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Figurative photography in recent decades has often avoided a strict demarcation between documenting and constructing reality.
Last Riot is a computer-animated video installation by one of Russia’s most critically acclaimed contemporary art groups, AES+F Group.
Last Riot was shown to high critical acclaim at the 52nd Venice Biennale in 2007, as part of the official Russian Pavilion. The screening of Last Riot at the UQ Art Museum will be the only screening of this work on Australia’s eastern seaboard and is courtesy of Triumph Gallery, Moscow, with kind support of Dr Dick Quan. Water line is a collection of photographs taken underwater in pools, lakes and waterways stretching from Brisbane to Fraser Island. Holmes draws on memories of carefree childhood summers spent in and around pools, an experience shared by many Australians. Sidney Nolan completed a series of nineteen paintings on slate tiles during 1941 and 1942, eighteen of which entered the University’s collection in 1977 following their exhibition at the Institute of Modern Art in that year.
Artists such as Max Beckmann, Lovis Corinth, Otto Dix, Erich Heckel, Kathe Kollwitz, Emil Nolde, Max Pechstein and Karl Schmidt-Rottluff feature in this exhibition of German Expression­ist prints made between 1898 and 1927. Railing against the academy and the bourgeoisie, their work favoured raw emotive images that connected with nature and more elemental techniques, particularly the woodcut.
This exhibition juxtaposes a diverse range of approaches to the expressive mark in art, the works having a relationship that is not necessarily related to chronology. Shaun Gladwell is one of Australia’s most internationally recognised contemporary artists. Gladwell’s video works mesmerise with a choreography generated by BMX bikers or skateboarders, capoeira dancers or breakdancers, their gravity-defying sequences emerging in one work from the streets and in another from the landscape.
A selection of works from the Stuartholme-Behan Collection of Australian Art and the University of Queensland Art Collection comprising late 19th and early 20th century paintings of flowers, women and children. On display are works by Rupert Bunny, Julian Ashton, Charles Conder, Mary Christison, Ann Alison Greene, George Lambert, Max Meldrum, Josephine Muntz-Adams, Girolamo Nerli, Albert Ernest Newbury, Harold Parker, Margaret Preston, Lloyd Rees and Arthur Streeton. The major exhibition neo goth dips beneath the surface and takes a peek at the noir underbelly of Australian culture as it is manifested across art, fashion, film and literature. My Humvee (Inversion therapy) by Peter Hennessey is an over-sized, highly detailed rendition of a M1025 HMMWV, more commonly known as a Humvee or Hummer.
Commissioned for the 2008 Melbourne Art Fair, the work was recently presented to The University of Queensland by the Melbourne Art Fair Foundation. Through artists’ eyes features a selection of works by Queensland artists Gordon Bennett and Tracey Moffatt.
In recent years, the University has begun to develop a focussed collection of artists’ self portraits, the only collection of its kind in Australia.
Judith Wright: Conversations surveys the wall paintings, artist books and video works of this Brisbane-based artist from 1990 to the present.

This exhibition also coincides with the launch of a major publication covering her work from 1987–2007.
In this exhibit the benefits of self betterment through art, travel and exercise are brought together in a way that completely avoids the necessity of exertion of any kind.
Drawing from extensive data compiled during package holiday experiences, gym workouts, aimless netsurfing and intermittent astral armchair travelling, this work promises nothing for the future. This project has been assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body and by the Visual Arts and Craft Strategy, an initiative of the Australian State and Territory Governments.
The Achievement Unlocked shirt also sells forĀ $19, making it a nice and cheap alternative to the honest hoodie, while the Jump shirt shows that we gamers are addicted to better stuff. In order to go for new record, you must time your jumps and do not even go into whatever the obstacle is. And, if you are about to maintain the same height, then fall as low as you can while trying to avoid obstacle below you, and tapping the screen to go up.
In line with this, you must try to keep moving upward, and stay alert of the next obstacle above your ninja. In the mean time, you should then move up as fast as you can and keep the momentum of your jump to go through from one stage to another.
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All brand names and trademarks mentioned in this site are the property of their respective owners. Role playing and performance, memory and history, are parameters touched in the work of contemporary artists Tony Albert, Fiona Foley, Shaun Gladwell, Bill Henson, Rosemary Laing, Mike Parr, Luke Roberts and Jay Younger. Tatiana Arzamasova, Lev Evzovitch and Evgeny Svyatsky have collaborated as AES since 1987, and have worked with photographer Vladimir Fridkes since 1995 (AES+F Group).
His predominantly black and white underwater images fit within and add new elements to a remarkable vernacular of Australian pool and beach culture. Purchased with the assistance of the Alumni Association and the Peter Stuyvesant Cultural Foundation, 1977. Lionel Bawden retains a sense of wonder, responding to the narwhal tooth by carving a mass of coloured pencils, colour glinting in the faceted and spiralling surface. Heckel, Kirchner and Schmidt-Rottluff founded the Dresden-based group Die Brucke in 1905, with Pechstein and Nolde joining in 1906. In 1911 the group moved to Berlin, where urban themes and the influence of Cubism and Futurism entered their work. His work was selected by Venice Biennale artistic director Robert Storr for his curated section in the prestigious 2007 Venice Biennale, and he is included in the forthcoming Biennale of Sydney.
From its subcultural origins in eighteenth century literature, through to the movement's dedicated tribes of black-clad youths in the 1980s, Goth culture is no longer underground or fringe, but mainstream.

In Tracey Moffatt’s First jobs series of 2008, the artist re-visits the dreary jobs she undertook as a teenager and art student. He overlays his own face with recognisable styles ranging from Pablo Picasso to Roy Lichtenstein, in a sense using their appropriated style as a mask, while a second layer of reference alludes to his identity as an Indigenous person. The first art work acquired by The University of Queensland, in 1929, was a self portrait by Mary Christison. Bereft of ideas, aesthetics and physiological understanding, the exhibit postulates a new way of engaging with the mind, the body and the region itself.
Works by Indigenous and non-Indigenous artists are included, such as Tony Albert, Fiona Foley, Shaun Gladwell, Gwyn Hanssen-Pigott, Samantha Hobson, Craig Koomeeta, Rosemary Laing, Amanda Marburg, Arthur Koo'ekka Pambegan Jnr, Sandra Selig and Alick Tipoti. Feel free to pick from any of the above, or if you’ve bought all four for me already, then hit the link for more. This method would be best suited to insure that you land on a levitating block or perhaps a pipe in between a pair of crevasses.
Arzamasova and Evzovitch are graduates of Moscow Architectural Institute, Svyatskiy is a graduate of Moscow University of Printing Arts, and Fridkes has been a fashion photographer for Russian editions of Vogue, Harper’s Bazaar, ELLE, Marie Claire, Cosmopolitan and others. Captured slow motion in highly magnified detail, this transitory allegiance between artist and bee is reinterpreted, as is the sense of mutual vulnerability. However, the works of MacPherson, Tillers and Parr are underpinned by a conceptual approach to mark-making. However, on closer inspection the towering block resolves into an upturned jeep, the vehicular features disrupting its minimal elegance. At a time when we are increasingly obsessed with all things virtual, Hennessey wants to explore all things physical. Moffatt inserts herself into twelve found images of Queensland workplaces, their high-keyed colour replicating the look of 1970s magazine illustrations.
Ben-day dots used in the printing process and in Lichtenstein’s work, for instance, remind the viewer of the dots of Central Desert Indigenous art. In collaboration, their work has included photo-projects, video, sculptures and installations. Host reflects the artist’s concern with cutting-edge scientific enquiry and the biological bases for interconnectivity, in this case between humans and bees.

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