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A new collection of works by Imants Tillers is currently on display at Roslyn Oxley9 Gallery, Paddington. Entitled The Tears of Things, the exhibition is the artist's first Sydney-based solo show in three years. The tiled paintings are a collection of landscapes built in the Tiller's signature style. Many are monolithic portraits of Australian panorama, some even extending to almost 10m in length. Images of the outback, desert motifs and drought stricken land are overlaid with poetic text and names of regional Australian suburbs.

Tillers lives and works in Cooma, Australia, a regional town located near the Snowy Mountains. With a respected career spanning over thirty years, his work has been widely displayed on an international scale at institutions including Gow Langsford Gallery, Auckland, The Institute of Contemporary Arts, London, Galerie Susan Wyss, Zurich and Bess Cutler Gallery, New York. He has received various awards for his art practice including Grand Prize at the 1993 Osaka Painting Triennial, First Prize at the 1999 Visy Board Art Prize, South Australia and a Prize for Excellence at the 2003 Beijing International Art Biennial. In 2005 he was awarded an Honorary Doctorate of Letters from the University of New South Wales for his long and distinguished contribution to the field of arts.

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Jonathan Bouknight is captivated by the duality of one's psychological and physical presence and how this duality defines one's personal reality. His evocative photographs, drawings, and sculptures depict this aspect of the human condition. Referencing mythology, history, pop culture, and science, Bouknight explores his own sexuality and attempts to understand how the corporeal and cerebral influence one another, and how these entities are shaped by the presence of others.

In his compositions, Bouknight photographs barriers or membranes which neither completely conceal nor reveal the subjects within. He labels his series "Integuments" and "Encasements", thereby defining the unseen psychological division between the self and others. The above photograph, entitled Nipple, conceals this bodily part below a sea of diaphanous fabric whose frayed ends are stitched together with a thin black thread. The fabric clings to flesh in some areas, creating a visual tease for the spectator.

Bouknight studied at the Lamar Dodd School of Art in Cortona, Italy in 2000 with the University of Georgia and received his B.A. in Studio Art from Furman University in 2002. He has previously exhibited at Whitespace and Eyedrum in Atlanta, where he currently lives and works.

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In the second of a round of four exhibitions featuring eight artists, Randall Scott Gallery in Washington D.C. presents new works by Peter Van Agtmael and Jessica Dimmock. Both artists explore elements of photojournalism in a unique way as their subject matter documents scenes of military and social conflict.

Peter Van Agtmael enters international war zones to document truth as rarely seen. The photographer seeks to capture images of humanity and offer them to the greater public in an attempt to provoke awareness and change. Van Agtmeal is a member of the prestigious Magnum photojournalist association and has recent received acclaim for his work from Critical Mass.

Jessica Dimmock is a photojournalist working within social documentary, capturing scenes of the human condition as experienced by a drug addict. Her series Ninth Floor takes place in an upscale Manhattan neighborhood and provides a honest look a the frailty of the human mind and body. Dimmock is an associate member of the photo-journalistic agency, VII.

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In Jack Hanley Gallery's 389 Valencia Street space in San Francisco, Michelle Blade is exhibiting large scale paintings on Dura-lar along with some sculptural pieces in the exhibition The Elliptical Good-Kind. In her compositions, Blade transitions from gestural to more more restrained brush styles. Washes of color are punctuated by areas of greater detail, while a constant undercurrent of mystery pervades all of her work.

Blade's compositions emphasize the vastness of nature, and explore man's place within. Her captivating imagery invokes Romantic sublimity, with anonymous figures rendered in silhouette gathering in groups, dancing, and celebrating some unknown event. The artist insists her paintings are an exercise in "questioning and understanding humanity, and what drives us to form relationships with one another, build societies and then break ties to try and create something better and stronger".

The artist received her B.F.A. from California College of the Arts and has previously exhibited at V1 Gallery in Copenhagen, and Space 1026 in Philadelphia. She was included in Nylon's May 2008 issue and has been interviewed by FecalFace.com. Her work will remain at Jack Hanley Gallery until August 8, 2008.

