
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Sculpture
Satyr with wineskin cast 19th century
after UNKNOWN ROMAN
International Art | Painting
The prodigal son c.1780-1840
UNKNOWN
International Art | Sculpture
Spinario cast late 19th century
after School of PASITELES
Asian Art | Print
Courtesans (reprint) unknown
after EISEN
Asian Art | Sculpture
Flying horse of Kansu cast 1973
after EASTERN HAN ARTIST
International Art | Sculpture
Bust of Niccolo da Uzzano unknown
after DONATELLO
International Art | Sculpture
Borghese warrior 19th century
after AGASIUS THE EPHESIAN
Pacific Art | Fibre
Jipai (mask) 2011
AFEX, Ben
International Art | Glass
Decanter c.1875-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
International Art | Glass
Vase c.1880-1900
AESTHETIC STYLE
Contemporary Australian Art | Installation
Blackboards with pendulums 1992
KENNEDY, Peter
International Art | Drawing
Design
ADAM, Sicander
International Art | Metalwork
Tea urn c.1770-1800
ADAM STYLE
International Art | Ceramic
Long necked vase c.1900-50
ACOMO PUEBLO
Pacific Art | Photograph
'Te Waiherehere', Koroniti, Wanganui River, 29 May 1986 1986, printed 1997
ABERHART, Laurence
Pacific Art | Photograph
Nature morte (silence), Savage Club, Wanganui, 20 February 1986 1986, printed 1999
ABERHART, Laurence
Pacific Art | Photograph
Angel over Whangape Harbour, Northland, 6 May 1982 1982, printed 1991
ABERHART, Laurence
Australian Art | Drawing
A memory of Gumeracha (study of flies) 1908
HEYSEN, Hans
Pacific Art | Print
The boxer 2009
ABEL, Patrik
APT8
Born 1971, Seoul, South Korea
Lives and works in Seoul and Berlin, Germany
Referring to modernist art history, literature, and social and political events, Haegue Yang transforms spaces through light, colour, objects and movement to ensure a constant shift in perception and experience. Yang’s work alludes to the relationship between cultures and language as experienced through translation, migration and diaspora, as well as the formal properties of specific materials.
Sol LeWitt Upside Down – Open Modular Cubes (Small), Expanded 958 Times 2015 consists of 1012 white Venetian blinds, arranged into grids and suspended from the ceiling in an inverted and expanded rendition of the ‘open modular cube’ structures, signature works of American conceptual artist Sol LeWitt. First exhibited in New York in 1966, LeWitt’s structures used the reductive form of an open cube as their base unit, which was repeated in stepped and gridded arrangements to produce geometrical objects. LeWitt’s artworks were at once rigorous in construction and elaborate in appearance.
Yang appropriates, up-scales and upturns this classic motif. Where LeWitt’s cubes were solid-edged, open-sided and made-to-order from industrial producers, Yang’s are impressionistic, created by arrangements of ready-made household blinds whose overlapping slats may be read as either open or closed, depending on the position of the viewer. Through the use of domestic materials, Yang moves LeWitt’s aesthetic propositions into the world of everyday experience. She foregrounds shifts involving mass, volume, space and light, and the degree to which, like the diasporic experience, such qualities are constantly under construction.
Haegue Yang / South Korea/Germany b.1971 / Sol LeWitt Upside Down – Open Modular Cubes (Small), Expanded 958 Times 2015 / Commissioned for APT8. Purchased 2015 with funds from Tim Fairfax, AC, through the QAGOMA Foundation / © Heague Yang / Photograph: Natasha Harth, QAGOMA