#Vivid Sydney 2018 | Explore Tumblr posts and blogs

anthonylister · 3 years ago

Text

The Real Introduction Of Anthony Lister | All Achievements In 2021-2022 |Defining Artistic Vision

While walking down the main drag of any urban enclave in Australia, You would surely be hard-pressed not to come across at least one of Anthony Lister's irreverent and kinetic artworks.

Anthony Lister artworks are unmistakably his own; in a way, they are identity-defining. And, all of his aerosol-based artworks differ wildly in scale. Nonetheless, Anthony Lister's body of work is often dark, gestural in appearance still shot via vivid colour.

Anthony Lister has turned his focus back to the figure of a female and form of a human ever since his shows in Los Angeles and Milan

Anthony Lister's Artistic Vision for the World

Having been born in the year 1979, the industry experts describe Anthony Lister as a leading and one of a kind Australian contemporary street artist.

After completing a Bachelor of Fine Arts degree from the Queensland College of Art in 2001, Anthony Lister pioneered the street art and stencil movement in Brisbane. In 2003, he settled in New York City and worked under Max Gimblett, a New Zealand-born painter.

Anthony Lister holds a tremendous interest in social value judgment on culture and cultural values at large. With an added interest in philosophical reflections and inclination to break art, Anthony Lister views the ballerinas in his artwork as a stripper who is never willing to take their clothes off.

Anthony Lister is known for employing a sophisticated, painterly style and fine art owing to his strong background in the street art genre. In Anthony Lister's drawings, paintings, and installations, Low and high cultures clash.

The content of these mediums ranges from boorish superheroes, bad-tempered old masters, and flirtatious ballet dancers to imperious vamps. These imaginative characters live and rapidly deteriorate inside Anthony Lister's head while raucously co-existing at the party.

Anthony Lister's Documentary: Have You Seen the Listers?

As a prolific Australian street artist, Anthony Lister was the subject of a documentary, Have You Seen The Listers?, released in Australian cinemas on April 5, 2018, nationwide.

Directed by Eddie Martin, the documentary provided the audiences with candid, previously unseen and new insights regarding the private and professional lives of Anthony Lister, a singular street artist. Furthermore, the documentary film presented his life as Australia's best known and was premiered at Melbourne Film Festival.

Just like the installation, the documentarily functions ostensibly and in a similar manner. Eddie Martin was given unprecedented access to Anthony Lister's, a father of three, personal archives.

The access provided Martin with all the details he needed about his trajectory in life. The trajectory ranged from his childhood in the suburbs of Brisbane to his first experiments with marriage and drugs to Anika, Anthony Lister's high school sweetheart.

While Anthony Lister was battling his demons, he suffered a lot from legislative and illicit issues. The documentary sheds light on these events that lead to the collapse of his relationships. Moreover, Anthony Lister has had well-documented troubles with the local authorities.

One such event involved Brisbane City Council taking him to court. The same council that once offered the encouragement he got to develop his now street art-based lucrative practice.

Anthony Lister's Identity Defining Exhibitions

Apart from regular global exhibitions, Anthony Lister was named by Art Collector Magazine, in 2010, as one of Australia's most collectable 50 artists.

With exhibitions in Newcastle and London in November of 2012, at the Outsiders/Lazarides Galleries, Anthony Lister was the first artist to occupy both Outsiders galleries simultaneously. It was the first of its kind feat ever since David Choe made his UK debut in the year 2008.

Anthony Lister has had solo exhibitions in New York City, Miami, Sydney, Los Angeles, and London since 2012.

In Melbourne, Anthony Lister made a record at Menzies' sale of Important Australian and International Fine Art in June of 2015. He broke his own auction record with the sale of 2014 work Supernatural Disorder 4 for a sum of $19,636.

https://www.streetartbio.com/artists/about-anthony-lister-biography/

https://www.artsy.net/artist/anthony-lister

https://www.fireworksgallery.com.au/artist/anthony-lister

http://www.artnet.com/artists/anthony-lister/

https://mirusgallery.com/artists/anthony-lister/

https://www.metrogallery.com.au/artist-anthony-lister

#anthony lister #Anthony Lister News #Street Artist Banksy #Anthony Lister Street Art #los angeles #street artist #Best Graffiti Artist #street artist melbourne #street artist prints

2 notes · View notes

nomanwalksalone · 4 years ago

Photo

MAKING THE MYTH

by Réginald-Jérôme de Mans

Why make a myth? I had that question reading David Dowsey’s Making the Cut, a history of the Australian tailoring firm John Cutler. By coincidence, I’d also finally got round to reading Roland Barthes’ Mythologies, his exploration of myth-making in the modern world, where pro wrestling is our morality play, the steak frites is a sort of French Eucharist, and soap flakes promise absolution to our flatware.