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Jung Eun Park's work is a combination of drawing and sewing on Korean paper that is often dyed with coffee or tea. While sitting or laying on the paper, Park creates symbolic images, mesmerizing in both their detail and overall simplicity. This physical connection to the work during production is important to the artist who states "I can feel the touch and the smell of paper with all of my body and senses."
The artist uses materials such as thread, plastic, fabric, buttons, and pills, creating a tactility and texture beyond that of the paper.

Jung Eun Park works in projects, with their titles lending clues to their meaning. Recent works include The Womb, Cell Story, Red Thread, The Room of Obsession, and Silence is Waiting. The artist shares definite formal and psychological similarities with acclaimed Japanese artist Yayoi Kusama. Park's interest in repetition, accumulation, and exhausting detail recall Kusama's "infinity nets."

The artist received a B.F.A. from Kookmin University in Seoul in 2003 and a M.F.A. from Pratt Institute in 2007 and was included in Lana Santorelli Gallery's Young Emerging Artists show in New York earlier this year.

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Rosemary Laing has studied at several Australian institutions including The College of Fine Arts, Paddington, Sydney College of the Arts and The Tasmanian School of Art. Her work has appeared in various group and solo shows on an international scale, at galleries including Galerie Lelong, New York, Bridgestone Museum of Art, Tokyo, Museum of Contemporary Art Cleveland and Queensland Art Gallery. She has won several awards for her art practice including the Australian Research Council Grant from the University of New South Wales, The Perc Tucker Acquisition from Townsville Regional Gallery and the Blanche Louisa Buttner Bequest, Queensland Art Gallery.

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A new collection of works by Sydney photojournalist James Brickwood opens this week at the Australian Centre for Photography, Paddington. The exhibition is a documentation of the annual Schoolies week, an end of year vacation for year 12 high school graduates. Brickwood documents drunken pashes, messy hotel rooms and the sunny beachfronts of Queensland's Gold Coast, which predominantly hosts the graduation festival.

Brickwood is a freelance photographer who has completed numerous projects for leading Australian publications including The Sydney Morning Herald and The Sun Herald. While best known for documenting Australian youth culture, as witnessed within series such as Schoolies and Sydney Jungle (an exploration of Sydney's underground drum and bass music scene), he has also photographed various poignant subjects including the aftermath of the 2004 boxing day tsunami devastation in Sri Lanka and the funeral of late actor, Heath Ledger. He has recently been appointed a member of Oculi, a group of Australian award winning photo journalists. He has received various awards for his art practice including a highly commended within the sports category at the 2007 Nikon-Walkley Photographic Awards as well as becoming short listed for the 2007 Moran Contemporary Photographic Prize.

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The Prestige is a new work by Chicago-based artist Jeff Zimmerman featuring a small room-sized cage with a with a grouping of contained cellophane balloons. Zimmerman, who is known largely for his large-scale paintings and public wall murals, has been experimenting with more conceptual, object-based installation and sculpture including SHARE, a single barrel of light sweet crude oil in a highly polished container, and an untitled work featuring footwear from a Peruvian working child on a long red carpet. Zimmerman debuted many of these works for the first time at NEXT an invitational exhibition of emerging art in Chicago this past May. Zimmerman has completed a recent artist in residence with the Museum of Contemporary Art in Chicago and solo exhibition with Swope Art Musem in Terra Haute, Indiana. DailyServing featured the artist for his mural projects in November of 2007.

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The award wining PBS series Art:21-Art in the Twenty-First Century recently released two new short video featuring artist Kerry James Marshall addressing ideas related to the "Black Romantic" and "Being an Artist." These topics relate to recent paintings by Marshall featured in a show titled Black Romantic, which were exhibited at the Jack Shainman Gallery in New York City this summer. The artist is well known for his broad references of art history and his ability to critically examine the role of the African American culture within that history. For his recent exhibition, Marshall examines the use of romance, sentimentality, and the overt usage of love employed by black artists within a particular genre of painting that portrays a more 'charming' view of African-American culture. Marshall argues that this type of work is uncritical by nature, and as an artist, his urge is to not distance himself from the genre, but embrace it in order to find its weakness. Once identified, Marshall exploits the weaknesses, as he breaks down the genre and examines it from the inside out.

