Yayoi Kusama, Japan b.1929 / The obliteration room 2002 to present

Before the first dot. Yayoi Kusama’s obliteration room

The installation of Yayoi Kusama’s popular interactive children’s project has taken the work to a new scale, filling our Children’s Art Centre at GOMA. This space has been transformed into a series of domestic—style rooms, reminiscent of the average Australian home, filled with furniture and objects painted entirely white. This functions as a blank canvas that…

Cuzin on Matisse

Today I visited ‘Matisse: Drawing Life’ to look at the interventions of Christophe Cuzin. A contemporary French artist who was brought on board when the Gallery first started thinking about the design of the Matisse exhibition, Cuzin was invited to work with the exhibition’s designers to conceptualise a colour palette for the gallery spaces and…

The book as art

In an age when an increasing number of people are consuming books and texts electronically via screens, the book as object has come to occupy a unique role. The particularly twentieth—century phenomenon of high—end book production by publishers such as Ambroise Vollard, Daniel-Henry Kahnweiler, Albert Skira and Tériade (Stratis Eleftheriades) is broadly known as the…

Edgar Degas captures a candid moment in the life of a dancer

Margaret Olley was an important benefactor and tremendous supporter of QAGOMA and this gift – a bronze sculpture of a dancer by Edgar Degas, called Danseuse regardant la plante de son pied droit (Dancer looking at the sole of her right foot) is a lasting legacy to the people of Queensland. Edgar Degas’s sculptural practice was…

A long engagement

A frequent question to curators and directors of art museums by media and visitors is ‘How long did it take to put the exhibition together?’ Of course there is no single answer, but on average, exhibitions of the scale and breadth of ‘Matisse: Drawing life’ take years rather than months. In this case it is…

Harder than it looks

My line drawing is the purest and most direct translation of my emotion. The simplification of the medium allows that. At the same time, these drawings are more complete than they may appear to some people who confuse them with a sketch. Henri Matisse, ‘Notes of a painter on his drawing’, 1939 Henri Matisse wrote…