Remedies for the New Age

Angelica Leight & Runceley Chaser

26 October - 30 October 2018

Byron School of Art

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The Lure of the Sea

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Albe Falzon

18 August - 31 August 2018

Lismore Regional Gallery

 

The Lure of the Sea consists of three solo exhibitions: Bob Cooper, John Witzig, Albe Falzon.

It is a look on Australian surf culture from the 1950s to the 1970s, drawing on original photos shot by influential figures within the surfing world. All these photographers are – and were – essentially surfers. When these images were made, it was not about exploring the road-movie genre, or even aiming at documenting their lives. It was simply about their common passion, their original and pioneering lifestyle, and their strong sense of belonging to an outcast, close-knit community.

 

ALBE FALZON - THE ART OF LIFE

From Morning of the Earth to the meaning of life, film maker Albe Falzon has followed his own path

The kombi, 1971    That’s Terry Fitzgerald driving the kombi down at Johanna. With Tanya binning in the passenger's seat and my red setter Kahlua in the middle. I was after a tracking shot as we approached the surf. My good friend Frank Pithers saw us coming and got a few grab shots….This was the best one. Love the old holden coming down the dusty road behind us.

The kombi, 1971

That’s Terry Fitzgerald driving the kombi down at Johanna. With Tanya binning in the passenger's seat and my red setter Kahlua in the middle. I was after a tracking shot as we approached the surf. My good friend Frank Pithers saw us coming and got a few grab shots….This was the best one. Love the old holden coming down the dusty road behind us.

 
Sequence of Baddy at Angourie, 1971    This is Baddy surfing at Angourie during the filming of Morning of the Earth. We surfed there a lot mainly with Baddy and Stephen Cooney…..We had it to ourselves most of the time….

Sequence of Baddy at Angourie, 1971

This is Baddy surfing at Angourie during the filming of Morning of the Earth. We surfed there a lot mainly with Baddy and Stephen Cooney…..We had it to ourselves most of the time….


 

The Lure of the Sea

John Witzig

Exhibition Opening Thursday 14 May, 5:00pm

14 May -22 June 2018

Lismore Regional Gallery

 

The Lure of the Sea consists of three solo exhibitions: Bob Cooper, John Witzig, Albe Falzon.

It is a look on Australian surf culture from the 1950s to the 1970s, drawing on original photos shot by influential figures within the surfing world. All these photographers are – and were – essentially surfers. When these images were made, it was not about exploring the road-movie genre, or even aiming at documenting their lives. It was simply about their common passion, their original and pioneering lifestyle, and their strong sense of belonging to an outcast, close-knit community.

Cactus Landscape 1975 - digital print - photo John Witzig

Cactus Landscape 1975 - digital print - photo John Witzig

 

John Witzig is an internationally renowned surf photographer and journalist. He contributed his first article to Surfing World magazine in 1963; a controversial 1967 cover story in the U.S. magazine Surfer cemented his international reputation as an important commentator on the sport. He edited Surf International and in 1970 co-founded Tracks, a groundbreaking, journalistic Australian surfing magazine that The Surfer’s Journal publisher Steve Pezman called “maybe the hippest youth culture magazine being published in the world at that time”.

In 2013, the New York art publisher Rizzoli released A Golden Age: Surfing’s Revolutionary 1960s and ’70s, a comprehensive collection of Witzig’s photographs. In August 2014, the exhibition Arcadia opened at the Australian National Portrait Gallery in Canberra featuring over 40 photographs. Arcadia toured to Geelong in Victoria, and the Tweed Regional Gallery in New South Wales.

Nat at Collaroy Point 1961 - 90 x 128 mm - vintage print

Nat at Collaroy Point 1961 - 90 x 128 mm - vintage print

Nat and the girls 1972 - 170 x 251 mm - vintage print

Nat and the girls 1972 - 170 x 251 mm - vintage print

A house at Torquay 1970 - digital print

A house at Torquay 1970 - digital print

Stephen Cooney and Abu 1971 - 250 x 172 mm - digital print

Stephen Cooney and Abu 1971 - 250 x 172 mm - digital print

George Greenough at Point Cartwright 1966 - vintage print

George Greenough at Point Cartwright 1966 - vintage print


 