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On July 19th, Found Gallery in L.A. will commence the first portion of their next installation exhibition, Spacial Reconstruction. The exhibition, which lasts until August 10th, allows four artists to spend one week each in the gallery space to transform the interior beyond recognition. One artist comes in after the other, making this a transformative and dynamic show.

Sarah Dougherty (the first of the four artists) will spend five days working on her installation, The City of Mexico. Upon completion, there will be a 36 hour open house where viewers are encouraged to attend at atypical hours for gallery-hopping. Once the open house closes, the next artist enters the space and works with materials left over from the previous artist's work, constantly injecting new life and creativity into the space. C.L. Meisinger will open The Default Project on July 26th, Morrisa Maltz (whose work is seen above) will open Pretend Behavior on August 2nd, and Meranda Walden will open Mother Board on August 9th.

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The Box Gallery and the Los Angeles Poverty Department, a non-profit arts organization, are exploring the narrative history of L.A.'s infamous skid row. The downtown streets and alleys that make up the row might house an estimated 10,000 on any given night and city officials have grappling with what to do with drugs, homelessness, and violence that characterizes the row for decades.

Skid Row History Museum honors the row's history, highlighting the successful projects and people that have changed the face of L.A. poverty over the years. On the gallery floor, a map of skid row connects places to stories and visitors are invited to contribute to the ever-morphing Skid Row Walk of Fame in the back gallery space. The map, the Walk of Fame, and the videos and images included in the exhibition are the initial strains of the Skid Row History Museum project, something the Poverty Department hopes to grow into a thread of permanent public artwork.

The exhibition opened on June 28th with reflections from key players on the Skid Row battle front, music by Ron Taylor and Oscar Harvey, and performances by Ibrahim Saba and Kevin Michael Key. Public conversations, featuring representatives from organizations including Lamp Community, Hippie Kitchen and Dome Village, will be hosted in the gallery on July 18th, July 26th and August 2nd.

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The acidic British duo has been making fantastic cultural commentaries since the late '60s and now Gilbert and George's traveling retrospective is on view at the Milwaukee Art Museum. The two artists met as sculpture students at St. Martins College of Art in London and began working together soon after. Their breakthrough endeavor, The Singing Sculpture, in which Gilbert and George performed as living, business suite clad sculptures, debuted at Sonnabend Gallery in 1969. Since then, they've aimed to break down art's elitism, using pop culture references, found images, and loud splashes of color to make their work both visually delicious and provocative.

The duo has had solo shows at major museums before, including the Musee d'Art Moderne de la Ville de Paris, the Shanghai Art Museum, and Stedelijk Museum, Amsterdam, and they were shortlisted for the first Turner Prize in 1984. But, despite their already glowing past career, this current exhibition, organized by the Tate Modern, shows how relevant their work still is to contemporary art. Their bold graphics and iconic culture references, mixed with intimate personal nuances, dynamically interact with the art-technology-mainstream-personal-politic discussions that define the current climate.

Perhaps their relevance continues simply because their work is driven by a respect for contemporary culture. "We're great believers in the force of culture," Gilbert says in the above clip. "There is a gap inside of everyone which can only be filled by reading, listening to music, writing poetry, making art, looking at art. We are not just bones and flesh and skin; we are cultured people."

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Dustin Michael Pevey creates large-scale graphite drawings that confront the viewer and comment on our contemporary cultural convictions. To the artist, these include "the ideas of disillusionment, distraction, competition, obsession, and progress." The above image, entitled The End Ad Nauseum, is composed of several smaller images referencing war, pollution, death, and violence. A hastily scribbled (and partially erased) question, "Why won't my fucking drug dealer text me back?", provides us with another, more personal way to enter the work. This assortment of imagery forces us to address our own feelings regarding the state of humanity today. Are we disillusioned, distracted, competitive, and obsessed?

