Portrait of Susan Sontag 1975 by Peter Hujar from "Hide/Seek: Difference and Desire in American Portraiture"


Maria Popova, in the latest edition of Brain Pickings, (re-)introduces us to The Aesthetics of Silence: a most eloquent essay by Susan Sontag on art as a form of spirituality and the paradoxical role of silence in our modern world's creative culture.


Let me know if you would like a PDF copy of the entire essay and I'll send it along.

BTW I only just discovered Brain Pickings via Nicola McClelland. Thanks to her for revealing this site of such contentment!



Ornament is a crime? Well, yes, there are crimes and then there are other crimes.
Ornament is Crime, a legally luxurious visual manifesto co-authored by Matt Hibberd and Albert Hill, pays "unprecedented homage to modernist architecture from the 1920s up to the present day."


Review by Frankie Crossley


Review in Aesthetica (edited):

"Ornament is Crime journeys between the decades to liberate Modernism from its traditional definitions and proposes its continuing presence in the work of 21st century architects... [With] elegant spreads and striking examples...  The use of quotes from cultural figures as diverse as Leonard Cohen and Kazimir Malevich here reframes Modernism as a timeless dialogue."



image courtesy of edX/Harvard University, archimagx

I’m enrolled at Harvard University doing my first course in architecture. Well, to be precise, I’m taking a free non-credit online course called The Architectural Imagination through edX and learning more about some fundamental principles of architecture. Baby steps for babies/babes!



Richard van der Aa 2009, image courtesy of ParisCONCRET


Such a mind enhancing pleasure to do an interview with Richard van der Aa for Whitehot Magazine of Contemporary Art, made all the more special because it centers on a preview of his first solo exhibition in New York. 57W57 Arts will be featuring Pictures of Paintings until 8 April 2017.


“The images of Pictures of Paintings by Richard van der Aa hold our gaze: the sequence is hypnotic - an extended repetition of a rounded square in duo-toned variations of black, white and an elusive colour palette of muted creams and greys…”


pictures of paintings No. 1, Richard van der Aa: enamel on dibond 30 x 30cm 2016, image by Richard van der Aa


Amarie Bergman, Cocoon #1 2017 mixed media (including fragrance, Chanel Chance Eau Tendre) 2.3 x 5 x 2.3cm

An exciting, tangible connection for my work with Stockholm will happen very soon through another inventive initiative by Factory 49. This artist run centre, which I’m so proud to be associated with, will participate for the first time in Supermarket International Art Fair (SIAF), 23-26 March 2017. The theme is ‘intimacy.’

Organisational wizards, Lisa Sharp and Anya Pesce, flew to Sweden a few days ago from Sydney to set up the 10-person exhibition. They will ‘person’ the dedicated space and act as connective resources during the extravaganza.


Anya Pesce & Lisa Sharp (with a suitcase filled with art), image courtesy Factory 49 / Facebook 2017


The catalogue, edited by Lisa and designed by Annelies Jahn, includes documentation for their work, Anya's and mine (Cocoon #1, Cube #1 and Square #1), along with the six other Factory 49 artists exhibiting at SIAF: Pam Aitken, Ivana Jovanovic, Michelle Le Dain, Pamela Leung, Kate MacKay, Chris Packer.



André Smits, photography by Anna Vimich (Artfridge) 2012

With the logic of day following night, Artist in the World, the unprecedented project by André 
Smits, is the subject of my latest article in Whitehot Magazine of Contemporary Art.


It opens enticingly with these 3 sentences:

"Edgar Degas may have been the first to detect the allure of portraying an artist by experimenting with photography as a visual memoir. Voilà +/- instant immortality. Man Ray to Mapplethorpe, among others since, have traced and retraced this genre pretty well to a fine point; The Famous/The Greatest in mostly frontal, often confrontational, close-up poses. Nothing like how André Smits approaches things, partly because his focus is so egalitarian..."




Amarie Bergman Aqua VoVo Factory 49 Paris Pop Up, 122 rue Amelot, Paris 75011; photographed on 5 August 2016 by André Smits, Artist in The World project


I happened to be in Paris at the same time as André Smits and was invited by him – through Lisa Sharp at Factory 49, Sydney - to participate in his Artist in The World project.


André takes photographs of artists, as well as gallery owners, art gatherers, curators and museum directors. None of his images are frontal, all are taken from behind so the viewer gazes into the same space as he did and, whether that space is a studio, gallery or museum, it is a momentarily very specific world within The World.




Amarie Bergman, Finite Volumes in Infinite Space – Lemon (partial view) 2016, acrylic, seven 9cm cubes and two oblongs (9 x 6 x 9cm; 9 x 3 x 9cm), photography by Sean Davey


So pleased to present this first glimpse of one of the components in my upcoming solo exhibition, Aqua VoVo. Do drop-by on 20 July for the opening from 6-8pm at Factory 49 (Sydney) Paris Pop Up: 122 Rue Amelot Paris 75011. Gallery hours are 1-7pm Thursday to Saturday. The exhibition continues until 13 August 2016.