The Lure of the Sea

Bob Cooper

Exhibition Opening Friday 11 May, 6:00pm

11 May -19 May 2018

Lismore Regional Gallery

 

Bob Cooper, Noosa Head, 1964, silver gelatin print, 24 x 19 cm - photo Russel Hughes

Bob Cooper, Noosa Head, 1964, silver gelatin print, 24 x 19 cm - photo Russel Hughes

Bob Cooper

Memories, Guethary, France. In 1969, my grandmother gave me the most beautiful present I have ever received: a brand new sparkling surfboard. It was a Barland (French surfboard company). On the deck of the board, was a logo: the portrait of a bearded man with sunglasses, with the look of an eccentric hippy. It was the shaper of the board, Bob Cooper. Over the years, waxing this board, I saw this face fading away little by little. In 2005, working on the exhibition Magicians of the Sea to be shown in the Australian Centre of Photography, someone mentioned to me that Bob was living near Noosa. I called him and the day after, I was driving toward the Sunshine Coast. After a little talk, he pointed to an old trunk and asked me if I wished to have a look at his archives. This exhibition showcases a selection of photographs I saw this day.

Bob Cooper was born in 1938, he started surfing Rincon and Malibu in California in the early 1950’s when surf shacks were still dotting the beach and enjoyed the sport before the onslaught of commercialism. He was one of the first American surfers to visit Australia (1959) and to take permanent residence. Bob had a strong influence on Australian surfing and surfboards. After working with a few Australian surfboard companies, he starts in 1970 Cooper surfboards in Coffs Harbour, NSW, and became the first Australian surfboard manufacturer to promote indigenous surfers. In 1993, Bob Cooper moved to the Sunshine Coast where he still lives.

Cojo Point, The Ranch, California, circa 1960, silver gelatin print, 16 x 11 cm - photo Bob Cooper

Cojo Point, The Ranch, California, circa 1960, silver gelatin print, 16 x 11 cm - photo Bob Cooper

 
National Park, Noosa, 1964, silver gelatin print, 8 x 10 cm - photo Bob Cooper

National Park, Noosa, 1964, silver gelatin print, 8 x 10 cm - photo Bob Cooper

 
The Lure of the Sea - Bob Cooper - Lismore Regional Gallery - May 2018

The Lure of the Sea - Bob Cooper - Lismore Regional Gallery - May 2018

 
The Lure of the Sea - Bob Cooper - Lismore Regional Gallery - May 2018

The Lure of the Sea - Bob Cooper - Lismore Regional Gallery - May 2018


 

Jessica O'Connor

Kyogle: Made it out

 

Exhibition Opening Friday 27 April, 6 - 8 pm

27 April-1 May 2018

 

BSA PROJECT SPACE

112 Dalley St, Mullumbimby NSW

 

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I thought you hung the stars and moon. You were my dad. I was three.   House: Return - 2018 - digital print - 78 x 100 cm - 1/3

I thought you hung the stars and moon. You were my dad. I was three.

House: Return - 2018 - digital print - 78 x 100 cm - 1/3

 
You never had to check for monsters under the bed becauseyou were already under my covers.   2018 - digital print – 8.5 x 13 cm - 1/5

You never had to check for monsters under the bed becauseyou were already under my covers.

2018 - digital print – 8.5 x 13 cm - 1/5

 
I took all the blame.The guilt almost killed me.   2018 - digital print – 8.5 x 13 cm - 1/5

I took all the blame.The guilt almost killed me.

2018 - digital print – 8.5 x 13 cm - 1/5

 

Jessica is an emerging Artist based in Lismore, Northern NSW. She is currently finishing her Bachelor of Visual Arts degree at Southern Cross University. In 2017 she was the winner of the Lismore Regional Gallery Graduate Award at Southern Cross University. Jessica’s work looks at the resilience of the body, what it can endure and overcome, both physically and mentally.