Pevey attended the Academy of Art in San Francisco for Drawing and Painting and has exhibited at The Visual Arts Center of New Jersey and Angstrom Gallery in L.A. He has an upcoming show, Bad Moon Rising, at Boots Contemporary in St. Louis, curated by Jan Van Woensel. He currently lives and works in Brooklyn.

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Los Angeles based artist Holly Williams paints images based on photographs of the city of Los Angeles, mixing her interest in the concepts of painting with the inherent mythology of film and television. Her blurred and ambiguous settings (taken from a city known for its ability to manipulate the truth) are captured and given their own significance. Williams' nebulous compositions create narratives for the sidewalks, corridors, balconies, and tunnels of Los Angeles. Her paintings include typical L.A. imagery such as the iconic palm trees lining the streets, light posts, and the glowing orbs of street and car lights. Occasionally, anonymous figures inhabit her settings, their actions remaining as mysterious as the space itself.

Williams transfers the photographic images into paint by using a multi-layered dry brushing technique that mimics the signature qualities of film photography. The blur effect is created through a slow buildup of paint, as oppose to the diminishing effect of dragging a brush through wet paint, for it is important to the artist that "the areas of color be built up rather than homogenized." With the increasing malleability of digital photography, the photograph loses its authenticity and is no longer purely a source of documentation. By painting the images, Williams takes from her own experiences and creates new and unique handmade objects. Each painting then has a tangible connection to the maker, lending a certain authenticity.

Williams received her B.F.A. from the Otis College of Art and Design in Los Angeles and her work is held in various collections, including the Creative Artists Agency in Beverly HIlls.

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Los Angeles based artist Tabitha Morris is presenting her first solo show of hallucinatory watercolors titled, Predacious Panopticon, at the Happy Lion Gallery in Los Angeles' Chinatown. The opening reception will be held July 12th and the exhibition will remain at the gallery until August 9th.

Predacious Panopticon, an appropriate title for Morris' seductive and repulsive landscapes, includes several large scale works, enveloping the viewer in a dense foliage of nature and sex. Her cast of characters includes siren-like erotic female nudes being devoured and re-birthed by carnivorous plants in a fantastical organic setting. The pleasing pastel palette visually soothes and entrances the viewer until the subject matter is discovered. The density of the the composition is balanced by its fluidity as the viewer's eye gently follows flowing hair to outstretched stems to smoke-like forms.

Tabitha Morris received her B.F.A. from the University of Kansas and an M.F.A. in Painting and Printmaking from the University of Pennsylvania. She currently lives and works in Los Angeles.

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On view now at Deitch Project's 76 Grand Street gallery is Constraction, a six person group exhibition featuring new works of conceptual abstraction, curated by Kathy Grayson. In the Spring of this year, Deitch presented Subtraction, a collection of action inspired abstract paintings curated by Nicola Vassell. The two shows feature the best and brightest of next wave abstract artists, all of which seem to be reviving the principals of abstraction set forth in the early twentieth century, while forging interests in both formal and conceptual restriction. Constraction will feature the work of Tauba Auerbach, Joe Bradley, Peter Coffin, Xylor Jane, Mitzi Pederson, and Ara Peterson. Both exhibitions will be documented in a box set by Charta Books due out in the Spring of 2009.

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Cerasoli Gallery director, Freddi Cerasoli, has curated a summertime exhibition of over 20 contemporary artists working in a variety of media, including Lena Wolff, Josh Peter, Jennifer Davis, Michele Carlson, David O'Brien, and Ria Brodell. Both new and emerging as well as more established artists are participating in Splash, and all works selected embrace a summer theme.

