Aboriginal photographer Wayne Quilliam has been travelling across Australia for 30 years, documenting its hundreds of Aboriginal and Torres Strait Islander groups. He shares people’s stories, he says, so others can better understand the diversity of Aboriginal cultures. “I don’t generally reflect on the negatives of what’s happening in our communities because there are so many that do so,” he says. A warning for Aboriginal and Torres Strait Islander viewers: This video contains images of people who may have died.
Category Archives: Profiles
Watercolor Views: ‘Atlas’ By Thomas Schaller (2022)
English Country Houses: Ancient ‘Hunton Court’ Near Maidstone In Kent
Hunton Court is an ancient house hiding behind a breathtaking Georgian facade, and all set in a truly beautiful corner of Kent.
Take a quick look at Hunton Court — near Maidstone, in Kent — and you’d immediately mark it down as an 18th century country house. Yet its true origins lie many centuries earlier: it’s a building that hides its timbered origins behind a Georgian look.
The house, once known as Court Lodge, had a turbulent history: first built in the 13th century and part of an estate that had belonged to the Canterbury’s Christ Church Priory, it was handed to Sir Thomas Wyatt, Henry VIII’s High Sheriff for Kent, after the Dissolution of Monasteries.
Views: British Illustrator Matt Cook’s ‘Storefronts’
Cinema: Inside The Making Of “The Godfather” (1972)
When “The Godfather” opened in March 1972, director Francis Ford Coppola’s drama about a mob family forever changed how we look at gangster films. Correspondent Tracy Smith talks with Coppola, and with stars Robert Duvall, James Caan and Talia Shire, about the making of a classic that, 50 years later, movie lovers still cannot refuse.
Sketch Views: ‘Junkyard Truck’ By Paul Heaston
Watercolor Artists: Liam O’Farrell’s ‘London Views’
I like to get in front of my subjects “en plein air” if I can. Even in my allotment pictures (which are partly from imagination) the core elements are taken from real allotments. Working on site you get so much more from what you are trying to capture, I also get to chat to passersby who feed into my work with their rich stories and conversation. For me working purely in the studio would be like painting through a letter box.
In regards to perspective, the early part of my career was drawing and airbrushing full 3D cutaways of fighters and ships for the MoD so I know a fair bit about getting perspective right if I need to.
Accurate perspective however is all well and good, although in creative terms it can only deliver so much. I tend to adjust and push things about until it feels right. If that means geometric perspective is abandoned then that’s fine. It’s all about the overall impression.
Michelin Guide: Slovenia’s ‘Restaurant Mahorčič’
The MICHELIN Guide takes you on a trip to Slovenia to discover the treasures of this country, its chefs, its products and its producers. Following the launch of the MICHELIN Guide Slovenia in september 2021, we take a closer look at Mahorčič, run by chef Ksenija Mahorčič.
Chef Ksenija’s cuisine is a real homage to these brave women farmers, influenced by the traditional ways to preserve and ferment fresh produce. Her plates are strictly local and seasonal. Thanks to her new MICHELIN Green Star, she hopes to convince more and more food industry professionals, including hygiene inspectors, that there are alternatives to plastic and aluminum in a restaurant’s kitchen.
Art History: ‘Poussin And The Dance’ (The Getty)
“One of the hopes of this exhibition was really to try to enlist visitors’ bodily experience in their understanding of these works of art that can sometimes seem a little bit like they live entirely in our heads, a little bit intellectualized.”
Although Nicolas Poussin is widely regarded as the most influential painter of the 17th century—the father of French classicism—he is not as well-known as many of his contemporaries, such as Rembrandt, Rubens, and Caravaggio. This is due, in part, to Poussin’s austere painting style and erudite subject matter, which often came from Roman history or the Bible. As a result, his work can sometimes feel a bit cold or remote to today’s audiences.
But earlier in his career, Poussin was inspired by dance. His paintings of wild revelry, filled with dancing satyrs and nymphs, emerged as his signature genre from that time. Poussin and the Dance, organized by the Getty Museum and the National Gallery in London, is the first exhibition to explore the theme of dance in Poussin’s work. By supplementing his delightful dancing pictures with new dance films by Los Angeles–based choreographers—this unique exhibition invites viewers into the world of Poussin in a fresh, relatable way.
In this episode, Emily Beeny, curator in charge of European paintings at the Fine Arts Museums of San Francisco and curator of Poussin and the Dance, joins Sarah Cooper, public programs specialist at the Getty, to delve into Poussin’s process and love of dance.
The exhibition, which received generous support from the Leonetti/O’Connell Family Foundation and is sponsored by City National Bank, is on view at the Getty Center through May 8, 2022.
Views: Jennifer Packer – ‘The Eye Is Not Satisfied With Seeing’ (Whitney)
Join Jane Panetta, the Nancy and Fred Poses Curator and Director of the Collection, as she discusses key works from Jennifer Packer’s exhibition of paintings and drawings.
Jennifer Packer is an American painter living and working in New York City. In 2020, she won the Hermitage Greenfield Prize and the Rome Prize. Packer won the Rome Prize at the American Academy in Rome 2020-2021.
Jennifer Packer: The Eye Is Not Satisfied With Seeing was initiated by Serpentine and curated by Melissa Blanchflower, Curator, Exhibitions and Public Art with Natalia Grabowska, Assistant Curator. The presentation at the Whitney is organized by Rujeko Hockley, Arnhold Associate Curator, and Jane Panetta, Nancy and Fred Poses Curator and Director of the Collection, with Ambika Trasi, Curatorial Assistant.
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