 
Jessica O'Connor - Byron School of Art - April 2018

Jessica O'Connor - Byron School of Art - April 2018

 
Jessica O'Connor - Byron School of Art - April 2018

Jessica O'Connor - Byron School of Art - April 2018


 

Kate Henson - Small Floating Objects

 

This show came about after some time away from making any art;
After slowing down and simplifying
After being  still, being quiet
And feeling the beat of the heart

 

Exhibition Opening Friday 16 February, 6 - 8 pm

16-20 February 2018

 

BSA PROJECT SPACE

112 Dalley St, Mullumbimby NSW

 
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Kat Shapiro Wood

Float Forms : Fitting Pieces

A Space in Process

Plaster, mixed media and found objects

 

Exhibition in partnership with Artstate Lismore 2017

30 nov - 3 dec 2017

Lismore TAFE, Keen St

Kat has been based in the Northern Rivers for just over ten years and works across the disciplines of sculpture, painting and ceramics. She has an abiding interest in materiality, the language of colour and form, and in the nuances and poetics of spatial relationships. In exploring the extent to which materials can express their own inherent qualities, the resulting work is pared back to what is most essential. 

For the Trailer Project she has responded to the intimate interior of Pierre Chevalier’s horse float gallery with forms that echo and adapt to the small, fluid space. The result is an installation that remains as a playful dialogue in progress between form and space. 

 
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Hedda Hammer-Morrison - The Box - 1933-1946

Exhibition in partnership with Byron Writer Festival and Lone Goat Gallery

Lone Goat Gallery - Friday 28 July, 6 - 8 pm - 28 Lawson St, Byron Bay NSW

Byron Writer Festival - 4-6 August 2017

 
The Box  –  36 x 27 x 3.5 cm – silk fabric on wooden frame

The Box36 x 27 x 3.5 cm – silk fabric on wooden frame

 

Mamie

Friday, 2 May 2003, is a date I will remember. I was in Paris curating the exhibition ‘Surfing Australia’ (from the collection of Nat Young), an exhibition held at the Australian Embassy in Paris. The beginning of this day was poor and stressful as we just learned that all the crates of the exhibition were blocked in customs in the Paris airport because of a strike. With nothing else to do, I decided to pay a visit to Mamie, my wife’s grandmother, who lived a few blocks down from the embassy. We met for a lunch in a brassery nearby where she ate everyday of the week. Mamie was a character. A beautiful old woman, almost blind, forever stylish and slender, always with a cigarette at the tip of her finger, Pall Mall, no filter. She could be difficult, scathing, and always kept you on your toes. Deliciously politically incorrect, she liked to laugh and not take anything too seriously, but behind her stinging remarks and mocking tone, she was always trully interested in human connections. She had however no time for good sentiments, and we loved her for that.

During this lunch she told me about her first trip abroad, when she left for China following her wedding to Pierre de Beaumont, a young French diplomat. Mamie was an accomplished raconteur:
I was truly in Shangai during this lunch, reliving this troubled period of history (1940–1945) with Mamie as my guide. At the end of the meal, we walked back to her apartment where she showed me the box. When we opened it, it was a time capsule: not just because of the images it contained, but also from the smell that greeted us; a smell of China, tea, rice alcohol with a hint of coal and opium maybe. The images were striking, I thought then, it’s good! A few years after, Mamie died, and the box was left to us.

 
Colette de Beaumont (Mamie), Les Cèdres, Lebanon –  c.  1950

Colette de Beaumont (Mamie), Les Cèdres, Lebanon – c. 1950

 

The Blue Lotus

The box contains 30 prints of Hedda Hammer Morrison made in the 30s. They include landscape views, architecture, portraits, street views, and images of street activity such as street barbers, magicians, gamblers and the like. An old China is recreated with this work, which has more to do with Tintin’s adventures in China told by Hergé in The Blue Lotus than with anything left today.

 
Hedda Hammer Morrisson  – Opium smoker, step 1, Beijing –  circa 1935  Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

Hedda Hammer Morrisson – Opium smoker, step 1, Beijing – circa 1935

Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

 
Hedda Hammer Morrisson  – Opium smoker, step 2, Beijing –  circa 1935  Sillverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

Hedda Hammer Morrisson – Opium smoker, step 2, Beijing – circa 1935

Sillverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

 
Hedda Hammer Morrisson  – Miserable miracle, preparation of an opium pipe 1, Beijing –  circa 1935  Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’  This photograph is one of a series of three photographs capturing the steps of the preparation of an opium pipe.

Hedda Hammer Morrisson – Miserable miracle, preparation of an opium pipe 1, Beijing – circa 1935

Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

This photograph is one of a series of three photographs capturing the steps of the preparation of an opium pipe.