It is blessedly easy to mythologize bespoke tailoring: its vocabulary is arcane and ancient, its true practitioners rare and its initiates often exult in being part of the elect – men (generally) who have not only cash, but the time and the unnatural will to have sought out a legendarily disappearing craft. Tailors now hold themselves out to be – or are held out to be by credulous bards in the media –not only that modern Jedi, actual craftsmen, but practitioners of a sort of wizardry, who lay hands on cloth and thread to create garments that transform the wearer – supposedly slimming the fat, straightening the stooped – into the icon he dreams of being. And the price of that magic is also of another world.

In fact, it was the price of one Cutler garment that caused whatever global notoriety he enjoys, and which was the likely trigger for Making the Cut: in 2013, Meg Lukens Noonan came out with The Coat Route, an examination of all of the materials and crafts that went into the creation of a $50,000 custom coat Cutler made out of a length of vintage Dormeuil vicuña for a customer who had given him carte blanche. Noonan visited vicuña conservators in Peru, met with Cutler’s horn button suppliers and the smith who made the gold chain inside the coat, and interviewed Stefano Ricci, who supplied a length of his trademark garish silk for its lining, as well as, of course, Cutler in Sydney and his Canadian customer.

Noonan found that nearly all of her interviewees were endangered species (now humanely herded and sheared instead of killed for their wool, the vicuñas are an adorable exception). For seeking them out, customers of bespoke clothing can pride themselves on being connoisseurs, not least the coat’s owner, who I believe has now ordered a second one.

As it happens, Dowsey, the author of Making the Cut, first met Cutler (one of a long series of tailors of that name) on a Ricci-sponsored junket in Italy. Like its subject’s custom clothing, Making the Cut itself has been hard to obtain, exquisitely packaged and prohibitively priced: various special editions came with bottles of Scotch or lengths of vicuña cloth, all reminders of Cutler’s creating the most expensive coat known to popular imagination.

Making your vanity book so rare and expensive it itself is a luxury item seems a strange way to make a myth, to get the word out about your subject. Certain of the Savile Row tailors Making the Cut explicitly references sell their books on their websites and through online booksellers, and use their publication to do tie-in articles and pictorials in magazines like The Rake and Vanity Fair. Making the Cut definitely draws on those dutiful and dry tailors’ histories for inspiration. It repeats their narrative arc: heroic founder, struggle of heirs against unforeseen challenges, and eventual restoration to a secure footing, recounting the Cutler dynasty’s immigration to Australia and gradual development into a prestigious bespoke tailoring business making for the rather colorful Australian great and good – athletes, hotheaded sheep farmers, politicians and businessmen. Dowsey compares the Cutlers’ rise to that of another traditional bespoke craftsman who had emigrated to Australia, John Lobb, who became successful making boots during the gold rush there before returning to London and opening what is undoubtedly the most famous custom shoemaker in the world. The Lobb family’s own history, The Last Shall be First, came out 45 years ago. Making the Cut seems intended to set Cutler among these otherwise British legends of traditional craft.

But why? The reasons the British tailors and bootmakers whose stories set the pattern for Making the Cut came out with books were apparent: age-old houses, many under different, corporate ownership now, seeking to spread their reputations in an age of new accessibility. Their continuity was assured. In contrast, Making the Cut itself notes that the current John Cutler’s children are not likely to enter the business, and that most of the cutters and coatmakers instrumental to custom clothing have gradually left. So this book, for all its painstaking immigration details, vivid recitation of John Cutler’s romantic histories and dozens of pages of press cuttings and customer pictorials, attempts to create a myth without much commercial justification – the justification for so much of today’s myths. Cutler the man, Cutler the business may soon be names out of time.

