they taught theirs. The fifth and sixth generations are now taking up the art.

The questing and questioning documentary The Namatjira Project is just one of the pillars of a multidisciplinary project backing the great artist’s family in their fight for survival, justice, vindication – and to regain what is rightfully theirs. A Welcome to Country precedes this screening.

PALACE CENTRO
Friday, August 18, 10:30 am
Tuesday, August 29, 6:00 pm – *Filmmakers In attendance

PALACE BARRACKS
Tuesday, August 22, 3:15 pm
Thursday, August 24, 1:00 pm

Brisbane International Film Festival 2017
17 August – 3 September 2017
Palace Barracks and Palace Centro – Brisbane
www.biff.net.au for more information and to purchase tickets online

This exhibition will include drawing, video, installation, sculpture and live performance that focus upon depictions of various hybrid forms. These works present a kind of personal mythology that feature imaginary forms and environments that sit somewhere between the animal, human, plant and non-human realms as well as drawing on the everyday and the subconscious.

This exhibition will be made in collaboration with Ali Cameron (video), Olivia Porter (video/performance) and Ben Ely (performance).

Artwork for sale – Zoe’s artwork will be for sale through the entirety of the exhibition at the Box Office

Homunculi Exhibition By Zoe Porter
Tuesday 22 March – Sunday 17 April, 2016
www.brisbanepowerhouse.org

David Bowie is was created by the prestigious Victoria and Albert Museum (V&A) in London drawing upon unprecedented access to the David Bowie Archive of costumes, objects, album artwork, and memorabilia. The exhibition includes lyric sheets, hundreds of photographs, stage sets, rare videos, filmed live shows, over 50 costumes and interviews with key collaborators.

Special displays within the exhibition explore Bowie’s influences as musician, stage performer, writer and actor – and his continuing legacy. At its world premiere in London in March 2013, it was the V&A’s fastest selling exhibition and became one of its most popular shows, drawing over 311,000 visitors and widespread critical acclaim.

ACMI Director & CEO, Tony Sweeney, said the landmark exhibition showcases Bowie as a true innovator in music, fashion and culture, and traces his changing style and reinvention.

“The mystery of David Bowie as an enigma is so lovingly explored in this incredible immersive exhibition you’ll feel as if you’ve stepped inside the mind of this astonishing cultural and pop icon,” Tony said. “Bowie is a figure whose social and creative influence and significance far exceeds his status as a pre-eminent rock performer and in David Bowie is, his incredible career is showcased in glorious detail.”

The V&A’s curators, Victoria Broackes and Geoffrey Marsh, from the Museum’s Department of Theatre and Performance, selected more than 300 objects and films for the show. Of the exhibition they said:

“The exhibition looks in-depth at how Bowie’s music and radical individualism has both influenced and been influenced by wider movements in art, design, film and contemporary popular culture over an incredible 50-year career and demonstrates how Bowie has inspired others to challenge convention and pursue freedom of expression.”

Bowie’s first major hit Space Oddity (1969) and the introduction of his first fictionalised stage persona Major Tom, inspired by Stanley Kubrick’s 1968 film 2001: A Space Odyssey, granted him critical and commercial success as an established solo artist. His cinematic influences abound with his elaborate storyboards and set design for the Diamond Dogs tour (1974) – originally envisioned as a musical – inspired by Fritz Lang’s film Metropolis (1927), leading him to take the combination of rock music and theatre to new heights.

Excerpts and props from Bowie’s own work in feature films such as Labyrinth (1986) and Basquiat (1996) are displayed in the exhibition, as do many of his ambitious and ground-breaking music videos. The year 1972 marked the birth of his most famous creation; Ziggy Stardust, a daringly androgynous and otherworldly being. A pivotal performance of Starman on Top of the Pops in a multi-coloured suit signalled a challenge of social conventions, daring fans to shape their own identities.

Bowie’s collaborations with artists and designers in the fields of fashion, sound, graphics, theatre, art and film are explored throughout the exhibition. On display are more than 50 stage costumes including Ziggy Stardust bodysuits (1972) designed by Freddie Burretti, Kansai Yamamoto’s flamboyant creations for the Aladdin Sane tour (1973) and the Union Jack coat designed by Bowie and Alexander McQueen for the Earthling album cover (1997).

Bowie’s fruitful experimental period in Berlin between 1977 and 1979 is also explored through a series of pioneering records he produced known as the Berlin Trilogy, including the creation of the stylish Thin White Duke persona identified with the Station to Station album and tour (1976).

More personal items such as never-before-seen storyboards, handwritten set lists and lyrics are also featured in the exhibition as well as some of Bowie’s own sketches, musical scores and diary entries, revealing the evolution of his creative ideas.

