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troublemag | December 12, 2019

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Art Gallery of Western Australia

That Seventies Feeling…the Late Modern
Opens 7 December 2019
AGWA 40 – Celebrating the anniversary of AGWA’s 1979 Brutalist building.

That Seventies Feeling showcases some of the Gallery’s best works from the 1970s. Full of surprises and rarely seen works, the exhibition examines a transformative decade for Western Australia, the Gallery and the world at large. Featuring artists Miriam Stannage, Virginia Cuppaidge, Mike Parr and Brian Blanchflower, hip new visions by Robert Rooney, Stephen Shore and Jenny Watson, and late work by modernists Howard Hodgkin, Fred Williams and Albert Tucker you’ll be transported back to the decade that shaped modern Australia.

Screen Space – Sue Ford
Until 13 January 2020

Sue Ford’s iconic Time series 1962-1974 photographs and her video work Faces 1976–1996 is on display together for the first time since acquisition. Ford’s images of her subjects taken ten, twenty and thirty years apart were a key photographic and a deeply feminist gesture which changed the way Australian photographers saw and conceptualised their work.

WA Now – Eveline Kotai: Breathing Pattern
Until 10 February 2020

Over the past 15 years, Eveline Kotai’s interest in material dissolution and regeneration has culminated in the practice and process of cutting up and reworking her own paintings into new works. Breathing Pattern features new and recent work including canvas reconstructions and paintings, and forms part of the WA Now series dedicated to showcasing work by WA artists.

Perth Brutal: Dreaming in Concrete
Until 17 February 2020
AGWA 40 – Celebrating the anniversary of AGWA’s 1979 Brutalist building.

Opened on 2 October 1979 by then Premier Charles Court, the new Art Gallery of WA building was a dramatic example of late Brutalist architecture designed by Polish born Charles Sierakowski.

This exhibition opens out the many layers of the history of the building’s development featuring images of the building in construction and its early days, along with ephemera such as building models, plans, diagrams and drawings, and early promotional brochures about the structure and its place in the Cultural Centre.