Lena Wolff combines drawing, sewing, paper-cut, and collage to create delicate and radiating shapes that mimic the blazing sun. She uses the concentrical rings of confetti paper circles to illustrate the familiar presence of the flaming orb. In delicate and intricate pen and ink drawings, Michele Carlson mixes contemporary icons and imagery with historical narratives to stimulate our collective memory while critiquing the social, political, and domestic realms of our existence. Carlson holds an MFA in Printmaking, an MA in Visual and Critical Studies from the California College of Arts, as well as a BFA in Printmaking and BAs in Interdisciplinary Visual Arts and American History from the University of Washington.

All artists seek to create sublime imagery surrounding the nature of beauty by reaching beyond the traditional forms of expression. Each artist included takes a refreshing approach to their media and subject matter, resulting in an inspiring and sometimes surprising group exhibition. The opening reception is Saturday, July 12 from 6-9. Splash will be on view at Cerasoli Gallery until August 2, 2008.

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Mostly known for his abstract paintings, artist Bose Krishnamachari has just opened his first solo, UK exhibition, titled Ghost. The exhibition, which is hosted by Aicon Gallery in London, features work that explores what is called the 'Average Mumbaiker,' a general psyche of anxiety in the society that is prompted by the idea of acceptance. The show manifests through five large-scale portraits and the installation Ghost which includes 108 used tiffins which frame video loops of interviews featuring several Mumbai residents.

Bose lives and works as both an artist and curator in Mumbai, actively supporting exhibitions and emerging artists throughout India. The artist received his BFA from Sir J.J. School of Art in Mumbai, and an MFA from Goldsmiths College in London. He will also be the Guest of Honor during Arco'09, Madrid, curating the India Pavilion.

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Opening this Saturday at Nathan Larramendy Gallery in Ojai, California will be the new group exhibition Weekend Warrior. Curated by Beautiful/Decay, the exhibition brings together an exciting mix of artists including Tony de los Reyes, Ruby Osorio, Steven Shein, Vanessa Chow, Allison Miller, Robert Olsen, and the collaborative duo Simmons and Burke, whose work is pictured above. The show's titled reflects Ojai Valley's reputation of being a rural weekend getaway. The breadth of the artists exhibited range from the digital collages of Simmons and Burke, who were featured on the recent cover of Beautiful/Decay Magazine's Issue W, to the minimalist, mechanical sculptures of Steven Shein.

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Nigel Cooke's paintings lie somewhere in between fantasy and reality, often employing the urban landscape to provide grounding for surreal scenes executed in the most delicate palette. Cooke's paintings rely heavily on traditional techniques of oil painting that allow for the imagery to subtly mimic illustration and surrealist landscapes. The everyday details in each painting leaves the image somewhere inbetween the recognizable and the foreign. Since the completion of his doctorate from Goldsmith's College in London in 2004, Cooke has exhibited with some of the most internationally prestigious galleries. Since graduation, Cooke showed with the South London Gallery (2006), the Tate London (2004), Modern Art Museum of Fort Worth in Texas (2006) and the Andrea Rosen Gallery in New York (2004). There have been several reviews of his work with Art Review as well as an article in ArtForum.

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In a time when gas prices are soaring and cavalier road trips are on a steep decline, the Indianapolis Museum of Art is paying tribute to the ultimate road trippers, writer Jack Kerouac and photographer Robert Frank. Both men were part of the nomadic, counter culture activity surrounding the Beat poets of the 1950s and 1960s and both were as dedicated to roaming as they were to channeling their experience into their art. The Indianapolis exhibition, titled On the Road Again, features the 120 foot scroll on which Kerouac originally wrote On the Road during his 1957 cross country sojourns. The exhibition also includes 83 photographs taken by Beat generation artists Robert Frank during his own two year travels across the states. Frank originally published the images in Les Americains in 1958, a book for which Kerouac wrote the introduction, saying that Frank had captured that "crazy feeling in America when the sun is hot on the streets and music comes out of the jukebox or from a nearby funeral."

Jim Irsay, who owns the Indianapolis Colts, also owns Kerouac's scroll. In the above video, Irsay discusses first seeing the scroll, the thrill of road trips, radicalism, and the Beats. On the Road Again will remain on exhibit through September 21, 2008.