Does recognizing the components of a modern myth collapse it? Both The Coat Route and Making the Cut approvingly inform the reader that no less an authority than Forbes magazine proclaimed that Cutler was one of the best tailors in the world. The reader must be expected to imagine that Steve Forbes (or Teve Torbes) himself announced this epiphany. Unfortunately, the article in question is a clickbait listicle from the Forbes website, which is better known for unhinged and unsupported op-eds that would make The Wall Street Journal opinion page blush. Its support for why Cutler is the best appears to be that a customer can also order a custom overcoat and a pair of shoes there. But any tailor who makes suits cam make an overcoat. As for being able to order shoes, if variety meant quality then the Chinese place near my house that also sells sushi and Thai food must be the best restaurant in the world. In any case, Cutler’s shoe offer was a special order service with the late Italian shoemaker Stefano Bemer, not a true bespoke service with a custom maker creating a wooden last for each customer and welting shoes by hand. For all I know, Cutler may be one of the best tailors in the world, but the Forbes list isn’t why. I have no personal experience with Cutler or any Australian tailors, but my friends and I have worn out the carpets at the good tailors of Paris, where the Forbes article recommends solely the bespoke section at the department store Galeries Lafayette, which is a bath-salts level of unreliable, crazy and stupid. None of us had ever heard anything memorable about this service, although my 2003 Paris sur mesure does mention, as an alternative to good full bespoke and cheaper made-to-measure tailors, a demi-mesure service at Galeries Lafayette, where customers could select cloth for a factory special order made to stock sizes, with the possibility of some alterations after the fact. But in no way could that compare with having someone who knows what he or she is doing measure, create a pattern for, fit and otherwise hand-tailor you.

With Making the Cut, Cutler no longer needs to found its myth on Forbes’ shoddy support. It has all the architecture (long history and heritage, glossy photos and testimonials and mildly entertaining anecdotes) for today’s mythmaking, craft trades edition. Even if it’s a final snapshot for a family album.

Quality content, like quality clothing, ages well. This post first appeared on the No Man blog in 2018.

4 notes · View notes

alwaysvivid · 5 years ago

Text

## % introducing sisi !!

— — — ꒰ఎ ♡ ໒꒱ BASICS ! ꒰ఎ ♡ ໒꒱

STAGE NAME sisi. ˒ 시시

BIRTH NAME cecelia ❪ cece ❫ lee

KOREAN NAME lee seungna ˒ 이승나

BIRTHDAY 03 july 1999

ZODIAC cancer ˒ ♋︎

PLACE OF BIRTH sydney ˒ australian

HOMETOWN dundas ˒ sydney

ETHNICITY korean

NATIONALITY australian

LANGUAGES english ˒ korean

— — — ꒰ఎ ♡ ໒꒱ PHYSICAL ! ꒰ఎ ♡ ໒꒱

FACE CLAIM kim doyeon

HEIGHT 172 cm ˒ 5’6.5

BLOOD TYPE O-

— — — ꒰ఎ ♡ ໒꒱ CAREER ! ꒰ఎ ♡ ໒꒱

PROFESSION idol ˒ model ˒ choreographer ˒ mc

LABELS cube ❪ prev ❫ ˒ angelico

GROUP VIVID ˒ SE4SONS ❪ 2016 ❫

POSITION main dancer ˒ lead vocalist ˒ visual

TRAINING 1 yr @ angelico ˒ 6 months @ cube

DEBUT 03 feb 2018 ˒ jan 2016 ❪ SE4SONS ❫

— — — ꒰ఎ ♡ ໒꒱ FAMILY ! ꒰ఎ ♡ ໒꒱

MOTHER alice kim

FATHER steven lee

BROTHER felix lee ❪ ‘00 ❫

SISTER olivia lee ❪ ‘03 ❫

— — — ꒰ఎ ♡ ໒꒱ PERSONALITY ! ꒰ఎ ♡ ໒꒱

MBTI enfp-t

POSITIVE optimistic ˒ energetic ˒ funny ˒ loving

NEGATIVE naive ˒ needy ˒ oversensitive ˒ insecure

— — — ꒰ఎ ♡ ໒꒱ FUN FACTS ! ꒰ఎ ♡ ໒꒱

she originally auditioned to be a backup dancer but ended up becoming a trainee and idol

her brother is felix from stray kids and they are known as the sunshine siblings in the industry

cece used to be a member of @se4sonz ! she was summer in 2016 but after complications with a manager who was sexually harassing her she was forced to graduate.