 
 
Hedda Hammer Morrisson  – Street seller, Beijing –  circa 1935  Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

Hedda Hammer Morrisson – Street seller, Beijing – circa 1935

Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

 
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Hedda Hammer Morrisson  – Old man and bird –  circa 1935  Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’

Hedda Hammer Morrisson – Old man and bird – circa 1935

Silverprint – 24 x 25.5 cm – stamped on the back, ‘Hedda Hammer, Peking’


 

"You have the soul of an architect"
Le Corbusier

The photography of Lucien Hervé

1st - 6th of July 2017.

Byron School of Art Mullumbimby. Project Space 122 Dalley St, Mullumbimby NSW.

 

Lucien Hervé: Le Corbusier’s Unité d’habitation, Nantes-Rezé, 1954.  Reproduced with kind permission © Estate of Lucien Hervé, Paris.

Lucien Hervé: Le Corbusier’s Unité d’habitation, Nantes-Rezé, 1954.
Reproduced with kind permission © Estate of Lucien Hervé, Paris.

This exhibition showcases the work of Lucien Hervé, leading figure and master of architectural photography. His characteristic style combines a humanist outlook with an architect’s eye. His use of cropped frame (he often uses a pair of scissors), plunging or oblique view focusing both on the detail and the big picture and uncluttered composition tending toward abstraction create a unique style that is instantly recognizable. The images presented in this exhibition provide a view on Lucien Hervé's personal take on the work of Le Corbusier and Niemeyer

Lucien Hervé: Museum of Modern Art, Brasilia, Oscar Niemeyer, 1961

Lucien Hervé: Museum of Modern Art, Brasilia, Oscar Niemeyer, 1961

Biography – Lucien Hervé:
Born in 1910, in Hungary, László Elkán arrives in Paris in 1929. He is instantly taken by the Parisian art and music circles, and starts taking press and fashion photographs by the end of the 1930s. As a communist militant, he joins as early as 1941 the Resistance ranks under the name of Lucien Hervè. Closely associated with the post- war Humanist school, his carrier takes a fateful turn in 1949 when the Pere Couturier, a friend of Matisse, introduces him to Le Corbusier. Upon seeing his work, the latter declared: ‘You have the eye of an architect.’ He becomes his designated photographer until Le Corbusier’s death in 1965. His collaborations will also include Alvar Alto and Oscar Niemeyer. His images of the ‘Abbaye du Thoronet” in France and of the Escorial in Spain are also renowned. His work has been shown in major galleries across the world and features in the collections of landmark museums such as the MOMA in NewYork, the Pompidou Centre in Paris and the Victoria Albert Museum in London. Lucien Hervé died in Paris in 2007. 

Lucien Hervé: Chapelle de Ronchamp, Le Corbusier, 1955

Lucien Hervé: Chapelle de Ronchamp, Le Corbusier, 1955


 

Caitlin Reilly 

BYRON BAY VIGNETTE - Art Piece Gallery, Mullumbimby. May 2017

ENCORE - Marvell Lane, Byron Bay NSW. 31st May 2017

Caitlin Reilly is an Australian born multi disciplinary artist living in Byron Bay, Australia. Caitlin has participated in many solo and group exhibitions in China and Australia. Her Works have also been exhibited at the Shanghai Museum of Art, the Xuhui Art Museum, the 1933 (上海1933老场坊) Historical slaughterhouse, Asia Contemporary Art Hong Kong, 2014 -15-16, Singapore Art Fair, and 'Faces & Traces' retrospective @ The Swatch Art Peace Hotel in Shanghai, China.

Her arts practice involves working in a broad range of media creating layering and textural history, with an extensive body of work exploring the development of surface rendering. Caitlin's visual arts practice spans international platforms and is represented in collections throughout Australia, Europe, America, and China.

Byron Bay Vignettes

Returning from living in China (2009-2015) I painted these small works as a need to physically land and integrate my surroundings. It is my way of coming home.

 
 
 
 
 
 
 
Vignette #3  oil on board  30 x 30xm

Vignette #3

oil on board

30 x 30xm

 
 
Vignette #5  oil on board  30 x 30xm

Vignette #5

oil on board

30 x 30xm


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