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Brenda L. Croft's poignant ilfochrome photography reflects her experiences growing up in suburban Australia with an Aboriginal father and Caucasian mother. Other works of hers on display narrate her father's plight as a victim of the Stolen Generation. At the age of two he was taken from his family due to government policy and raised in a Christian run missionary. Alongside Croft's works are those by Tony Albert, Daniel Boyd, Sally Morgan and Richard Bell, all of whom steer away from what can be perceived as traditional Aboriginal art.

Located within the Yiribana exhibition space of the Art Gallery of New South Wales, the room is devoted to hosting indigenous art exhibitions. Its positioning within one of Australiaís most renowned galleries creates a level of accessibility, which is somewhat marred by its placement in the basement of the gallery.

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High Energy Construct's recent exhibition champions the unexpected potentials of colored pencils. Working in the underrepresented drawing medium, artists Dennis Koch and Claudia Nieto channel the psychedelic effervescence of 60s album covers while also referencing the geometric formalism of modern design. Koch's drawings of multi-colored twin targets have a playful ritualism that seems like a hybrid between Jasper Johns' smart target paintings and Laylah Ali's idiosyncratically self-confident caricatures. They complement Nieto's more narrative topographies, which seem to freely reinterpret nature's most symbolic shapes - rivers, rainbows, mountains. Like most shows at High Energy, one of the newer galleries in LA's Chinatown, new work shows that fine-tuned craftsmanship doesn't have to be canonical or crippled by the austere history of modern art. Koch's and Nieto's work not only evidence diligent attention to finish but also evidence equally diligent attention to the exuberant, culturally-charged potentials of color and shape. While they have the classy expertise of any color field masterpiece, the drawings in new work also gauge the high energy allure of a rainbow colored parachute.

Claudia Nieto, who received her MFA from Claremont Graduate University in 2006, previously displayed work at Center for the Arts, Eagle Rock, and participated in a 2006 group show at High Energy Constructs. Dennis Koch studied political science and studio art at University of Iowa before moving to Los Angeles in 2006. This is his first show at High Energy. New work runs through August 2, 2008.

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Parr studied at Queensland University and East Sydney Technical College. He has been exhibiting his work for nearly 40 years, where it has appeared on both a local and international scale at institutions including the Hokkaido Museum of Modern Art, Japan, the Guggenheim, New York and Museo de Arte Moderna, Rio de Janeiro. In 1997 he was awarded the Sponsorís Prize at the Sapporo 4th International Print Biennale.

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On June 28th, the brothers opened Too Far Too Close at Deitch Projects in New York. For the exhibition, they will be transforming the gallery space into a fantastical cityscape, complete with passages, houses, and doors. Their signature imagery includes characters, background, and letters, and can range from graffiti tags to complicated murals. This exhibition will include new paintings, sculpture and installations that build upon a group of work created for the Museum Het Domein in the Netherlands. Os Gemeos have been reviewed by the New York Times in 2006 which referred to their style as "sort of Dr. Seuss on acid." Their work has an appealing and universal quality that has drawn the attention of fans including cult figure Barry McGee and Nike C.E.O. Mark Parker.

Too Far Too Close will remain at Deitch Projects until August 9, 2008.

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Currently on view at Luhring Augustine Gallery in New York City is the new exhibition It's Not Your Fault, works by nine Icelandic artists. The exhibition explores the artist's irresolute feelings of the historical and geographic backgrounds and experiences within their home country. The result is a varied exhibition with works that confront the countries current conditions, ideas related Icelandic identity and the local tradition of narrative storytelling. Many of the works include performance and the use of theatrical staging and tools.

The exhibition is curated by Markus Thor Andresson in collaboration with Ragnar Kjartansson, whose work is pictured above. Participating artists include: Birgir Andresson, Hrafnhildur Arnardottir, Asmundur Asmundsson, Asdis Sif Gunnarsdottir, Unnar Orn, Haraldur Jonsson, Katrin Sigurdardottir and Magnus Sigurdarson.

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