her time in se4sons traumatized her so much she almost gave up on being an idol entirely but felix and chan helped her through the time and reminded her why this was her dream. she decided to audition once again and was accepted into cube.

she could not speak a word of korean besides the basics when she got to korea.

sisi is vivid’s happy pill, she always makes the members smile even when everything feels like it's falling apart.

sisi had done many guest mc gigs and was an official mc on inkingayo from october 2019 - february 2021 alongside nct’s jaehyun and monsta x’s minhyuk

she hates her full name so no one ever calls her cecelia she only responds to cece

she is the loudest member and is always the most entertaining on variety shows

sisi did ballet and contemporary for years and is an amazing dancer . over the years she danced many styles and represented australia many times for dance

the tallest member and is always teasing the others about how tiny they are (minus sora)

#some more detailed profiles #sisi.profile #sisi.dev #aeskocnet #peachykocnet #kumokocnet #kpop girl group oc #kpop idol au #kpop idol girlgroup oc #kpop idol oc #kpop oc #new kpop oc #oc kpop group #oc kpop idol gg #kpop idol #kpop au #idol oc #idol au #profiles.vivid

39 notes · View notes

jeremystrele · 5 years ago

Text

10 Unmissable Art Exhibitions Of 2020

Art

by Sally Tabart

Henri Matisse – ‘The sorrow of the king (La tristesse du roi)’ , 1952. gouache on paper, cut and pasted, mounted on canvas. Courtesy of AGNSW.

Henri Matisse – ‘Blue nude II (Nu bleu II)’ 1952. Courtesy of AGNSW.

Henri Matisse – ‘Decorative figure on an ornamental ground (Figure décorative sur fond ornemental)’, 1925. Courtesy of AGNSW.

Matisse: Life & Spirit November 2020 – March 2021 Art Gallery of New South Wales, NSW

It’s no surprise that one of the most prestigious galleries in the country, Art Gallery of New South Wales (AGNSW) will show a dynamic exhibition from one of the most famous and influential artists of all time, Henri Matisse.

Exclusive to AGNSW, Matisse: life & spirit, masterpieces from the Centre Pompidou will show over 100 works spanning six decades from the French master.

Developed alongside the Centre Pompidou in Paris, known for its unmatched collection of Matisse works, Matisse: life & spirit will be the greatest single exhibition of Matisse masterworks ever to be seen in Sydney. Yep – you’ll be able to see his famed cut-outs, but also his adventures in paintings, sculptures, and drawings, tracking the vast and varied exploration of his artistic career. This is TRULY unmissable!

Left to right: Dhuwarrwarr Marika Makassan, swords and long knives, Carlene Thompson, Kipara and Kalaya. Photo – courtesy of MAGNT.

Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) August 8th 2020 – January 31st 2021 Museum and Art Gallery Northern Territory, NT

Now in its 36th year, the Telstra National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) is a major highlight for the Museum and Art Gallery of Northern Territory (MAGNT) in Darwin. This fantastic exhibition spotlights emerging and established Aboriginal and Torres Strait Islander artists across a varying range of mediums, and attracts more than 85,000 visitors.

This exhibition is so important for visitors to gain an insight into First Nations People’s perspective in both contemporary interpretations, as well as those steeped in generations of tradition. It also offers some prize money of up to $50,000 for winning artists, courtesy of longtime sponsor Telstra. All finalists’ work will be displayed in the world-class exhibition, opening in August.

Left: Mikala Dwyer: a shape of thought featuring The Angel; Possession; Sigil for Heaven and Earth by Mikala Dwyer, Art Gallery of New South Wales, Sydney, 2017. Photo – Mim Stirling. Right: Julia Robinson, Australia, 1981, Beatrice, 2019–20.