ACMI is the exclusive Australasian venue for David Bowie is. The ACMI season will include a specially curated program of talks and special events, late night programs, film screenings and live performances.

“The sheer grandure brought tears to my eyes” – The Daily Telegraph

“Absolutely incredible… fabulous” – Jean Paul Gaultier

“A simple endorsement of pure stardom” – The Independent

David Bowie is
16 July – 1 November 2015
Australian Centre for the Moving Image, Melbourne
www.acmi.net.au/exhibitions/bowie

Bustard (1894 – 1973) was an artist, illustrator and stained-glass window designer, whose work continues to portray an optimistic view of a changing city. On arriving to Brisbane in 1921, he became captivated by the brilliant Queensland light and depicted this unique characteristic of our landscape through his multi-faceted art practice.

Bustard was also acclaimed for his stained-glass designs – a craft which literally captures the light – with many of his detailed hand-drawn designs included in the exhibition.

With more than 70 original works on show, William Bustard: Painting with light offers a new look at this important and much-loved artist.

William Bustard: Painting with light exhibition
19 June 2015 – 31 January 2016
Museum of Brisbane
www.museumofbrisbane.com.au

The paintings, and prints of the paintings, sold like hotcakes and Keane amassed a fortune as a result. There was a problem, though – the pictures were actually created by his wife Margaret. A patron of Margaret, Tim Burton, directs his best film in years, covering the story of Margaret Keane’s struggle to reclaim her artistic soul.

The first thing that strikes you about Tim Burton‘s new film is the colour. At first glance, each shot looks like a painted backdrop, crafted in flawless water colour hues. But they are quite real and are testament to Burton’s eye for detail and passion for a story that he holds close to his heart.

Burton muses over what makes art. Is art determined by the illuminati who decide what ‘good art’ is? Is it determined by what is popular? Is it determined by the (perceived) artist? Is it determined by authenticity? Is it determined by the effectiveness of the salesman? Or is art absolute – determined only by its own qualities? Or can it be any or all of these things?

Amy Adams is a master at fragility and she is well cast here as Margaret. Christoph Waltz is also effective as the slightly delusional but charming plagiarist, Walter.

Burton’s movies have been decidedly hit or miss in recent times – his first fifteen years as a director are definitely better then his second – but Big Eyes may well mark a quality turn into a new phase sans the freak shows of his prior efforts (though, in a sense, Big Eyes is still about freaks).

Stuart Jamieson
www.bigeyesfilm.com

It celebrates Skyspaces, viewing chambers that affect our perception of the sky, and surveys Turrell’s life work, Roden Crater, a naked eye observatory in an extinct volcano on the edge of the Painted Desert, Arizona. The exhibition follows three highly successful shows throughout 2013—at the Los Angeles County Museum of Art, the Museum of Fine Arts, Houston, and the Guggenheim in New York—with works from LACMA’s tour and spectacular installations purpose-built for Canberra.

Since the 1960s James Turrell has made art from light. He studied mathematics and perceptual psychology, and his background as a Quaker and training as a pilot also inform his practice. After his first sculptures using fire, Turrell began to construct projections that produce illusionistic geometric shapes. Afrum (white) 1966, for example, appears as a hovering cube of light.

Raemar pink white 1969 plays with our perceptions, like a large, luminescent pink canvas levitating in front of a wall. Turrell uses a range of fluorescent, tungsten, fibre-optic, LED and natural light. His art is now located across the globe in permanent installations in museums and private collections—Within without 2010, the Skyspace at the National Gallery of Australia, is one of the most beautiful.

In the 1980s and 90s Turrell developed works that expose visitors to total darkness or isolate an individual in a contained environment. After green 1993 is an immersive installation: its intense red, with soft and hard edges, make it disorientating and exquisite. Bindu shards 2010 is a light cycle for one person, a bodily kaleidoscope with patterns of crystals, shards of light, stars, galaxies and nebulae. This Ganzfeld is part of Turrell’s largest and most marvellous series to date. Once inside, saturated in colour, with no edges or corners, we are uncertain of our surrounds—a feeling akin to walking on clouds. This is contemporary art as you’ve never seen before, and promises an experience not to be missed.

We eat light, drink it in through our skins. With a little more exposure to light, you feel part of things physically. I like the power of light and space physically because then you can order it materially. Seeing yourself seeing is a very sensuous act—there’s a sweet deliciousness to feeling yourself see something.

James Turrell: A Retrospective Exhibition
13 December 2014 – 8 June 2015
National Gallery of Australia
www.nga.gov.au