![]() Boucher and Dali are the cardinal points in Schultz’s practice between the sweet and the sinister, the conscious and the unconscious, an abundant and buoyant substance and one that sinks and drains away through gates to the dark crypt. Two artists feature prominently in this scenario: François Boucher (1703-1770) and Salvador Dali (1904–1989). Since then, he has maintained a remarkable practice shifting constantly stylistically within his own unmistakable and inimitable signature, paying homage to particular outmoded painters of, for example, the French Rococo, the Baroque, Art Nouveau and Surrealism. 1960, Sydney) had his first solo exhibition at Rex Irwin Gallery in Sydney, soon after graduating from his Bachelor of Arts at City Art Institute (now the College of Fine Art, the University of New South Wales). He edifies us with “Imperial monuments to the ‘Venus of bad taste’” (Schultz) and demonstrations of mental exhibitionism, sensually and metaphorically entwined and idealized. In these works, Schultz consecrates Dali’s perversity and attenuates it with Guimard’s fantasmal caprice, confessing predilection toward the Art Nouveau (after all a rebirth of the Rococo), an unruly line that connects painting with the architectural, and the breast. His recent paintings are excursions in psychoanalytic structure buried within a labyrinthine visual frame. “The absolute shamelessness of pride.” (Schultz) His heroes, unchanged over the thirty years of his career, distinguish themselves in their radical lack of regard for Academic or cultish conformity in single-minded and blinkered pursuit of their own infamy and excess, embarrassments to their peers and decidedly pre-modern, even if inhabitants of the Twentieth Century – like Dali. ![]() ![]() His mind as a painter and philosophically is instead voraciously inclined towards particular European artists and ideals aberrant within their own anomalous art historical term. Extending across Adelaide’s cultural precinct, North Terrace, the biennial will be presented at four venues the Art Gallery of South Australia, Anne & Gordon Samstag Museum of Art at the University of South Australia, JamFactory and Santos Museum of Economic Botany in the Adelaide Botanic Garden.Tim Schultz has never cared for the contemporary. The ‘2018 Adelaide Biennial of Australian Art: Divided Worlds’ is showing from 3 March to 3 June 2018 as part of the Adelaide Festival. ‘Divided Worlds’ offers an opportunity to experience an alternative dimension – one where “difference” is the natural order of things, and a strength to be celebrated.” Green says, “the curatorial premise, divided worlds, recognises that we live in troubled times, however, rather than foretelling conflict, my focus has been on assembling an exhibition that celebrates the enduring role of art and culture. Titled ‘Divided Worlds’, the 2018 Adelaide Biennial presents an allegory of human society, one that meditates on the drama of the cosmos and evolution on the past and the future and on beauty and the environment. Vernon Ah Kee (QLD), Lisa Adams (QLD), Roy Ananda (SA), Daniel Boyd (NSW), Kristian Burford (SA), Maria Fernanda Cardoso (NSW), Barbara Cleveland (NSW), Kirsten Coelho (SA), Sean Cordeiro + Claire Healy (NSW), Tamara Dean (NSW), Tim Edwards (SA), Emily Floyd (VIC), Hayden Fowler (NSW), Julie Gough (TAS), Ghostpatrol (VIC), Amos Gebhardt (VIC), Timothy Horn (VIC), Louise Hearman (VIC), Ken Family Collaborative (SA), Lindy Lee (NSW), Khai Liew (SA), Angelica Mesiti (NSW), Patrick Pound (VIC), Patricia Piccinini (VIC), Pip + Pop (WA), Khaled Sabsabi (NSW), Nike Savvas (NSW), Christian Thompson (VIC), John R Walker (NSW) and Douglas Watkin (QLD). This work was made in April 2017 in the Adelaide Botanic Garden.ĭelivering new and unexpected visions in mediums such as photography, painting, sculpture, installation and the moving image will be artists from all corners of the country including: Courtesy the artist and Martin Browne Contemporary, Sydney. Tamara Dean, Elephant ear (Alocasia odora) in Autumn from the series ‘In our nature’, 2017, pure pigment print on cotton rag, 45 x 60cm.
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