Adelaide Biennial of Australian Art February 29th – June 8th 2020 Art Gallery South Australia, SA

This year the Art Gallery of South Australia welcomes the hugely popular Adelaide Biennial of Australian Art back for its 30th year. Known for its risk-taking and expansive vision, the Biennial welcomes the wild, wacky, weird and wonderful.

The theme of the 2020 iteration is Monster Theatres, inviting artists to bring to life the ‘monsters’ of today. As described by curator Leigh Robb, ‘Monsters ask us to interrogate our relationships with each other, the environment and technology. They force us to question our empathy towards differences across race, gender, sexuality and spirituality.’

Artists involved in the Biennial include Abdul Abdullah, Polly Borland, Yhonnie Scarce + many more!

Olafur Eliasson, Riverbed 2014. Photo – Natasha Harth, QAGOMA.

Water December 7th 2019 – April 26th 2020 Gallery of Modern Art, QLD

Brisbane’s Gallery of Modern Art never fails to disappoint with its innovative, world-class programming – and Water is no exception! Exploring the theme of, you guessed it, Water, this exhibition explores this vital element from the perspective of artists around the world.

Here is some of what you can expect, according to GOMA:

‘Walk across a vast, rocky riverbed created by Olafur Eliasson. See animals from around the world gather together to drink from Cai Guo-Qiang’s brilliant blue waterhole. Gaze at Peter Fischli and David Weiss’s snowman frozen in Brisbane’s summer heat. Traverse a cloud of suspended gymnastic rings in a participatory artwork by William Forsythe. View the tidal currents rise and fall around Angela Tiatia. Reflect on the cultural traditions of bodies of water with Judy Watson, and on the long history of our reliance on water through Megan Cope’s re-created midden.’

Left to Right: Photo by Beth Wilkinson for Lindsay. Stanislava Pinchuk, ‘Topography : Topsoil Storage II, Fukushima Nuclear Exclusion Zone.’ Pin-holes on paper, 2017. Image courtesy of the artist. Photo – Matthew R. Stanton. Stanislava Pinchuk, ‘Topography : The Road to the Fukushima Daiichi Nuclear Plant’. Pin-holes on paper, 2017. Photo – Matthew R. Stanton.

Stanislava Pinchuk June 27th – October 4th 2020 Heide Museum of Modern Art, VIC

Stanislava Pinchuk (also known by her pseudonym, Miso) has emerged as one of Australia’s intriguing contemporary artists in the last decade. The Ukranian-born, Melbourne-based artist captures the changing topographies of war and conflict zones through data mapping, making tiny, individual pin pricks to realise these patterns – an incredibly labour-intensive and mentally and physically draining process that appears effortless, and beautiful.

This major exhibition at Heide Museum of Modern Art in Melbourne will feature a survey of Stanislava’s most powerful pinprick projects from the past five years, accompanied by terrazzo-like sculptures comprised of pieces of debris left behind in conflict zones.

Know My Name: Australian Women Artists 1900 to Now May 30th – September 13th 2020 National Gallery of Australia, ACT

The National Gallery of Australia (NGA) celebrates its ongoing initiative to increase representation of artists who identify as women with Know My Name: Australian Women Artists 1900 to Now.

Drawing on works from the National Gallery’s own collection, as well as others from across Australia, Know My Name showcases the work of lesser-known artists alongside Australian greats from different times, places and cultures.

As part of the broader Know My Name initiative, a new commission by the Tjanpi Desert Weavers will be on display at the National Gallery. Patricia Piccinini’s iconic Skywhale (2013) will also see its new counterpart, Skywhalepapa (2020) ascend over Canberra on its maiden voyage, travelling alongside Skywhale eight times during the exhibition period.

Left: Pierre Bonnard – French 1867–1947 The dining room in the country, 1913. Right: India Mahdavi (designer). Jardin d’intérieur – collection for La Manufacture de Cogolin. Images courtesy of the NGV.

Pierre Bonnard designed by India Mahdavi June 5th – October 4th 2020 National Gallery of Victoria

While Sydney-siders enjoy the masterful works of Henri Matisse, Melbournites won’t miss out on the opportunity to experience an incredible exhibition of another beloved French painter! The exquisite works of Pierre Bonnard will be on show at the National Gallery of Victoria (NGV) for their major winter showcase, a kaleidoscopic exhibition of 150 works from the painter with a fondness for domestic scenes and rural life. Pierre Bonnard has been developed in partnership with Musee d’Orsay in Paris.

Described by Matisse, a close friend of Bonnard’s, as ‘a great painter, for today and definitely also for the future’, this groundbreaking exhibition spans paintings, drawings, photographs, folding screens and early cinema, depicting scenes of modern 20th century France in bright, vivid colours.

Aside from the opportunity to see one of the works of this beloved painter, what makes this exhibition absolutely unmissable is the design of the show itself. Iranian Paris-based designer India Mahdavi (the interiors genius behind the iconic pink Gallery at Sketch restaurant in London) has been commissioned by the NGV to bring Bonnard’s extraordinary works to life, elegantly balancing historical references with contemporary culture in an immersive experience.

22nd Biennale of Sydney, NIRIN November 8th 2020 – 16th February 2021 Various locations, NSW

First held in 1973 as part of the opening celebrations of the Sydney Opera House, the Biennale of Sydney is now in its 22nd year and is one of Australia’s blockbuster contemporary art events.

Taking place across six major sites – Art Gallery of New South Wales, Artspace, Campbelltown Arts Centre, Cockatoo Island, Museum of Contemporary Art Australia and the National Art School – the Biennale of Sydney will see 94 artists from 47 countries

Under the guidance of multidisciplinary artist and this year’s Biennale Artistic Director Brook Andrew, the 12-week exhibition is titled NIRIN, meaning ‘edge’ in Brook’s mother’s Nation – the Wiradjuri people of western New South Wales. He says, ‘Optimism from chaos drives artists in NIRIN to resolve the often hidden or ignored urgency surrounding contemporary life.’

Carriageworks Commissions Rebecca Baumann: Radiant Flux, January 8th – June 14th Reko Rennie: REMEMBER ME, January 2020 – January 2021 Kate Mitchell: All Auras Touch, January 8th – March 1st Daniel Boyd: Video Works, January 8th – March 1st

Australia’s largest multi-arts centre, Carriageworks, has been home to some pretty major large-scale installation commissions in its time (who could forget German artist Katherina Grosse’s otherworldly technicoloured universe in 2018?). This summer, four new site-specific commissions from leading Australian artists Rebecca Baumann, Daniel Boyd, Kate Mitchell and Reko Rennie have taken residence in the epic historical space.

Spanning over 100-metres, Rebecca Baumann’s Radiant Flux sees every glass surface of the building’s exterior covered in a film that changes colour at every angle, flooding the space with kaleidoscopic light that will never be the same twice.

A study in human energy, All Aurus Touch by Kate Mitchell captures an aura portrait for each of the 1,023 census-recognised occupations.

Video Works by Kudjala/Gangalu artist Daniel Boyd features three major video installations, where gallery walls will be mapped with the artist’s otherworldly, infinite cosmos.

Interdisciplinary Kamilaroi artist Reko Rennie references the massacre of First Nations people in Remember Me, a massive illuminated sign that will remain on display for the whole of 2020, the year marking the 250th anniversary of Captain Cook’s first landfall.

Installation view of the Archibald, Wynne and Sulman Prizes 2019 exhibition at the Art Gallery of New South Wales, Sydney. Photo: AGNSW.

Archibald, Wynne & Sulman Prizes May 9th – September 6th 2020 Art Gallery of New South Wales, NSW

The Archibald, Wynne & Sulman Prizes are some of the most prestigious and highly anticipated art events in the country. Since its inception in 1921, The Archibald Prize the most well-known of the three awards celebrates paintings of notable figures that reflect Australian culture across areas including art, media, entertainment, politics, sports and more. The works are always a great capsule to represent Australian culture of the moment.

Finalists for the Archibald (portrait), Wynne (landscape/scenery) and Sulman (genre/subject) are shown in an exhibition that starts at the Art Gallery of New South Wales, and tours at select galleries around Australia for the remainder of the year.

1 note · View note